Thackeray and Captain Marryatt (who drew some small cuts which Cruikshank copied), and Edward Howard, the author of “Rattlin the Reefer,” were among the contributors. Michael Angelo Titmarsh sent one of his most famous ballads--viz., “The King of Brentford’s Testament” But the most sprightly and noteworthy feature of this first of the illustrated magazines was Mrs. Toddles, who is introduced with her feet in hot water, and with a glass of warm rum and water, with a bit of butter in it. She surely might have sat for Sairy Gramp, in Punch’s personification of the _Morning Herald_. And here she is again, at Margate. She gets her feet wet; “but,” says her chronicler, “we dare say she would find a little drop of comfort, in the shape of _smuggled_ Hollands at the lodgings.” Mrs. Toddles was no better, in her drinking, we fear, than Mrs. Gamp and her friend Betsey. In the “Monument to Napoleon,” a famous Cruikshank idea, also in his Omnibus, we find the artist in his serious moralizing vein. “On the removal of Napoleon’s remains,” he remarks, “I prepared this design for a monument; but it was not sent, because it was not wanted. There is this disadvantage about a design for his monument--it will suit nobody else. This could not, therefore, be converted into a tribute to the memory of the late distinguished philosopher, Muggeridge, head master of the Grammar-school at Birchley; nor into an embellishment for the mausoleum of the departed hero, Fitz Hogg of the Pipeclays. It very often happens, however, that when a monument to a great man turns out to be a misfit, it will, after a while, be found to suit some other great man as well as if his measure had been taken for it. Just add a few grains to the intellectual qualities, subtract a scruple or so from the moral attributes--let out the philanthropy a little, and take in the learning a bit--clip the public devotion, and throw an additional handful of virtues into the domestic scale--qualify the squint, in short, or turn the aquiline into a snub--these slight modifications observed, and any hero or philosopher may be fitted to a hair with a second-hand monumental design. The standing tribute, ‘We _ne’er_ shall look upon his like again,’ is of course applicable in _every_ case of greatness.” With this monument Cruikshank took his leave of “Boney.”