PUCK ON PEGASUS
By H. Cholmondeley Pennell
Illustrated By Leech, Phiz, Portch, and Tenniel
With a Frontispiece By George Cruikshank
Fourth Edition
1862.
CONTENTS
STAGE, STUDY & STUDIO
by John Leech and Others
INDEX TO THE ILLUSTRATIONS
| PANTOMIMICS | |
| PAGE | |
| Rehearsing the "fish" ballet | 1 |
| Billy and Bunny | 3 |
| Winning the gloves | 4 |
| Modern languages taught in one lesson | 5 |
| Theatre Royal—Nursery | 6 |
| An ex(bus)horse-tive argument | 7 |
| A pict-ure | 8 |
| A swallow out of season | 9 |
| "With a neck like that" | 11 |
| Experienced young fellow | 12 |
| Two transformation scenes | 13 |
| Not the correct way of pudding it | 15 |
| Humanizing influence of pantomime | 16 |
| ON THE STAGE AND OFF | |
| Prompt but not prepared | 17 |
| A wordless story | 18 |
| English as she is spoke | 23 |
| Cassius | 24 |
| Acting under difficulties | 25 |
| Ever-popular criminal on the stage | 27 |
| On the stage—and off | 28-9 |
| When actors are Members of Parliament | 31 |
| When actors become modest | 32 |
| "Still running" | 33 |
| The part of Hamlet | 34 |
| Good and bad business at the theatre | 35 |
| "A little padding" | 37 |
| The actor's one topic—himself | 39 |
| A side-box talk | 40 |
| The bald baron | 41-4 |
| FUN AT THE PLAY | |
| "Are you sitting on my hat?" | 45 |
| Delights of theatre-going | 46-7 |
| "Not so long as four solos" | 49 |
| A little ruse | 50 |
| A morning concert | 52 |
| Pit, boxes, and gallery | 54 |
| Playgoers and their eccentricities | 56 |
| Credit where credit is due | 57 |
| A "civil" retort | 58 |
| AMONG THE AMATEURS | |
| At a fancy ball | 61 |
| Private theatricals | 63 |
| Private theatricals at the Titwillows' | 65 |
| THE POETS' CORNER | |
| Portrait of a gentleman | 67 |
| The poets illustrated | 69 |
| No! Don't | 70 |
| The poets illustrated | 74 |
| "Mariar Martin, or the Red Baarn" | 75 |
| An illustrated edition of the poets | 77-9 |
| Poets and their patrons | 80 |
| MAINLY ABOUT AUTHORS | |
| Would-be novelist | 85 |
| Lady Audley's secret | 86 |
| Perfect sincerity, or, thinkings aloud | 88 |
| The ancient Britons | 88 |
| A rural study | 89 |
| "The great cypher work" | 90 |
| Author's miseries | 92-7 |
| Harris-ing reflections | 99 |
| "Hemily Fitz-Hosborn" | 100 |
| THE EDITOR IN HIS DEN | |
| The editor at home | 101 |
| Romance of advertising | 103 |
| "Pirates surprised at sunset" | 104 |
| Fancy portrait—Oliver Twist | 105 |
| A fact! | 106 |
| A new reading | 111 |
| STUDIES FROM THE STUDY | |
| "He's sent the books" | 113 |
| Returned—with thanks | 114 |
| A queer cut | 115 |
| The pursuit of letters | 116 |
| Grand march of Intellect | 116 |
| Catalogue of the letter P. | 117 |
| The age of intellect | 118 |
| Subject for a picture | 119 |
| An awful apparition | 121 |
| The musical neighbour | 123 |
| British Museum catalogue | 124 |
| Analytical papers | 125 |
| "Couldn't read Miss Frump's new book" | 127 |
| The philosopher's revenge | 129-136 |
| FUN IN THE STUDIO | |
| "Present company always excepted!" | 137 |
