Council to tour Australia and New Zealand and gave up his post when he returned. When the First World War broke out, he devoted his energies to promoting patriotism and the war effort, and supported conscription, a cause that was popular in English Canada but unpopular in Quebec and which ran counter to the Liberal Party position. Bengough nevertheless continued to support the party and used his cartoons to promote party leader William Lyon Mackenzie King in the federal election of 1921. Following a chalk-talk performance in Moncton, New Brunswick in 1922, Bengough suffered an attack of angina pectoris, attributed to overwork during a previous tour of Western Canada. He died of it on 2 October 1923 at his drawing board at his home on 58 St Mary Street in Toronto while working on a cartoon in support of an anti-smoking campaign. At his memorial service on 22 November, the editor of the Hamilton Herald, Albert E. S. Smythe, declared him the "Canadian Dickens" and one of Walt Whitman's "great companions". Personal life Bengough was of average height and had grey eyes and dark hair. He married twice; neither marriage produced children. He married Helena "Nellie" Siddall in Toronto on 30 June 1880; she died in 1902. He remarried to a friend from his school days, the widow Annie Robertson Matteson, in Chicago on 18 June 1908. Neither appears to have written about Bengough. Style Bengough drew mainly political cartoons. His cartoons and writing tend towards the preachy and didactic; he believed that humour should serve the interests of the state rather than merely to amuse. Bengough tended in his writing towards satirical humour and puns, which George Ramsay Cook called "sometimes sophomoric". He read Dickens, Shakespeare, and Carlyle with particular devotion. Bengough had little exposure to formal art education aside from one term at the Ontario School of Art. His sketchy cartoons derived from a mid-19th century engraving style; while often drawn well, they were crowded in composition and sometimes borrowed from other sources. Bengough could draw in contrasting styles, as evidenced by cartoons he did under the pseudonym of L. Côté. As typical of political cartoonists of the time, Bengough aimed less at laughter than at social satire and depended more on readers' understanding of densely packed allusions. Bengough's cartoons are best remembered for fixing his renditions of Macdonald in the public imagination. Bengough's bulbous-nosed politician often appeared