Tomakeamentalimageofallthingsthatarenamedtotheear，orconceivedinthemind，beinganindustriouscustomofchildrenandchildishpeoplewhichlapsesintheageofmuchidlereading，themakingofamaterialimageisthestillmorediligentandmoresedulousact，wherebytheprimitivemancontrolsandcaresseshisownfancy。Hemaytakearmsanon，disappointed，againsthisownwork；butdidheeverdothatworkinmalicefromtheoutset？
Fromthestatuetothedoll，imagesarealloutragedinthepersonoftheguy。Ifitwerebutanantithesistothecitizen’sideaofsomethingadmirablewhichhemightcarryinprocessiononsomeotherday，thecarryingoftheguywouldbelessgloomy；buthewouldhootatasuspicionthathemightadmireanythingsomuchastomakeagood—lookingdollinitspraise。Thereisabsolutelynoimage—
makingartinthepracticeofourpeople，exceptonlythisartofragsandcontumely。Or，again，iftherevengetakenuponaguywerethatofangerforacertaincause，thedestructionwouldnotbetheworkofsothinanannualmaliceandofsoheartlessarancour。
Butthesinglemotiveisthatpopularironywhichbecomesdaily——orsoitseems——moreandmoretheholidaytemperofthemajority。
Mockeryistheonlyanimatingimpulse，andaloudincredulityistheonlyintelligence。Theymakeanimageofsomeoneinwhomtheydonotbelieve，toderideit。Saythattheguyistheeffigyofanagitatorinthecauseofsomethingtobedesired；thestreetmanandboyhavethentwomotivesofmocking：theythinkthereformtobenotworthdoing，andtheyarewillingtosuspectthereformerofsomekindofhypocrisy。PerhapstheguyofthisoccasionismostcharacteristicofallguysinLondon。Thepeople，havinghimorhertoderide，donotevenwaitfortheopportunityoftheirannualprocession。Theyanticipatetime，andmakeanimagewhenitisnotNovember，andsellitatthemarketofthekerb。