I have now most distinctly to state that Mr. Ainsworth _wrote up to most of my suggestions and designs_, although some of the subjects we _jointly_ arranged to introduce into the work; and I used every month to send him the _tracings or outlines of the sketches or drawings_ from which I was making the etchings to illustrate the work, _in order that he might write up to them_, and that they should be _accurately described_. And I beg the reader to understand that all these _etchings or plates were printed and ready for publication before the letterpress was printed_, and sometimes even before the Author _had written his manuscript_; and I assert that I never saw a page of this work _until after it was published_, and then hardly ever read a line of it. It is a curious coincidence, but clearly proves what I have just stated with respect to these _outlines or tracings_--that Mr. Ainsworth in January last was applied to for _these and other tracings or outlines_, and his reply was, that ‘_he would be very happy to send the tracings mentioned, but he had no idea what had become of them, as he had not seen them since ‘The Tower of London’ was published_. This letter I have in my possession. This _Tower of London_ became so very popular, that before it was finished, a bookseller came to me and said if we brought out another work similar in style and interest, that he would take 20,000 a month to begin with, and pay ready money for them; and another bookseller offered to take 25,000 or 30,000 a month upon the same terms. When this work was completed, I told Mr. Ainsworth that I had another capital subject for our next work. ‘Ah! what is it?’ said he; to which I replied, ‘The Plague and the Fire of London.’ ‘Oh!’ he exclaimed, ‘that _is_ first-rate!’ [The aggrieved Artist proceeded to state at length his sense of injury at the hands of the Author, who, on the facts set forth, had not considered Cruikshank’s rights in several instances, notably _Old Saint Paul’s_ and _Windsor Castle_. This first break between the partners was bridged over, owing to the peace-making overtures of a mutual friend, and Cruikshank’s publication of The _Omnibus_ was suspended and finally abandoned in favour of that artist consenting to collaborate (as in _Bentley’s Miscellany_) in a new venture, namely _Ainsworth’s Magazine_.] The Artist’s statement is thus continued:--