Is there, the reader may now ask, not unmindful of the Miltonic drawing already described, no Satan among Cruikshank's Netherlanders, to show that he saw the sublime of evil as clearly as he saw Fagin? Alas for _catalogues raisonnés_! for if it were not for G. W. Reid we could not point the querist to Cruikshank's Lucifer in his illustrations on wood to George Clinton's "Memoirs of the Life and Writings of Lord Byron" (1825). Of "a shape like to the angels, yet of a sterner and a sadder aspect of spiritual essence," not less beauteous than the cherubim, Cruikshank, with or without an accomplice in another engraver, makes a black and white Moor, jointed like a Dutch doll, with wings which an Icarus would distrust. Perhaps the most impressive conception of the author of unhappiness which Cruikshank executed was that which he owed to the imagination of Mrs Octavian Blewitt. In his last published etching, _The Rose and the Lily_ (1875), he depicts, by her instruction, a lake out of which appears, like an islet, the weed-covered top of a vast head, the eyes of which are the only visible features. The lake is the abode of "The Demon of Evil" and his eyes of bale are upturned to regard a fairy queen and her suite who hover over a rose and a lily. Cruikshank's favourite among semi-infernal or hemi-demi-semi celestial characters would seem to have been Herne, the demon of Windsor Forest, whom legend derives from a suicide. Our illustration of Herne appearing to Henry VIII. (1843) is sombre and grandiose. The artist recurred to Herne again in one of his beautiful etchings for "The life of Sir John Falstaff" by R. B. Brough (1858). Falstaff as Herne, with antlers on his head, lies prone beneath the great riven oak which is called Herne's oak, because human Herne is supposed to have hanged himself from a bough of it. Fairies, depicted by their lover, have taken into their invisible web of glamour the grossness of Falstaff, and to me the etching which contains in harmony so tragic a tree, so gluttonous a man, and the only angels that shame can love without terror is not an illustration of Shakespeare but a vision of everybody's heaven. For if it is an illustration of Shakespeare, then are these no fairies but Mistress Quickly, Anne Page and other actresses, in a punitive and moralising mood! The last appearance of Cruikshank's Herne is in a drawing, done when the artist was eighty-three, for "Peeps at Life" (1875), in which the demon rides through Windsor Forest with a monk behind him. [Illustration: HERNE THE HUNTER APPEARING TO HENRY VIII. ("Windsor Castle"). From "Ainsworth's Magazine," vol. iii., 1843.]