The History of "Punch" Part 20

[Ill.u.s.tration: JOSEPH SWAIN.]

It was in 1843 that Mr. Swain engraved his first block for _Punch_. It was a drawing by Leech, on p. 50 of the fourth volume, to ill.u.s.trate one of Albert Smith's "Side-Scenes of Society." The services of Landells, it will be remembered, had been suddenly dispensed with by the proprietors--for reasons of business jealousy according to Landells, though the proprietors gave out, in some quarters at least, for lack of proper excellence in his work. When they had decided to give Landells his _conge_, Bradbury and Evans looked about for another to replace him, and offered the engraving to one of the brothers Jewett. By him the task was readily undertaken, although he was, as he knew, wholly unable to carry it out; and when a block with one of Leech's drawings upon it was sent to him as a test, he offered the execution of it to his young acquaintance, Joseph Swain. So pleased was Leech with the result that he strongly recommended that the man who had cut such a block should, in place of the middleman, be installed as manager of the engraving department; and from that time forward that important portion of the work has remained in the hands of one of _Punch's_ most faithful, loyal, and talented servants, of whom _Punch_ has happily had so many.

Mr. Swain had been brought up by his father from Oxford, his natal town, when he was nine years of age, and five years later had been placed with N. Whittock, a draughtsman of Islington, to learn the art and craft of wood-cutting. But though Mr. Whittock was something of an artist, he was less of an engraver; and finding after a few years that he was making but little progress, young Swain applied for instruction to Thomas Williams. That distinguished engraver was one of the few excellent "facsimile men" of the day; and he agreed to accept the applicant as "improver." At that time he was engaged in engraving the blocks of an edition of "Paul et Virginie"--the well-known ill.u.s.trated edition which was published in Paris in 1838. For at that time there were fewer facsimile engravers in Paris than in London, and what there were, in point of ability, were not to be compared with the Englishmen; so that it was no uncommon thing for the best work to be sent from France to be executed in this country. On this particular work Meissonier, Johannot, Horace Vernet, and others had been engaged; and when that was finished, the series of works published by Charles Knight provided endless work for the skilled gravers at Williams' command: Harvey's "Arabian Nights," "Shakespeare," and the "History of Greece,"

and other notable works. It was a great school of engravers that existed then, both of masters and pupils, and included, besides Thomas Williams himself, his brother and sister, Samuel and Mary Ann Williams (a brilliant engraver she, who never gained her due of reputation), John Thompson, Orrin Smith, W. J. Linton, John Jackson, Mason Jackson, W. T.

Greene, Robert Branston, Landells, the Dalziel Brothers,[27] and Edmund Evans. Most of them were soon employed by W. d.i.c.kes, under whose management the Abbotsford edition of Scott's works was being executed; and to d.i.c.kes, Joseph Swain also transferred his services. In due course the young engraver left that establishment, and had not long been on the look-out for a satisfactory opening when he received from Jewett the little commission which landed him in a very short time in the service of _Punch_, in which he remained until he retired from business in favour of his son, after a completed period of half a century.

For some years Mr. Swain remained at the head of the _Punch_ engraving department, devoting himself, and his six or eight a.s.sistants, exclusively to _Punch_ work. He then pointed out to the proprietors how, by conducting and extending the business on his own account, he could carry out their work more economically while increasing his own field of operations and doubling his earning powers. The suggestion was acted upon, and the result proved satisfactory to both parties. For by this time he had educated the necessary engravers to that style of facsimile cutting in which he himself, and but few besides, had been specially trained, and he was enabled to keep the weekly expense of engraving _Punch_ down to an average of under thirty pounds, and at the same time to spend his superfluous energies on many of the most famous ill.u.s.trated books of his day.

For many years the boxwood blocks on which the drawings were made consisted of a single piece; for, as already explained, Charles Wells of Bouverie Street, at first a cabinetmaker of rare excellence, and later on a boxwood importer, had not then invented the device which revolutionised newspaper ill.u.s.tration--that of making a block in six or more sections which could be taken apart after the drawing had been made (and later on photographed) upon its surface and distributed among the engravers, and then screwed together again when each man had completed his own little piece. The invention which led to such an economy of time was only introduced in 1860 or thereabouts. For nineteen years _Punch_ had to see his big blocks cut on a single piece of wood, which was one of the reasons why the earlier cartoons and "pencillings" were, as a rule, so much more roughly drawn and hastily cut. In those early days a single "round" of wood was used--a "round" that had been cross-cut from the trunk of the tree. This was always kept seasoning until by natural shrinkage it had split up to the centre, when a tongue-shaped piece of box was fitted into the triangular vacancy and screwed firmly through.

