Article the Third: Where a crime of the kidneys has been committed, the accused should enjoy the right to a speedy diaper change. Public announcements and guided tours of the aforementioned are not necessary. Article the Fourth: The decision to eat strained lamb or not should be with the "feedee" and not the "feeder". Blowing the strained lamb into the feeder's face should be accepted as an opinion, not as a declaration of war. Article the Fifth: Babies should enjoy the freedom to vocalize, whether it be in church, a public meeting place, during a movie, or after hours when the lights are out. They have not yet learned that joy and laughter have to last a lifetime and must be conserved. -- Erma Bombeck, "A Baby's Bill of Rights"
KEENE, CHARLES SAMUEL (1823-1891), English black-and-white artist, the son of Samuel Browne Keene, a solicitor, was born at Hornsey on the 10th of August 1823. Educated at the Ipswich Grammar School until his sixteenth year, he early showed artistic leanings. Two years after the death of his father he was articled to a London solicitor, but, the occupation proving uncongenial, he was removed to the office of an architect, Mr Pilkington. His spare time was now spent in drawing historical and nautical subjects in water-colour. For these trifles his mother, to whose energy and common sense he was greatly indebted, soon found a purchaser, through whom he was brought to the notice of the Whympers, the wood-engravers. This led to his being bound to them as apprentice for five years. His earliest known design is the frontispiece, signed "Chas. Keene," to _The Adventures of Dick Boldhero in Search of his Uncle_, &c. (Darton & Co., 1842). His term of apprenticeship over, he hired as studio an attic in the block of buildings standing, up to 1900, between the Strand and Holywell Street, and was soon hard at work for the _Illustrated London News_. At this time he was a member of the "Artists' Society" in Clipstone Street, afterwards removed to the Langham studios. In December 1851 he made his first appearance in _Punch_ and, after nine years of steady work, was called to a seat at the famous table. It was during this period of probation that he first gave evidence of those transcendent qualities which make his work at once the joy and despair of his brother craftsmen. On the starting of _Once a Week_, in 1859, Keene's services were requisitioned, his most notable series in this periodical being the illustrations to Charles Reade's _A Good Fight_ (afterwards rechristened _The Cloister and the Hearth_) and to George Meredith's _Evan Harrington_. There is a quality of conventionality in the earlier of these which completely disappears in the later. In 1858 Keene, who was endowed with a fine voice and was an enthusiastic admirer of old-fashioned music, joined the "Jermyn Band," afterwards better known as the "Moray Minstrels." He was also for many years a member of Leslie's Choir, the Sacred Harmonic Society, the Catch, Glee and Canon Club, and the Bach Choir. He was also an industrious performer on the bagpipes, of which instrument he brought together a considerable collection of specimens. About 1863 the Arts Club in Hanover Square was started, with Keene as one of the original members. In 1864 John Leech died, and Keene's work in _Punch_ thenceforward found wider opportunities. It was about this time that the greatest of all modern artists of his class, Menzel, discovered Keene's existence, and became a subscriber to _Punch_ solely for the sake of enjoying week by week the work of his brother craftsman. In 1872 Keene, who, though fully possessed of the humorous sense, was not within measurable distance of Leech as a jester, and whose drawings were consequently not sufficiently "funny" to appeal to the laughter-loving public, was fortunate enough to make the acquaintance of Mr Joseph Crawhall, who had been in the habit for many years of jotting down any humorous incidents he might hear of or observe, illustrating them at leisure for his own amusement. These were placed unreservedly at Keene's disposal, and to their inspiration we owe at least 250 of his most successful drawings in the last twenty years of his connexion with _Punch_. A list of more than 200 of these subjects is given at the end of _The Life and Letters of Charles Keene of "Punch."_ In 1879 Keene removed to 239 King's Road, Chelsea, which he occupied until his last illness, walking daily to and from his house, 112 Hammersmith Road. In 1881 a volume of his _Punch_ drawings was published by Messrs Bradbury & Agnew, with the title _Our People_. In 1883 Keene, who had hitherto been a strong man, developed symptoms of dyspepsia and rheumatism. By 1889 these had increased to an alarming degree, and the last two years of his life were passed in acute suffering borne with the greatest courage. He died unmarried, after a singularly uneventful life, on the 4th of January 1891, and his body lies in Hammersmith cemetery. Entry: KEENE