tter are confined to the thirteenth and last volume,
and his caricature contributions are of a vastly superior order of merit
to any of those by which they are preceded. Besides those in "The
Scourge" and "The Satirist," may be mentioned George Cruikshank's comic
designs in "Fashion," printed for J. J. Stockdale, of Pall Mall, in
1818; and his very admirable series of untinted etchings in "The
Loyalist Magazine; or, Anti-Radical," a publication exclusively devoted
to the ministerial side of the Carolinian scandal, and published by
James Wright, of Fleet Street, in 1820.

One of the earliest caricatures I have met with by George is entitled,
_Apollyon_ [_i.e._, Napoleon]_, the Devil's Generalissimo, Addressing
his Legions_; it is signed (contrary to his usual custom), "Cruikshank
del.," and was executed (if I am right in assigning it to him) when he
was sixteen years of age.

1813. DISCOVERY OF THE REMAINS OF CHARLES I.

The attention of the public in 1813 was, as we have seen, attracted by
the Regent's treatment of his miserable wife; and in April the sympathy
of the Livery and Corporation of London, and other public bodies, found
expression in an address which was presented to Her Royal Highness. On
the 28th of March of that year, the remains of Charles the First had
been discovered in the vault of Henry the Eighth, at Windsor, a
circumstance which suggested to George Cruikshank his admirable satire
entitled, _Meditations amongst the Tombs_. It shows us His Royal
Highness gazing at the recovered bodies, and regretting that while Henry
had managed to dispose of many wives, _he_ found it impossible to get
rid of one. A figure behind him points to the headless corpse, and
significantly remarks, "How rum King Charley looks without his head!"
The Battle of Vitoria (fought this year) forms the subject of a pair of
roughly executed caricatures, entitled respectively, _The Battle of
Vitoria_, and _A Scene after the Battle, or More Trophies for
Whitehall_. Other satires of the year, are _Double Bass_, and _A
Venomous Viper Poisoning the R--l Mind_, the latter as coarsely and
indelicately handled a subject as any caricaturist of the old school
might possibly desire.

1814.

_Little Boney gone to Pot_ (Thomas Tegg, May 12th, 1814), is one of the
artist's contributions to the series of caricatures which followed the
fall of Napoleon Bonaparte. Here the satirist has seated the emperor (a
lean, ragged, forlorn, miserab