[Illustration: AMARANTH "THE EVER YOUNG" IS CARRIED TO CORALLION BY THE BEE'S MONSTER STEED. From "The Good Genius that Turned Everything into Gold," by the Bros Mayhew, 1847.] A bee--but a superbee--figured in the next fairy book illustrated by Cruikshank. In his designs for "The Good Genius that Turned Everything into Gold" (1847) he showed for the first time an ambition to idealise magic. The idea that power exists in beings of familiar shape and wieldy dimensions to build palaces and fleets without mistakes, without plans and adjustments, without the publication of embryos behind hoardings--to build them without economy and sacrificial fatigue--this is the breathless poem of the crowd. The Brothers Mayhew gave this idea to Cruikshank, and one at least of his etchings for their story--the palace emerging from rock and arborescence--shows that he almost objectified it. Thus (unconsciously) did he atone for that neglect of opportunity which allowed him to deck the magical and tender, the deep and lustrous fiction of E. T. W. Hoffmann, the inspired playmate of ideas that rock with laughter and subdue with awe, with nothing better than a frigidly humorous picture of a duel with spy-glasses. In 1848 an incomplete and refined translation of "II Pentamerone" appeared with pretty and sprightly designs by Cruikshank. These designs show a more direct sympathy with juvenile taste than his famous etchings for "German Popular Stories." With shut eyes one can still see his ogre swearing at the razor-crop, and his strong man marching off with all the wealth of the King of Fair-Flower, while the champion blower with one good blast makes bipeds of horses and kites of men. Nennella stepping grandly out of the enchanted fish to embrace her brother is dear to an indulgent scepticism. There were beautiful fields and a fine mansion inside that fish and his toothful mouth is but a portico of Fairyland. [Illustration: From George Cruikshank's Fairy Library, 'Cinderella,' 1854.] Tails not having been invented merely to mitigate the sorrows of Satan, Cruikshank had some more of these appendages to draw when with "Kit Bam's Adventures" (1849) he entered the fairyland of Mrs Cowden Clarke. The very rhetorical mariner of that story is remembered for the sake of the tails of mer-children twining about his legs in the frontispiece to it, and human children allow their Louis Wain to wane for a minute as, with Kit Bam, they look at Cruikshank's tortoiseshell cat, ruffed and aproned, laying the table while Captain Capsicum, horned and gouty, urbanely watches her.