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(By R. CRUIKSHANK unless otherwise attributed) We hope it will be generally admitted that few volumes have a more decided claim upon the public patronage, in respect to the novelty and variety of design, as well as the number of illustrations, than the one here presented to the reader. To speak of the choice humorous talent engaged in the work would only be to re-echo the applauding sentiments of the reviewers and admirers of rich graphic excellence. Cruikshank and Rowlandson are names not unworthy a space upon the same roll with Hogarth, Gilray, and Bunbury: to exhibit scenes of character in real life, sketched upon the spot, was an undertaking of no mean importance; particularly, when it is remembered how great the difficulty must have been in collecting together accurate portraits. The work, it will be perceived, contains thirty-six Copper- Plates, etched, aquainted, and coloured, by and under the direction of the respective artists whose names appear to the different subjects, the principal part of which are the sole production of Mr. Robert Cruikshank. The Wood Engravings, twenty-eight in number, besides the Vignettes, (which are numerous), are equally full of merit; and will be found, upon examination, to be every way worthy the superior style of typographical excellence which characterises the volume, I. THE FRONTISPIECE Is intended to convey a general idea of the nature of the work; combining, in rich classic taste, a variety of subjects illustrative of the polished as well as the more humble scenes of real life. It represents a Gothic Temple, into which the artist, Mr. Robert Cruikshank, has introduced a greater variety of characteristic subject than was ever before compressed into one design. In the centre compartment, at the top, we have a view of a Terrestrial Heaven, where Music, Love, and gay Delight are all united to lend additional grace to Fashion, and increase the splendour of the revels of Terpsichore. In the niches, on each side, are the twin genii, Poetry and Painting; while the pedestals, right and left, present the protectors of their country, the old Soldier and Sailor, retired upon pensions, enjoying and regaling themselves on the bounty of their King. In the centre of the Plate are three divisions representing the King, Lords, and Commons in the full exercise of their prerogatives. The figures on each side are portraits of Bernard Blackmantle (the English Spy), and his friend, Robert Transit (the artist), standing on projecting pedestals, and playing with the world as a ball; not doubting but for this piece of vanity, the world, or the reviewers for them, will knock them about in return. On the front of the pedestals are the arms of the Universities of Oxford and Cambridge; and in the centre armorial shields of the Cities of London and Westminster. The picture of a modern Hell, in the centre, between the pedestals, has the very appropriate emblems of Misery and Death, in the niches on each side. Crowning the whole, the Genius of Wit is seen astride of an eagle, demonstrative of strength, and wielding in his hand the lash of Satire; an instrument which, in the present work, has been used more as a corrective of we than personal ill-nature.

II. THE FIVE PRINCIPAL ORDERS OF SOCIETY. The King-Corinthian; an elegant Female-Composite; the Nobleman-Doric; a Member of the University-Ionic; and the Buck of Fashion-Tuscan. On the left hand may be seen a specimen of the Exquisite, a new order in high estimation at the west end of the Town; and on the right hand stands an old order of some solidity in the eastern parts of the Metropolis. Fashion, Taste, and Fame, are emblematical of the varied pursuits of life; while the Army and Navy of the country are the capitals that crown the superstructure, combining the ornamental with the useful.

III. FIRST ABSENCE, OR THE SONS OF OLD ETONA ANSWERING MORNING MUSTER-ROLL. 25 A view of the school-yard, Eton, at the time first Absence is called, and just when the learned Doctor Keat is reviewing the upper school. (Portraits.)

IV. THE OPPIDAN'S MUSEUM, OR ETON COURT OF CLAIMS AT THE CHRISTOPHER. 49 Bernard Blackmantle and Robert Transit sitting in judge- ment after Election Saturday, apportioning the remuneration money to the different claimants of the surrounding trophies.

