case might be,--for the rumor ran that George intended to abandon caricaturing altogether, and to set up in earnest as an historical painter,--there came from beyond the sea, to assist in illustrating "Windsor Castle," a Frenchman named Tony Johannot. Who but he, in fact, was the famous master of the grotesque who illustrated "Don Quixote" and the "Diable Boiteux" of Le Sage? To his dismay, George Cruikshank found a competitor as eccentric as himself, as skilful a manipulator _rem acu_, the etching-point, and who drew incomparably better than he, George Cruikshank, did. He gave up the mediaeval in disgust; but he must have hugged himself with the thought that he had already illustrated Charles Dickens's "Oliver Twist," and that the Frenchman, powerful as he was, could never hope to come near him in that terrific etching of "Fagin in the Condemned Cell." Again nearly twenty years have passed, and George Cruikshank still waves his Ithuriel's spear of well-ground steel, and still dabbles in aquafortis. An old, old man, he is still strong and hale. If you ask him a reason for his thus rivalling Fontenelle in his patriarchal greenness, for his being able at threescore and ten to paint pictures, (witness that colossal oil-painting of the "Triumph of Bacchus,") to make speeches, and to march at the head of his company as a captain of volunteers, he will give you at once the why and because. He is the most zealous, the most conscientious, and the most invulnerable of total abstainers. There were days when he took tobacco: witness that portrait of himself, smoking a very long meerschaum pipe in "Love's Triumph," etched about 1845. There were times when he heard the chimes at midnight, and partook of that "richt gude willie waucht" which tipsy Scotchmen, when they have formed in a ring, standing upon chairs, each with one foot on the table, hiccoughingly declare that we are bound to take for the sake of "auld lang syne." But George Cruikshank has done with willie wauchts as with bird's-eye and Killikinick. For many years he has neither drunk nor smoked. He is more than a confessor, he is an apostle of temperance. His strange, wild, grand performances, "The Bottle" and "The Drunkard's Children,"--the first quite Hogarthian in its force and pungency,--fell like thunderbolts among the gin-shops. I am afraid that George Cruikshank would not be a very welcome guest at Felix Booth's distillery, or at Barclay and Perkins's brewery. For, it must be granted, the sage is a little intolerant. "No peace with the Fiery Moloch!" "_Ecrasons l'infame!_" These are his mottoes. He would deprive the poor man of the scantiest drop of beer. You begin with a sip of "the right stuff," he teaches us in "The Bottle," and you end by swigging a gallon of vitriol, jumping on your wife, and dying in Bedlam of _delirium tremens_. I have not heard his opinions concerning cider, or root-beer, or effervescing sarsaparilla, or ginger-pop; but I imagine