And so he turned to his easel, and painted in oils, with something of his own inimitable power of concentration and dramatic story-telling, such subjects as he had treated in earlier days with his etching-needle. His “Tam o’ Shanter,” “Grimaldi the Clown Shaved by a Girl,” “The Runaway Knock,” “The Fairy Ring,” “Titania and Bottom the Weaver,” “Dressing for the Day,” “A New Situation,” and “Disturbing the Congregation,” were exhibited at the Royal Academy or at the British Institution; and were welcomed, for the fancy, the life, the humour that were in them--although they were one and all crude or violent in tone, and betrayed in every part a hand unpractised with the brush, and an eye dead to the delicacies of colour. They were, in truth, such bits of humour or fancy as the master humourist was wont in the old time to throw off at the rate of two or three in a week--only laboriously rendered in oils. The Runaway Knock, for instance, might be a plate in the “Sketch-Book,” or in “Points of Humour”--and the remark applies to Grimaldi being Shaved by a Girl, and the Disturbing the Congregation--which latter, to the artist’s great delight, the Prince Consort, who was one of Cruikshank’s cordial admirers, bought. Some of these fetched high prices. The Fairy Ring, the most imaginative, and as a composition the best of Cruikshank’s oil-paintings, painted in 1855, was a commission given to the artist by Mr. Henry Miller, of Preston--the price being £800. * The fairy revel is full of exquisitely suggestive bits. The canvas swarms with fairy life, and abounds with fanciful episodes. * It is now in the possession of Captain Douglass Kennedy, of Summerfield, Kirkby-Lonsdale, Mr. Miller’s son-in-law. The grace and spirit with which the artist could treat fairy or elfin life may be seen in scores of his earlier works. Look at this “Fairy Revenge,” from “Scott’s Demonology,” drawn in 1833. [Illustration: 178] “The Runaway Knock” is, as the reader will perceive, simply such a bit of Cruikshankian humour as he had been wont to treat with his etching-needle. It is full of life and excitement. The entire household, to the pug puppy-dog, has been aroused; nor could the painter refrain from throwing life into the carved stone head over the street-door. Again, “Disturbing the Congregation” is an etching subject, elaborated. A little boy, in church, has dropped his pegtop, and the awful eye of the beadle (Cruikshank created the British beadle as a humorous figure) is upon him. The Prince Consort, whom a genuine bit of humour delighted, was glad to add this most characteristic Cruikshank to his collection.