Such are the covers—comprising what Mr. W. Bradbury used to call "our wardrobe of old coats"—which, though interesting enough in themselves, certainly included nothing to equal the last design, by which Doyle's name is best known throughout the artistic world.

Guided by the success of the first Almanac, the conductors decided to work the same oracle by publishing "extra numbers" at every promising opportunity. "Mr. Mayhew, Mr. Jerrold, and I," says Landells, "happened to spend a few days in the summer at Herne Bay, and there 'Punch's Visit to the Watering Places' was projected. These articles gave Punch another great lift. Messrs. Mayhew, Mark Lemon, Douglas Jerrold, and I, did Herne Bay, Margate, Broadstairs, and Ramsgate, and I never enjoyed myself more than on this, to me, memorable occasion. Albert Smith did Brighton. Punch thenceforth became an established favourite with the public, and the weekly circulation averaged over 30,000."

Just before this lucky stroke, another not less fortunate as a succes d'estime, if nothing more, was "Punch's Valentines"—at that time considered a most remarkable production; for there were no fewer than twelve half-page engravings within its full-page borders—a generous amount that puzzled the public far more than ten times as much and as good would do to-day. Kenny Meadows, "Phiz,"[6] Leech, Crowquill, Henning, and Newman, contributed each two "valentines," which were addressed to various sorts and conditions of people, accompanied by verses of considerable humour and more than average merit. Thus, to the lawyer—whom "Phiz" has represented as a mixture, in equal parts, of Squeers, Brass, and Quilp—the lines begin in a manner not unworthy of Hood himself:—

"Lend me your ears, thou man of law, While I my declaration draw, Your heart in fee surrender; As plaintiff I my suit prefer, 'Twould be uncivil to demur, Then let your plea be—tender."

The invocation which follows, to a gorgeous footman, by some love-smitten serving-maid, ends—

"But now fare thee well!—with your ultimate breath, When you answer the door to the knocking of Death, On your conscience, believe me, 'twill terribly dwell, If now you refuse to attend to the belle!"

In August, 1850, in the extra number called "Punch's Holidays," that was done for the outskirts of London which eight years before had been done for the watering-places. It was illustrated by Leech and Doyle, and, it may be added, the Hampton Court section was written by Thackeray. Then when the great Shakespeare Tercentenary was being celebrated, with singularly little eclat so far as the Shakespeare Committee itself was concerned, Punch produced his "Tercentenary Number." It was in all respects admirable, and Tenniel's double-page cartoon was a striking success—as might have been expected from a Staff so remarkably well versed in Shakespeare. In that cartoon the poet's triumphal car, drawn by twin Pegasi and driven by Mr. Punch, is followed by a motley procession, in which Mark Lemon, in the character of John Bull, appears adapted as Prospero (one of the best of the many portraits of the editor that have appeared in the paper), while a typically malignant organ-grinder is Caliban, and all the leading statesmen and sovereigns are represented in Shakespearian character appropriate to the circumstances; the "Standard" and "Morning Herald," two of Punch's pet aversions and journalistic butts, bringing up the rear as the Witches in "Macbeth," Mesdames Gamp and Harris. The illustrators of this exceptionally happy number were—besides Sir John Tenniel—Charles Keene, Mr. du Maurier, and Mr. Fairfield.

Then came the unwieldy "Records of the Great Exhibition, extracted from Punch" on October 4th, 1851. Punch had made a dead-set against the exhibition in Hyde Park (until his friend Paxton was appointed its architect, subsequently earning L20,000 by the work), and, according to Mr. Justin McCarthy, "was hardly ever weary of making fun of it ... and nothing short of complete success could save it from falling under a mountain of ridicule. The Prince did not despair, however, and the project went on." And when it was a fait accompli, Punch, good man of business that he was, at once put it to the best possible advantage, by issuing his enormous "extra" of nine previously-published cartoons by Tenniel and Leech, and many other cuts besides—the whole, in point of its double-folio size, more suitable for street display than library reading. The price was sixpence, and with all the special matter it contained it was one of the cheapest productions ever issued from that office.

With the special Paris Exhibition number, produced in celebration of the Exhibition of 1889, the list of extra numbers issued by Punch for general circulation comes to a close. Nearly the whole of the Staff, including the proprietors, travelled to Paris together—how luxuriously, Mr. Furniss's drawing of their dining-saloon gives a good notion; it contains (with Sir John Tenniel and Mr. Lucy) portraits of all who were present. Charles Keene had stayed at home; he felt unequal to the jaunt, and was, in fact, sickening for the mortal illness which soon had him in its grip. The "Paris Sketches" in the number that bear his signature were—like the "war correspondence from the front" concocted in Fleet Street—quietly drawn at home down at Chelsea. One thing primarily the number showed: that Punch's national prejudices have mellowed with time, and that a Frenchman may be accepted as a cultivated gentleman and a genial companion—a very different being to him whom Leech habitually drew as a flabby-faced refugee in Leicester Square, "with estaminet clearly written across his features," while Thackeray applauded the conception in his most righteous hatred and contempt for all things vile.

Two other special means has Punch adopted with the view of pleasing his constituents and confounding his enemies, exclusive of the mock Mulready envelope known as the "Anti-Graham Envelope" and the "Wafers," which are elsewhere referred to. The first of these was the music occasionally printed in his pages from the hand of his own particular maestro, Tully, the well-known member of the Punch Club, whose musical setting of "The Queen's Speech, as it is to be sung by the Lord Chancellor," appeared in 1843; the polka, at the time when that dance was a novel and a national craze, dedicated to the well-known dancing-master, Baron Nathan; "Punch's Mazurka," in Vol. VIII. (1845); and one or two other pieces besides. The other was a coloured picture representing a "plate"—a satire on the poor and inartistic "coloured plates" then being issued by S. C. Hall's "Art Union." It was a clever lithographic copy of an ordinary "willow pattern" plate; a homely piece of crockery, broken and riveted, beneath which is inscribed: "To the Subscribers to the Art Union this beautiful plate (from the original in the possession of the Artist) is presented, as the finest specimen of British Art, by Punch." It was designed by Horace Mayhew; but the edition was extremely limited—not a hundred copies, it is understood—on account of the expense, which it was thought was not justified by the excellence or the likely popularity of the joke.

Such have been some of Punch's efforts outside the usual routine, and the result has been the continual popularisation of the paper. Volume after volume, too, in various forms, has been republished, culminating in the "Victorian Era," "Pictures from Punch," and "Sir John Tenniel's Cartoons;" and each one has but served to attract the favourable notice of the public to the ordinary issue. So Punch has developed his power and his resources. To him one might almost apply what a Welshman said of his friend: "I knew him when he wass a ferry poor man—quite a poor man walking about in the village; and now he drives in his carriage and twice!"

FOOTNOTES:

[5] When the purchase was completed, a curious making-up of accounts proceeded between the parties as to the wood-blocks which were to accompany the paper. These accounts, referring to the titles of the engravings, read curiously enough. Here is a specimen:—

No. 22. L12 10 6 Deduct Collared Beef 4 6 —- —- L12 6 0

No. 25.

Brown's wrapper (i.e. Frontispiece drawn by "Phiz"—Hablot K. Browne) 15 12 6 12 12 0 Deduct 2 7 0 —- —- 13 5 6 No. 32.

Deduct. L s. d. Add. L s. d. Bald Head 0 8 0 Concert-piece 0 5 0 Great Sale in Beer 0 4 0 Collared Beef 0 4 6 Highwayman 0 5 0 All round my hat 0 10 0 Leg of Mutton 0 5 0 Tall Lady 0 8 0 Turning over a Page 0 3 0 Adder-up 0 5 0 14 18 0 Betrayed 0 5 0 Letter P 0 15 0 —- —- L2 7 0

These cuts were for the most part drawn by Brine, Hine, and Newman.

[6] It is a curious fact that the biographer of Hablot K. Browne is altogether silent on his Punch work, although it lasted with intervals over a quarter of a century. The particulars of this work are referred to further on, when Punch's artists are passed in review.



CHAPTER III.

"Here let us sport, Boys, as we sit; Laughter and wit Flashing so free. Life is but short— When we are gone, Let them sing on, Round the old tree."

—Thackeray's "Mahogany Tree."



THE PUNCH DINNER AND THE PUNCH CLUB.

Origin and Antiquity of the Meal—Place of Celebration—The "Crown"—In Bouverie Street and Elsewhere—The Dining-Hall—The Table—And Plans—Jokes and Amenities—Jerrold and his "Bark"—A Night at the Dinner—From Mr. Henry Silver's Diary—Loyalty and Perseverance of Diners—Charles H. Bennett and the Jeu d'esprit—Keene Holds Aloof—Business—Evolution of the Cartoon—Honours Divided—Guests—Special Dinners, "Jubilee," "Thackeray," "Burnand," and "Tenniel"—Dinners to Punch—The Punch Club—Exit Albert Smith—High Spirits—"The Whistling Oyster"—Baylis as a Prophet—"Two Pins Club."

Among the Parliaments of Wits and the Conclaves of Humorists the weekly convention known as "the Punch Dinner" holds highest rank, if importance is to be judged by results and pre-eminence by renown. For three-and-fifty years have these illustrious functions been held, fifty to the year. And those two thousand six hundred and fifty meals mark off, week by week, the progress of English humour during the Victorian era—not the humour of literature alone, but the humour, as well as the technical excellence, of one of the noblest and most vigorous and delightful of all the sections of English art.

This solemn festivity, therefore, has a solid claim to being included among the scenes of English artist-life. If it be conceded, as I think it must, that Punch has been for half a century an effective, even a glorious, school of art—of drawing in black-and-white and of wood-cutting alike—it follows that the weekly repast which has helped to bring these things about claims attention and respect among the Diets of the world, and demands a first place in virtue of public service and by right of artistic performance.

But it is not in the spirit nor with the fashionable view of the Royal Academicians and their imposing banquet that the members of the Punch staff hold their weekly junket. "We English," said Douglas Jerrold, "would dine to celebrate the engulfing of England." Yet if "the Punchites" share the feeling of old Timon that "we must dine together," it is neither for purposes of self-congratulation, nor yet of hospitality. Though good-fellowship is near the genesis of the institution, work and serious aim are at the root of it all, and in the midst of all the merry-making are never for a moment forgotten.

