humanity; for of examples teaching these virtues, his pages are full.
If the "bad baby" chose the subjects, a stripling who was afterwards to make his mark in art executed them; a young Irishman, son of a leather-breeches maker, Mulready by name, whom Godwin and also Harris, Newberry's successor, were at this time endeavouring to help in his twofold struggle to earn a livelihood and obtain some training in art (which he did chiefly in the studio of Banks the sculptor). Some of his early illustrations to the rhymed satirical fables just then in vogue, such as The Butterfly's Ball and the Peacock at Home, show humour as well as decisive artistic promise. But the young designer seems to have collapsed altogether under the weight of Shakespeare's creations; and whoever looks at the goggle-eyed ogre of the pantomime species called Othello, as well as at the plates Lamb specifies, will not wonder at his disgust. Curiously enough they have been attributed to Blake; those in the edition of 1822, that is, which are identical with those of 1807 and 1816; and as such figure in booksellers' catalogues, with a correspondingly high price attached to the volumes, notwithstanding the testimony to the contrary of Mr. Sheepshanks, given in Stephen's Masterpieces of Mulready. Engraved by Blake they may have been, and hence may have here and there traces of Blake-like feeling and character; for though he was fifty at the time these were executed, he still and always had to win his bread more often by rendering with his graver the immature or brainless conceptions of others, than by realising those of his own teeming and powerful imagination.