Then the block was squared as well as its shape permitted, and when its surface had been properly prepared, it was ready for the artist.

As I find myself discussing technical details in _Punch_ production, it may be well to go a step further, for such matters can hardly fail to interest the reader. The cartoon, for reasons of economy of time, has always, up to 1893, been drawn upon the wood[28]--not upon paper, as has been possible to the rest of the Staff for a good many years past--and is delivered into Mr. Swain's hands by Friday night. Twenty-four hours later the engraving of the block is completed, and it is handed over to the printers, who are already clamouring for it to be put in their formes--for there is no time to electrotype it, nor of course to stereotype the pages. Stereotyping, indeed, has been the latest of the innovations on _Punch_--an innovation to be reckoned but a year or two old--for _Punch_, in his own house at least, is a Conservative among Conservatives. What was always present in the publisher's mind was that the "foreign edition" had to be ready printed off by Monday morning, and every moment was necessarily grudged during which the machines were not running--even those few short minutes when a sheet or two of the paper, at first starting, were taken to Mr. Swain to be judged as to the printing of the cuts, or as to whether they wanted a little more "colour," or a little pressure taken off. "To myself," Mr. Swain tells me, "it has always been a pleasing reflection that during the whole time of my connection with _Punch_, extending over fifty years, I have never once failed to get my work done in time and without accident. Of course, now and again it has been a very near thing, but it has always been done somehow."

It has ever been matter for surprise to outsiders that the conductors of the journal could tempt Fate so recklessly as to put the original wood-blocks on the machines. As has been seen, there was no alternative. But the fact remains that they ran a continual risk for fifty years which no other journal would care to face for a single week; for an accident to a single block (and such accidents are all too common) would have jeopardised the whole week's edition, as no other original existed (as it exists nowadays) from which the damaged block might be reproduced, or by which it might be superseded.

So it was only after the printing of an edition that the blocks were electrotyped. It is a curious fact that after 70,000 or 80,000 had been printed these blocks were nearly always found as good as new so far as the wood was concerned; only towards the end of the edition the blocks would sometimes get so filled up that some of the fine work was entirely lost, and the electros then taken suffered in consequence. An examination of this substance would show that it consisted of lime and pulp from the paper itself, compressed in a solid body so hard that it almost defied the graver to remove it.

Those early days were halcyon times for _Punch_ engravers. Mark Lemon would come down two or three times a week to edit and make up the paper, and would talk leisurely with Mr. Swain of such matters as concerned the engraver. No block was hurried. If it could not be ready for one week, it was held over for the next--a saving grace which the engraver has now and again acknowledged by drawing an initial or other simple design on the wood half an hour before going to press, when the Editor hurriedly required such a decoration--possibly to supply an artist's omission.

Such sketches were "The Cabman's Ticket" in February, 1854, put upon the wood from a scribble by Gilbert a Beckett--his sole artistic contribution to _Punch_; "Broom _v._ Brush" in May, 1859; and "The Turkish Bath" in 1880. And, above all, "process" had not yet held out its alluring promise of nearly equal results, to the inexpert eye, at a quarter of the cost of wood-engraving.

In another way did Mr. Swain place his mark on the pages of _Punch_--by the introduction of many a young artist to the Editor. It was he who thus introduced Mr. T. Harrington Wilson to Mark Lemon, Mr. Ralston to Shirley Brooks, R. B. Wallace (whose acquaintance he had made through Mr. Frederick Shields) and Mr. Wheeler to Tom Taylor, and others, too, to the various rulers of _Punch_. In some cases the artists themselves approached the engraver; in others, it was the Editor who would ask him to recommend some clever designer who could best execute this or that little drawing which he wanted done. Further service rendered by him was the share he took in educating several of _Punch's_ more imposing personages for the work they had to do--such as Doyle, McDonnell, and others.

It has often been quoted of Leech that after he had shown a drawing on the wood to any friend who might happen to be with him, he would add with a sigh--"But wait till next week and see how the engraver will spoil it!" This was a piece of unintentional injustice, for the fault lay with the conditions of rapid printing (for _Punch_ has always been, and still is, printed on a cylinder machine)--with the printer, the ink-maker, and the paper manufacturer more than with the engraver, as a glance at the proofs of the engravings will show.

