Artists and art critics not unnaturally regard caricature with some Mr. Hamerton’s observations on Caricature. disfavour. “Art,” says Hamerton, “with a great social or political purpose, is seldom pure fine art; artistic aims are usually lost sight of in the anxiety to hit the social or political mark, and though the caricaturist may have great natural facility for art, it has not a fair chance of cultivation.” Writing of Cruikshank’s “etchings” (and I presume he refers to those which are marked with comic or satirical characteristics), he says: “They are full of keen satire and happy invention, and their moral purpose is always good; but all these qualities are compatible with a carelessness of art which is not to be tolerated in any one but a professional caricaturist.”[7] Now all this is true, and moreover it is fairly and generously stated; on the other hand, Mr. Hamerton will probably admit that no artist is likely to succeed in graphic satire, unless he be a man of marked artistic power and invention.

While treating incidentally of the etchings of artists who have distinguished themselves as graphic satirists or designers, with etching itself as an art this work has no concern. For those who would be initiated into the mysteries of etching and dry point, negative and positive processes, soft grounds, mordants, or the like, the late Thomas Hood has left behind him a whimsical sketch of the process, which, imperfect as it is, will not only suffice for our purpose, but has the merit probably of being but little known:—

“Prepared by a hand that is skilful and nice, The fine point glides along like a skate on the ice, At the will of the gentle designer, Who, impelling the needle, just presses so much, That each line of her labour the copper may touch, As if done by a penny-a-liner. ***** Certain objects however may come in your sketch, Which, designed by a hand unaccustomed to etch, With a luckless result may be branded; Wherefore add this particular rule to your code, Let all vehicles take the wrong side of the road, And man, woman, and child be left-handed. Yet regard not the awkward appearance with doubt, But remember how often mere blessings fall out, That at first seemed no better than curses: So, till things take a turn, live in hope, and depend That whatever is wrong will come right in the end, And console you for all your reverses. ***** But the acid has duly been lower’d and bites Only just where the visible metal invites, Like a nature inclined to meet troubles; And behold as each slender and glittering line Effervesces, you trace the completed design In an elegant bead-work of bubbles. ***** But before with the varnishing brush you proceed, Let the plate with cold water be thoroughly freed From the other less innocent liquor; After which, on whatever you want to protect, Put a coat that will act to that very effect, Like the black one which hangs on the vicar. Then the varnish well dried—urge the biting again, But how long, at its meal, the eau forte may remain, Time and practice alone can determine: But of course not so long that the mountain, and mill, The rude bridge, and the figures—whatever you will— Are as black as the spots on your ermine. It is true, none the less, that a dark looking scrap, With a sort of Blackheath and Black Forest, mayhap, Is considered as rather Rembrandty; And that very black cattle and very black sheep, A black dog, and a shepherd as black as a sweep, Are the pets of some great dilettante. ***** But before your own picture arrives at that pitch, While the lights are still light, and the shadows, though rich. More transparent than ebony shutters, Never minding what Black-Arted critics may say, Stop the biting, and pour the green blind away, As you please, into bottles or gutters. Then removing the ground and the wax at a heat, Cleanse the surface with oil, spermaceti or sweet— For your hand a performance scarce proper— So some careful professional person secure, For the laundress will not be a safe amateur, To assist you in cleaning the copper. ***** Thus your etching complete, it remains but to hint That with certain assistance from paper and print, Which the proper mechanic will settle, You may charm all your friends—without any sad tale Of such perils and ills as beset Lady Sale— With a fine India Proof of your metal.”[8]
Woodward, engr. by
Rowlandson.] [“Desire,” Jan. 20th, 1800. DESIRE.		W. H. Bunbury.] [“Strephon and Chloe,” July 1st, 1804. SENTIMENTAL COURTSHIP.
W. H. Bunbury.] [“The Salutation Tavern,” July 21st, 1801. A FASHIONABLE SALUTATION.G. M. Woodward.] [“General Complaint,”
May 5th, 1796. “Don’t tell me of generals raised from mere boys, Though, believe me, I mean not their laurel to taint; But the general, I’m sure, that will make the most noise, If the war still goes on, will be General Complaint.” [Face p. 11.

[1]

“Nor London singly can his porter boast, Alike ’tis famed on every foreign coast; For this the Frenchman leaves his Bordeaux wine, And pours libations at our Thames’s shrine; Afric retails it ‘mongst her swarthy sons, And haughty Spain procures it for her Dons. Wherever Britain’s powerful flag has flown, there London’s celebrated porter’s known.”

—The Art of Living in London (6th edition 1805).

[2] One quotation shall suffice. Mr. William Bates tells us in his admirable “Maclise Portrait Gallery”:—“He never transgressed the narrow line that separates wit from buffoonery, pandered to sensuality, glorified vice or raised a laugh at the expense of decency. Satire never in his hands degenerated into savagery or scurrility. A moral purpose ever underlaid his humour; he sought to instruct or improve when he amused.” Mr. Bates will, we hope, pardon us if we say that this is not quite the fact. George Cruikshank in truth was no better or worse than his satirical brothers, and his tone necessarily improved from the moment he took to illustrating books.