as in all respects admirable, and Tenniel's double-page
cartoon was a striking success--as might have been expected from a Staff
so remarkably well versed in Shakespeare. In that cartoon the poet's
triumphal car, drawn by twin Pegasi and driven by Mr. Punch, is followed
by a motley procession, in which Mark Lemon, in the character of John
Bull, appears adapted as Prospero (one of the best of the many portraits
of the editor that have appeared in the paper), while a typically
malignant organ-grinder is Caliban, and all the leading statesmen and
sovereigns are represented in Shakespearian character appropriate to the
circumstances; the "Standard" and "Morning Herald," two of _Punch's_ pet
aversions and journalistic butts, bringing up the rear as the Witches in
"Macbeth," Mesdames Gamp and Harris. The illustrators of this
exceptionally happy number were--besides Sir John Tenniel--Charles
Keene, Mr. du Maurier, and Mr. Fairfield.

Then came the unwieldy "Records of the Great Exhibition, extracted from
_Punch_" on October 4th, 1851. _Punch_ had made a dead-set against the
exhibition in Hyde Park (until his friend Paxton was appointed its
architect, subsequently earning L20,000 by the work), and, according to
Mr. Justin McCarthy, "was hardly ever weary of making fun of it ... and
nothing short of complete success could save it from falling under a
mountain of ridicule. The Prince did not despair, however, and the
project went on." And when it was a _fait accompli_, _Punch_, good man
of business that he was, at once put it to the best possible advantage,
by issuing his enormous "extra" of nine previously-published cartoons by
Tenniel and Leech, and many other cuts besides--the whole, in point of
its double-folio size, more suitable for street display than library
reading. The price was sixpence, and with all the special matter it
contained it was one of the cheapest productions ever issued from that
office.

With the special Paris Exhibition number, produced in celebration of the
Exhibition of 1889, the list of extra numbers issued by _Punch_ for
general circulation comes to a close. Nearly the whole of the Staff,
including the proprietors, travelled to Paris together--how luxuriously,
Mr. Furniss's drawing of their dining-saloon gives a good notion; it
contains (with Sir John Tenniel and Mr. Lucy) portraits of all who were
present. Charles Keene had stayed at home; he felt unequal to the jaunt,
and was, in fact, sickening fo