Nevertheless, conviviality, you may be sure, counted for something in the arrangement when Queen Victoria's reign was young. Clubs there were not a few about Fleet Street and the Strand, where the men who founded Punch, and their friends and enemies alike in similar walks of life, would hob-nob together, and where the sharp concussions of their diamond-cut-diamond wit would emit the sparks and flashes that were remembered and straightway converted into "copy." In those early days the flow of soul was closely regulated by the flow of liquor, and the most modest of Dinners was food at once to body and to mind. "What things," wrote Beaumont in his Letter to Ben Jonson—

"What things have we seen Done at the 'Mermaid'! Heard words that have been So nimble and so full of subtile flame, As if that every one from whom they came Had meant to put his whole wit in a jest, And resolved to live a fool the rest Of his dull life."

As in Elizabethan times, so in the days of Victoria. The Punch Dinners of the last few decades would, in their excellence and refinement, have astonished the merry crew of old; but the entertainment is now but the prelude to business, and not, as in the earlier struggling months, the powder that served to fire off the great guns of humour. The weekly Dinner was evolved from the gatherings that were held nearly every evening, as well as Saturday-nightly, in the anxious days that preceded—and immediately succeeded, too—the laboured birth of Punch. The first of these—the very first "Punch Dinner," strictly so-called—was held at "La Belle Sauvage," Ludgate Hill, on the spot now occupied by the publishing firm of Cassell and Company. Hine was one of those present at this historic feast, having been already impressed by Landells into the service of the paper. I may add, as a matter of minor history, that Mr. Price, the owner of the hostelry, advertised his house in the early numbers of Punch: a fact which suggests (perhaps unjustly) a mysterious financial understanding on the score of his bill—especially as Mr. Price was a brother-in-law of Bradbury the First. These tavern repasts were soon divided up between those who wished to work and those who wished to play; and the Punch Dinner and the "Punch Club" were in due course established as separate institutions. For all that, the meetings of both were held in the "Crown Inn" in Vinegar Yard, just off Drury Lane, and the "Club" was not long after (1843) celebrated in the pages of Punch itself by the "Professor," Percival Leigh, in his choicest dog-Latin—his most elegant latin de cuisine—or, as he himself called it, "Anglo-Graeco-Canino-Latinum." The lines, a parody of Goldsmith's "Retaliation," begin thus:—

"Sunt quidam jolly dogs, Saturday qui nocte frequentant Antiqui [Greek: Stefanon] qui stat prope moenia Druri, [Greek: Boulomenoi] cum prog distendere rather, Indulgere jocis, necnon Baccho atque tobacco..."

—lines which, with a few of the succeeding ones, I may render thus, the spirit and the text being followed as closely as may be:—

"Some jolly dogs on Saturdays at fall of night are fain To haunt the 'Crown' beside old Drury, hard by Drury Lane; Their object, to expand themselves with dainties of the feed And give the hour to jest and wine, and smoke the fragrant weed. Such fellows, sure, ne'er graced before that jovial mundane hole. To them I sing this song of praise—those mighty men of soul, Whose fame henceforth shall spread abroad, so long as time shall roll.

"The 'Crown' stands in a quiet yard, yet near the noisy street; 'Tis their local habitation—in its dining-room they meet. The massive table, brightly spread, groans with the mighty feast. The viands change. To-day 'tis beef with Yorkshire pudding dressed; Next week perchance the dish that Hodge will grinningly define As 'leg o' mutton, boiled, with trimmings.' Heartily they dine. Here flows the Double X, and flows the Barclay-Perkins brew; Nor is there lack of modern sack that best is known to you When waiters call it 'off-n-off'—which waiters mostly do."

Here it was that the wits of pen and pencil first laid their heads together in the service of Mr. Punch; and when they left for more private, if not more venerable, quarters, the room was occupied, first, by comrades of the same order of wit—among whom Augustus Mayhew, James Hannay, Watts Phillips, and others started a short-lived comic broad-sheet called "The Journal for Laughter;" and then by "The Reunion Club"—a coterie which, in 1857, was to become far more widely known under the style and title of the "Savage Club." It was situated next door to the "Whistling Oyster," and faced a side entrance to Drury Lane Theatre—a fairly large first-floor room, looking larger by reason of its low ceiling, but well lighted by its three high windows. When I visited it in 1893, the wooden staircase had been replaced by a steep stone-way; but the approach and the ascent were still steep enough to make one wonder how the portly Lemon could, without difficulty or fear of accident, scale the classic heights, and twist his body to the needful turns.



Although, as I have said, conviviality and convenience were essentially identified with the Punch Dinner, especially in its embryonic stage, when frequent interviews were necessary and the daily occupations of many of the Staff precluded an earlier attendance, it was quickly seen that the chief practical use and effect of the Dinner was to broaden the men's view of things, to produce harmony of tone and singleness of aim, to keep the Editor constantly in touch with his whole Staff, and through them with the public; and thus to secure the fullest advantage which their combined wit and counsel could afford. When the transfer of the paper was completed from Ebenezer Landells to the house of Bradbury and Evans, the regular Dinners were soon established at No. 11, Bouverie Street, E.C., now given over to the Posts and Telegraphs. The second floor was considered not too undignified for the purpose; but the descent to the first was made in good time, Mark Lemon taking the vacated room for his editorial office; and when in 1867 a general removal was effected to No. 10, the present dining-room—or Banqueting-Hall, as it was finely called—was specially constructed for its high purpose. At first these repasts were held on Saturday night, when the paper was made up and sent away to press. But when the true value of the meetings became apparent, the day was changed to Wednesday. The Dinner was established ostensibly for the discussion and determining of the "big cut," and the function became as exclusive and esoteric as a Masonic initiation. From that day to this it has, with few exceptions, been held januis clausis; and beside it the Literary Ladies' Dinner and Bluebeard's Chamber are as open to the world and free from mystery as the public streets at noon.



The room in which it was held, so long the Temple of the Comic Muse, had little in itself to command the attention of the superficial observer. The stairs which Thackeray trod, and which resounded to the quick light step of Jerrold and to the heavier tread of Leech, exist no longer; but the classic shrine is practically as it was when the "Fat Contributor," pushing roughly past the young 'prentice engraver who opened the door to his ring, gave no thought to him who was soon to make the name of Birket Foster famous in the land.



To-day a large—one might say an imposing—apartment on the first floor looking upon the street is approached, as most front offices in London City are approached, from a landing leading through an open office. Upon the table are a water-jug and a couple of goblets of cheap and distinctly unlovely Bohemian glass. A tobacco-box, hardly less ugly (coeval, one would say, with the room itself), a snuff-box, and long pipes serve to recall that respect for the past and for tradition which is one of the most delightful, as it is one of the most successful, elements in Punch's composition. Here you may see Sir John Tenniel's long churchwarden, with his initials marked upon it, and Charles Keene's little pipe—for these two men would ever prefer a stem between their teeth to a cigar-stump. Statuettes in plaster of John Leech and of Thackeray, by Sir Edgar Boehm, as well as a bust of Douglas Jerrold, decorate the mantelpiece or the dwarf-cupboard; and on the walls are many frames of abiding interest.



Here you have the portraits of the four editors—that of Mark Lemon painted by Fred Chester, son of his life-long friend George Chester, and the likenesses of Shirley Brooks, Tom Taylor, and Mr. Burnand in photography. The portraits of the Staff, taken by Bassano in 1891 at Mr. William Agnew's request, to the number of fourteen or fifteen, hang separately in their dark frames. The original of one of Tenniel's Almanac designs; a masterly drawing, two feet long, by Keene, bought by the late Mr. Bradbury at a sale—the (unused) cartoon of Disraeli leading the principal financiers of the day in hats and frock-coats across the Red Sea ("Come along, it's getting shallower"); the original of Leech's celebrated "Mr. Punch's Fancy Ball," and a series of the enlarged coloured prints of his hunting sketches; a caricature of Mr. Furniss by Mr. Sambourne, made in Paris; another of Mr. Sambourne by Mr. Furniss; and a third of Mr. Sambourne by himself; a caricature in pen-and-ink and colour of the Punch Staff marching along in Paris, by Mr. Furniss; a black-and-white sketch by the same artist of the same distinguished company in the train on the return journey; and another souvenir of the Paris trip by Mr. du Maurier, including the portraits of himself, Mr. Burnand, Mr. Arthur a Beckett, and Mr. W. Bradbury. The trophy-frame of specimen proofs of some of the finest of Swain's cuts of the artistic Staff's best work, gathered together for show in one of the great exhibitions, has been removed to make room for photographs of Gilbert a Beckett, "Ponny" (Horace) Mayhew, Charles Keene, Tom Taylor, Percival Leigh, Charles H. Bennett, R. F. Sketchley, John Henry Agnew, Thomas Agnew and William Bradbury, Mr. Fred Evans and Sir William Agnew; while photographic groups of the Staff and a fine autotype of Thackeray complete the wall decoration of one of the most interesting apartments in London City.



And in the corner, on the locker farthest from the street, besides a little papier-mache figure of a Japanese Punch—sent by an admirer in the Land of the Rising Sun—and a group charmingly modelled from Sir John Tenniel's beautiful cartoon of "Peace and the New Year," stands the statue of the Great Hunchback himself, which in a fit of enthusiasm a young German sculptor, named Adolph Fleischmann, wrought and presented to the object of his admiration. It is a work of no little grotesqueness and ingenuity (well modelled and coloured, and fitted with springs that permit of the working of arms and eyes and head), which, endowed with a white favour, has played its part in the decoration of the publishing office on the occasion of certain royal weddings and public rejoicing, and during the blocking of Fleet Street has been utilised in the direction of comic self-advertisement.



