[From the marble by Theed.]
400A. John Gibson. Sculptor.
[This bust is by Macdonald of Rome.]
401. William Charles Macready. Player.
[Born 1793. Still living.]
The son of William Macready, who was author, actor, and manager. Educated at Rugby. Made his first appearance on the stage as Romeo, at Birmingham, and his debût in London, in 1816, as Orestes, in the “Distressed Mother.” He continued in London a leading tragic actor, until he finally retired from the stage in 1851. Mr. Macready’s style of acting was of the romantic, rather than of the classic order; his “Virginius” a more masterly performance than “Hamlet,” his “Rob Roy” far more picturesque and striking than “Richard III.” In the representation of Shakspeare’s characters this popular actor was not, generally speaking, equal to the most celebrated of his contemporaries. His conceptions were not the conceptions formed by the intellectual portion of his auditory in the tranquillity of the study. It was, however, impossible to witness a more admirable execution of a wrong conception, than that which Mr. Macready was able to render. In private life he has done honour to his profession; and he has left no actor behind him. superior to himself.
[By W. Behnes.]
402. George Cruikshank. Caricaturist.
[Born in London, 1794. Still living.]
Like Tom Hood, George Cruikshank is something more than a humourist: or, to speak more correctly, like all great humourists, both he and Hood possess and reveal a deep perception and appreciation of the serious and the pathetic in Nature and Art. The labours of Cruikshank, which commenced at a very early period of his life, have been incessant and remarkable. His admirable illustrations have adorned books of all kinds, from the political “House that Jack built,” to the moral “Bottle.” At no period has he drawn a line which—however cutting may have been the satire employed—has not had for its object the benefit, as well as the amusement of his fellow-men. His latest works—attacking the most degrading of our national vices,—command our gratitude and respect. George is popular amongst his associates. His face is an index to his mind. There is nothing anomalous about him and his doings. His appearance, his illustrations, his speeches are all alike,—all picturesque, artistic, full of fun, feeling, geniality, and quaintness. His seriousness is grotesque, and his drollery is profound. He is the prince of living caricaturists, and one of the best of men.