“What Mr. Hone’s religious creed may have been at that time, I am far from being able to decide; I was too young to know more than that he seemed deeply read in theological questions, and, although unsettled in his opinions, always professed to be a Christian. I knew also that his conduct was regulated by the strictest morality. He had been brought up to detest the Church of Rome, and to look upon the ‘Church of England’ service as little better than popish ceremonies; and with this feeling he parodied some portions of the Church service for purposes of political satire. But with these publications I had nothing whatever to do; and the instant I heard of their appearance, I entreated him to withdraw them. That I was his friend is true; and it is true, also, that among his friends were many persons, not more admired for their literary genius, than esteemed for their zeal in behalf of religion and morals.”
This manly vindication of his friend was characteristic of George Cruikshank. “When Hone was arraigned for blasphemy, Cruikshank,” says a writer on him in the London Review (December 28th, 1867), who knew him, “was consulted, and he dictated a letter, begging the Attorney-General not to take proceedings. This letter, one of Hone’s little children took to that Crown officer’s private house. But in vain. The action went on, and the ill-paid artist stood nobly by his friend. It is even said that the trial was rehearsed in Cruikshank’s studio, and that he and Hone concocted the defence together.”
When Hone died, Cruikshank insisted upon going to the funeral of his friend. Dickens used to describe a serio-comic scene with Mrs. Cruikshank at the time, who implored him to intercede, not only because she feared George might be indiscreet and get into trouble, but because she could not bear “those horrid Miss Hones.” Hone, on his side, bore handsome testimony to the genius of the artist.
Hone’s “Ancient Mysteries Described,” fcap. 8vo, 1823, contains two illustrations by George Cruikshank; viz., “The Giants in Guildhall,” and “Fools’ Morris Dance.” In an allusion to the giants, Mr. Hone observed: “In order to perpetuate their appearance they are drawn and etched by Mr. George Cruikshank, whose extraordinary talents have been happily exercised on my more original fancies. As this may be the last time that I shall ever write Mr. Cruikshank’s name for the press, I cannot but express my astonishment that a pencil which commands the admiration of any individual qualified to appreciate art, should be disregarded by that, class whose omission to secure it in their service is a remarkable instance of disregard to their own interests as the midwives of literature.”