V. ETON MONTEM, AND THE MOUNT, SALT HILL. 96 An accurate sketch of this ancient customary procession made upon the spot.

VI. THE FIRST BOW TO ALMA MATER. 113 Bernard Blackmantle's Introduction to the Big Wig on his Arrival at Oxford.

VII. FLOORING OF MERCURY, OR BURNING THE OAKS. 131 A scene in Tom Quadrangle, Oxford. "If wits aright their tale of terror tell, A little after great Mercurius fell, *** Gownsmen and Townsmen throng'd the water's edge To gaze upon the dreadful sacrilege: *** ———there with drooping mien a silent band Canons and Bedmaker together stand:— *** In equal horror all alike were seen, And shuddering scouts forgot to cap the Dean."

VIII. COLLEGE COMFORTS. 151 Taking possession of your rooms. Bernard Blackmantle taking possession of his rooms in Brazennose. Scout's list of wants. Standing the quiz of the Togati Visible propensities of your predecessor. The day of purification.

IX. CAP-ING A PROCTOR, OR OXFORD BULL-DOGS DETECTING BRAZENNOSE SMUGGLERS. 152 Tom Echo and Horace Eglantine lowering the plate-basket, after the College-gates are closed, to obtain a supply of fresh provision, are detected by the Proctor and Town Marshal with their Bull-Dogs: in their alarm the basket and its contents are suddenly let fall upon the Proctor, who is not able to under- stand the joke.

X. THE ARRIVAL, OR WESTERN ENTRANCE INTO COCKNEY LAND. 164 Portrait of high and low life Dandies and Dandysettes.

XI. THE GREEN-ROOM OF THE KING'S THEATRE, R NOBLE AMATEURS VIEWING FOREIGN CURIOSITIES. 198 Portraits of ten noble and distinguished patrons of the opera, with those of certain daughters of Terpsichore.

XII. THE ROYAL SALOON IN PICCADILLY, OR AN HOUR AFTER THE OPERA. 205 Heartly, Lionise, and Transit in search of Character—The gambling Parsons—Legs and Leg-ees-Tats men and touters— Moll Raffle and Bang.

XIII. OXFORD TRANSPORTS, OR UNIVERSITY EXILES. 235 Albanians doing penance for past offences. A Scene sketched from the Life. Horace Eglantine is proposing "the Study of the Fathers," a favourite College toast, while Tom Echo is enforcing Obedience to the President's proposition by finishing off a Shirker. Dick Gradus having been declared absent, is taking a cool nap with the Ice-pail in his arms and his head resting upon a Greek Lexicon: in the left hand corner may be seen a Scout bearing off a dead Man, (but not without hope of Resurrection). Bob Transit and Bernard Blackmantle occupy the situation on each side of Dick Gradus; in the right-hand corner, Horace's servant is drawing the last Cork from the parting bottle, which is to welcome in the peep o' day. Injustice to the present authorities it should be stated, that this is a Scene of other limes.—Vide A.

XIV. SHOW SUNDAY, A VIEW IN THE BROAD WALK, CHRIST CHURCH MEADOWS, OXFORD. 244 Portraits of the Togati and the town, including big wigs, nobs, and dons. Among the more conspicuous are Dr. Kett, Lord G. Grenville, Dr. Grovesnor, Alderman Fletcher, and Mr. Swan.

XV. TOWN AND GOWN. 246 Battle of the Togati and Town Raff of Oxford, a night scene. —Bernard and his Friends, Horace and Tom, distributing among the Bargees of St. Clement's.

XVI. BLACK MATINS, OR THE EFFECTS OF LATE DRINKING UPON EARLY RISERS. 269 A Most Imposing Scene.-Time seven o'clock in the Morn- ing, the last bell has just tolled, and the University Men have just turned out, while the hunting-frock, boots, and appear- ance of some of the party, proclaim that they have just turned in; all are eager to save fine and imposition, and not a few are religiously disturbed in their Dreams. The admirable disorder of the party is highly illustrative of the Effect produced by an Evening Wine Party in College Rooms.

XVII. GOLGOTHA, OR THE PLACE OF SCULLS. 272 Tom Echo receiving sentence of Rustication. The Big Wigs in a Bustle. Lecture on disobedience and chorus of the Synod. Reports from the Isle of Bull dogs. Running foul of the Quicksands of Rustication after having passed Point Failure and The Long Hope. Nearly blown up at Point Nonplus, and obliged to lay by to refit.

