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Updated: June 16, 2025
Cruikshank's own story, writing in 1876, is this: Fifty-eight years back from this date there were one-pound Bank of England notes in circulation, and, unfortunately, many forged notes were in circulation also, or being passed, the punishment for which offense was in some cases transportation, in others DEATH. At this period, having to go early to the Royal Exchange one morning, I passed Newgate jail, and saw several persons suspended from the gibbet; two of these were women who had been executed for passing one-pound forged notes.
He began to read Byron for himself, with what result we shall see before long; but the most important new departure was the attempt to copy Cruikshank's etchings to Grimm's fairy tales, his real beginning at art. From this practice he learnt the value of the pure, clean line that expresses form.
And indeed, this year, though he did not publish his annual volume, as usual, he was fully occupied with frequent letters to newspapers, several lectures and addresses, a preface to the reprint of his old friend Cruikshank's "Grimm," and the beginning of a new botanical work, "Proserpina," in addition to the mineralogy, and a renewed interest in classical studies.
Cruikshank's mind when he made the design; but some feelings of the sort were no doubt entertained by him. * The following lines ever fresh by the author of "Headlong Hall," published years ago in the Globe and Traveller, are an excellent comment on several of the cuts from the "Sunday in London:"
He regarded Cruikshank's illustrations to the last named work more particularly that one depicting Corinthian Tom "getting the best of Charley," as far better worth looking at than the whole collection in the National Gallery, a place where he had once whirled away a tedious hour or two during a visit to town.
At fourteen she had fallen upon Scott and Bulwer and had devoured them voraciously during the long vacation, in shady corners of the deserted campus; and she was now fixing Dickens's characters ineffaceably in her mind by Cruikshank's drawings. She was well grounded in Latin and had a fair reading knowledge of French and German.
Yet the association which his face, figure, and costume had with some of George Cruikshank's illustrations of German tales afforded pictorial harmony with the range of ghostly rooms we were viewing. He "marshalled us the way that we should go," by leading us down a steep flight of steps, which landed us on the piano nobile.
Many more of the mirths in this little book are excellent, especially a great figure of a parson entering church on horseback, an enormous parson truly, calm, unconscious, unwieldy. As Zeuxis had a bevy of virgins in order to make his famous picture his express virgin a clerical host must have passed under Cruikshank's eyes before he sketched this little, enormous parson of parsons.
"In Munich in a wretched, squalid by-street of the town, with as many smells as Cologne. I found the place when I was poking about one afternoon a dingy little shop kept by a Jew who marvelously resembled Cruikshank's Fagin. He resurrected this picture from a rusty old safe, and I saw its value at once.
A communication has been made from our orchard into T. Poole's garden, and from thence to Cruikshank's, a friend of mine, and a young married man, whose wife is very amiable, and she and Sara are already on the most cordial terms; from all this you will conclude we are happy.
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