oons" too; and so on p. 22 of the second
volume for the same year (No. 105 of the journal) he appeared with No. 1
of his series. It was from Leech's pencil, entitled "Substance and
Shadow," with the legend "The Poor ask for Bread, and the Philanthropy
of the State accords--an Exhibition." The cartoon represents a humble
crowd of needy visitors to the exhibition of pictures on a suggested
"free day," in accordance with the recommendation of the Government.
This design, a suggestion of Jerrold's, affords an excellent example of
the warm-hearted, wrong-headed sympathy with the poor which led him so
often cruelly to misjudge and misrepresent the acts and lives of persons
in authority whose views were not, like his own, spontaneously, kindly,
and impulsively unpractical. The series of six cartoons was directed
against abuses, the last, dealing with the subject of duelling, being
entitled "The Satisfaction of a Gentleman"--in which two duellists
appear attended by seconds wearing caps and bells, while the hangman
awaits the victor in one corner, and Death digs a grave for his victim
in the other.

After this series _Punch_ for a long while dropped the word "cartoon,"
but the public remembered it, and has clung to it ever since. It is a
remarkable thing that while the "Encyclopaedic Dictionary" entirely
ignores the word in its modern application to satirical prints, Dr.
Murray's monumental lexicon has as its earliest use of the word a
reference made by Miss Braddon to Leech's cartoons in the year 1863--or
twenty years after it was first coined!

But the very first number of _Punch_, as we have seen, rejoiced in a
cartoon as we now understand it--that is to say, a large full-page or
double-page block of a satirical nature, usually placed in the middle
opening of the paper, and for the most part still further dignified by
being "unbacked" by other printing. It has been stated that Henry Mayhew
at the very beginning insisted on this being a special feature of the
paper, defeating the opposition of "Daddy" Landells, who was all for a
number of little "coots," as he pronounced them, sprinkled plentifully
over the pages. But inasmuch as Landells was an engraver, who would have
delighted in the opportunity offered to his apprentices by a "big cut,"
as he was anxious above all things to follow the Paris "Charivari" (the
very _raison d'etre_ of which was the large political cartoon), and as,
moreover, the original "dummy" of the paper