At the end of the eighteenth century, Flockton’s show displayed five hundred figures at work in various trades. Browne’s _Theatre of Arts_, 1830–1840 travelled about at country fairs showing _The Battle of Trafalgar_, _Napoleon’s Army Crossing the Alps_ and the _Marble Palace of St. Petersburg_. Some marionettes of the nineteenth century became satirical, attacking literature and politics with mischievous energy. Punch assumed a thousand disguises; he caricatured Sheridan, Fox, Lord Nelson. William Hazlitt wrote seriously in praise of puppet shows. There are gaps in the history of English puppets which seem to imply a decline in the popularity of that amusement. One comes upon occasional records of shows straggling through the countryside, and giving the old, timeworn productions of _Prodigal Son_ or _Noah_, or _Pull Devil_, _Pull Baker_. During the reign of George IV, puppets were found at street corners, dancing sailors, milkmaids, clowns, but Punch, as ever, the favorite. Even now, puppets on boards may be seen in the streets of London. Of the old shows, one resident of that city relates: “When I was a child, marionettes used to go about the streets of London in a theatre on wheels about as big as a barrel organ, but I dare say I am wrong about size, because one cannot remember these things. I remember particularly a skeleton which danced and came to pieces so that his bones lay about in a heap. When I was properly surprised at this he assembled himself and danced again. I was so young that I was rather frightened.” There is to-day one of the old professional marionette showmen wandering about in England, Clunn Lewiss, who still has a set of genuine old dolls, bought up from a predecessor’s outfit. For fifty years he has been traveling along the roads, like a character strayed out of Dickens. He has interested members of artistic coteries in London, who have been moved by the old man’s appeals for help, and some attempts have been made to revive interest in his show. Surely Clunn Lewiss deserves some recognition. Altogether unconnected with popular puppets were the highly complicated mechanical exhibitions of Holden’s marionettes. The amazing feats performed by Holden’s puppets astonished not only England, but all the large Continental and American cities where they were displayed. They were tremendously admired. The surprising dexterity of manipulation, and the elegance of the settings had never been surpassed. In Paris, however, de Goncourt wrote of them: “The marionettes of Holden! These creatures of wood are a little disquieting. There is a dancer turning on the tips of her toes in the moonlight that might be a character of Hoffman, etc.