| "Very tiring" | 138 |
| Wholesale | 139 |
| "Qualifications" | 140 |
| Behind the scenes | 141 |
| "Asking for it" | 142 |
| The commercial side | 143 |
| Gaddy's academy picture on view | 144 |
| "Flattering" | 145 |
| Profession and practice | 146 |
| A rapid genius | 147 |
| "English langweege" | 148 |
| "Only their mothers" | 149 |
| For exhibition? | 150 |
| Pretty innocent | 151 |
| "Aye, there's the rub!" | 152 |
| "Work hard and get your own living" | 153 |
| March of science | 154 |
| The real | 154 |
| Pleasures of the studio | 155 |
| A happy medium | 155 |
| The ideal | 156 |
| Two principal figures | 157 |
| Answers for our artist | 158 |
| The mother of invention | 159 |
| Kindly meant | 160 |
| "Where's your beard?" | 160 |
| How some old painters must have worked | 161 |
| Studio persuasion | 162 |
| "A portrait painter" | 163 |
| Model husband and a lay figure | 164 |
| Marvellous! | 165 |
| A visit to the studio | 166 |
| Scene in a studio | 167 |
| Ballet of action | 168 |
| Turps v. Turpitude | 169 |
| One use for "Dundrearys" | 169 |
| Accommodating! | 170 |
| "Lucky fellow!!" | 171 |
| "Noblesse oblige!" | 172 |
| Our art-school conversazione | 173 |
| "Only one spur a-piece" | 174 |
| "Sharp's the word" | 175 |
| The sympathies of art | 176 |
| Under a great master | 176 |
| "Sent it to the wash!" | 177 |
| "Ugly and as ridiculous as possible" | 178 |
| Perfect sincerity; or, thinkings aloud | 179 |
| Easily satisfied | 180 |
| Compliments of the season | 181 |
| "Skyed" | 182 |
| ROUND THE GALLERIES | |
| Caution | 183 |
| Painters and gazers | 185 |
| An artist's dream | 186 |
| "Athletic exercises" | 187 |
| Let them exhibit their pictures outside | 188 |
| Pleasures of the Royal Academy | 189 |
| Art in the National Gallery | 190 |
| Outside the Royal Academy | 191 |
| Charming fashion of long skirts | 192 |
| "Unto this last" | 193 |
| "Very like—very like" | 194 |
| The umbrella question | 195 |
| Pictures of the English, painted by the French | 196 |
| A-musing | 197 |
| Perhaps | 198 |
| Reception of pictures at Royal Academy | 199 |
| Our historical portrait gallery | 200-1 |
| A study | 202 |
| Overheard at the Academy | 203 |
| Suggestions for the Royal Academy catalogue | 206 |
| THE ARTIST OUT OF DOORS | |
| "It's an ill wind," etc. | 207 |
| The old cottage | 208 |
| The elysium of artists | 209 |
| "A pretty prospect" | 210 |
| Possibilities of a penny pistol and a box of caps | 211 |
| Technical and practical | 212 |
| "Impertinent curiosity of the vulgar" | 213 |
| "That pre-Raphaelite fellow" | 214 |
| Where ignorance is bliss | 215 |
| Design for an album | 216 |
| Studying skies | 217 |
| Culture for the million | 218 |
| An artist scamp in the Highlands | 220 |
| Ingenious protection against midges | 221 |
| Sketching from Nature | 222 |
| "Very nearly a pound" | 223 |
| Art at a cattle show | 224 |
| What an artist has to put up with | 224 |
| Enjoying himself in the Highlands | 225 |
| "Compliments of the (sketching) season" | 226 |
| "Fine Art" | 227 |
