“For this work I made two drawings on wood, one was ‘Satan, Sin, and Death, at the Gates of Hell,’ and the other, ‘Satan calling up the fallen Angels.’ ‘Awake! arise! or be for ever fallen! They heard, and were abashed, and up they sprang Upon the wing.’ This illustration was very _crowded with figures, and the best drawing that I ever did in my life_; but when the wood engraver saw it, he said he was afraid he could not engrave it: however, it was done and published, but the _block_ is missing; however, there is an _impression_ of it (No. 116) now exhibiting in the _selection_ of my works at the “Royal Aquarium,” Westminster, London. “I expect there had been some kind of arrangement made as to a partnership between the editor and the publisher; but some disagreement followed, which stopped the work, and this is the reason why the subject you mention of the large figure in perspective ‘Lay floating many a rood’ was not published; and since then I have had so many matters to attend to, that I don’t think I shall ever publish it, nor be able to do an oil painting of the subject, as I always wished to do, being now too much overwhelmed with various engagements.” The light heart and courage with which Cruikshank bore up against many a bitter disappointment like this, hindering his flight to the higher regions of his art, are delightful characteristics of him. While he was dreaming of Paradise Lost, and designing “the very best drawing he ever did in his life,” and the dream and the labour were cast by unkind Fate to to the winds, see how prodigally he was using his genius as the popular pictorial chronicler, moralist, and provider of laughter of the day. Not only did he execute the caricatures I have already noted, for and against Queen Caroline; he threw off series after series, as “Doll Tear-Sheet,” “The Green Bay,” “Non mi ricordo,”