In Paris it was thought that this mysterious animal was a cross between a tiger and a lioness, and had been brought into France to be shown as a curiosity. It is not unlikely that it had escaped from some travelling show, and was probably a hyena. The imagination of the country people would easily transform it into any shape suggested by their terrors. That such fancies easily begin and rapidly grow was proved in the case of Captain Sir Allan Young's pet Esquimaux dog, which was either stolen or wandered from the Arctic ship _Pandora_ as she lay in Southampton harbour after returning from the Polar regions. Quite a panic arose in that part of Hampshire where this most valuable and harmless animal was wandering about, and every sort of story was circulated of the ravages and dangers the country was exposed to. The people began to think that besides their sheep and pigs their children were in danger. Some said it was a gigantic black fox, others that it was a Canadian wolf. Expeditions were organized to attack it, and after being chased for some miles by people on horseback, it was ultimately shot and exhibited at sixpence a head in Winchester market-place. There could be no doubt about the dog's identity, for Sir Allan Young afterwards got back his skin. Before concluding my sketch of illustrated journalism in the eighteenth century I must refer to a class of publication that possessed many of the characteristics of the newspaper, without exactly belonging to that category. This kind of journal is represented by the _Gentleman's Magazine_; but, although Edward Cave considered himself the inventor of the magazine form of publication, the _Gentleman's Magazine_ was not the first journal of the kind. Nearly forty years before it came into existence a monthly publication was started in London with the following title:--'_The Gentleman's Journal; or, the Monthly Miscellany_. _By way of Letter to a Gentleman in the country, consisting of News, History, Philosophy, Poetry, Music, Translations, &c. January_, 169½.' Its projector and editor was a refugee Frenchman, one Peter Anthony Motteux, and the design appears to have met with considerable success, but it did not last more than four years.