To the two foregoing and most noteworthy productions are added the third _suite_ of original water-colour drawings, the most tragically terrible of all George Cruikshank’s graphic productions, illustrating in the unmistakably realistic manner characteristic of the artist’s genius for delineating terrifying episodes, exhibiting with all tragic intensity and the vigorous force of his imagination the lurid horrors of revolution, as disclosed in the horrifying revelations of the sanguinary atrocities which ensanguined with floods of gore the chronicles of ‘THE IRISH REBELLION OF 1798,’ as disclosed in the actually terrific and terrifying narrative--MAXWELL’S ‘HISTORY.’ George Cruikshank was too candidly honest an artist to conceal his appreciative sense of the popular success which these xiii generally familiar works had happily secured. The artist himself scorned to disguise his pride in ‘these creatures of his brain,’ as he esteemed them, with paternal admiration! On the strength of these famous dramatic _suites_, with the designs so well known as constituting the pictorial skeleton or framework of _Oliver Twist_, the designer extended his claim for fuller recognition, to the point of feeling it a deep personal grievance that the respective ‘gifted authors’ had wilfully adopted all his best ideas, without the formality of acknowledging their literary obligations and indebtedness to the artist himself. To do him full justice, it must be acknowledged that from the date of their first appearance in monthly parts, Cruikshank made these claims persistently amongst friends and in the presence of mutual acquaintances.