Baden: The Descent of the St. Gothard; The Academia at Venice; will appeal to the actual experiences of nearly every continental tourist; and notwithstanding its extravagant drollery, little Browne's adventure at Verona is sufficiently possible to remind one of personal vicissitudes encountered off the track or on the frontiers, which might almost match the experiences of this personally uninteresting little sketcher.
Besides Punch, Mr. Doyle's hand will be found in the following: "The Fairy Ring," Leigh Hunt's "Jar of Honey," Professor Ruskin's "King of the Golden River," Montalba's "Fairy Tales from all Nations," "Jack and the Giants," "The Cornhill Magazine," "Pictures from the Elf World," "The Bon Gaultier Ballads," Thackeray's "Rebecca and Rowena," Charles Dickens's "Battle of Life," "The Family Joe Miller," Mr. Tom Hughes' "Scouring of the White Horse," "Pictures of Extra Articles and Visitors to the Exhibition," Laurence Oliphant's "Piccadilly," "Puck on Pegasus," Planche's "Old Fairy Tales," À Beckett's "Almanack of the Month," "London Society," and Mr. Thackeray's "Newcomes." Writing of this last, Mr. Hamerton says, "I never regretted the hard necessity which forbids an art critic to shut his eyes to artistic shortcomings more heartily than I do now in speaking of Richard Doyle. Considered as commentaries on human character, his etchings are so full of wit and intelligence, so bright with playful satire and manly relish of life, that I scarcely know how to write sentences with a touch at once light enough and keen enough to describe them";[1] and then the critic goes on to expose the glaring faults which characterize Mr. Doyle's performances from a purely artistic point of view, his feeble attempts of light, his undeveloped "sense of the nature of material," and his absence of imitative study. It is somewhat singular that whilst Mr. Hamerton is silent on the subject of the book etchings of Leech and Phiz, he should have selected for criticism those of Doyle, who never intended to claim for these sketches the dignity of etchings. The critic, however,
