rous engravings on wood. The very first number took the town by
storm, and the colourists were unable to keep pace with the demand.
Scenes from the tale were painted on fans, screens, and tea-trays,
numerous imitations were put forth, even before the book was issued in
volume form, and more than one dramatised version appeared on the stage.
Every street broil was transformed into a "Tom and Jerry row," the
Methodists distributed tracts at the doors of the theatres in which the
piece was played, and it was declared that Egan had turned the period
into an Age of Flash. But all protests were speedily drowned in a
general chorus of admiration, to which the _European Magazine_ put the
climax with its public declaration that "Corinthian Tom gives finished
portraits; with all the delicacy and precision of Gerard Douw, he unites
the boldness of Rubens with the intimate knowledge of Teniers!"
Thackeray, in a charming essay, has recalled his early delight in the
book, in those far-off days when every schoolboy believed that the three
heroes were types of the most elegant and fashionable young fellows the
town afforded, and thought their occupations and amusements those of all
high-bred English gentlemen. Twenty years later, Thackeray describes how
he went to the British Museum to renew his acquaintance with his old
favourite, and was disillusioned by the letterpress, which he found a
little vulgar, "but the pictures," he exclaims, "the pictures are noble
still!"

[Illustration: DEATH'S DANCE]

[Illustration: HUNTING THE SLIPPER]

DAVID CAREY

The earliest imitation of _Life in London_ was called _Real Life in
London, or the Rambles and Adventures of Bob Tallyho, Esq., and his
Cousin the Hon. Tom Dashall. By an Amateur._ This book, which some have
supposed to be the work of Egan in rivalry with himself, was illustrated
by Rowlandson, Alken, and Dighton. A year later, in 1822, came _Life in
Paris, Comprising the Rambles, Sprees, and Amours of Dick Wildfire and
Squire Jenkins_, by David Carey; while _The English Spy_, by Bernard
Blackmantle, appeared in 1824. David Carey (1782-1824) was a young
Scotchman, son of a manufacturer at Arbroath, who began his career in
Constable's publishing house in Edinburgh but presently came south, and
devoted himself to literary journalism. He attracted some attention by
means of a satire, called the _The Ins and Outs_, and also wrote some
long-forgotten novels and sketches. In 1822 he went to