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Cruikshank's Water Colours

Ainsworth, William Harrison, Dickens, Charles, Maxwell, W. H. (William Hamilton) · Public domain text

247,973 words · about 17 h 22 min to read

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About this edition

The text of Cruikshank's Water Colours comes from Project Gutenberg e-text #49683. It is public domain in the United States. Project Gutenberg credits George Cruikshank as illustrator. Project Gutenberg’s header and license text are removed, and RedLectern sets the text out for reading on screen; no words of the book are rewritten or summarized. More formats (EPUB, Kindle) · How RedLectern is built

This text-only edition leaves out 39 illustrations. See the illustrated edition at Project Gutenberg.

This book is long enough to be split into 6 parts, so each one loads quickly on its own.

About this book

Authors
William Harrison Ainsworth (1805–1882), Charles Dickens (1812–1870), W. H. Maxwell (1792–1850)
Language
English
Subjects
Watercolor painting, British, Cruikshank, George, 1792-1878, Illustration of books › Great Britain › 19th century
Length
247,973 words · about 17 h 22 min
Sections
36 reader sections · Table of contents

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Contents (36)
  1. Opening under 1 min
  2. Introduction about 29 min
  3. I. TREATS OF THE PLACE WHERE OLIVER TWIST WAS BORN AND OF THE CIRCUMSTANCES ATTENDING HIS BIRTH about 5 min
  4. II. TREATS OF OLIVER TWIST’S GROWTH, EDUCATION, AND BOARD about 16 min
  5. III. RELATES HOW OLIVER TWIST WAS VERY NEAR GETTING A PLACE WHICH WOULD NOT HAVE BEEN A SINECURE about 13 min
  6. IV. OLIVER, BEING OFFERED ANOTHER PLACE, MAKES HIS FIRST ENTRY INTO PUBLIC LIFE about 35 min
  7. VII. OLIVER CONTINUES REFRACTORY about 10 min
  8. VIII. OLIVER WALKS TO LONDON. HE ENCOUNTERS ON THE ROAD A STRANGE SORT OF YOUNG GENTLEMAN about 1 h 24 min
  9. XV. SHOWING HOW VERY FOND OF OLIVER TWIST, THE MERRY OLD JEW AND MISS NANCY WERE about 10 min
  10. XVI. RELATES WHAT BECAME OF OLIVER TWIST, AFTER HE HAD BEEN CLAIMED BY NANCY about 15 min
  11. XVII. OLIVER’S DESTINY CONTINUING UNPROPITIOUS, BRINGS A GREAT MAN TO LONDON TO INJURE HIS REPUTATION about 13 min
  12. XVIII. HOW OLIVER PASSED HIS TIME IN THE IMPROVING SOCIETY OF HIS REPUTABLE FRIENDS about 12 min
  13. XIX. IN WHICH A NOTABLE PLAN IS DISCUSSED AND DETERMINED ON about 14 min
  14. XX. WHEREIN OLIVER IS DELIVERED OVER TO MR. WILLIAM SIKES about 12 min
  15. XXI. THE EXPEDITION about 9 min
  16. XXII. THE BURGLARY about 30 min
  17. XXV. WHEREIN THIS HISTORY REVERTS TO MR. FAGIN AND COMPANY about 39 min
  18. XXVIII. LOOKS AFTER OLIVER, AND PROCEEDS WITH HIS ADVENTURES about 14 min
  19. XXIX. HAS AN INTRODUCTORY ACCOUNT OF THE INMATES OF THE HOUSE, TO WHICH OLIVER RESORTED about 6 min
  20. XXX. RELATES WHAT OLIVER’S NEW VISITORS THOUGHT OF HIM about 10 min
  21. XXXI. INVOLVES A CRITICAL POSITION about 16 min
  22. XXXII. OF THE HAPPY LIFE OLIVER BEGAN TO LEAD WITH HIS KIND FRIENDS about 14 min
  23. XXXIII. WHEREIN THE HAPPINESS OF OLIVER AND HIS FRIENDS, EXPERIENCES A SUDDEN CHECK about 45 min
  24. XXXVII. IN WHICH THE READER MAY PERCEIVE A CONTRAST, NOT UNCOMMON IN MATRIMONIAL CASES about 52 min
  25. XL. A STRANGE INTERVIEW, WHICH IS A SEQUEL TO THE LAST CHAMBER about 41 min
  26. XLIII. WHEREIN IS SHOWN HOW THE ARTFUL DODGER GOT INTO TROUBLE about 16 min
  27. XLIV. THE TIME ARRIVES FOR NANCY TO REDEEM HER PLEDGE TO ROSE MAYLIE. SHE FAILS about 10 min
  28. XLV. NOAH CLAYPOLE IS EMPLOYED BY FAGIN ON A SECRET MISSION about 5 min
  29. XLVI. THE APPOINTMENT KEPT about 15 min
  30. XLVII. FATAL CONSEQUENCES about 10 min
  31. XLVIII. THE FLIGHT OF SIKES about 14 min
  32. XLIX. MONKS AND MR. BROWNLOW AT LENGTH MEET. THEIR CONVERSATION, AND THE INTELLIGENCE THAT INTERRUPTS IT about 15 min
  33. L. THE PURSUIT AND ESCAPE about 18 min
  34. LI. AFFORDING AN EXPLANATION OF MORE MYSTERIES THAN ONE, AND COMPREHENDING A PROPOSAL OF MARRIAGE WITH NO WORD OF SETTLEMENT OR PIN-MONEY about 20 min
  35. LII. FAGIN’S LAST NIGHT ALIVE about 14 min
  36. LIII. AND LAST about 6 h

The opening of Introduction

It is fair to characterise the three suites of original water-colour drawings, as executed by our artist, as unique examples of the great George Cruikshank’s special individual proficiency as an exponent of this branch of technical dexterity. Moreover, it may be regarded as a fortunate circumstance that the three works, here reproduced with amazing fidelity in facsimile, represent happily the very chefs d’oeuvre of his wonderful productions; in their respective categories, preserving the best examples of his remarkable genius as an imaginative creator of vivid pictures, alike stirring and animated, and representing at one glance his vast dramatic powers, his mastery of the humorous side of life, and the intensity he was consistently able to infuse into terrible and tragic scenes.

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