and it is worth noting that the last sketch that
appeared from his hand was "'Arry on the Boulevards," in the Paris
Number of _Punch_ (1889), although he was not able to join the rest of
the Staff in their trip to the Universal Exhibition.

He died on the 10th of January, 1891, and was buried in Hammersmith
Cemetery, in the presence of most of his colleagues, who mourned their
friend--

"Frank, loyal, unobtrusive, simple-hearted,
Loving his book, his pipe, his song, his friend;
Peaceful he lived and peacefully departed,
A gentle life-course with a gracious end."

Charles Martin--a son of the distinguished painter of Biblical
catastrophes, of boundless halls, and illimitable space, John
Martin--made three drawings for _Punch_. "The Bonnet-maker's Dream" was
an effort to enlist sympathy for one class of women-workers; but his
only fair illustrated joke was that in which a page-boy, pointing to the
old torch-extinguishers in one of the London squares, informs his
wondering companion that they are "what the swells in ancient days put
their weeds out with." But as an artist he was lazy, preferring to make
occasional nice little water-colour drawings than to work hard and
continuously at black-and-white. He succeeded in making his way into
society as a man-'bout-town, which he preferred to either; so that his
connection with _Punch_ began and ended with the year 1853.

An amateur signing "C" made an anonymous appearance in the same year;
and Mr. Harry Hall, who was horse-painter first at Tattersall's, and
afterwards at Newmarket, where he made Mark Lemon's acquaintance while
painting a Derby Winner, contributed a single sketch. It is not
remarkable, nor superior to his subsequent work as horse-draughtsman to
the "Field"; but it proves, at least, that Mr. Sydney P. Hall's father
could draw with ease.

It was in 1853 that the Reverend Edward Bradley[57] first contributed a
drawing to _Punch_ under his well-known pseudonym, but earlier than that
he found admittance in its pages, with both picture and prose, under the
signature, not of "Cuthbert Bede," but simply "E. B." The _nom de plume_
under which he is best known he adapted from the names of the two patron
saints of Durham, to which city he was much attached, and within whose
boundaries he spent his 'Varsity career.

"Photography being a novelty in 1853," says he in his MS. reminiscences,
to the transcript of which I have had access through the courtesy o