Speaking of this matter, Dean Hole says: "If the position of an eyelash was altered, or the curve of a lip was changed, there might be an ample remainder to convey the intention and to win the admiration of those who never knew their loss, but the _perfection_ of the original was gone.

Again and again I have heard him [Leech] sigh as he looked over the new number of _Punch_; and as I, seeing but excellence, would ask an explanation, he would point to some almost imperceptible obliquity which vexed his gentle soul." It is a curious fact that, in common with most draughtsmen, Leech never became reconciled to the fact that black printer's-ink cannot exactly render the tender grey tones of a hard lead pencil; but to the fact that he had not much to complain of Mr. Frith bears witness: "I once saw one of Leech's drawings on the wood, and I afterwards saw it in _Punch_, and I remember wondering at the fidelity with which it was rendered. Some of the lines, finer than the finest hair, had been cut away or _thickened_, but the character, the vigour, and the beauty were scarcely damaged." In connection with this subject Mr. Layard, in his "Life of Charles Keene," compared a photogravure and a wood-block of one of the _Punch_ pictures, with the princ.i.p.al, though unintended, result of proving how indulgent are wood-engraving and the tool of the skilled craftsman to the artist who inconsiderately persists in using grey inks of varying intensities and subtle lines of indefinite thicknesses on paper of various colour-patches, when reproduction upon wood is his sole ultimate aim.

As Mr. Swain lived for some time close to Thackeray's house, it was an occasional custom of his to call on his way to the office to see if the great "Thack" had any blocks ready that he might carry away with him.

The novelist was usually at breakfast when he called, and would request that his visitor might be shown into the library. There he would presently join him and, if he were behindhand with his work, would request Mr. Swain to have a seat, a cigar, and a chat, while he produced a _Punch_ drawing "while you wait." "Ah, Swain!" he said one day, looking up from his block, when he was more than usually confidential, "if it had not been for _Punch_, I wonder where I should be!"

Mr. Joseph Swain retired in 1890 from the business he had formed, and handed it over to his son, who had been many years identified with it, and still continues the weekly engraving of the _Punch_ cartoon.

Wood-engraving has now been abandoned for all other ill.u.s.trations, the first process block tried on the paper being Mr. Linley Sambourne's drawing called "Reconciliation, a scene from the new screaming farce, the 'Political Box and c.o.x,'" on the 3rd December, 1892 (p. 273); but that the innovation has been equally happy in the case of every artist I am not prepared to maintain.

FOOTNOTES:

[27] Mr. George Dalziel writes to me: "For myself I was somewhat intimately connected with the publication from its birth; being a.s.sociated with Landells as an engraver, it fell to my lot to engrave ... the first drawing contributed by John Leech, under the t.i.tle of 'Foreign Affairs,' with many of the cartoons by Kenny Meadows, as well as many of the drawings of every artist engaged upon the journal, so long as Landells had anything to do with _Punch_."

[28] With the exception of the Almanac cartoon, for which the engraver has ample time.

CHAPTER XII.

_PUNCH'S_ WRITERS: 1841.

Mark Lemon--As Others Saw Him--His Duties--His Industry--His Staff and their Apportioned Work--Lemon as an Editor--And Diplomatist--A Testimonial--And a Practical Joke--Henry Mayhew--His Great Powers and Little Weaknesses--Disappointment and Retirement--Stirling Coyne--Gilbert Abbott a Beckett--His Early Career--Tremendous Industry--a Beckett and Robert Seymour--Appointed Magistrate--Locked In--Angus B. Reach.

[Ill.u.s.tration: MARK LEMON

(From a private photograph.)]

Mark Lemon was thirty-one when he found himself co-editor of _Punch_.

His salary, it is true, was not more than thirty shillings a week; but it was to rise before his death to fifteen hundred pounds a year--a higher amount, it is said, than has been received by any other "weekly editor," before or since. However, he had found financial salvation; for although his playwriting had not been unsuccessful--and by the time he died his pieces were to be numbered by the score--the drama in the days of short runs was not a remunerative form of literature. His natural _bonhomie_ stood him in good stead; it charmed his friends and non-plussed his enemies. Of the latter, it must be admitted, he had more than enough--or, at least, men to whom he was intensely antipathetic.

One eminent journalist--more eminent than Mark himself--writes him down "a mealy-mouthed sycophant;" and another, hardly less popular, went further still in his denunciation, and, if he were to be believed, Mark Lemon must have been one of the most accomplished humbugs of his time.

