The many light, playful, and fanciful sketches that are included in the one thin volume to which in “The Table Book” ran, are trifles light as air, when compared with those two great efforts of Cruikshank’s genius, at its ripest and brightest. They mark the highest point of his ascent. In the sequel we shall find him executing much noteworthy, honourable Work,with the zeal of a great moral preacher; but he will not surpass these two noble etchings. [Illustration: 067] George Cruikshank worked, as he reader knows, with great care and deliberation. He thought out his subject well before beginning to realize his conception. He made, to begin with, a careful design upon paper, trying doubtful points on the margin of the paper. The design was heightened by vigorous touches of colour. Then a careful tracing was made, and laid, pencil side down, upon the steel plate. This was carried to the printer, who having placed it between damp paper, and passed it through the press, returned it, the blacklead outline distinctly appearing upon the etching ground. And then the work was straightforward to the artist’s firm hand. The firmness and fineness of his touch are as conspicuous in his wood drawings as in his etchings. “It was the custom of the artist,” according to his nephew, Percy Cruikshank, “before parting with his plates, to have India-paper proofs of the etchings, and this being ‘before letters’--that is, before the title was engraved on the plate--made them the more valuable. He also insisted on the engraver’s supplying him with a proof of his drawings on wood when completed. This, in time, formed a scarce and choice collection, of which he knew the value full well. The centralizing all that was Cruikshankian within himself was the end which crowned the work. The late Prince Consort being desirous of possessing a collection of George’s proofs, offered a considerable sum for them; but the artist, although pressed for money, not considering it sufficient, respectfully declined the proposal.” [Illustration: 069]