The “Tower of London” was a great success. Cruikshank states that, while it was running, one bookseller told him that if he and Ainsworth brought out “another work similar in style and interest,” he would take 20,000 a month to begin with, while another offered to take 25,000, or even 30,000. On the completion of “The Tower,” according to Cruikshank, he suggested to Ainsworth “The Plague and the Fire of London.” “Oh!” exclaimed the author, “that is first-rate.” It was understood, according to Cruikshank, that both author and artist should set to work on the new subject; but the author unceremoniously seized the artist’s idea, and sold his story to the _Sunday Times_. After a time, on the intercession of their mutual friend Mr. Pettigrew, Cruikshank says that he consented to work again with the author who had stolen his idea. He even went further; he suggested another story to him, viz., “The Miser’s Daughter,” which he had intended to have worked out by another author in his _Omnibus_. “The _next romance_ by Mr. Ainsworth,” says Cruikshank, “which _appeared in his magazine_, was ‘Windsor Castle,’ and the illustrations to the first part of that work were done by Tony Johannot--the remainder by me; and I will now explain how it came to pass that we two brother artists came to be employed upon the same work. After Mr. Ainsworth had finished ‘Old St. Paul’s,’ he, of course, wanted to produce another work, and to have it _illustrated_; and, as under the then existing circumstances he could not apply to me, he had to engage another artist. And why he did not employ Mr. Franklin on this occasion I know not, but I believe he went over to Paris, and engaged Tony Johannot to make the drawings and etchings for ‘Windsor Castle;’ and these illustrations were done whilst I was working on my _Omnibus_. But whether he found this plan to be too inconvenient or otherwise, I cannot tell; but, as he induced my friend Pettigrew to come to me and negotiate for a ‘treaty of peace,’ it is, I think, pretty evident that he wanted the assistance of my head and hand work again. After ‘Windsor Castle’ came the ‘Romance of St. James’s; or, The Court of Queen Anne;’ and after that, Mr. Harrison Ainsworth _sold his magazine_ to his publishers! So it really appeared as if all this gentleman’s promises, like pie-crust, were made to be broken; and, as in this instance, also, there was not any written agreement, the arrangements which he had made, and the engagements he had entered into with me when I agreed to work with him in his magazine, all broke down, and I, as it were, again ‘thrown overboard,’ or ‘left in the lurch.’ And thus ended the second edition of this authors extraordinary conduct towards the artist.”