town afforded, and thought their occupations and amusements those of all high-bred English gentlemen. Twenty years later, Thackeray describes how he went to the British Museum to renew his acquaintance with his old favourite, and was disillusioned by the letterpress, which he found a little vulgar, "but the pictures," he exclaims, "the pictures are noble still!" [Illustration: DEATH'S DANCE] [Illustration: HUNTING THE SLIPPER] DAVID CAREY The earliest imitation of _Life in London_ was called _Real Life in London, or the Rambles and Adventures of Bob Tallyho, Esq., and his Cousin the Hon. Tom Dashall. By an Amateur._ This book, which some have supposed to be the work of Egan in rivalry with himself, was illustrated by Rowlandson, Alken, and Dighton. A year later, in 1822, came _Life in Paris, Comprising the Rambles, Sprees, and Amours of Dick Wildfire and Squire Jenkins_, by David Carey; while _The English Spy_, by Bernard Blackmantle, appeared in 1824. David Carey (1782-1824) was a young Scotchman, son of a manufacturer at Arbroath, who began his career in Constable's publishing house in Edinburgh but presently came south, and devoted himself to literary journalism. He attracted some attention by means of a satire, called the _The Ins and Outs_, and also wrote some long-forgotten novels and sketches. In 1822 he went to Paris, where he wrote his account of life in that city; and then, his health breaking down, returned to his native town to die of consumption. It was claimed for the illustrations to his book, which were from the pencil of George Cruikshank, that "To accuracy of local delineation is added a happy exhibition of whatever is ludicrous and grotesque in character." Now George had never been in France, and therefore was obliged to take his local colour from the "views" of other artists, but the ludicrous and grotesque side of French life and character came only too easily to his John Bullish imagination. To him, as Thackeray points out, all Frenchmen were either barbers or dancing-masters, with "spindle shanks, pig-tails, outstretched hands, shrugging shoulders, and queer hair and moustaches." In his regenerate days, George was wont to assert, _à propos_ of _Life in London_, that, finding the book was a guide to, rather than a warning against, the vicious haunts and amusements of the Metropolis, he had retired from the alliance with Egan, leaving about two-thirds of the plates to be executed by his brother Robert. If this be true, he showed some inconsistency in consenting to illustrate Carey's book, which is a frank imitation of Egan's, though in a French setting. CHARLES MOLLOY WESTMACOTT