production called ‘The Literary and Political Examiner:’ on the 22nd March of that year his father died, and he left Ireland, not to revisit it until he made a short excursion there in 1821 with Alfred Nicholson and Miss Nicholson (who afterwards became Mrs. Croker), children of the late Mr. Francis Nicholson, one of the founders of the English water-colour school, and who died in 1844 at the patriarchal age of ninety-one years.

Crofton Croker’s first visit to England was paid to Thomas Moore in Wiltshire; and soon after his establishing in London he received from the late Right Hon. John Wilson Croker an appointment at the Admiralty, of which office his namesake (but no relation) was secretary, and from which he (Crofton) retired in 1850 as senior clerk of the first class, having served upwards of thirty years, thirteen of which were passed in the highest class.  This retirement, although he stood first for promotion to the office of chief clerk, was compulsory upon a reduction of office, and was not a matter of private convenience.  In 1830 Crofton Croker married Miss Marianne Nicholson, and the result of their union was an only child, Thomas Francis Dillon Croker, born 26th August, 1831, the writer of the present memoir.

The literary labours of Crofton Croker were attended

with more gratifying results than his long and unwearied official services.  The ‘Researches in the South of Ireland’ (1824), an arrangement of notes made during several excursions between the years 1812 and 1822, was his first important work.  It was published by John Murray, the father of the present publisher of the ‘Quarterly Review,’ and contained illustrations by Mr. Alfred and Miss Nicholson: with the ‘Fairy Legends,’ however, the name of Crofton Croker became more especially associated, the first edition of which appeared anonymously in 1825, and produced a complimentary letter from Sir Walter Scott, which has been published in all subsequent editions.  The success of the first edition of the legends was such as immediately to justify a second, which appeared the next year, illustrated with etchings after sketches by Maclise, and which was followed by a second series (Parts 2 and 3) in 1827.  The third part, although it appeared under the same title, namely ‘Fairy Legends and Traditions of the South of Ireland,’ may be considered as forming almost a separate work, inasmuch as it comprised the fairy superstitions of Wales and other countries, in addition to those current in Ireland.  A translation of the legends by the Brothers Grimm appeared in Germany in 1825, and another in Paris in 1828 (‘Les Contes Irlandais, précédés d’une introduction par M. P. A. Dufau’), but it was not until 1834 that Murray published them in a condensed form in his ‘Family Library,’ the copyright of which edition, as revised by the author, was purchased of Murray by the late Mr. Tegg, and is now published by his son.  In October, 1826, Croker was introduced to Sir

Walter Scott at Lockhart’s in Pall Mall.  Sir Walter recorded the interview thus:—“At breakfast Crofton Croker, author of the Irish fairy tales—little as a dwarf, keen-eyed as a hawk, and of easy, prepossessing manners, something like Tom Moore.  Here were also Terry, Allan Cunningham, Newton, and others.”  At this meeting, Sir Walter Scott suggested the adventures of Daniel O’Rourke as the subject for the Adelphi pantomime, and, at the request of Messrs. Terry and Yates, Croker wrote a pantomime founded upon the legend, which was produced at the Adelphi the same year.  It succeeded, and underwent two editions: the second was published in 1828, uniform with the legends, and entitled ‘Daniel O’Rourke; or, Rhymes of a Pantomime, founded on that Story.’  Croker wrote to his sister (Mrs. Eyre Coote, alive at the present time) the following account of the breakfast party at Lockhart’s, which, though already published in ‘The Gentleman’s Magazine’ (November, 1854), is sufficiently interesting to be repeated.  He first mentions “the writing and preparing for the Adelphi Theatre a Christmas pantomime from the renowned adventures of Daniel O’Rourke, two or three meetings with Sir Walter Scott, some anxious experiments in lithography under the directions of Mr. Coindet, one of the partners of Englemann’s house of Paris, who has lately opened an establishment here, which will be of the utmost importance to the advancement of the art in this country, and of which I hope soon to send you specimens.”  Then he adds: “To tell half the kindness and attention which I received from Sir Walter Scott would be impossible.  The breakfast party at Lockhart’s consisted of

Allan Cunningham, Terry (the actor), Newton (the artist), a Dr. Yates of Brighton, Captain, Mr., and Mrs. Lockhart, Miss Scott, Mr. Hogg, and your humble servant.  We had all assembled when Sir Walter entered the room.  Maclise’s sketch does not give his expression, although there is certainly a strong likeness—a likeness in it which cannot be mistaken; but I have a very rough profile sketch in pen and ink by Newton, which is admirable, and which some time or other I will copy and send you.  When I was introduced to the ‘Great Unknown’ I really had not the power of speaking; it was a strange feeling of embarrassment, which I do not remember having felt before in so strong a manner; and of course to his ‘I am glad to see you, Mr. Croker, you and I are not unknown to each other,’ I could say nothing.  He contrived to say something neat to every one in the kindest manner—a well-turned compliment, without, however, the slightest appearance of flattery—something at which every one felt gratified.  After speaking for a few moments to Mr. Terry and Allan Cunningham, he returned to where I stood fixed and ‘mute as the monument on Fish Street Hill;’ but I soon recovered the use of my tongue from the easy manner in which he addressed me, and no longer seemed to feel myself in the presence of some mighty and mysterious personage.  He spoke slowly, with a Scotch accent, and in rather a low tone of voice, so much so, indeed, that I found it difficult to catch every word.  He mentioned my ‘Fairy Legends,’ and hoped he should soon have the very great enjoyment of reading the second volume.  ‘You are our—I speak of the Celtic nations’ (said Sir Walter)—‘great authority now on fairy

superstition, and have made Fairy Land your kingdom; most sincerely do I hope it may prove a golden inheritance to you.  To me,’ (continued Sir Walter) ‘it is the land of promise of much future entertainment.  I have been reading the German translation of your tales and the Grimms’ very elaborate introduction.’  Mr. Terry mentioned having received from me Daniel O’Rourke in the shape of a Christmas pantomime.  ‘It is an admirable subject,’ said Sir Walter, ‘and if Mr. Croker has only dramatized it with half the skill of tricking up old wives’ tales which he has shown himself to possess, it must be, and I prophesy, although I have not seen it, it will be as great a golden egg in your nest, Terry, as Mother Goose was to one of the greater theatres some years ago.’  He then repeated by heart part of the conversation between Dan and the Eagle, with great zest.  I must confess it was most sweet from such a man.  But really I blush, or ought to blush, at writing all this flattery.”  Here the origin of Maclise’s illustrations to the legends is thus given by the editor of the ‘Gentleman’s Magazine.’  “The artist, who had not then quitted his native city of Cork, was a frequent visitor to Mr. Sainthill (the author of ‘Olla Podrida’), at the time that