Then there is a real "Royal Patent" appropriately framed, "hereby appointing Master Punch unto the Place and Quality of Joke Maker Extraordinary to her Majesty," duly signed and sealed by the Lord Chamberlain, and countersigned "J. A. N. D. Martin." It is undoubtedly a genuine certificate—up to a point; but how it was obtained, and how Punch's name came to be filled in, remains to this day a mystery. Such is the room, with its pleasant decoration of red and black and gold, with its large windows and its sunlight gaselier; but, take it for all in all, it is about as unlike Mr. Sambourne's classic representation of the Roman atrium in his Jubilee drawing as well could be imagined.



And the Table itself—the Table—the famous board of which we all have heard, yet none, or but very few of us, have seen—I myself amongst the fortunate few! As a piece of furniture this hospitable, but rather primitive, piece of joinery is not of much account, the top being of plain deal (pace Thackeray's "Mahogany Tree"), oblong in shape, with rounded ends. But its associations render it a treasure among treasures, a rich and priceless gem. For at this Table nearly every man upon the Staff has, from the day it was made, sat and carved his initials upon it with a penknife, when officially elevated to Punch's peerage. As each has died, his successor has taken his place—just as the Institut de France creates Immortals to fill the chairs made vacant by death—and he has cut his initials or his mark close by those of the men who occupied the place before him. There they are, staring at you from the Table like so many abecedarian skeletons at the feast; and if you take a furtive and hasty peep from the doorway and lift the green protective cloth you catch sight nearest you of a "D. M." in close company with a beautifully-cut "W. M. T." and a monogrammatic leech inside a bottle flanked by a J. and an L.; and you gaze with deep interest on the handiwork of them and of the rest, many of whom have carved their names, as on that Table, deep into England's roll of fame; and of others, too, who, with less of genius but equal zeal and effort, have a strong claim on the gratitude and the recollection of a kindly and laughter-loving people.[7]



For more than forty years, then, this Table has week by week, with few exceptions, been surrounded by the Staff of the day; and the chair, the self-same old-fashioned wooden editorial armchair, has been filled by the reigning Editor. "With few exceptions," I said; for Bouverie Street has not invariably been the hatching-place of the Cartoon, nor have its walls resounded with absolute regularity to the laughter and the jests of the merry-makers. During the summer the Dinner has been, now and again, and still is, held at Greenwich, at Richmond, Maidenhead, or elsewhere—Hampton Court and Dulwich rather frequently of old, as well as once at Harrow, and sometimes at Purfleet, Windsor, and Rosherville. Sometimes, when occasion has demanded—in the "dead season," maybe, when the attendance at the Table has dwindled, though for no sustained period (it is even on record that the "Dinner" has consisted of a tete-a-tete between Sir John Tenniel and Mr. Arthur a Beckett)—not more than three or four consecutive weeks, certainly—the "Sussex," or more often the old "Bedford Hotel," or latterly the "First Avenue," has been the scene of the feast; while "special dinners" (and they have been many) have been held in special places. And not invariably has the weekly repast been a "dinner" at all, be it observed; for on certain rare occasions, when some important Parliamentary matter has intervened, a luncheon has been held instead. Once, in September, 1845, it was postponed from the Saturday night at the intercession of Charles Dickens, so that a new play by Macready might be produced with the full advantage of the Punch men's presence. And the Dinner was once more made a movable feast, and was held on the Tuesday instead of the Wednesday, on the occasion of the production of Mr. Burnand's and Sir Arthur Sullivan's opera of "The Chieftain" in December, 1894.



In the "Bedford Hotel"—beloved of Thackeray, for in it he wrote much of "Henry Esmond," and stayed there when his house was in the painters' hands—the room occupied was that known as the "Dryden." Here the Staff would make no attempt at self-repression; and I have been told how the idle and the curious would congregate outside upon the pavement and listen to the voices of the wits within, and wait to gape at them as they passed in and out.



The places at Table once occupied by the members of the Staff are nowadays regarded as theirs by right. But in earlier days the places were often shuffled, as at a game of "general post." Proof of it may be had from the following plans of the Table between 1855 and 1865—perhaps the most interesting years in the history of Punch, as demonstrating the transitional stage, when the ancient order of things was rapidly developing into the modern as we know them to-day. In 1855, then, the disposition was as follows:—

WILLIAM BRADBURY* DOUGLAS JERROLD JOHN LEECH TOM TAYLOR W. M. THACKERAY GILBERT A BECKETT SHIRLEY BROOKS HORACE MAYHEW MARK LEMON PERCIVAL LEIGH JOHN TENNIEL F. M. EVANS*

—only two artists and a half (Thackeray being a commixture of writer and draughtsman) to seven writers and a half!

Five years later—in 1860—the places had changed, partly through death, partly through rearrangement:—

WILLIAM BRADBURY* W. M. THACKERAY (when he came) JOHN LEECH TOM TAYLOR HENRY SILVER HORACE MAYHEW CHARLES KEENE SHIRLEY BROOKS JOHN TENNIEL PERCIVAL LEIGH MARK LEMON F. M. EVANS*

Here the artistic element is seen to be asserting itself to some extent, the proportion between artist and writer being further readjusted after the lapse of another five years: for in 1865 the constitution of the table became—

F. M. EVANS* TOM TAYLOR G. DU MAURIER W. H. BRADBURY* HENRY SILVER (his father seldom came now) HORACE MAYHEW CHARLES H. BENNETT CHARLES KEENE F. M. EVANS, JR.[9] F. C. BURNAND SHIRLEY BROOKs PERCIVAL LEIGH JOHN TENNIEL MARK LEMON

—the editor for the first time taking his proper place at the table, although, it is true, it was only at the foot.

To-day the number of the staff has been increased, and the right proportion struck between the pen and the pencil—the editor, too, presiding.

MR. F. C. BURNAND SIR JOHN TENNIEL MR. F. ANSTEY MR. LINLEY SAMBOURNE MR. HENRY LUCY MR. ARTHUR A BECKETT MR. E. T. REED MR. R. C. LEHMANN MR. BERNARD PARTRIDGE MR. HARRY FURNISS (until Feb. 1894) MR. PHIL MAY MR. DU MAURIER MR. E. J. MILLIKEN SIR WILLIAM AGNEW (sometimes) MR. LAWRENCE BRADBURY or MR. PHILIP AGNEW

* Proprietors

In the decade or so following the death of Douglas Jerrold—roughly corresponding with the period within which the arrangements varied as i have shown—six new appointments were made to the table. These were: Mr. Henry Silver, In August, 1857; Charles Keene, February, 1860 (after a nine years' probationership); Mr. F. C. Burnand, June, 1863; Mr. G. Du Maurier, November, 1864; Charles H. Bennett, February, 1865 (though ill-health prevented him from taking his place until the following June); and Mr. R. F. Sketchley (till 1894 of the South Kensington Museum), January, 1868. The present Staff, I may add, since Mr. du Maurier's accession, have taken their places at the Table in the following order: Mr. Linley Sambourne, Mr. Arthur a Beckett, Mr. E. J. Milliken, Gilbert a Beckett, Mr. Reginald Shirley Brooks (until 1884), Mr. Henry Lucy, Mr. F. Anstey, Mr. R. C. Lehmann, Mr. E. T. Reed, Mr. Bernard Partridge, and in February, 1895, Mr. Phil May. As Mr. Punch approached man's estate, and arrived at years of artistic discretion, he cultivated a pretty taste in epicurism; until to-day, if report be true, the Dinners (prepared and sent in by Spiers and Pond), the Ayala, and the cigars, are all worthy of the palates of the men whose wit it is theirs to stimulate and nourish. To summon the Staff to these feasts of reason it was in later years the practice to issue printed notices, which after 1870 were superseded by invitation cards drawn by Mr. du Maurier—the design representing Mr. Punch ringing his bell, while the faithful fly hurriedly to respond to the behest. But owing to the number of portraits it contained of old friends now departed, and the painful recollections it consequently aroused, its later use has been discontinued.



But when our Democritus boasted fewer years, there was not so much ceremony in his banquet, neither was there so much state; nor was the friendship less keen or the intimacy less enjoyable in Leigh's humbler days of "off-n-off." A wonderful company—a brilliant company; with flashing wit and dazzling sallies, with many "a skirmish of wit between them." From more, the quieter flow of genial humour. And among the rest, the listeners; men—some of them—who prefer to attend than to talk, even to the point of reserve and almost of taciturnity. Such men were John Leech, Richard Doyle, and Charles Keene—whose silence, however, masked subtle minds that were teeming with droll ideas, and as appreciative of humour as the sprightliest. What jokes have been made, what stories told that never have found their way into print! What chaff, what squibs, what caricatures—which it surpasses the wit of a Halsbury or a MacNeill to imagine or condone!

Of what the Punch Dinner was at the time when Thackeray was still of the band, an idea may be formed from the following extract from Mr. Silver's Diary, with which I have been favoured by the writer, who for several years sat at it by right. He calls it—

"A NIGHT AT THE ROUND TABLE."

SCENE: Mr. Punch's Banquet Hall at No. 11, Bouverie Street.

TIME: Wednesday, March 2nd, 1859, six o'clock p.m.

F. M. EVANS W. M. THACKERAY JOHN LEECH HORACE MAYHEW TOM TAYLOR SHIRLEY BROOKS HENRY SILVER PERCIVAL LEIGH JOHN TENNIEL MARK LEMON

'Turbot and haunch of venison—what a good dinner!' says Tenniel, reading menu. Tantalising to Tom Taylor, who has to dine elsewhere; and Thackeray leaves early, to go to an 'episcopal tea-fight,' as he tells us—a jump 'from lively to severe,' to Fulham Palace from the Punch Table.



Tom merely looks in 'to hear what you fellows say about the Reform Bill,' which Dizzy introduced on Monday. So we begin discussing politics even with the venison. 'Ponny' Mayhew condemns the Bill: does nothing for the working man, he says. Tom thinks that people look to Punch for guidance, and that we ought to be plain-speaking, and take a decided course. 'Professor' Leigh and Mark agree in thinking that we rather should stand by awhile, and see how the stream runs. All seem of opinion that Walpole acted as a man of honour in resigning, not being rich enough to make money of no matter to him.

'Seria mista jocis' being Mr. Punch's motto (though it never has been sanctioned by the Heralds' College), Shirley, apropos of money, asks, 'Why is Lord Overstone like copper?' 'Because he is a Lloyd with tin.' Whereat Thackeray laughs heartily.



Odd that there should now be three old Carthusians in Mr. Punch's Council of Ten. Thackeray observes this to the other two of them [J. L. and H. S.], and proceeds to say, 'I went to Charterhouse the other day. Hadn't seen School come out since I left. Saw a touching scene there—a little fellow with his hands held tenderly behind him, and a tear or two still trickling down his rosy cheek, and two little cronies with their arms around his neck; and I well knew what had happened, and how they'd take him away privily, and make him show his cuts!'



'Talking of cuts, Mark, how about the Large one?' Thackeray suggests Lawyer, Doctor, and Schoolmaster, standing in a row as prize boys, and Dizzy presenting them with votes. I propose Diz trying to launch a lop-sided 'Reform' ship, with the title 'Will it Swim?' Mark suggests D. joining hands of artisan and yeoman, giving each of them a vote. Thackeray thinks of workman coming among gentlemen of Parliament and asking, 'What have you done for me?' Professor Leigh considers situation might be shown by Bright and Dizzy poking up the British Lion, for clearly he wants rousing. 'Yes,' says Shirley, 'and when he's roused, you know, we can have another picture of him with his tail and monkey up.' Idea gradually takes shape, and is approved,[8] though Tenniel hardly likes it, and Leech wants to know if Ponny (Mayhew) would not prefer a good old-fashioned tragic cartoon of the virtuous and starving British Workman, with ragged wife and children, and Death a ghastly apparition in the background.

This leads to a little spar between Ponny and 'Pater' Evans. Ponny lets fly with great vigour: 'Punch is standing still now; used to take the lead, but no longer dares to do so. Avancons!' waving hand excitedly. Pater calmly answers that the times are altered, and that Punch is going with them. Strong words have done their work, and there's no longer need of them. Nobody now talks about the trampled working man, nor goes trumpeting abroad the dignity of labour. Then Ponny shifts his ground, and complains that many clever fellows who are workers with the pen are now hardly earning more than many workers with the pickaxe. 'Well, it's their own fault,' says Pater; 'they might easily earn more if they were not so idle.' Penny replies they don't want luxuries, being men of simple tastes, and anything but Sybarites. 'So am I,' cries Leech; 'my tastes are very simple. Give me a good day's hunting, and some good claret after it—nothing can be simpler, and I'm really quite contented.'



But Ponny harks back to his 'deuced clever fellows,' applauding one of them especially, a Bohemian friend of his, who, he says politely, is far cleverer a fellow than any at the Punch Table. 'But what has he done?' asks Leech. 'Tell you what he doesn't do,' says Shirley; 'he may write a lot, but he certainly doesn't wash much.' Somebody wonders, if he were proposed for White's Club, whether members would blackball him: and Shirley quotes Charles Lamb's remark, 'What splendid hands he'd hold, if only dirt were trumps!' Then Ponny shouts indignantly, 'There, never mind his hands: think what a clever head he has.'



Here Professor gives a little lecture on phrenology, impelled thereto by Penny's capital allusion. Talking like a book, as his frequent manner is, he expounds in fluent phrase his deeply-rooted faith in this neglected science. To give idea of its importance, he vows he wouldn't keep a housemaid who had a bad head. 'No more would I,' says Shirley; 'I'd send her to the doctor.' 'I mean, a head ill-shapen,' explains Professor blandly, being 'the mildest-mannered man that ever cut a throat'—in argument. 'A well-proportioned head betokens a fine brain: whereas a skull that is cramped contains probably a mean one.' Avows belief not so much in the localisation of organs as in their general development. Here Leech, who hates street music, professes horror at the possible development of organs, and wishes they were localised where nobody could hear them. Paying no heed to this flippancy, Professor explains gravely that peculiar formations incline to special acts, and that the development of certain cranial organs—vulgarly termed 'bumps'—may be lessened or augmented in the course of early schooling. 'Well, I do believe in "bumps,"' says Shirley, speaking with solemnity, 'yes, even in schoolboys' heads—if you knock them well together.'



Mark next has an innings, and tells some of his stage stories. He tells them very funnily, and imitates Macready and many other actors in their vocal mannerisms. And he mimics operatic singers capitally, with sonorous words in mock Italian basso recitative. Among his tales is one of a half-tipsy actor playing in the 'Corsican Brothers' and explaining their fraternal peculiarity—'My brother in Paris is now feeling—hic—precishly shame senshations—hic—as myshelf!' Also tells of his once bringing out a farce called 'Punch' at the Strand Theatre, wherein a parrot played a prominent part. One night a new parrot took its place, and used most dreadful language when the curtain rose.

Story-telling being now the order of the evening, Silver tells of the gun trick being tried in the Far West. One day, just as the conjuror had caught the bullet in his teeth, another whizzed close to his head, and a voice came from the gallery, 'Guess, I nearly had you then, old hoss!' At the next performance a placard was displayed, and gentlemen were begged to leave their rifles with the doorkeeper. Shirley enjoys this, and says, 'Now, don't cry "connu" Ponny! You're always crying "connu" when anyone says anything. And you're always cracking up your chums. If a world was wanted anywhere, you'd say your brother had discovered one and had better be consulted.'



Ponny then breaks out again with his bilingual vehemence and Parisian gestures. (Some people never can talk French without trying to shrug shoulders.) Brandishing his dessert-knife, he shouts, 'Avancons, mes amis! go ahead, my boys! En avant! Excusez-moi,' and scatters scraps of French about, till Leech cries, 'There, don't talk like a lady's-maid, Ponny; why can't you speak English?' And, to change the talk, he tells of a French sport'man taking his first fences here, with rather a fresh horse which has been lent him. After coming a couple of bad 'croppers,' which he conceives to be the usual style of leaping here in England, he says a little sadly, 'My friend, I t'ank you for your 'orse, bot I t'ink dat I s'all jomp no more at present.'



Somebody caps this with tale of a 'Mossoo' who manifests deep sorrow at the death of an old hare, slain by an English visitor. 'Helas! il est mort enfin! Mon pauvre vieux! I have shot at him for years! He was all the game I had!'

And Leech tells another story of a foreigner of distinction hunting in the Midlands, and hearing the cry 'Stole away!' and shouting out excitedly, 'Aha, stole a vay, has he, de old t'ief! Den I suppose we s'all not find a vay to him, and so we must go home!' ... Which we do.



* * * * *

Thus, for half a century has Wednesday evening been passed in the editorial office of Punch, just when its readers are discussing the merits of the previous week's issue; and according to the verdict of those readers was attuned the merriment of the Staff. It is on record how Douglas Jerrold would go radiant to the Dinners as "Mrs. Caudle" was sending up Punch's circulation at a rapid rate; "and was one of the happiest among them all." Thackeray, too, first tasted the delights of wide popularity in the success of his "Snob Papers," and he showed the pleasure he felt in his demeanour at the board. At one time these two men sat side by side, and there was as little love as space between them; but with the good-humoured philosophy which is a tradition of that institution, the occasional differences of opinion, and the harder knocks of wit, and sometimes, even, the still sharper encounters of temper, were all glossed over. As Thackeray so truly remarked himself—"What is the use of quarrelling with a man if you have to meet him every Wednesday at dinner?" Nevertheless, in course of time he changed his seat from between Jerrold and Gilbert Abbott a Beckett, and, crossing over, faced his friend the enemy, while Mark Lemon, watchful and alert beneath the cloak of geniality, was quick to cast a damping word on inflammable conversation and—so far as he could persuade them to listen to a man so greatly their inferior in genius and intellect—to stem the threatened outburst. As a matter of fact, Jerrold always regarded Thackeray as a bit of a snob and viewed his entrance into Society—against which Jerrold had for years been hurling his bitterest darts—with very grave suspicion. "I have known Thackeray," he would say, "for eighteen years, and I don't know him yet"—almost in the despairing words in which I have heard a distinguished Academician speak of his still more distinguished President. On the other hand, Mr. Arthur a Beckett has declared to me, "I never knew my brother so well as when I met him at the Punch Table."



In the earliest weeks of Punch's existence Kenny Meadows had been the Nestor of the least; but when Jerrold joined the Staff three months later, he took by force of character and wit, and power of lung, a leading position on the paper and at the Table—a position which he never resigned. Notwithstanding his biting sallies, we may be sure that it was not Jerrold's primary object to make his victims wince. There is no doubt that the "little wine" that so stimulated him to witty and brilliant conversation full of flash and repartee, sometimes turned sour upon his lips, and changed the kindness that was in his heart into a semblance of gall. Mr. Sidney Cooper has gravely set it on record how on leaving the Punch Dinner Jerrold would tie a label with his name and address upon it round his neck, so that, should he in his homeward course be tempted to stray into the path of undue conviviality, he might sooner or later be safely delivered at his destination. Although the statement is in a measure confirmed in the memoirs of Hodder and of Blanchard Jerrold himself, one cannot help being struck at the conflict between it and the story of Jerrold's reply to the drunken young sparks who met him in the street at midnight, and asked him the way to the entertainment known as "Judge and Jury"—"Straight on, straight on as you are going, young gentlemen—you can't miss them!" He was himself greatly pleased with his milder witticisms, and, it is said, chuckled complacently at the neatness of his conceit when toasting Mr. Punch, at one of the Wednesday Dinners, in which he declared that "he would never require spirit while he had such good Lemon-aid." He loved the paper as few others loved it, and very, very rarely missed the weekly gathering—attending it, indeed, up to within a week or so of his death.

Not less scrupulous in his attendance was Gilbert Abbott a Beckett, who, when residing at holiday-times at Boulogne, would regularly come up to town for their Cabinet Council; and if ill-chance unavoidably prevented his wished-for presence, he would write—after the custom adopted by many of his colleagues—a full explanation and apology. But the necessity very seldom arose. True son of his father, Gilbert a Beckett was equally faithful to the Table, and in spite of the paralysis of the legs from which he suffered (and for which he was for a time duly chaffed by the advice of Percival Leigh, lest there might be hysteria about the disease) he attended the Wednesday gatherings with what regularity he could up to within a fortnight before he died. Thackeray, too, for many years after he ceased writing for Punch would weekly join the Staff, and always received a cordial and affectionate welcome. The gentle Leech—who, according to Shirley Brooks, attended the Dinner for more than twenty years without uttering an unkind or an angry word—was at the Table within a few days of his death, but, in Brooks's words, "scarcely seemed to understand what was going on." And yet another member of the Old Guard, who stood by his post to the end, was "The Professor," Percival Leigh, whose sense of wit was dulled with age, but whose mind was otherwise as bright as ever. But at the Dinners the genial, courteous old gentleman was listened to, as ever, with deference by his younger collaborators, and from them he never had cause for suspicion that his powers were failing—

"Full well they laughed, with counterfeited glee, At all his jokes, for many a joke had he."

Another of Punch's favourite sons was Charles H. Bennett. His life was a hard yet happy one, and his career was short, though not too short for fame; and the last two years during which he sat at the Table were perhaps the merriest of them all. But his attendances, really owing to the illness which ultimately bore him down, were irregular. This irregularity, combined with his habit—then commoner even than now among artists—of wearing his hair very long, brought him one day a letter from his friends and fellow-diners in the following terms:—

"Punch" Council, October 24th, 1866.

Present:—LEMON W. H. BRADBURY EVANS G. DU MAURIER HORACE MAYHEW EVANS FILS TOM TAYLOR S. BROOKS LEIGH TENNIEL

"Resolved"—

That this meeting deeply sympathises with C. H. Bennett on the state of his hair.

That this meeting appreciates the feeling which detains the said Bennett from the Council until his hair shall have been cut.

That this meeting deplores the impecuniosity which prevents the said Bennett from attending a Barber.

That this meeting, anxious to receive the said Bennett to its bosom, once more organises a subscription to enable him to attend the said Barber.

That this company, having (limited) confidence in Mr. Mark Lemon, entrusts him with the following subscriptions in aid of the above object, and requests him to communicate with the aforesaid Bennett to the end that he may have his dam hair cut and rejoin the assembly of the brethren.

L s. d. (Signed) MARK LEMON 0 0 1 FREDERICK EVANS 0 0 1 PERCIVAL LEIGH 0 0 1 HORACE MAYHEW 0 0 1 TOM TAYLOR 0 0 1 W. H. BRADBURY 0 0 1 GEORGE DU MAURIER 0 0 1 F. M. EVANS 0 0 1 SHIRLEY BROOKS 0 0 1 J. TENNIEL 0 0 1 ———— Stamps enclosed L0 0 10 ========

And these ten penny stamps, together with the letter, are to this day treasured by the artist's son.

It was not surprising that Bennett was missed; his animal spirits and his bright good-humour counted for a good deal at the Table; and when he died, his colleagues organised elaborate theatricals and collected a large sum for those whom he loved and left behind in the pinch of poverty.

If for some time before his death Charles Keene deserted the dinner-table, it was owing, as he has himself confessed, in no slight measure to political motives which developed about the time of the Russo-Turkish War. Keene was what Tories call a patriot and Liberals a "Jingo;" and in his quiet way he felt so deeply that he thought it best to stay away—not that he loved Punch less, but he loved his convictions more. "I am sorry to say," he wrote, with doubtful accuracy, "Punch is 'Musco' to a man except C. K., so he keeps away from that Liberal lot at the present conjunction." There certainly was, however, another reason, quite independent of politics, which kept Keene from the Table during the latter years of Mr. W. H. Bradbury's life. He was not, as his biographer, Mr. Layard, has pointed out, of much use in suggestion at the business function of the Dinner, and he looked less to his colleagues than to his friends outside for the jokes to which he drew his pictures; so that his presence was not a necessity. Nevertheless, he would attend, now and again, until age began to tell upon him; and his companions love to think of him, clutching his short-stemmed pipe to his mouth, puffing gravely, saying little, thinking much, quick at appreciating a joke, slow at making one, with an eye full of humour, and its lid and corresponding corner of his mouth quickly responsive to any quip or crank that might let fly. Eclectic in his humour as in his art, disposed to condemn any cartoon suggestion not thoroughly thought out as "damn bad," he was in the weekly assembly at the Table like the 'cello in the orchestra—not much heard, yet when there indispensable to the general effect and the general completeness, even though he only went "for company."

I have lingered, perhaps unduly, over the social side of the Punch Dinner, for the company is of the best, and the subject an entertaining and a pleasant one. But serious business has to be discussed and transacted—and transacted it is, whatever jokes and ebullitions of bonhomie may form the running accompaniment to the work in hand. In Mark Lemon's time the Dinner began at "six sharp," and in Shirley Brooks's and Tom Taylor's a half-hour later; but when Mr. F. C. Burnand took up the reins of power, the hour was advanced to seven o'clock, and on its stroke the Staff are generally found in their places. From all parts they come, just as their predecessors used to speed from Boulogne, from Herne Hill, and from the Isle of Wight, so that their absence should not be felt nor their assistance lacking at the Gathering of the Clan. Sir John Tenniel comes from Maida Vale, most likely, or from some spot near to London—which he has hardly quitted for a fortnight together during the last forty years, save when, in 1878, he went to Venice with Mr. Henry Silver and left Charles Keene malgre lui as cartoonist-in-chief. Mr. Sambourne arrives, perhaps, from a yachting expedition or from the moors; Mr. du Maurier from his beloved Whitby or from a lecturing tour; Mr. Lucy hurries in from the House of Commons; Mr. Furniss, up to the time of his resignation, from some distant spot where he "entertained" last evening, and whence he would expect to be three hundred miles away on a similar errand on the morrow. But not for some time past, it must be said in passing, had either Mr. du Maurier or Mr. Furniss been so regular at the Table as in earlier days—Mr. Furniss by reason of his touring, and Mr. du Maurier on account of the distance of his home, and the evil effect of tobacco-smoke on his eyes and nerves.

Then when dinner is over and coffee finished, and paper and pens brought in—at half-past eight, as near as may be—the cigars come on and the waiters go off (including at one time the crusted Burnap, an original worthy of "Robert" himself); and not more rigidly was the Press excluded from the Ministerial Whitebait Dinner in the good old times, than are Cabinet Ministers interdicted from the Dinner of Mr. Punch to-day. Then the Editor, who has been presiding, invites ideas and discussion on the subject of the "big cut," as the cartoon is commonly called; and no two men listen more eagerly to the replies—suggestions that may be hazarded, or proposals dogmatically slapped down—than Mr. Burnand, who is responsible for the subject, and Sir John Tenniel, whose duty it will be to realise the conception. The latter makes few remarks; he waits, reflects, and weighs, thinking not so much, perhaps, of the political or social, as of the artistic possibilities of the subjects as they are brought up, and other points that recommend themselves both to the artistic and literary members of the Staff. All the while, perhaps, the Editor has a fine subject up his sleeve, and only brings it forth when the discussion has begun to wane. Or a proposal may be made at the very first by one member of the Staff that is accepted at once with acclamation—an event, however, of the utmost rarity; or again, as is usually the case, the final decision may be gradually and almost painfully evolved from this symposium of professional wits and literary politicians. This is the time when the men are apt to lay bare their political beliefs (if any such they have) or their lack of them; and I wager that if poor Keene could once more be present at a Punch Dinner, he would no longer charge it against the Staff that it is "'Musco' to a man."

Indeed, at the present time Punch may be considered to represent the old Whig feeling. Sir John Tenniel, Mr. Anstey, and Mr. Arthur a Beckett are credited with Tory bias; Mr. Milliken, Mr. H. W. Lucy, Mr. R. C. Lehmann, and Mr. Reed represent the Radicals; Mr. Sambourne is Unionist; and Mr. Burnand, as behoves him who holds the scales, confesses to no political sympathies or antipathies whatever.

Thus the subject of the cartoon is settled—often by the aid of the latest editions of the evening papers; and being once settled, is very rarely revived on any pretext whatever. On one occasion, however, when Mark Lemon was Editor, and Shirley Brooks was recognised as the best suggestor, an exceptional incident took place. The subject was duly decided upon, and Brooks went home. After he was gone, and none but Mark Lemon, Charles Keene, Sir John Tenniel, and Mr. Henry Silver were left, Keene, to the surprise of the rest, made a suggestion in connection with the American War then being waged, that was immediately accepted as vastly superior to that which had previously been adopted; and the future Editor was much astonished as he opened his paper on the following Tuesday and his eyes fell on a different and wholly unexpected cartoon. Yet, though Brooks was practically the Suggestor-in-Chief, it would be unfair to pass over the curious fitness of Leech's proposals. They were always marked with equal judgment and taste, and, as it was admitted, his suggestions invariably were "just right."

When the "big cut" has been decided on, the question of a single-page or double-page engraving sometimes comes up; and then the legend has to be settled. This (irreverently known as "cackle" by those who produce it) is largely the work of Mr. E. J. Milliken, who nowadays occupies a good deal of Shirley Brooks's old position of "suggestor," and who, like him, is living testimony of the truth of John Seddon's saying that "wit and wisdom are born with a man." For many years Mr. Milliken has suggested the greater number of the cartoons, and he is generally the first asked for a proposal for Sir John Tenniel's cut. He usually has several subjects, carefully considered and as carefully written out, in his pocket-book, and fitted with peculiarly felicitous quotations. He is also mainly responsible for the Almanac cartoons—subjects for both the great Punch satirists—Sir John, and Mr. Linley Sambourne. All, however, share with him the duty and the credit of the difficult art of cartoon-suggesting, and, no matter by whom it may be proposed, no subject is passed without full discussion. Every possible objection is heard and considered. Although Mr. Milliken may bring in his Bill, amendments are always proposed, and are either rejected or carried; and then the Bill as amended becomes the subject of the cartoon. The title and legend are written on a piece of paper, which, enclosed in an envelope, is then handed over to the cartoonist. It was at this moment that Shirley Brooks used to throw down his knife in order to "cut" any further discussion, and after that symbolic act a more desultory conversation on the other men's work would follow. Not on Leech's, however; for he was left greatly to himself—a piece of masterly inactivity and non-interference on the Editor's part which speaks volumes for Lemon's prudence and shrewd discrimination.

