We resign ourselves preferentially to the guidance of Isaac Robert and George Cruikshank, sensible that they at least, while conversant with the scenes they so graphically describe, will not bore us with unnecessary moral reflections. We prefer, if the truth must be told, to "sport a toe among the Corinthians at Almack's" with hooked-nosed Tom and rosy-cheeked Jerry; to visit with these merry and by no means strait-laced persons, Mr. O'Shaunessy's rooms in the Haymarket; the back parlour of the respected Thomas Cribb, ex-champion of England; to take wine with them "in the wood" at the London Docks; to enjoy with them, if they will, "the humours of a masquerade supper at the opera house." The work which Smeeton designed with such indifferent success was subsequently carried out in a far more efficient manner by Mr. James Grant, in his "Sketches in London,"[65] and at a later date by Mr. Mayhew, in his well-known "London Labour and the London Poor." The "Doings in London" owe whatever value they possess to the thirty-nine curious designs on wood of Isaac Robert Cruikshank, engraved by W. C. Bonner, which, on the whole fair examples of his workmanship in this style, strongly remind us of the smaller woodcuts in Hone's "Every-Day Book." The best specimens, however, of Robert's designs on wood are those which will be found in two small volumes, known indifferently as "Facetiae" and "Cruikshank's Comic Album," which contain a series of _jeux d'esprits_, published between the years 1830 and 1832, and comprising _Old Bootey's Ghost_ and _The Man of Intellect_, by W. F. Moncrieff; _The High-mettled Racer_ and _Monsieur Nongtongpaw_, by Charles Dibdin; _Margate and Brighton_; _The Devil's Visit_; _Steamers and Stages_; _Monsieur Touson_; _Monsieur Mallet_, by H. W. Montague; _Mathew's Comic Annual_ (a miserable _melange_ by our friend Pierce Egan); the famous _Devil's Walk_, by Coleridge and Southey, etc., etc. These little volumes, which are now rare, contain nearly one hundred excellent examples of Robert Cruikshank's workmanship, the woodcuts being executed after the artist's designs by W. C. Bonner and other wood engravers of eminence. We can stay only to describe one, which illustrates one of the many experiences of John Bull in his memorable visit to France. Struck with the appearance of a French lady, "young and gay," the stanza tells us-- "Struck by her charms he ask'd her name Of the first man he saw; From whom, with shrugs, no answer came But, '_Je vous n'entends pas._'"