angularities, gives the artist
extremely little to "take hold of." For that reason such faces as those
of Lord Rosebery, Mr. Asquith, and Mr. John Morley (of the latter of
whom Mr. Furniss used to say the true characteristic expression is only
to be found in his red cravat) are as often failures as successes, in
even the skilfullest hands. It is the fault of neither the artist nor
the person misrepresented; according to Mr. Lucy--it is "the act of
God."

Before the days of photography the work of the caricaturist was harder
than it is now. Draughtsmen had to be familiar with the faces of the
leading men of the day--even as Leech was, by "getting them" into their
sketch-books by hook or by crook, or else they would accept the portrait
already published by a brother-artist. Even to-day it sometimes occurs
that a man of importance has not been photographed. In that case he must
be sketched or remembered, or his portrait "faked up" on the block until
it bears some resemblance to the person required. But, passing from mere
portraiture to the realisation of ideas, the artist feels his liberty,
and gives his genius full rein. Thus it is that _Punch_ has always been
happy and successful in his "types." It is thoroughly in the spirit of
caricature that types should be established and adhered to in order to
express, in symbolic form, nations and even ideas. Not only is it
poetical, it is convenient; and has perforce been adopted in every
country where political caricature is employed, though with standards
and notions very different from our own. In Italy, for example, and in a
minor degree in Germany, John Bull, as the symbol of Great Britain, is
usually represented by a travesty of _Punch's_, with a brutal head and
bandy legs, and the whole figure bent in body to suggest a bull, horns
sometimes protruding beside the hat; while Russia is courteously
represented as a frantic Cossack of terrific mien, brandishing a knout
with violent and savage intent. We may claim that our types, as invented
by _Punch_, are of immeasurable superiority, whether of conception or of
realisation. Our John Bull--a lineal descendant probably of Gillray's
favourite representation of George the Third as "Farmer Gearge"--is a
fine noble fellow enough as drawn by Leech and developed by Tenniel;
indeed, in the drawings of the latter may often be seen the idealised
face of Mark Lemon, his jovial Editor.

This view of the type of England has attracted the at