CHAPTER VII
CHARLES KEENE
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First acquaintance with Charles Keene — His studies at “the Langham” — Cruise with him in the Gravesend hatch-boat, the William and Mary — Victual, berths, and crew — Keene’s method of drawing — Keene as cook — Keene and his “dottles” — The Coastguard alarmed by a fleet of floating egg-shells — A stolid crew — With Keene at Southwold — The Wobbleswick Ferryman — Keene’s “skirling” on the bag- pipes, and his friend’s grisly amusement — Pettie and “ the pipes” — The quality of Keene’s voice and the “tears” in his singing — Recommended by him to Mr. Meredith Town- send, editor of the Spectator , for the post of art-critic — Some of Keene’s peculiarities — Declining days, and death — His fine character, and the advancing fame of his work 109–123
CHAPTER VIII
"PUNCH:" ITS ARTS AND ARTISTS
Leech — Keene and Sir John Tenniel — Opinions of thirty years ago confirmed by maturer judgment — The early Punch — Doyle — Frieze on cover suggested by Titian — Howard — Du Maurier an “occasional contributor” — The art sympa- thies and antipathies of Leech — His delight in healthy, manly sports — Leech’s pretty girls grown old — His political caricatures — His right and happy artistic execution — His feeling for landscape — Tenniel’s earlier efforts in “high art” — His Westminster Hall cartoons and fresco of “Saint Cecilia” — His art as it were stationary; his sympathies with the past ; his objection to modern costume invincible — Charles Kean’s nose — Tenniel’s more notable successes — Keene — Individuality and conscientiousness — Delight in difficulties — His Volunteers — “The Artist” — Landscape — Capable of finer art — “ Du Mauri efls drawings have a silvery
look ” — “ Punch will find him a great acquisition ” . 124–145