Under Mr. Burnand's regime the course of events is a little altered. For even while Sir John has begun to think out the composition and the technical details of the subject which the Council has determined, and is scheming maybe in his own mind how best he may arrange his figures so that when he draws them the heads will not come across a join on the wood-block where its segments are screwed together; or, again, how so to arrange an exceptionally elaborate subject that Mr. Swain may still have it ready for engraving in good time on the Friday evening, the attention of the Staff is now turned to the "Cartoon junior"—the second cartoon—to which for some years Mr. Linley Sambourne has been giving some of the finest and most ingenious work of his life. This is discussed somewhat like the first, and often enough raises the draughtsman's interest in the work he has to do to a point of genuine artistic enthusiasm. But there appears to be no finality about the second cartoon so far as the Dinner is concerned, and it is no unusual thing in lively times for the subjects to be given at the last moment by telegram to Mr. Sambourne; so that his condition of mind during the Thursday following the Dinner may not inaptly be compared to that of an anxious fireman waiting for a "call." The contributions of the rest of the artistic Staff—Mr. du Maurier, Mr. Bernard Partridge, and Mr. E. T. Reed—do not form the subject of Wednesday's cogitation; nor is it true, as has publicly been stated, that when jokes fail it is customary to draw them from a pot into which, written on slips of paper, they have been deposited on the many occasions when Mr. Punch's cistern of wit has overflowed into the jar in question.

Such is the simple function of "the Punch Dinner." The Editor presides—or, in his absence to-day, Mr. Arthur a Beckett, just as it was Douglas Jerrold and Shirley Brooks in Lemon's time, and Tom Taylor in Brooks's (the duty of vice- or assistant-editor never falling to an artist)—inviting suggestions, "drawing" his artists, and spurring his writers, with rare tact and art; and he challenges comparison with any of his predecessors, just as Sir Frederic Leighton excels all previous Presidents of the Royal Academy. Some of those who sit around the Table, as I have already set forth, have attended for many years; and it is they who secure to Punch that quality of tradition and healthy sense of prestige which strengthen him against every assault, whether of man or of Time himself. To this traditional sense of ancient glory and present vigour Sir John Tenniel has of course contributed more than any other living man; not Leech, nor Thackeray, nor Jerrold, nor Doyle, served Punch more loyally or effectively, and he has secured that the dignified spirit of the paper has suffered no deterioration. To him it falls, also, to see that the subjects of cartoons are not repeated. The tenderness of the Staff for the honour, good name, and pre-eminence of Punch is delightful and touching to behold; the sentiment of a great past animates them all, and kindles in them the hope and ambition for as great and as proud a future.

The exclusiveness of Punch notwithstanding, he has not always been as inhospitable (if that is the word to use of an essentially business meeting of a private nature) as some of his friends would have us suppose. There are many who claim the distinction of having dined at Punch's Table, but few who can sustain their pretension. Some, however, there are—a very few, it is true; but more than have been officially recognised as Punch diners. Mr. Harry Furniss has publicly contended that his aunt, Mrs. Thompson, was one of these. As the lady, before she married Dr. Thompson, is said to have been originally engaged to Landells, the first Punch engraver, this might well be; for about the time of the transfer of the property from him to Bradbury and Evans—and Landells, it will be remembered, did not give up the whole of his share till some time afterwards—the rules and regulations were not by any means so stringent as they ultimately became. In any case, the claims of "Mr. F.'s Aunt" have in her time been as strenuously insisted upon as ever they were at the Finchings'. Then came Charles Dickens—whose presence, I believe, is not contested. Before his quarrel with Mark Lemon and Bradbury and Evans, because Punch declined to print a justification of himself in connection with his purely domestic circumstances, he was the guest of Punch's publishers, who were his own publishers, and who were also the publishers of the "Daily News"—upon the preparations for which Dickens, as first editor, was then engaged. Moreover, Dickens was an intimate friend of Douglas Jerrold, whose influence on Punch at that time was paramount; so that the double circumstance is amply sufficient to account for Dickens's presence at No. 11, Bouverie Street. Much the same considerations may be held to explain Sir Joseph Paxton's frequent attendance. The great gardener—it was Punch who christened his big exhibition building "The Crystal Palace," "What shall be done with the Palace of Crystal?"—was the intimate of Mark Lemon. He had also the most cordial relations with the Staff, some of whom he would entertain in the gardens of Chatsworth, where he acted as the agent of the Duke of Devonshire, grandfather of the present duke, and himself on the best of personal terms with Mr. Punch. And I have proof that he exerted all his influence in favour of Bradbury and Evans's great new venture, through the intermediary of Charles Dickens. "Paxton," writes Dickens in one of his letters bearing upon the subject that lie before me, dated October, 1845—a few months before the launching of the "Daily News"—"has the command of every railway and railway influence in England and abroad, except the Great Western; and he is in it heart and purse." What more likely, then, that Dickens, at work at Whitefriars, should be invited by his friends, his publishers, to dine with his friends of the Punch Staff?—though he possibly did not stay to the Cabinet Council; and what more reasonable than for them to value Paxton's considerable influence at the price of a graceful privilege, seeing that the "Daily News" thought it, in those early days, worth while to appoint a "Railway Editor" at a salary of L2,000 a year? Moreover, Paxton was interested with Bradbury and Evans in "The Gardeners' Chronicle" (in whose columns he had first published the "Cottagers' Calendar"), to say nothing of his "Flower Garden," which he and Dr. Lindley edited for them. Sir Joseph Paxton, then, was a constant and appreciative attendant at the Punch Table until the year 1865, the date of his death.

Mr. Peter Rackham, too, was another guest—the guest, again, and valued friend of the publishers—well understood to have given financial assistance in respect to the founding of the "Daily News." He was a highly esteemed friend of Thackeray and Dickens both, and the novelists and their publishers would send him presentation copies of their new works. The former, by the way, presented him with a copy of his "Virginians" when it appeared, inscribing it to Mr. Rackham in this characteristic manner:—"In the U. States and in the Queen's dominions All people have a right to their opinions And many don't much relish The Virginians. Peruse my book, dear R., and if you find it A little to your taste I hope you'll bind it." Mr. Rackham ceased his visits to the Table in 1859, in which year, I understand, he died. Another visitor, as all the world now knows, was Dean Reynolds Hole, who has recorded in his "Memories" his impressions of that famous Dinner of February 15th, 1860. To me, also, he has given an idea of the effect wrought upon him by the frolic of the meal—an impression certainly not dimmed by time nor faded in his imagination. He says: "There was such a clash and glitter of sharp-edged swords, cutting humour, and pointed wit (to say nothing of the knives and forks), the sallies of the combatants were so incessant and intermixed, the field of battle so enveloped in smoke, that there was only a kaleidoscopic confusion of brilliant colours in the vision of the spectator, when the signal was given to 'cease firing.'" Who would not attend a Punch dinner after that?

A frequent visitor was Mr. Samuel Lucas—known to his fellow-workers as plain "Sam Lucas"—who was then editing the newly-founded "Once a Week" for Bradbury and Evans. His attendance, which was constant enough between the years 1860 and 1864, was—like that of his sub-editor, Mr. Walford—doubtless a great convenience to all concerned, for most of the Punch artists and writers were also contributors to the more serious magazine, and arrangements could obviously be more quickly and effectively made at a single meeting than by a number of special interviews. Sir W. H. ("Billy") Russell, too, "dined on several occasions at the Punch Table, when Mr. Mark Lemon and Mr. Shirley Brooks were the Editors of the paper;" the introduction, it is understood, being at the time when he was correcting the proofs of his Crimean book, which Bradbury and Evans were printing.

And, lastly, Sir John Millais—himself a contributor to Punch's pages—was once a Dinner guest. "I certainly dined once," he wrote to me a year or two ago, "at an hotel in Covent Garden ['Bedford Hotel'] when Mark Lemon was editor of Punch, and I have always been under the impression it was one of their Dinners. The Staff only were present, and Lemon was in the chair, and I sat beside Leech. There were ten or twelve dining beside myself, and it was on a Wednesday."

This point settled, then, as to Dinner guests—among whom, says the proprietress of the "Bedford Hotel" (the niece, by the way, of Mark Lemon), Peter Cunningham should also be included—other visitors there are to be considered. If Punch does not rigidly obey the Biblical behest, and when on duty bent is not wholly "given to hospitality," he at least has allowed hospitality to sit with gladness when the business of the evening is done. From time to time outside friends were introduced, and, according to one witness, whose testimony I am unable to confirm, Tom Hood, Barham ("Tom Ingoldsby"), and Charles Knight have, at intervals, been entertained "after business hours." The Staff, at such times, would go into Committee over cigars and drinks and literary talk and jokes, and Leech would rumble out in his splendid great bass voice Barry Cornwall's "King Death." This was the only song of his which his friends remember; and Ponny Mayhew would seek to emulate it with the musical setting of Thackeray's "Mahogany Tree." He sang that song in chorus, all upstanding, that sad Christmas Eve when Thackeray died, among his friends of the Kensington coterie. He had brought in the fatal news to the jovial party, and then, says Mr. Frederick Greenwood, he proceeded: "I'll tell you what we'll do. We'll sing the dear old boy's 'Mahogany Tree;' he'd like it." "Accordingly we all stood up, and with such memory of the words as each possessed ... and a catching of the breath here and there by about all of us, the song was sung."

Then come the special Punch dinners, official and otherwise. In 1863 there was the Shakespeare dinner, that was held to arrange the Shakespeare Tercentenary number of Punch; and a quarter of a century later there was the Paris junketting that resulted in the Paris Exhibition number. Then there was the yearly festival celebrated by Sir William Agnew, and the "Almanac Dinner," which was usually held about the month of September—in olden times, from 1850 to 1885—always at the "Bedford," but lately discontinued; and there is the Annual Dinner to the printers and the rest given by the firm—the first of which, under the name of "wayzgoose," took place at the "Highbury Barn Tavern." At these entertainments the Staff would sometimes attend and fraternise with printers and engravers, and would make a point of congratulating those "wood-cutters" whose recent work had specially delighted them.