XVIII. THE EVENING PARTY AT THE PAVILION, BRIGHTON. (BY O. M. BRIOHTY.) 296 Interior of the Yellow Room—Portraits of His Majesty, the Duke of York, and Princess Augusta, Marquis and Marchioness of Conyngham, Earl of Arran, Lord Francis Conyngham, Lady Elizabeth and Sir H. Barnard, Sir H. Turner, Sir W. Knighton, Sir E. Nagle, and Sir C. Paget, sketched from the Life.

XIX. THE KING AT HOME, OR MATHEWS AT CARLTON HOUSE. 298 A scene founded on fact; including Portraits of the King, Mathews, and other celebrated persons.

XX. A FROLIC IN HIGH LIFE, OR, A VISIT TO BILLINGS- GATE. 303 A very extraordinary whim of two very distinguished females, whose Portraits will be easily recognised.

XXI. CHARACTERS ON THE STEYNE, BRIGHTON. 309 Portraits of illustrious, noble, and wealthy Visitors—The Banker's Widow—A Bathing Group—The Chain Pier, &c.

XXII. TOM ECHO LAID UP WITH THE HEDDINGTON FEVER, OR AN OXONIAN VERY NEAR THE WALL. 323 Symptoms of having been engaged too deeply in the study of Hie fathers. Portrait of a well-known Esculapian chief.

XXIII. MONDAY AFTER THE GREAT ST. LEGER, OR HEROES OF THE TURF PAYING AND RECEIVING AT TATTERSALL'S. 329 This sketch was made upon the spot by my friend Transit, on the Monday following the result of the last Great St. Leger in 1823, when the Legs were, for the most part, in mourning from the loss of their favourite Sherwood. Some long faces will be easily recognized, and some few round ones, though Barefoots, not easily be forgotten. The Tinkers were many of them Levanters. Here may be seen the Peer and the Prig, the Wise one and the Green one, the Pigeon and the Rook amalgamated together. It is almost unnecessary to say, the greater part of the characters are portraits.

XXIV. EXTERIOR OF FISHMONGERS'-HALL, ST. JAMES'S STREET, WITH A VIEW OF A REGULAR BREAKDOWN. 331 Portraits of the Master Fishmonger, and many well- known Greeks and Pigeons.

XXV. INTERIOR OF A MODERN HELL. (Vide the affair of the cogged dice.) 334 Portraits of upwards of twenty well-known Punters and Frequenters—Greeks and Pigeons, noble and ignoble—The Fishmonger in a fright, or the gudgeon turned shark—Expose of Saint Hugh's Bones—Secrets worth knowing. (See work.)

XXVI. THE DAFFY CLUB, OR A MUSICAL MUSTER OF THE FANCY. 339 Interior of Tom Belcher's Parlour. Heartly and Bob in search of Character. Striking likenesses of Boxers, Betters, &c.—with a pen and ink Sketch of a Noted—one—a fine School for Practical Experience. (For key to Portraits- see work.)

XXVII. PEEP 0' DAYS AND FAMILY MEN AT THE FINISH. 342 A Night Scene near Covent Garden—Coffee and comical company.

XXVIII. FAMILY MEN AT FAULT, OR AN UNEXPECTED VISIT FROM THE BISHOP AND HIS CHAPLAINS. 345 A Scene near Covent Garden, in which are introduced certain well-known Characters and Bow-street Officers: in- cluding Messrs. Bishop, Smith, Ruthven, and Townshend.

XXIX. THE HALL OF INFAMY, ALIAS OYSTER SALOON, IN BRYDGES-STREET, OR NEW COVENT GARDEN HELL. 354 Portraits of the old Harridan and her Flask man Tom. Sketches of Sharps and Flats, Green ones and Impures. Done from the Life.

XXX. WESTMINSTER HALL. 361 Portraits of well-known Worthies of the Bar.—The Maiden Brief.—Dick Gradus examining a Witness.

XXXI. SURREY COLLEGIANS GIVING A LIFT TO A LIMB OF THE LAW. 364 Interior of the King's Bench Prison—Rough-drying a Lawyer.

