The Life of George Cruikshank in Two Epochs, Vol. 1. (of 2)

satirized the effects of drunkenness in the desolate home, the workhouse, and the gaol. His "Gin Shop," where Death sets a trap for a party of topers, the "Ale-hous

nifying glass.* Schloss was a well-known figure in London years afterwards, first as Staudigl's secretary, and afterwards as an employé at the office of Dickens's "Household Words." Then again, in "Sunday in London," Cruikshank drew a Temperance moral from "The Pay Tab

t was bound in vellum and gold; illustrated with tiny portraits of Pastor, Malibran, and others, enriched by fairy pages of music, and enclose

lly dramatic indeed, that on its first appearan

y the late David Bog

s possible to execute the immense number of copies which the publisher anticipated, and with good reas

clothes in disorder, sits drowsy with drink, his children looking fearingly at him, while the wife is giving a bundle of clothes to the servant girl, to pawn, "to supply the bottle." The starved cat is licking an empty platter upon the table; the cupboard door ajar discloses empty shelves. In the next plate "an execution sweeps off the greater part of the furniture," but the drunken man and wife huddle themselves before the fire, and "comfort themselves with the bottle." There are Hogarthian touches, developing the story throughout the series. In this plate the china cottage upon the mantelpiece is broken, and the husband's battered hat upon a peg is the only ornamen

cities, are staring and talking. The murderer is in the clutches of the police; the boy looks on aghast, holding his chin, and trembling in his rags; the bottle, which has done the deed, is shivered upon the floor and the fragments lie near a broken pipe, a ragged slipper and a battered hat. T

poetic genius, Charles Mackay. His "Gin-Fiend"

'd another b

len face

words of sco

hat stag

watch'd; and

ts were be

brook her t

w her wher

said the Gin-Fi

good frie

is wife, he hat

or the lo

His dramatic force is evident in every plate. He tells his story with the fulness and intensity which are in all his pictorial narratives; but

2nd, 1847), Mr. Dickens describes th

tion, however, whether anybody else living could have done it so well. There is a woman in the last plate but one, garrulous about the murder, with a child in her arms, that is as good as Hogarth. Also the man who is stooping down, looking at the body. The philosophy of the thing, as a great lesso

in five hundred of blood, is dangerous to health, and therefore is an act of intemperance. A more moderate indulgence, he says, is not yet proved to be deleterious. The late Dr. Anstie put temperance in a different way. An average man or woman cannot, according to him, take more than a couple of glasses of sherry daily without injury. Dr. Carpenter has denounced

would have made a mistake, that he would have weakened the tremendous force of his moral, if he had put the excuse of sorrow, or poverty, or ignorance into his opening scene. As his story, stands, it teaches humble and happy households, in a rough text which a

en his "Bottle" was finished, and he was anxious to secure for this first Temperance sermon the widest possible publicity, he carried the plates to Mr. William Cash, then chairman of the National Temperance Society, for his approval, and the support of his powerful Association. Mr. Cash, although a Quaker, was a gentleman with a very sharp, humorous manner. Having attentively examined the series, he turned upon the artist, and asked him how he himself could ever

ot directly led to a tangible result, as Hogarth's "Harlot's Progress" is said to have led to the foundation of the Magdalen Hospital, it and the "Drunkard's Ch

was the tribute to his genius it inspi

CRUI

COUNTRY, HIS PICTU

and, with horror

fe of towns this

of full-blow

en to middle

, indeed, ye

calm us when suc

on the heave

glades, cheer'd b

springs, or

own griefs, and, urge

True, the no

aced; man

ath, the bent

hou th

not more,

Size -- M