The Old Lady of Threadneedle Street earned thereby the sobriquet of Hangland's Bank, and her victims included two women on a day when Cruikshank looked at the gibbet of the Old Bailey. They were hanged for passing forged one pound notes. Cruikshank thereupon drew his famous _Bank Restriction Note_, signed by Jack Ketch, and with a vignette of Britannia devouring her children above an $L$ of rope. Hone issued this note (of which there are three varieties) from his shop on Ludgate Hill, a stone's throw from the gibbet; the public flocked to see and buy it, and the moral was not lost upon the Bank of England, who thereafter sent forth no more one pound notes. The pathos as distinct from the tragedy of the condition thus relieved is well recalled by the caricature invented by Yedis and drawn by Cruikshank entitled _Johnny Bull and his Forged Notes_ (January 7, 1819). [Illustration: Johnny Bull and his FORGED Notes!! or RAGS & RUIN in the Paper Currency!!! No. 865 in Reid's Catalogue, published Jan. 1819.] We now turn to the lighter side of his topical journalism. One of his subjects was gas-lighting. _The Good Effects of Carbonic Gas_ (1807) depicts one cat swooning and another cut off from the list of living prime donne by the maleficence of Winzer's illuminant. In 1833 Cruikshank reported a ghost as saying to a fellow-shade, "Ah! brother, we never has no fun now; this 'March of Intellect' and the Gaslights have done us up." Jenner had him for both partisan (1808) and opponent (1812). In the former rôle he makes a Jennerite say, "Surely the disorder of the Cow is preferable to that of the Ass," and the realism is nauseous that accompanies the remark. As opponent he wittily follows Gillray, who in 1802 imagined an inoculated man as calving from his arms. Prominent in Cruikshank's caricature (a bitter one) is a sarcophagus upon which lies a cow whom Time is decapitating. "To the Memory of Vaccina who died April the First," is the touching inscription. I have already mentioned Cruikshank as a chronicler of fashion. Gillray was his master in this form of art, though the statement does not rest on the two examples here given. The thoughtful reader will not fail to admire the incongruity between the children in the drawing of 1826 and the great verities of Nature--cliff and sea--between which they strut. The latter drawing is as grotesquely logical as a syllogism by Lewis Carroll. Comparable with it in persuasiveness is Cruikshank's short-skirted lady (December 1833) who is alarmed at her own shadow, which naturally exaggerates the distance between her ankles and her skirt. Thence one turns for contrast to the caricature of crinolines in "The Comic Almanack" for 1850. It is called _A Splendid Spread_, and represents gentlemen handing refreshments to ladies across wildernesses of "dress-extenders" by means of long baker's peels. Such drawing educates; it has the value of criticism.