pose he designed, of attracting the sympathy of the
impressionable French people. The following is a short summary of the
mode in which Italy was _really_ freed "from the Alps to the
Adriatic":--Lombardy was surrendered to Sardinia 11th July, 1859; the
treaty ceding Savoy and Nice to France was signed 24th March, and
approved by the Sardinian Parliament 29th May, 1860. The French
troops retired from Italy the same month. Garibaldi landed at Marsala
11th May, 1860, and entered Naples on the 18th of August. The kingdom
of Italy was recognised by Great Britain 31st March, 1861. In 1864
Florence was declared the capital of Italy. The French troops left
Rome in November, 1865. Venetia was ceded to France by Austria 3rd
July, 1866. They retired from the Quadrilateral in October, 1866;
Venice was annexed to Italy the same month; the Italian troops
entered Rome in September, 1870, when Napoleon III. was no longer
able to interpose, and it was incorporated in the Italian kingdom in
October.

[154] See previous note.

[155] Since the above was written, a weekly paper has been
established, which promises to promote the revival of caricature art.

CHAPTER XV.

_JOHN LEECH_ (_Continued_).

_Giovanni._ What do the dead do, uncle?--do they eat,
Hear music, go a hunting, and be merry,
As we that live?

_Francesco de Medicis._ No, Cuz; they sleep.

_Giov._ ... When do they wake?

_Frances._ When God shall please.

WEBSTER'S _White Devil; or, Vittoria Corombona_ (1612), Act 3.

Many of our readers will remember the exhibition at the Egyptian Hall,
in 1862, of John Leech's "Sketches in Oil," the subjects being enlarged
reproductions from selected examples of his minor drawings for _Punch_.
To his friend Mark Lemon is due the credit of this idea, which was
carried out after the following manner:--The impression of a block in
_Punch_ being first taken on a sheet of india-rubber, was enlarged by a
lithographic process; the copy thus obtained was transferred to stone,
and impressions obtained on a large sheet of canvas. The result was an
outline groundwork, consisting of his own lines enlarged some eight
times the dimensions of the original drawing, which the artist then
proceeded to fill up in colour. His knowledge of the manipulation of oil
colours was, however, slight, and his first crude attempts were made
under the guidance of hi