Punch has always been strong on Jubilees, and his "boys" have done their best to maintain them as a sacred tradition. On January 3rd, 1853, Jerrold celebrated his fiftieth birthday with a dinner given to the whole of his colleagues. Baily, the sculptor, was one of the "outside" guests on the occasion, and was so charmed with the brilliancy and jollity of the company that he offered, and in due time redeemed his promise, to execute its hero's bust. That work, one of the finest of the old Academician's portrait-busts, now, if I mistake not, belongs to the nation's collection of its great men's portraits. On Wednesday, June 27th, 1866, the memorable picnic and dinner took place at Burnham Beeches, to celebrate Mr. Punch's fiftieth volume, when the popular Editor received from his proprietors a purse of a hundred guineas and a tankard, and from them and the Staff a gold watch and chain of eleven links, with a lock in the form of a book, as recounted in the sketch of Mark Lemon's life.

Then, again, there was Thackeray's "Atonement Dinner," if I may call it so, for the slight he had unthinkingly cast upon the Staff. In his now celebrated laudatory essay on John Leech in the "Quarterly Review" he had written: "There is no blinking the fact that in Mr. Punch's Cabinet John Leech is the right-hand man. Fancy a number of Punch without Leech's pictures! What would you give for it? The learned gentlemen who write the work must feel that, without him, it were as well left alone." Picture the indignation in the office, imagine how strongly would be resented this faux pas of Thackeray, in which he allowed his enthusiasm for one friend to overlook, and that not inoffensively, the feelings of the others! The writer was abroad at the bursting of his little bomb, and no one was more distressed than himself at the result of the explosion or readier to admit the fault. He wrote a handsome letter of apology to Percival Leigh—he explained how "of all the slips of my fatal pen, there's none I regret more than the unlucky half-line which has given pain," and declared that it was more than his meaning; and he begged furthermore that the memory of the lapsus—painful equally to him and to Leech—might be wiped out in a dinner given by himself to the confraternity. And they all came to his house in Kensington Palace Gardens, and Thackeray was duly chaffed and teased—"and who can doubt," says Trollope, "but they were very jolly over the little blunder?"

Then there was the Staff dinner at the Crystal Palace to inaugurate the new series of "The Gentleman's Magazine," when Punch and Punch history were greatly to the fore; and the great dinner at the "Albion" to celebrate Mr. Burnand's accession to the editorial chair—when not only the Staff, but for the first time since the early days all "outside" contributors to Punch were invited, when, although the subject of the cartoon had previously been settled, a certain amount of business was gone through, just to show "how it was done." And who that was there on that great occasion will forget the speech of Mr. Blatchford—an artist who was the natural successor to Colonel Howard—he who signed his drawings with a trident?—or Mr. Sala's sallies, in the funniest of orations, at the expense of Mr. Sambourne, who had expressly not donned evening dress? Still more important than this was the Jubilee dinner held on July 19th, 1891, just five-and-twenty years after the Burnham Beeches picnic—in honour of Mr. Punch's hundredth volume. The "Ship" at Greenwich was the place of venue. With Mr. Burnand in the chair, the members of the Staff seated as represented in Mr. Sambourne's well-known drawing of "The Mahogany Tree," with Mr. W. H. Bradbury and Sir William Agnew at one end of the table, with toasts to Mr. Punch himself, to Sir John Tenniel, to Mr. Burnand, and to the proprietors, the enthusiasm "first grew warm and then grew hot;" and when a presentation of a silver cigar-box had been made to the Editor, it was duly resolved to meet again, the same company in the same place, fifty years hence!

The last state event in the world of Punch-politico-rejoicings was the dinner to Sir John Tenniel on the occasion of his knighthood. Then the banquet was held at Hampton Court, and the "Mitre" was the scene of the ceremony. All the enthusiasm of the Jubilee revels reappeared in an intensified form. For not only was it all focussed upon one man, but in his case there was a great personal triumph, a national recognition of a great work and of a splendid career, and in the eyes of the world the justification of that mighty art of black-and-white, which through the printing-press is a greater vital force than any other existing form of art—though despised till now in all official quarters—the art by which Punch rose to his pinnacle of greatness. And added to all this was the emotional note that prevailed throughout the harmony of the feast, for not even Leech himself had captured more hearts than Tenniel—that Grand Old Man of Punch for whom not one member of the staff but entertains an affection of the warmest and the most cordial character, which even respectful esteem has had no power in moderating. But one event, and only one, could call forth greater enthusiasm and greater emotion, and that, I apprehend, is when in six years time his Jubilee on Punch, by the kindness of Fate, comes to be celebrated by his loving and admiring colleagues.

Such are the chief semi-official dinners that have been held; but the list would be swelled were those other occasions included when these men—never sated, it would really seem, with each other's company—would invite the rest of the Staff, or most of it, to dine at their private houses. How many of these entertainments were offered by Leech to the light-hearted and frisky band who

"Judicious drank and greatly daring dined"!

How many anecdotes might be told of such reunions, as they swooped down on Landells or on Lemon at Herne Bay, or, in the rollicking days of youthful indiscretion, would adjourn at midnight to serenade the snoringly unconscious Hine away in the wilds of Hampstead!

Certain complimentary dinners offered to the Punch Staff should find a record here, if only on the ground of completeness. The first public recognition was the Mansion House dinner which, under the title of "Literature and Art," included the Punch Staff, together with Charles Dickens, the members of the Royal Academy, and a few newspaper men. Dickens has left it upon record how his feelings were hurt at the tactless way in which the well-meaning Lord Mayor, Sir James Duke, Bart., M.P., imparted to his guests the pleasure it was to him to meet with mere talent after being satiated with blood and rank in the persons of Royalties, Dukes, and Cabinet Ministers. He made them feel, in fact—and resent not a little—how hitherto the Mansion House had drawn its line at them, an error which Sir Stuart Knill in 1893 had the better taste to avoid. Somewhat of a similar blunder was made by Lord Carlisle, who invited Thackeray, Jerrold, and others of the Punch men to meet one or two of their own set, firmly persuaded that he was about to revel in brilliant conversation, entirely forgetful of the fact that in all probability they were perfectly familiar with the others' stories and had their tricks of humour by heart. The result, as might have been expected, was an entertainment of conventional dulness. How could you expect, at a meal so pretentiously forced, of such affected joviality, to hear Jerrold ask the butler for "some of the old, not the elder, port"? as he would in the sanctity of their own precincts; or retort on one who declared his liking for calf's-tail, "Extremes meet!" or (when the dish was calf's-head), "What egotism!" and yet again, "There's brotherly love for you!" Not at my Lord Carlisle's, as in Bouverie Street, would you hear Shirley Brooks ask the famous two-edged riddle which Dean Hole reminds us of—"Why is Lady Palmerston's house like Swan and Edgar's? Because it's the best house for muzzling Delane (mousseline de laine)"—Delane being then unjustly suspected of having been "nobbled" during his visits to my lady's salon, at the expense of the "Times," of which he was at that time the editor. Nor would you enjoy the discomfiture of a disputant of "Master Douglas" (as Thackeray rather testily named him), who, after chaffing the great wit for the unsteadiness of hand through which he broke a glass—which, he declared, he never did—received for reply an incredulous stare, and the cutting enquiry, "Yet I suppose you look into one every morning?"

The latest outside Punch dinner of importance which history has thought well to set upon record is that given by Mr. Lucy ("Toby, M.P.") in order to bring together for the first time Mr. Gladstone and the members of that Staff which, as a body, had rendered him such steady and invaluable support for nearly half a century. What wonder, then, that the meeting was a great success, and that everyone present was on the best of all possible terms with his fellow-diners? Yet "Moonshine," commenting on the event, declared with malicious good-humour that "It is said that Punch has been entertaining Mr. Gladstone. We don't believe a word of it, as we can't conceive that Punch ever entertained anybody!" The object of this fair hit, the Editor of Punch, forthwith sought out the epigrammatist, in the belief that here was a new humorist whose services he might employ. He, however, who might have enlightened him, wrongly believing that the motive of the quest was less friendship than resentment, declined to give the desired information. But Mr. Punch appropriately avenged the insult—by subsequently absorbing it as a joke of his own, illustrated by the hand of Mr. Reginald Cleaver.

Perhaps to these revels of the merry clan should be added the jovial meetings of the Moray Minstrels under the hospitable direction of Mr. Arthur Lewis. And yet a stronger claim on the memory of those who now bear Mr. Punch's baton between them are the meetings referred to in the letter from the late Sir A. H. Layard, which I received shortly before his death: "I was intimately acquainted with Tom Taylor, R. Doyle, and other contributors to Punch, and constantly met them at Taylor's table; but I do not remember to have dined at a 'Punch Table' on one of the Wednesday evenings. You may probably be aware that they, like myself, were in the habit of spending Sunday with Sir Alexander and Lady Duff Gordon, in their house at Esher, where many articles and jokes and sketches which appeared in the periodical were discussed." These meetings, however, must have taken place before the time of the "Papal Aggression," and some little while, consequently, before Sir John Tenniel was enlisted as a recruit.

Who will say, in the face of all this, that Punch has not learned the secret of combining pleasure with business, practising the art with infinite satisfaction to himself and with the applause of succeeding generations? "Where Macgregor sits, there is the head of the table," said the Scottish chieftain. Where Mr. Punch sits, say those of a later day, there is the flow of wit and of laughter—there the fountain of that fun which has stamped his journal as representative of what is most characteristic and best in English humour—there the source of the art which has been the greatest school of wood-drawing and cutting, and of true caricature, that this country has ever seen. Good-nature is the quality rarest and most remarkable in a political and social journal. How much of Punch's excellent temper, I wonder, is not to be attributed to his meat before grace? Whether "the Dinner" be the sole cause, I do not venture to pronounce, though I submit the question for the consideration of mankind; but is it not imaginable that high living goes for something in the sum of Punch's high thinking? and may it not almost be said of him, as Moore sang of Sheridan, that his wit

"... in the combat, as gentle as bright, Ne'er carried a heart-stain away on its blade"?