"There was nothing good about Mark," said a distinguished draughtsman, who worked with the _Punch_ Editor for many a long year, "but his laugh." But against this criticism--which was that of men whose judgment ought to be clear and sound, and was, moreover, shared by others--there is an overwhelming ma.s.s of evidence in favour of Lemon's extreme amiability, kindness, and geniality. He, naturally, was the b.u.t.t of rival comic papers, who would taunt him with his Jewish descent, with the mildness of his jokes and humour, and the bitterness of his false friendship. A favourite form was to print among supposed "Births" such a line as this: "On Wednesday, the 26th ult., at Whitefriars, Mr. Mark Lemon, of a joke, stillborn."

But Lemon could well afford to ignore all such attacks. Mr. George Chester, his life-long friend, p.r.o.nounced him the prince of cronies, and I have seen many letters from him instinct with affection and jovial humour. One of them, by the way, gives information that "our nursemaid has the chicken-pock, and we expect to see her throw out feathers to-morrow." When he entered the composing-room he was invariably received with a cheer by the men, whom he called "my Caxtonian Bees."

Charles d.i.c.kens believed in him as "a most affectionate and true-hearted fellow," and so described him to Sir A. H. Layard (in whose interest d.i.c.kens arranged for Tenniel's fine "Nineveh Bull" cartoon to be published); and though he quarrelled with him, because Lemon had the courage, chivalry, and uprightness to take Mrs. d.i.c.kens's side against her husband, he brought the estrangement to a close with a kindly message when Lemon first appeared as Falstaff. Mr. Joseph Hatton carries his friendly admiration almost to the point of Lemonolatry; and the man who could inspire such friendship must a.s.suredly have been endowed with sterling qualities and with a lovable nature.

"Mr. Lemon impressed me," writes Mr. E. J. Ellis, "as the kindest and most lovable elderly boy I had ever seen. He evidently accepted my little sketches only for the promise, not the performance, of them. Some were rejected. This was done so genially that I found myself hastening to refuse my own drawings for him rather than put him to the effort of sparing my feelings while doing so. 'Here I sit,' he said, 'like a great ogre, eating up people's little hopes.' Then he showed me his waste-paper basket, and added--'But what am I to do? Look here!' I confess I never saw, except on pavement in coloured chalks, such nerve-twisting horrors as the paper sketches people sent." It is obvious from this that the writer never watched the pictures entering the Royal Academy on Sending-in Day.

Mark Lemon loved _Punch_; as well he ought. He refused to visit America to give his readings on terms that were highly alluring, as he could not find it in his heart to abandon the command, even for a time, nor bear to miss his two days a week at Whitefriars. When he said truly that he and _Punch_ were made for each other, and that he "would not have succeeded in any other way," he might fairly have added, had he wished, how hard he had laboured for that success. Mr. Birket Foster has drawn me a vivid picture of how in those early days he had to visit Lemon in his Newcastle Street lodgings, and, mounting to the topmost storey, found him in an untidy, undusted room, sitting in his shirt-sleeves, with Horace Mayhew by his side plying the scissors, working at the weekly "make-up" of _Punch_ with the desperate eagerness that was, in time, to bear so rich a harvest.

How Mark Lemon helped to bring together the original Staff has already been seen. It was, doubtless, his sound display of business capacity and character, in addition to his literary apt.i.tude, that induced Henry Mayhew and Landells to nominate him as one of the co-editors--for that was a quality in which both Henry Mayhew and Stirling Coyne were confessedly deficient. "There are forty men of wit," says Swift, "for one man of sense." So the paper was started, and the very first article, "The Moral of _Punch_," was Lemon's;[29] but neither then nor after did he write much for it, though he still contributed a certain amount of graceful, serious verse, under the t.i.tle of "Songs for the Sentimental,"

with a farcical last line which affects the reader suddenly like a cold douche. He wrote, as well, many short epigrams, paragraphs, and the like, besides being a fairly prolific suggestor of the cartoons; but the sum of his literary labours on the paper would not compare with that of the members on the Staff. To him fell the organisation, administration, and practical making-up of the paper.

In the early days of _Punch_, during those infantile convulsions to which the paper threatened to succ.u.mb, Mark Lemon a.s.sured his position by the great zeal with which he carried out his duties; and at the transfer of _Punch_ he was left sole Editor, by the fiat of the new proprietors. Stirling Coyne left without real regret, though in considerable dudgeon at his treatment; he had many other irons in the fire, and the conditions of journal-weaning were unattractive to him.

