The tragic and humorous powers of the artist are fully displayed in the examples which follow. In the first, from "Ledbury," "Jack Johnson attempts to rescue Derval": the awful swirl of the river as it engulfs the drowning man, while his would-be rescuer, finding the stream too strong for him, clings frantically to a ring in the stonework of the bridge, a full moon lightning up the scene, and throwing the Pont Neuf which spans the Seine in the distance into deep shadow--all are combined with admirable skill into, perhaps, the most powerful etching and the most perfect illustration in the book.
In the second example the artist is in full sympathy with his author--"Mrs. De Robinson holds a Conversazione of Talented People;" and amongst them is "the foreign gentleman who executes an air upon the grand piano." Here we have Leech using the scene as a peg upon which he can hang the humorous character in which he takes such hearty, healthy delight. The performer himself is scarcely a caricature of the foreign pianist; while his audience, not forgetting the deaf old lady in the corner--includes the affected gentleman, whose soul is in Elysium; together with a variety of types, in which "lovely woman" is not forgotten.
In the "Ingoldsby Legends" Leech found a very congenial field for the exercise of his powers. Though I will not presume to prophesy respecting literary merit, I venture to think that, during the course of his practice, Leech's illustrations have occasionally appeared attached to literature scarcely worthy of them; they will, doubtless, in some cases, act as the salt, which will preserve for posterity certain books of an ephemeral character. This remark cannot apply to the "Ingoldsby Legends," which is a work that "the world will not willingly let die," until delightful wit and humour, wedded to no less delightful verse, cease to charm. The burden of the illustrations of the "Legends" falls upon the worthy shoulders of John Tenniel, and they show some of the strongest work of that admirable artist. Leech appears in diminished force as to numbers, but in the examples I give he leaves nothing to wish for.
"For, only see there! in the midst of the Square, Where, perch'd upon poles six feet high in the air, Sit, chained to the stake, some two, three, or four pair Of wretches, whose eyes, nose, complexion, and hair Their Jewish descent but too plainly declare; Each clothed in a garment more frightful by far, a Smock-frock sort of gaberdine called a _Samarra_, With three times the number of devils upon it-- A proportion observed on the sugar-loaf bonnet; With this further distinction, of mischief a proof, That every fiend-Jack stands upright on his hoof! While the picture flames, spread over body and head, Are three times as crooked, and three times as red! All, too, pointing upwards, as much as to say, 'Here's the real _bonne-bouche_ of the Auto da Fé!'