of subjects in respect to the cartoons. Yet it
must not be imagined that others on the Staff are not as earnest
students of _Punch's_ pages, that they have not graduated as Masters of
his Arts. Yet, for all their vigilance, repetitions have often recurred.
You remember Tenniel's superb cartoon of the noble savage manacled with
the chains of slavery taking refuge on a British ship with clasped hands
uplifted to the commander? It was at the time of Mr. Ward Hunt's
slavery circular, and was entitled "Am I not a Man and a Brother?" A
like subject with the same title was contributed by Leech on June 1st,
1844, when a manacled negro appeals to Lord Brougham, who, making "a
long nose," hurries off to the Privy Council Office. Similarly have we
had two "Vigils"--one in the spring of 1854, and the other thirty-four
years later. And _Punch's_ exclusion from France, figuratively at Calais
Pier, has been the subject of two drawings--the first in 1843,[15] and
the other, by Mr. Linley Sambourne, on January 12th, 1878. The
repetitions at such long intervals lose, of course, any such
significance as the critical might feel inclined to attribute; but in
_Punch's_ nonage the self-same engravings have more than once been
actually used a second time, such as "Deaf Burke"--the celebrated
prize-fighter of Windmill Street--who was shown twice in the first
volume, certainly not for his beauty's sake; a drawing by Hine, which
was similarly employed in the same year; and in 1842 a cut by Gagniet,
which had been bought from a French publication. Perhaps the nearest
modern approach to this was when in 1872 Mr. Sambourne practically
repeated his figure of Mr. Punch turning round from his easel to face
the reader.

At the time when the Russo-Turkish War was drawing to a close, one of
the most powerful of Tenniel's cartoons--which made a great impression
on the country, as giving keen point to Mr. Gladstone's agitation
against Lord Beaconsfield's attitude at that period--was the drawing of
the Prime Minister, leaning back comfortably reading in his armchair,
declaring that he can see nothing at all about "Bulgarian Atrocities" in
the Blue Books, though the background of the picture itself is all
violence and butchery. Yet nobody recalled the fact that the artist had
made a similar cartoon of Cobden and Palmerston in the spring of 1857.

Charles Keene certainly had not studied his _Punch_ as he ought. Of that
there is abundant proof; for although th