XXXII. R-A-YS OF GENIUS REFLECTING ON THE TRUE LINE OF BEAUTY AT THE LIFE ACADEMY, SOMERSET HOUSE. (BY T. ROWLANDSON.) 365 Bob Transit's first appearance as a student. Sketching from the Life. Outlines of character. How to grow rich but not great. Secrets worth knowing, and Portraits of all the Well-known.

XXXIII. BERNARD BLACKMANTLE READING HIS PLAY IN THE GREEN-ROOM OF COVENT GARDEN THEATRE. 366 Portraits of Messrs. C. Kemble, Fawcett, Farley, Jones, Farren, Grimaldi, Macready, Young, T. P. Cooke, Chapman, Blanchard, Abbott, Cooper, Yates, and the English Spy; Mrs. Davenport, Miss Chester, Miss M. Tree, Miss Love, and Mrs. Davison.

XXXIV. BERNARD BLACKMANTLE READING HIS FARCE IN THE GREEN ROOM OF THE THEATRE ROYAL, DRURY LANE. (by T. Wageman.) 367 Portraits of Elliston, Dowton, Harley, Munden, Knight, Liston, Oxberry, Sherwin, Gattie, Wallack, Terry, G. Smith, and Barnard, Miss Stephens, Mrs. Orger, Madame Vestris, Mrs. Harlowe, and the English Spy. The Likenesses are all studies from the life.

XXXV. THE CITY BALL AT THE MANSION HOUSE. 368 Portraits of the Duke of Sussex, the Lord Mayor (Waith- man) and Lady Mayoress, the Sheriffs Laurie and Whittaker, Aldermen Wood and Curtis, Sir Richard Phillips, Messrs. Hone, Patten, with other well-known Characters.

XXXVI. JEMMY GORDON'S FROLIC. 369 A Cambridge tale. Vide Peter House.

ILLUSTRATIONS ON WOOD FROM ORIGINAL DESIGNS BY CRUIKSHANK, ROWLANDSON, GILRAY, AND FINLAY, ENGRAVED BY BONNER AND HUGHES.

VIGNETTE ON TITLE PAGE. Old Father Time borne away on the shoulders of the Genii, Frolic, Mirth, and Fancy.

1. The Author's Chamber—Index, the bookseller, and Ber- nard Blackmantle, projecting a new work 2. Horatio Heartly reading the "English Spy" to Lady Mary Oldstyle 17 3. A correct view of Eton College from the playing-fields 32 4. The five principal orders of Eton—Doctor, Dame, Colleger, Oppidan, and Cad. A Sketch taken opposite the Long Walk 42 5. The Cloisters, Eton College 58 6. Herbert Stockhore, the Montem Poet Laureate, a Sketch from the Life as he appeared in the Montem Procession of May, 1823 59 7. Accurate View of the Interior of Eton College Hall 96 8. Interior of Eton School Room 105 9. The Oxonian reclining, an emblematical design 111 10. Five characteristic orders of Oxford 113 11. Portrait of Mr. B—the classical Alma Mater Coachman of Oxford 128 12. View of Christchurch College 129 13. A Bachelor of Arts drinking of the Pierian Spring 136 14. View of Bagley Wood with the Gipsy party. An extraordinary fine specimen of art, by Bonner. 157 15. Mother Goose, a portrait 162 16. Kensington Gardons, Sunday Evening. Portraits of well-known fashionable eccentricities 164 17. Vignette.—he Subject and the Resurrection Jarvey, or "Kill him when you want him" 220 18. Albanians starting for a spree, or Tom Tick on the road to Jericho 233 19. Waiting for bail 240 20. The Don and the fair of St. Clement's. An Oxford scene 243 21. The University Rake's Progress 273 22. The newly invented Steam Coach 274 23. View of the Pavilion, Brighton, from the London Road 286 24. A Night Scene, or, a rum start near B—— H——l 304 25. The Widow's ultimatum. A cutting joke, with a most affecting catastrophe 313 26. College Frolics, or catching Urals at Ch. Ch. 325 27. Roues rusticating in Surrey, or, the first glimpse of Banco Regis 363 28. Term, ends—Adieu to fagging—The High-street, Oxford —The Togati in a bustle—The merry good bye 370