Bogue had long been Cruikshank’s fast friend and admirer, and was loth to believe that his name had ceased to be an attraction to the British public upon a title-page. Moreover, he had had some recent successes with the “inimitable” George. In two years the “Sandboys,” in which was his amazingly minute “All the World going to see the Exhibition” and his drawing of the transept, packed with myriads of people at the opening ceremony (I remember standing by him while he sketched it from the south-western gallery), had gone through four editions. But his recent Fairy Library had been a failure. Dickens (in _Household Words_), among others, had protested against teetotalism being introduced into fairyland; and had, two years previously, even ridiculed what was called Cruikshank’s temperance fanaticism, in a paper called “Whole Hogs.” These attacks, no doubt, helped to put an end to the _George Cruikshank’s Fairy Library_, after he had illustrated with some exquisitely dainty scenes, “Pass in Boots,” “Hop o’ my Thumb,” u Jack and the Beanstalk,” and “Cinderella.” * Cuthbert Bede, in a “Reminiscence of Cruikshank” in _Notes and Queries_, remarks: “It was very evident from that article, ‘Frauds on the Fairies,’ and also from a previous one from the same pen, called ‘Whole Hogs,’ that Dickens considered Cruikshank to be occasionally given over to the culture of crotchets, and to the furious riding of favourite hobbies. But in all these things it is indisputable that the great moral artist was firmly persuaded that he was acting in the cause of suffering humanity, and engaged upon some work for the amelioration of his fellow-creatures. And whatever was the act, and however small and trivial it might appear in the sight of the majority, Cruikshank threw himself into it heart and soul, and, like everything else he put his hand to, he did it with all his might.” * These have been since published in a volume by Bell and Daldy, and by Routledge and Co. To be driven from fairyland, which was the realm of his happiest dreams, was a bitter disappointment, and he felt deeply the blow of the friend who drove him forth from it. [Illustration: 216] Dickens had said of him and his fairies,-- “He is the only designer fairyland has had. Callot’s imps, for all their strangeness, are only of the earth, earthy. Fuseli’s fairies belong to the infernal regions; they are monstrous, lurid, and hideously melancholy. Mr. Cruikshank alone has a true insight into the ‘little people.’ They are something like men and women, and yet not flesh and blood; they are laughing and mischievous, but why we know not. Mr. Cruikshank, however, has had some dream or the other, or else a natural mysterious instinct, or else some preternatural fairy revelation, which has made him acquainted with the looks and ways of the fantastical subjects of Oberon and Titania.”