But to Henry Mayhew it was a bitter disappointment. It was he who had made _Punch_ what it was; he found himself ousted from his legitimate position, and he considered, in his own words, that Mark Lemon "had allowed himself to be bought over," so that a coolness sprang up between the two men which was never quite removed.

In his work Lemon did not spare himself. For a time Horace Mayhew was his sub-editor, to whom fell the usual duties of the post--("Be it yours," as a careless speaker in the office nicknamed "Heavens!" is traditionally said to have advised, "Be it yours, 'Orace, to hurge the hartises [artists] hon!")--but before long Lemon took that duty upon himself, driving round to the chief contributors one day in the week to satisfy himself that their drawings and "copy" would be to time. The story goes that he always employed the same driver, and that when the man was about to replace the old vehicle with a new one, he suggested to Lemon, with glowing pride at the brightness of the idea, that he should have a figure of _Punch_ emblazoned on the panels. In later years Lemon's son Harry acted as his secretary, and sometimes, though unofficially, as his sub-editor, and generally undertook the "travelling" for his father.

It was in Lombard Street, Whitefriars, of cla.s.sic memory, that Bradbury and Evans carried on the practical part of their business; and here Mark Lemon might often be seen, radiant and effulgent as the circulation rose. In May,1843, _Punch_ had removed from Wellington Street, Strand, to 194, Strand, an office which he gave up to his young rival, "The Great Gun," in January, 1845, in order to remove to 92, Fleet Street.

Here he only remained for a couple of months, and, migrating in March of the same year, he set up for good and all in 85, Fleet Street, on the very site in St. Bride's Churchyard of the tailor's house where Milton once kept school. In the editorial office the _Punch_ Staff would often write their articles, Thackeray especially taking advantage of the convenience. "In three hours more," he wrote to Mrs. Brookfield in 1850, "Mr. W. M. T. is hard at work at _Punch_ office."

The management of the weekly "copy," the arrangement for series, and the dealing with outside applications of all sorts, quite apart from artistic contributions, were together no light task for the Editor, especially when one or other of the writers failed him, and the ill.u.s.trations that were to accompany their articles had to be retaken into consideration. From the beginning outside contributions were remorselessly discouraged; yet some remarkable poems and sketches have come to _Punch_ unsolicited from famous and brilliant pens, as will subsequently be seen. Still, the paper has always been a fairly close borough--as, after all, it has a perfect right to be; and by that means has been enabled to keep its distinctive colour--in contrast with the "Fliegende Blatter," for example, whose staff may truly be said to consist of the whole German people. To each writer was allotted a certain s.p.a.ce, which he was expected to fill; and when there was a deficit in the amount of his contribution--which there generally was, and a heavy one--it was duly entered up. Thus for a long while Douglas Jerrold's half-yearly total was theoretically 162 columns (or a weekly average of six and a quarter); Gilbert a Beckett's, 135 columns (five and a quarter); Percival Leigh's, Tom Taylor's, and Horace Mayhew's, 54; and Thackeray's, 46 columns; but few of them ever came up to their proper total. In earlier days, before Albert Smith left, the following were the weekly tasks: Jerrold, five columns; Gilbert a Beckett, four; Smith and Leigh, two each; and after Smith's departure a Beckett succeeded to Jerrold's figures.

The records of the Staff's contributions were kept as follows, their relative proportions being exactly shown. I take one volume at random, the seventh, that for the second half-year of 1844:--