For a short time only the Punch Club flourished. "Its object," writes Landells, "was to form a little society amongst ourselves to talk over and settle upon subjects for the paper of the coming week. It was not strictly confined to the Punch writers and artists, for friends and well-wishers were admitted, and had here an opportunity of entertaining their ideas in a sociable and agreeable manner. Besides those on the regular Staff of Punch, there were members of the club Mr. Grieve the scene-painter, Mr. Henry Baylis, Mr. Tully the composer,[9] Mr. Joseph Allen the artist, and I have seen in addition Mr. Charles Dickens, Mr. Stanfield, Mr. Frank Stone, Mr. Landseer, and other celebrities, in that little snug and comfortable room. Here the inimitable Douglas Jerrold was in his glory, showing off his ready sparkling wit, his joyous hearty laugh ringing out above them all. Alas! several of this once brilliant company have now passed away, but those who remain will ever remember the many happy hours spent in the old Punch Club."

In his "canino-classic" poem already mentioned—entitled "Sodalitas Punchica, seu Clubbus Noster"—Percival Leigh gives some further particulars of the membership of the Club—lines which I translate somewhat freely, perhaps, yet with all the reverence due to their academic beauty:

"The names of some of our greatest men the Poet now indites— Old Mark and Henry Mayhew, two of Punch's brightest lights— (The first beats Aristotle blue; the second, Sophocles): Then enter Douglas Jerrold's self, our greatest wit and tease— Who treats his friends like Paddy Whack, his love for them to prove; And Tully great, whose talent flows in just as great a groove; Then Hodder, of the "Morning Herald," sheds the light he brings, And Albert Smith the mighty—and the Poet's self who sings. O'er these our ancient Nestor rules, who lived when lived Queen Anne, And even knew old Japhet—or 'twas so the story ran."

H. G. Hine, who was afterwards to become the Vice President of the Royal Institute of Painters in Water-Colours, was elected a member; but his taste lay neither in the direction of Clubs nor in the absorption of strong drink. And least of all did he love Bohemia. "I only dined with them once," he wrote to me, "and then at the 'Belle Sauvage.' The dinner was given by the proprietors of Punch to the Staff. They found the Club already in existence, and desired to have some part in it, or, as was said at the time, to place their finger in its pie. I believe this to have been the only Dinner held at the 'Belle Sauvage.' I may mention in connection with the Punch Club (whose meetings, which were not Dinners generally, were held on Saturdays) that much chaff and practical joking were indulged in, and that was one reason for my non-attendance. On one occasion when Albert Smith wanted his hat and umbrella on leaving the Club, the attendant presented him pawn-tickets for the articles. He was extremely annoyed, sent the man for a policeman, and gave the whole Club into custody; and they had to pay the redemption price, besides looking very foolish. It was Horace Mayhew told me of this." It has been said that this was the last straw on Smith's back, and settled his withdrawal from Punch. But it is only fair to add that the indignity of which Albert Smith complained was thoroughly in accordance with the spirit of the practical joking that went on at the time, while the reason of the pledging was said to be the forcing of the unwilling, hyper-economical Smith to "stand punch round," as all the others did from time to time, he taking his full share of the liquor, though he declined to entertain in his turn.

Albert Smith, indeed, during the time he was connected with Punch was usually the butt of the jokers, particularly of Douglas Jerrold, but rarely did he so completely turn the tables on his tormentors as on this occasion. Yet he was not averse to chaff, particularly when he applied it to others. One day, at the Club, Mark Lemon had been remarking that he had no peculiarities, at least not more than other men, and certainly none that he knew of. "For example," said he, "many men have some peculiarity in shaving—some shave with the right hand, others with the left, or some with either indifferently." "What do you shave with?" asked Albert Smith. "With my right hand," replied the Editor. "Then that's your peculiarity, Uncle Mark," said Smith; "most people shave with a razor."

No doubt the fun was often a little rough, and that the members were a little ashamed of it; for when Mark Lemon introduced there Mr. Catling, the editor of "Lloyd's Weekly Newspaper," he picturesquely warned his guest to be prepared for "an awful set of blackguards." On the night in question, however, the fun was flatter, and Kenny Meadows, the Father of the Feast, distinctly peppery.

On the occasion of Mr. R. J. Hamerton's visit Jerrold was in high feather, and, waxing eloquent on the growing influence of Punch, cried for silence while he proclaimed its ingredients. Gilbert a Beckett, he declared, was the spirit, and John Leech the sugar; Albert Smith was the water; himself, he confessed, was the acid; and Mark Lemon—the spoon. And among other little witticisms of the Punchites which memory has set on record is a conversation among them on the subject of the payment of income-tax. With most of them there was in the earliest days little income and less tax, and strange were the stories told. At last one, whose name has not been preserved, quietly asserted that he honestly filled in the declaration each year, and honourably paid the demand which was regularly served upon him. The company's surprise had increased to contemptuous incredulity, when their Quixotic friend proceeded: "I don't think I lose by it, I always take the average of three years, according to the regulation; so I take the present year and the two future ones—and you fellows know what a pessimist I am!"

It was usually at the "Whistling Oyster" that the meetings of the Club were held. The little house was conveniently situated, as already explained, next door to the "Crown"—now Number 12 or 12A Vinegar Yard. At this place a Mr. Pearkes had opened an oyster shop nearly twenty years before, and his little rooms were frequented by the most talented of the denizens of Bohemia—literary, theatrical, and artistic. One day, in the early 'Forties, the proprietor, to his amazement, heard one of his oysters whistling—a continuous shrill little whistle, doubtless through a hole in its shell. The fact was at once noised abroad, and crowds visited his shop to listen to the sibilant mollusc, which not only whistled, but, it was said with some truth, drew the town as effectively as old Drury herself, on the other side of the court.

The rain of jokes that followed was ceaseless, and Punch's not the worst. He celebrated the bivalve in his pages by picture and by word, and his young men made the best of the incident. Douglas Jerrold, says Walter Thornbury, suggested that it was one of the sentimental kind which, having been crossed in love, took to whistling to keep up appearances and show it didn't care. Thackeray declared in all seriousness that he had heard an American in the shop, after listening to the performance, gravely assert that at home in Massachusetts they had a much cleverer oyster, which not only whistled "Yankee Doodle" from beginning to end, but followed his master about like a dog. And it was further suggested that, report having exaggerated the powers of the performer into being able to whistle "God save the Queen," the proprietor had been requested to take it to Windsor Castle, but that the command had been summarily cancelled when it was ascertained that the musician was a "native!" The result to the fortunate proprietor was a substantial one; his house became known and for many years kept up its reputation on the deformity of a twopenny shell-fish. It is, therefore, hardly surprising that "other vermin" took to music as well; that about the same time a "singing mouse" made its appearance, duly touring in London and the provinces; and that Punch made the most of the engaging little virtuoso.

For some few years, then, the Punch Club flourished. In Hal Baylis it had an ideal chairman, roystering, jovial, witty, side-splitting—the only man, in the opinion of many, who could draw his sword and maintain his ground against Jerrold's cut and thrust. So good were his sayings, or so adaptable to Punch's purpose, that his position in the Club was respected, and he was put upon the free list, and received his weekly copy of the paper up to the day of his death. He was originally a printer, then a newspaper proprietor and editor; but fate had been unkind to him, and in the days of his presidency he had come to be an advertisement canvasser. He ruled with royal dignity, but knew the limit to his powers; and when Landells made his appeal to "the boys" at one of the dinners to "see him righted" in connection with his quarrel with Bradbury and Evans, he comforted the ex-engraver as best he could, and skilfully passed to the "Order of the day."

Of Baylis's judgment of character and capacity Landells has left the following example: "One evening at the Punch Club there had been more than the usual amount of chaff going on between Henry Baylis and Douglas Jerrold, when the former suddenly said, 'If you will give me a pen and ink I will make a prophecy that shall be fulfilled within two years. It shall be sealed up and given to Daddy Longlegs [myself] upon his undertaking not to open it before the expiration of that time.' The paper was handed to me, and carefully put by. Time passed, and I had forgotten the circumstance altogether, when some years afterwards, looking over some old pocket-books, I found a sealed letter addressed to 'Daddy Longlegs, Esq.—to be opened two years after date.' On breaking the seal I found the following: 'I, Henry Baylis, do hereby prophesy that within two years from this date Douglas Jerrold will write something that shall be as popular as anything that Charles Dickens ever wrote.'" Within those two years the "Caudle Lectures" had been produced and Baylis's prophecy fulfilled.

Nothing of the old Club now remains—it passed away with the Old Guard of Punch's youthful days; and just as Punch himself from a mere street-show puppet rose to reigning wit and arch-philosopher, so practically has his Club-house been lost to Drury Lane and instead lends dignity to Garrick Street.

One other club—essentially also a Punch coterie—remains to be mentioned: the "Two Pins Club." A riding club in the first instance, it consists of not a dozen members, who periodically jogg off to Richmond or elsewhere to take exercise and lunch together in riding-breeches and good-fellowship. Of these the chief members have been Lord Russell of Killowen (who on his elevation to the Bench as Lord Chief Justice sent in his resignation, as you may see in Mr. Linley Sambourne's cartoon of July 14th, 1894, by the letters on the scroll Lord Russell holds: "P.P.C.—T.P.C."), Mr. Burnand, Sir John Tenniel, Mr. Linley Sambourne, Mr. E. T. Reed, Mr. Harry Furniss, Sir Frank Lockwood, the Hon. Mr. Russell, Sir Arthur Sullivan, Mr. John Hare, Sir Edward Lawson, Mr. George Alexander, and Mr. C. H. Matthews. But the savour of Punch is over it all, and though outsiders are of it, it is as much a Punch club of Punch origin as the one that went before. It has been said that there is difference of opinion as to the source of its name, it being supposed that it arose from one of the founders declaring that "it didn't matter two pins what name it bore." The simple truth is that it was christened after the names of two great riding worthies—at least one worthy, the other unworthy—of English literature: John Gilpin and Dick Turpin; of the latter of whom Thomas Hood tells us that when the romantic malefactor was righteously hanged, after a spirit-swilling career, he died of having had "a drop too much."