later years, however, between 1803 and 1811, he turned his attention to political caricature, beginning with Napoleon as a subject, and adopted methods from which the modern school has been developed. It would be more accurate to say that Gillray pointed the way to the founding of the modern school of political caricature, rather than that he was its founder. He never separated himself entirely from the tradition, as old almost as the art of drawing, that coarseness and exaggeration were the essential elements of humor as exhibited in caricature.

The first English artist to make that separation completely was John Doyle, father of Richard Doyle. He began to publish political caricatures in 1830, under the signature of "H. B.," and was the first caricaturist to preserve faithfully in all cases the likenesses of his subjects, and to give to them their individual attitudes and tricks of manner. He was the real founder of the "Punch" cartoon as it has been developed by Richard Doyle, John Leech, and John Tenniel. He preferred to draw single figures, though he sometimes produced groups with several figures, calling his productions "Political Sketches." It is a curious and interesting fact that the United States supplied the inspiration for one of his most successful pictures, and incidentally, perhaps, helped to lay the foundation for the double-page group-cartoon with which we are so familiar to-day. In 1836, Thomas D. Rice, the father of negro minstrelsy in America, went to London to introduce his invention. His "Jim Crow" song proved a great popular hit, and all London went to hear it and then went about singing it. Doyle, with the quick eye which is the sine quâ non of the true political caricaturist, drew and issued a large cartoon in which all the leading politicians of the day who had been changing their party affiliations or modifying their views were represented as assembled at a ball, and as being led forward one by one by Rice to be taught to "turn about and wheel about and jump Jim Crow."

The establishment of " Punch" in 1841 put an end to the lithograph sheet caricatures in England. The famous "Punch" cartoonists, Richard Doyle, John Leech, and John Tenniel, followed John Doyle's departure in preserving likenesses, but the double-page cartoon with many figures has been the exception with them rather than the rule. The typical "Punch" car

toon is about half the size of a central" Puck" or "Judge " cartoon, and is confined to a few figures, frequently to one. While there has been a steady advance in artistic merit since 1841, there has been little change in the general style of political caricature in "Punch."

In the United States the many-figured groupcartoon appears to have been a steady favorite since Jackson's time. Its immediate inspirers were undoubtedly Gillray and John Doyle,

"YOUNG AMERICA."

more especially the latter, whose sketches had been filling the shop-windows of London for two years when similar productions began to appear on this side of the water. Doyle had followed Gillray at a considerable distance, however; for he was a far inferior artist in every way, having slight perception of humor and being hard and inflexible in his methods. What Doyle did was to take Gillray's occa'sional act of giving a correct likeness, and make it his own permanent practice. His sketches are valuable to-day chiefly for this quality, all his drawings of leading men of the period being veritable portraits of real historical value, some of them the best in existence. Our early American political caricaturists followed Doyle's example as faithfully as their

sketches, including the original drawing of the Jackson kitchen-clearing picture printed at the head of this article. There was a contemporary caricature, now unobtainable, called "Rats Leaving a Falling House," which represented Jackson seated in a kitchen smoking, while five rats, bearing the heads of the members of his cabinet, were scurrying to get out by doors, windows, and other openings. Jackson had planted his foot on the tail of the one which bore Martin Van Buren's head, and was holding him fast. This caricature, as well as its

always his garb in the earlier American caricatures. The World's Fair referred to was that held in New York in 1844. Clay is also the author of the single representative we have of the triangular contest of 1848, when Taylor, Cass, and Van Buren were the presidential candidates. Marcy, the author of the phrase "To the victors belong the spoils," appears in this with a patch on his trousers marked "50 cents," which was an invariable feature of any caricature of him. It was based on a report that he had, while Governor of New York, included in a bill

companion, "Jackson Clearing his Kitchen," is believed to have been the work of an English artist named E. W. Clay. Both were published in 1831, soon after the dissolution of the "kitchen cabinet." The faces in the kitchen-clearing scene are all portraits: Van Buren, Nicholas Biddle, President of the United States Bank, and Calhoun stand nearest to Jackson; prostrate on the floor is Dixon H. Lewis, whose portly figure was a conspicuous feature of the Washington life of the time; and fleeing from the room with outstretched arms is Francis P. Blair, editor of the Jacksonian organ the "Globe." An interesting caricature of a decade or so later is that called "A Boston Notion for the World's Fair." This was drawn by Clay, and was aimed at the Abolition movement, which was steadily making headway in Boston under the leadership of Garrison. Uncle Sam appears In this dressed in the style of Franklin, as was

against the State, for traveling expenses, a charge to patching trousers-50 cents," his reason being that as he had torn the trousers while on business for the State, it was the State's duty to repair the damage. Van Buren is represented as towing the boat "up Salt River" because he was the candidate of a faction which had bolted from the nomination of Cass, and was thus making the latter's election impossible. Marcy appears in the caricature of the Pierce campaign of 1852, on page 221, with his hand covering the patch, he having obviously become weary of allusions to it by this time. In this picture Pierce, of whom a striking likeness is presented, is borne upon the shoulders of William R. King, who was the candidate for vice-president, while Stephen A. Douglas assists Marcy in supporting him.

In their original form, the cartoons here given were about the size of the ordinary

double-page cartoon in " Puck." With the exception of the two earliest, all of them were published by Currier and Ives. In all of them the faces are carefully drawn portraits, and the figures are presented in natural attitudes. The general style of the pictures is similar to that of the earlier political-caricature period in European countries. The figures are presented almost invariably without background, and each of them is represented as giving utterance to some sentiment which is inclosed in a loop over his head. This use of the loop had been abandoned in nearly or quite all European countries some time before its appearance here. It is to be found in some but not in all of the Gillray caricatures, in some of Doyle's, and very rarely in the earlier numbers of " Punch." The

European artists abandoned the practice when they began to draw and compose their caricatures so well that they told their own story, with the aid of a title or a few words of dialogue beneath them. The early American caricaturists used the loop as generously as possible, as the specimens of their work given herewith testify. Their publishers found that the public demanded this, and that a picture without the loops would not sell. Yet the pictures told their story perfectly without these aids. In looking over

a large collection of them, I did not find one whose meaning was not made obvious by the title beneath it. Take the five relating to the campaign of 1856, for example, and see how plainly their meaning appears at a glance. In "The Great Presidential Sweepstakes" Fillmore is starting well in the lead, because, as the candidate of the American party, he had been the first nominee in the field. Next to him comes Buchanan, borne on the shoulders of Franklin Pierce, whose successor in the presidency he was to be; and bringing up the rear is a cart with Fremont in the driver's seat, Jessie Benton Fremont stowed snugly in behind, Mr. Beecher lifting at the wheel, and Horace Greeley coaxing the sorry-looking horse to pull his burden through the "Abolition cesspool" in which

the whole party is wallowing. "The Mustang Team" tells its story with equal directness. Here we have the three editors, Greeley, Bennett, and Raymond, astride Fremont's sorry nag, while another of the chief editors of the day, General James Watson Webb, is catching on behind. This is the forerunner of the oftrepeated cartoon of the present day, in which the editors of our great journals are frequently made to figure in even less favorable attitudes. The Fremont cart has the same look as in the first picture, with the addition of a bag for the "Bleeding Kansas Fund." It is noticeable that the face of Uncle Sam, who figures as tollgatherer in this picture and who has changed his costume since the cartoon of 1843, is drawn. without the chin-beard which he wears habitually in modern cartoons. In all the pictures of this period he is cleanshaven.

No word is necessary in explanation of the picture in which Farmer Fillmore is about to scatter the rats who are swarming about the "public crib" in the hope of getting possession of

its contents. As a prophecy the picture was as bad a failure as its companion, which represents Fillmore as standing between Fremont and Buchanan keeping them from each other's throats, and as destined presumably to triumph over them at the polls,-for Buchanan was subsequently victorious. The early appearance of the "public crib" as a synonym for the spoils of office is a point of some interest. It was evidently familiar at the time this picture was drawn, and may date back to Jackson's time, possibly far beyond that, coming to us from English usage. "The Democratic Platform" (page 224) gives us a full-length figure of Uncle Sam, without the beard, but with a costume VOL. XLIV.-30.

similar to that which is still assigned to him. The three supporters of the platform are Benton, Pierce, and John Van Buren. The latter was known as " Prince John," while his father, the ex-President, was known as the "Old Fox." In the caricature Prince John is talking to his father, who is presented as a fox peering from a hole. This picture, which has obvious points of strength, was a very successful one, and had a large sale.

The seven caricatures relating to the great campaign of 1860 were the most successful of the kind ever issued in this country. Probably the first of the series was that which represents Douglas as the victorious cock in the pit, crow