-------------+------+------+-------+------+-------+-------+-------+------- | | | | | | |Total | | | |Septem-|Octo- |Novem- |Decem- |of Six |Weekly Contributors | July |August| ber | ber | ber | ber |Months |Average -------------+------+------+-------+------+-------+-------+-------+------- Douglas | | | | | | | | Jerrold |20-1/4|17-1/4| 23-1/2|27[30]| 20-1/4| 31-1/2|139-3/4| 5-1/4 Gilbert | | | | | | | | a Beckett |15-1/4|18 | 6-1/2|17-1/4| 17 | 19-3/4| 94-3/4| 3-1/2 Percival | | | | | | | | Leigh | 4-1/2| 8-3/4| 9 | 5 | 5-1/2| 6-1/4| 39 | 1-1/2 Thackeray | 8 | 5-3/4| 6 | -- | -- | 4-3/4| 24-1/2| 1 Horace Mayhew| 2-1/2| 2-1/2| 3-1/2| 2 | 2-1/2| 3-3/4| 16-3/4| 1/2 T. Taylor | -- | -- | -- | -- | 3-1/4| 3 | 6-1/4| 1/4 Ferguson | 1[31]| -- | -- | 3/4| -- | 1 | 1-3/4| -- Editor[32] | 5 | 1-1/4| 3 | 1 | 2 | 8 | 20 | 3/4 Oxenford | -- | 1-1/2| -- | -- | -- | -- | 1-1/2| -- Laman | | | | | | | | Blanchard | -- | -- | -- | -- | 1-3/4| -- | 1-3/4| -- H. Wills | -- | -- | -- | -- | 1/2| 1/2| 1 | -- -------------+------+------+-------+------+-------+-------+-------+------ Total of columns in volume 347 -------------------------------------------------------------------------

A more comprehensive view may be had from a glance at the table on the following page, which covers perhaps the most interesting period of _Punch's_ early history.

From this table it will be seen that Douglas Jerrold contributed as much as 139 columns to Vol. VII. and Gilbert a Beckett 122 to the next; and that the Editor's section after Vol. VI. was to some extent split up under the names of the individual contributors who composed it. In addition to these names during the period covered by the table, there may be added those of Tom Hood (3-3/4), T. J. Serle, Charles Lever, Horace Smith, and Doyle.

Another source of trouble to the Editor was the holiday-time as it came round, for the Staff would scatter itself and, though arrangements were made of course beforehand, the paper was sometimes run in a curiously undermanned condition. Thus, for example, on the week of August 12, 1848 (No. 370), Jerrold was at Guernsey, Thackeray was at Brussels, Horace Mayhew at Ramsgate, and Tom Taylor away on circuit. The whole paper was in consequence written by three men--by Gilbert a Beckett and Percival Leigh at home, and by Horace Mayhew, who thoughtfully sent in more than four columns from the country, so that his absence should not be felt.

AMOUNT OF TEXT (IN COLUMNS) CONTRIBUTED BY THE WRITERS INDICATED FROM VOL. VI. TO VOL. XIV. INCLUSIVE--FROM JANUARY, 1844, TO JUNE 24, 1848 (NINE VOLUMES).

KEY: A - Douglas Jerrold B - Gilbert a Becket C - Percival Leigh D - W. M. Thackeray E - John Oxenfold F - Editor G - Horace Mayhew H - Tom Taylor

-------+-------+-------+-------+-------+------+-------+-------+-------+ Vol. | A | B | C | D | E | F | G | H | -------+-------+-------+-------+-------+------+-------+-------+-------+ VI. | 81-1/4|113-1/4| 41-1/2| 36-3/4| 4-3/4| 49-1/2| -- | -- | VII. |139-3/4| 94-3/4| 39 | 24-1/2| 1-1/2| 20 | 16-3/4| 6-1/2| VIII. | 91-1/4|122-1/2| 36 | 24 | 1-3/4| 13 | 17-3/4| 11-3/4| IX. | 91 |108-3/4| 32-3/4| 43-1/4| 4-1/2| 15 | 28-1/2| 12 | X. | 71-3/4| 99-1/2| 39-3/4| 39-1/2| 2-3/4| 6-1/4| 20 | 18-3/4| XI. | 77-1/4| 92 | 35 | 51-3/4| -- | 2 | 44-3/4| 28-3/4| XII. | 70-3/4| 94-1/4| 43 | 46| --| -- | 47-1/2| 23-3/4| -- | XIII. | 48-1/4| 95-1/4| 40-3/4| 30-3/4| -- | -- | 45 | 42 | XIV. | 58-1/4| 80 | 39-3/4| 39-1/2| -- | -- | 59-1/4| 32-1/2| Total |729-1/4|900-1/4|348-1/4|336 |15-1/4|105-3/4|270-1/2|175-3/4| -------+-------+-------+-------+-------+------+-------+-------+-------+ Average| 81 |100 | 39-2/3| 37-1/3| -- | -- | 31 | 19-1/2| per | | | | | | | | | volume | | | | | | | | | -------+-------+-------+-------+-------+------+-------+-------+-------+

I - Ferguson J - Laman Blanchard K - W. H. Wills L - Henry Mayhew M - Higgins (Jacob Omnium) N - Anonymous O - Mark Lemon P - MacGregor