cartoons of _How do you Like the New Whig?_ and the _Premier's Fix_ (Peel between Free Trade and Protection), the last borrowed from one of Cruikshank's drawings. _The Railway Juggernaut of 1845_ (also suggested by Cruikshank's well-known etching), refers to the then mania for dabbling in railway shares. Between the two stools of Free Trade and Protection, Sir Robert, as might have been anticipated, ultimately fell through; an event which is chronicled in vol. x., the idea in this instance being taken from the celebrated drawing in the late Mr. Clarke's "Three Courses and a Dessert," the cartoon of Peel driving the vehicle of Protection, which has broken down, bearing the title of _The Deaf Postilion_. A change of ministry took place in 1846, little Lord John replacing Sir Robert Peel as "First Lord of the Treasury." He cuts an amazingly queer figure (in vol. xi.) in the ex-premier's huge hat, vast coat, and voluminous waistcoat and inexpressibles. Little Lord John was an enduring subject of _Punch's_ satire during that statesman's somewhat unsatisfactory political career, and Leech was never weary of comparing him with his far more brilliant and able contemporary. Here we have the pair figuring as _Dombey and Son_ (Dombey being Sir Robert, and the son Lord John), "Mr. Dombey was in a difficulty. He would like to have given him (_the boy_) some explanation involving the terms circulating medium, currency, depreciation of currency, paper, bullion, rates of exchange, value of precious metals in the market, and so forth." The _Portrait of a Noble Lord in Order_ refers to one of those exhibitions of want of tact, taste, and temper in which Lord Brougham would seem to have delighted.[140] "Who calls _me_ to order?" cries the "noble and learned" lord, "Who calls _me_ to order? Pooh! Pooh! Fiddle-de-dee! I never was in better order in my life. Noble lords don't know what they are about;" a conspicuous and aggressive appurtenance of the "noble and learned," by the way, is his preposterous umbrella. One of the most barbarous and disgraceful of London neighbourhoods in 1847, and for many years afterwards, was Smithfield; the present generation can form no idea of the state of things thirty years ago, which is referred to in the cartoon of _Punch and the Smithfield Savages_, the artist borrowing his idea from West's well-known picture of "Penn's Treaty with the Indians." The odious matrimonial swindle perpetrated by Louis Philippe with the idea of ultimately seating a member of his family on the Spanish throne, which has cast an indelible stain on his memory, had now been found out, and attracted universal indignation. We find him, in reference to this shameless piece of business, figuring as the _Fagin of France after Condemnation_, the idea being suggested of course by Cruikshank's famous etching in "Oliver Twist." Retribution overtook the mercenary monarch in the year of disquietude and national unrest--1848; foreign kings and