In the "Comic Almanack" will be found many examples of George's tendency to graphic alliteration. _The Fall of the Leaf_ affords a capital specimen of the kind of design to which we allude. The leaf of the dinner-table has been so insecurely fastened that it falls, burying with it the mistress of the house, the fish, the champagne, a sherry decanter, a vase of flowers,--everything, in fact, to which it formed a treacherous and unreliable support; Gibbon's "Decline and Fall" lies in a corner of the room, and the walls are hung with appropriate subjects, such as the Fall of Foyers, the Falls of Niagara, Falls of the Clyde, and so on. An illustration of a similar kind will be found in _Taurus--a Literary Bull_. The animal has rushed into a printing office and scattered the compositors right and left; some seek shelter beneath their frames, one clambers wildly up the shelves of a paper case, while others scuttle over the frames, and one man, too wholly dismayed and bewildered to run, brandishes a stool in helpless imbecility. The bull is perhaps the most astonished of the _dramatis personae_, and evidently wonders into what manner of place fate has brought him. The walls are pasted with appropriate advertisements: "Some Account of the Pope's Bull," "A Cock and Bull Story," "Theatre Royal, Haymarket--John Bull" "To be Sold by Auction, the Bull Inn," "Abstract of the Act against Bull-baiting," and so on. In _Libra Striking the Balance_ (same year), a dishonest tradesman has been detected in using false weights and measures. The beadle holds up a pair of scales, one of which weighs very much heavier than the other. The wretched culprit, conscious, all too late, that honesty would have proved "the best policy" for himself, leans against his shelves the picture of sullen and detected guilt. The window of the shop bears on it the painted _legend_ of "The cheapest shop in London." Leaning against the counter we find a programme of the "City Theatre," announcing the performance of "Measure for Measure": to conclude with "Honest Thieves"; an officer outside (surrounded by a deeply interested crowd) is engaged in breaking up a second pair of dishonest scales. Chronology, difference in politics, character, tastes, and disposition, are most amusingly set at defiance in the etching entitled _The Revolution at Madame Tussaud's_ [1847]: Mary Queen of Scots "treads a measure" with William Penn the Quaker; Fox and Pitt make long noses at each other from opposite sides of the room; O'Connell shakes hands with Freschi, to whom our old friend the elderly country gentleman offers a friendly pinch of snuff; William Shakespeare flirts with an almond-eyed Chinese woman; Henry the Eighth smokes a long churchwarden with Judge Jefferys; Lord Byron (with greater propriety) exchanges friendly greetings with Jean Jacques Rousseau; whilst the great Napoleon unbends, as chroniclers assert that he was wont to do,