The Duke of Wellington in Caricature.
From the collection of the New York Public Library.
Another man whose work enjoyed a long period of shop-window popularity, and who nevertheless did not always rise above the comic-valentine level, was John Doyle, who owes his memory less to his own work than to the fact that he was the father of a real master of the art, Richard Doyle. Parton, in his history of "Caricature and Other Comic Art," notes the elder Doyle's remarkable prolificness, estimating his collected prints at upward of nine hundred; and he continues: "It was a custom with English print-sellers to keep portfolios of his innocent and amusing pictures to let out by the evening to families about to engage in the arduous work of entertaining their friends at dinner. He excelled greatly in his portraits, many of which, it is said by contemporaries, are the best ever taken of the noted men of that day, and may safely be accepted as historical. Brougham, Peel, O'Connell, Hume, Russell, Palmerston, and others appear in his works as they were in their prime, with little distortion or exaggeration, the humor of the pictures being in the situation portrayed. Thus, after a debate in which allusion was made to an ancient egg anecdote, Doyle produced a caricature in which the leaders of parties were drawn as hens sitting upon eggs. The whole interest of the picture lies in the speaking likeness of the men."
CHAPTER XII
THE BEGINNING OF "PUNCH"
What the advent of La Caricature did for French comic art was done for England by the birth of Punch, the "London Charivari," on July 17, 1841. It is not surprising that this veteran organ of wit and satire, essentially British though it is in the quality and range of its humor, should have inspired a number of different writers successively to record its annals. Mr. M. H. Spielmann, whose admirable volume is likely to remain the authoritative history, points out that the very term "cartoon" in its modern sense is in reality a creation of Punch's. In the reign of Charles I., he says, the approved phrase was, "a mad designe"; in the time of George II. it was known as a "hieroglyphic"; throughout the golden age of Gillray and Cruikshank "caricature" was the epithet applied to the separate copperplate broadsides displayed in the famous shops of Ackermann, Mrs. Humphrey, and McClean. But it was not until July, 1843, when the first great exhibition of cartoons for the Houses of Parliament was held—gigantic designs handling the loftiest subjects in the most elevated artistic spirit—that Punch inaugurated his own sarcastic series of "cartoons," and by doing so permanently enriched the language with a new word, or rather with new meaning for an old word. Punch, however, did far more than merely to change the terminology of caricature, he revolutionized its spirit; he made it possible for Gladstone to say of it that "in his early days, when an artist was engaged to produce political satires, he nearly always descended to gross personal caricature, and sometimes to indecency. To-day the humorous press showed a total absence of vulgarity and a fairer treatment, which made this department of warfare always pleasing."
As in the case of other famous characters of history, the origin and parentage of Punch have been much disputed, and a variety of legends have grown up about the source of its very name, the credit for its genesis being variously assigned to its original editors, Henry Mayhew, Mark Lemon, the printer Joseph Last, the writer Douglas Jerrold, and a number of obscurer literary lights. One story cited by Mr. Spielmann, although clearly apocryphal, is nevertheless worthy of repetition. According to this story, somebody at one of the preliminary meetings spoke of the forthcoming paper as being like a good mixture of punch, good for nothing without Lemon, when Mayhew caught up the idea and cried, "A capital idea! We'll call it Punch!"
In marked contrast to its French prototype, the "London Charivari" was from the beginning a moderate organ, and a stanch supporter of the Crown. In its original prospectus its political creed was outlined as follows: "Punch has no party prejudices; he is conservative in his opposition to Fantoccini and political puppets, but a progressive whig in his love of small change and a repeal of the union with public Judies." And to this day this policy of "hitting all around," of avoiding any bitter and prolonged partisanship, is the keynote of Punch's popularity and prestige. How this attitude has been consistently maintained in its practical working is well brought out by Mr. Spielmann in his chapter dedicated to the periodic Punch dinners, where the editorial councils have always taken place:
