which rather dumfoundered Mr. Yellowplush. That accomplished writer evidently watched the two 'littery genlmn' with interest, as he records the gratifying fact that 'they behaved very well, and seemed to have good appytights.'
The little Irishman especially distinguished himself, eating, drinking, and talking enough for six; and, after the wine, described how he had lately been presented at court by his friend Mr. Bulwig, and how her gracious Majesty had desired him to tell her the bonâ fide sale of the 'Cabinet Cyclopædia,' and how he had assured her, on his honour, that it was under ten thousand.
The entire illustrations of these 'Comic Tales and Sketches' are engraved with great neatness and spirit; and, in spite of their small size, they are superior, in carefulness of execution and attention to detail, to most of Thackeray's etchings.
The figure of a jester forms the frontispiece. A placard, which nearly conceals his person, exhibits the portraits of the three celebrities who are concerned in the work. The genteel Mr. Fitzroy Yellowplush, in his footman's livery, with a gold-headed cane in his right hand, has hold of one arm of the more homely Michael Angelo Titmarsh, who is in his turn looking up to the ferocious and colossal Major Gahagan, with whose stride he is absurdly endeavouring to keep pace. The Major's is a truly terrific figure. The enormous plumes of his high Polish shako, with the skull and cross-bones in front, are waving in the breeze, as is his long hair, his pointed moustache, and his spreading beard. His manly chest is displayed in a tight-fitting cavalry jacket, his shapely limbs are encased in embroidered tights and heavily tasseled Hessians, a sabre as tall as Titmarsh reposes on his stalwart arm, and altogether he appears some nine feet high.
The trio, thus marching hand in hand together, are supposed to be on the very verge of immortality, which, in the sketch, uncommonly resembles a precipice.
The other illustrations of the two small volumes, all of which are printed in a warm sepia tint, consist of 'Mrs. Shum's Ejectment;' Mr. Deuceace paying for his Papa's Cigars;' 'Mr. Deuceace's disinterested Declaration;' 'Mr. Yellowplush displaying his Credentials' (his plush garments to wit); 'Major Gahagan, from the great portrait by Titmarsh, in the gallery of H.H. the Nawaub of Budge Budge;' 'The Major discovering the Infidelity of Mrs. Chowder Loll' (where his tremendous figure is striding across the 'tattees,' through a window, into the very midst of the disconcerted family); 'The Major's Interview with a Celebrated Character' (no less a personage than the Emperor Napoleon Bonaparte, who is on tip-toe, dressed in the historical little cocked-hat and grey coat, trying to put his small figure more on a level with the overwhelming Gahagan: in the background an English general of the period, dressed in a crescent-shaped cocked-hat and plume, a tight long coat, with swallow-tails reaching to his heels, and white ducks split over the boots, with a telescope under his arm, is in conversation with one of the fierce-looking French Marshals); 'The Major in the Tent of Puttee Rouge' (a terrifying figure, disguised in black paint, affectionately hugging a whisky-jar of considerable dimensions).
The episode of the 'Professor' affords the artist a favourable subject, which he treats with full comic force—' Mr. Dando declares his Name and Quality.' It may be remembered that the oyster-eater has taken advantage of the absence of the proprietor to obtain an unlimited supply of his favourite bivalves at an oyster-room, where the mistress did not recognise her unprincipled customer, but was even so confiding as to send out for brandy-and-water in liberal proportion to the oysters consumed by this scourge of supper-rooms. The unfortunate proprietor has just returned in time to learn a description of the business which has been done in his absence; in some fear he is bringing in his bill, the while he is tying on his professional apron. Mr. Dando is seated majestically on the table, according to Thackeray's picture of the scene; swinging his legs about in a semi-intoxicated state, and picking his teeth, in an unconcerned and self-possessed manner, with an oyster-knife; a pile of shells, sufficient for many grottoes, are at his feet, while the horror-stricken servants are gathering other shells scattered around. The professor is supposed to have just met the reasonable demand for payment made by the deluded master of the establishment with a yell of tipsy laughter, and the announcement that his name is Dando, and that he never pays! Above his head may be read the comforting intelligence that a great reduction is made on taking a quantity, to which advantage Dando is very obviously entitled.
The last plate ('Bedford Row Conspiracy'), 'Mr. Perkins discovered in the Zoological Gardens,' depicts Mr. John Perkins standing, with the fair Lucy Gorgon, on the parapet which surrounds the bearpit at the Zoological Gardens. The lady's hands are placed on the gentleman's shoulder, his arm is round her waist, she being somewhat timid, and he is encouraging her to jump down—into his fond arms. She obeys him, and jumps plump into the awful presence of her aunt and guardian, Lady Gorgon, who is at the head of a neat little train, consisting of three Miss Gorgons, Master Gorgon, a French governess, and a footman carrying a poodle, all of whom had listened for some minutes to the billings and cooings of this imprudent young pair.
Prepared!