The writer was naturally eager to gather, while there was yet time, any facts which might be of importance for the furtherance of his contemplated sketch of Rowlandson's career, which was then occupying all his energies, from the last representative of the famous caricaturists, who formed, in himself, so desirable a link with the generation of the Georgian epoch, which had been dissolved into the thinnest elements for three-fourths of a century back. Cruikshank expressed the most cordial interest in the undertaking, and genially declared, by way of an encouragement, which is the writer's most appreciated reward, that he should look forward to its successful completion, and further promised that if, in revising his notes, and the personal memoirs, touching upon such kindred topics (which, as he imparted, had long employed his leisure), he could discover any allusions of an interesting description to his gifted contemporary Rowlandson, or any similar memoranda left by his father, he would communicate them for the benefit of the present volume. His death has unfortunately prevented the accomplishment of this valued service, which was volunteered spontaneously with his well-known readiness to confer favours.
The point about Rowlandson which had most impressed George Cruikshank is somewhat original, and properly belongs to this part of our subject; hence we have been glad to have an opportunity of quoting the trustworthy authority of the aged caricaturist. 'Rowlandson,' said George, 'was a remarkable man in most respects;' the waywardness of his youth and the notoriety of his gambling days seemed to have rather prejudicially influenced the mind of his simpler successor, who had taken his place in 1827, as he had, almost of right, succeeded to the working-table and unfinished plates of James Gillray, many years before. Cruikshank, moreover, considered that Rowlandson's academical successes, his successful rivalry of Mortimer in depicting the nude, the knowledge of his art and the fluency he had acquired, were altogether exceptional features in the profession of a caricaturist, to his English views; but, according to his kindly creed, mellowed by age—his steel a trifle tempered since his own youth, when his shafts too were not without poignancy—'Rolley' was somewhat unreflecting, and reckless in exposing the infirmities of others, having but scant regard for his own reputation or the feelings of society, and further he had suffered himself to be led away from the exercise of his legitimate subjects, to produce works of a reprehensible tendency, which respectable dictum will probably find numerous subscribers.
A SHIPPING SCENE.
Strangely as it may sound, it was not as a caricaturist that Rowlandson had gained Cruikshank's admiration; he appreciated the artist enthusiastically as an accomplished water-colour painter, the equal in his opinion of most of the founders of our special school. Rowlandson's masterly power over the delineation of the figure, and his happy gift, amounting almost to inspiration, of portraying female charms of face and person, deserved high regard in Cruikshank's estimation; his peculiarly felicitous pictures of quaint Continental life, and the examples his free and scholarly handling held out, as admirable models of style to the French caricaturists of his day; the social sketches produced in Paris at the beginning of the century, though remarkable for neatness and delicacy, being laborious, formal, timid, and wanting in that racy comicality, and dashing power of expression, characterising the drawings under consideration, to which George accorded unqualified praise.
