It would be doing Cruikshank shameful injustice to deny the attraction of his marvellous etchings, full of life, keen observation, and that happy dramatic power he had, which led him to feel and to embody the conception an author whom he illustrated; but, at the same time, it would be folly to accept him at his own estimate of his share in the “Jack Sheppard” success. Mrs. Keeley has quite as strong a right to some of the common glory as George. It is surprising that he never laid claim to Paul Bedford’s “Jolly Nose.” * While the excitement lasted, Cruikshank made no claim to any share in the story, and he enjoyed to the full the immense success of his etchings. On the completion of “Jack Sheppard” and the “Tower of London,” Cruikshank quarrelled with Mr. Bentley, ** He had a tendency, as one of his best friends has remarked, to quarrel with all persons with whom he had business relations; and when he did quarrel, his words knew no bounds. In his “Popgun” he has drawn himself holding a publisher by the nose with a pair of tongs. *** His temporary separation from Mr. Bentley led him to start a magazine of his own, the _Omnibus_, and to turn from Mr. Ainsworth to Laman Blanchard as literary co-operator. Of this presently. * G. Cruikshank lithographed an illustration to the “Jack Sheppard” quadrilles, “from Rodwel’s celebrated romance,” in which he represented Paul Bedford as Blueskin, Mrs. Keeley as Jack Sheppard, etc., dancing and singing in chorus, “Nix my dolly, pals.” Mrs. Keeley remembers Cruikshank going behind the scenes to sketch her and Paul Bedford “in character,” and she remarks that this was the only time she ever saw him.