| "Brother Brush" | 228 |
| Making the best of it | 229 |
| One reason, certainly! | 230 |
| Æsthetics | 230 |
| A broad hint | 231 |
| Pleasant for Jack Daubs | 231 |
| Flattering! | 232 |
| Our adventurous artist | 233 |
| Art and science | 234 |
| An eye for colour | 235 |
| Ignorance was bliss | 235 |
| Our artist | 236 |
| SCULPTURE AND COMEDY | |
| "Well broke!" | 237 |
| Venus of Milo | 238 |
| "Ingenuas didicisse" | 241 |
| At the great exhibition of 1861 | 243 |
| Popular history | 244 |
| Capital punishment | 245 |
| A flagrant attempt | 246 |
| FUNNY FILMS: HUMOURS OF PHOTOGRAPHY | |
| "Many a true word spoke in jest" | 247 |
| Bobby's camera | 249 |
| Interesting group posed for a photograph | 250-251 |
| Happy thought | 252-253 |
| Pleasant for Simpkins | 254 |
| Unanswerable | 255 |
| Can the camera lie? | 256 |
| The artistic(!) studio | 257 |
| "What for?" | 259 |
| Portrait of a distinguished photographer | 260 |
| A photographic picture | 261 |
| Encouragement of art | 263 |
| "A florid complexion" | 265 |
| Artful! | 266 |
| Subject for a picture | 267 |
| Photographic beauties | 268 |
| WANDERING MINSTRELS | |
| Christmas waits | 269 |
| Division of labour | 271 |
| Culture for the million | 273 |
| Nothing like advertising yourself | 275 |
| Sketch from a study window | 277 |
| THROUGH THE OPERA GLASSES | |
| The opera | 281 |
| What indeed? | 284 |
| "French without a master" | 285 |
| We don't sing enough | 287 |
| The high note | 288 |
| The low note | 289 |
| "Only twenty-two" | 291 |
| Culture for the million | 292 |
| Gentle rebuke | 293 |
CHIEF ARTISTS REPRESENTED
| Adams, Jack. 29. |
| Barnard, Fred. 9, 69, 74, 76-9, 99, 115, 147, 160, 169, 176, 206, 220, 244. |
| Bateman, H. M. 3, 208, 288-9, 291. |
| Bede, Cuthbert. 58. |
| Booth, J. L. C. 50, 90, 138, 190. |
| Brentnall, E. F. 212. |
| Bromley, V. W. 146. |
| Browne, W. G. A. 234. |
| Brunton, W. S. 154, 185, 235, 296. |
| Bull, René. 18. |
| Cooper, T. G. 155. |
| Cruikshank, George. 24, 54, 116, 118, 178, 216, 279, 280. |
| Daubeny, Hesketh. 104. |
| Doyle, Richard. 84, 124, 200-1, 209, 269. |
| Du Maurier, George. 65, 67, 89, 129-136, 141, 157-9, 192, 218, 229, 238, 252, 253, 263, 271, 273, 292, 293. |
| Griset, Ernest. 161. |
| Haselden, W. K. 25, 27, 31, 32, 35, 39, 46, 47, 56, 57, 189, 287. |
| Howard, Capt. H. R. 222. |
| Keene, Charles. 91, 101, 139, 143-5, 168, 172, 173, 175, 182, 193, 195, 198, 207, 213, 217, 223, 226-8, 230, 232, 233, 241, 245, 254, 255, 265, 285. |
| Lawson, F. W. 75. |
| Leech, John. 4, 8, 63, 70, 86, 88, 100, 114, 119, 121, 123, 155, 166, 167, 179, 180, 196, 243, 246, 251, 256-7, 267, 268, 277, 281, 284. |
| Leete, Alfred. 45. |
| May, Phil. 1, 11, 23, 37, 61, 137, 148, 149, 237, 247, 259. |
| Maybank, Thomas. 81-3. |
| Pears, Charles. 211, 249. |
| Proctor, J. 162. |
| Sandercock, H. 106, 125, 150. |
| Thackeray, William Makepeace. 286. |
| Thomas, Bert. 34, 49, 191. |
| Thomson, Gordon. 6, 14, 15, 16, 152, 197, 203. |
| Wall, A. H. 194. |
| Weigand, W. J. 17. |
| Wright, Frank. 215. |