Full text of "Dickens and his illustrators: Cruikshank, Seymour, Buss, "Phiz", Cattermole, Leech, Doyle, Stanfield, Maclise, Tenniel, Frank Stone, Landseer, Palmer, Topham, Marcus Stone, and Luke Fildes; with twenty-two portraits and facsimiles of seventy original drawings now reproduced for the first time"

See other formats

«t

i-v-,

^^B^CJ

i***"!/^

sWKtiD

sS5^

r^So

Digitized by the Internet Archive

in 2007 with funding from

IVIicrosoft Corporation

http://www.archive.org/details/dickenshisillustOOkittuoft

-7/

DICKENS

AND HIS ILLUSTRATORS

'^-y^ra.^^ 7Z:y yU^ ,c,um>^, w:-^*^';S'i^ .■s.i /

(

\yi^'i CVi. /^i,/^^A^^^t^

V 1

M/.tiW ,ilt>>UTVa .J08

• )

' 1

Plate I
CHARLES DICKENS

From a scarce I^iihograph by
SOL. EYTINGE, Junr.

This Portrait was published during the Novelist's last visit to America
(1867-68), by Fields, Osgood & Co., of Boston, their advertisement describing
it as "an Authentic Portrait of Charles Dickens, drawn on stone by S.
Eytinge, Jr., whose Illustrations of Dickens's Novels have been so popular."
The late Mr. J. R. Osgood did not recall any actu.il sitting for the Portrait,
but remembers that Eytinge often saw Dickens while making the drawing.
The impression from which the present reproduction was made is particularly
interesting on account of the quotation from "A Christmas Carol" in the
autograph of Dickens.

LeHt by Mr. Sluart M. Samuel.

, DICKENS

► AND HIS ILLUSTRATORS

CRUIKSHANK, SEYMOUR, BUSS, "PHIZ," CATTERMOLE

LEECH, DOYLE, STANFIELD, MACLISE, TENNIEL

FRANK STONE, LANDSEER, PALMER, TOPHAM

MARCUS STONE, AND LUKE FILDES

FREDERIC G. KITTON

AUTHOR OF "CHARLES DICKENS BY PEN AND PENCIL," ETC.

WITH TWENTY-TWO PORTRAITS AND FACSIMILES OF

SEVENTY ORIGINAL DRAWINGS NOW REPRODUCED

FOR THE FIRST TIME

SECOND EDITION

LONDON
GEORGE REDWAY

1899

CHARLES DICKENS'S DAUGHTER
KATE PERUGINI

THBSB NOTES UPON THE ILLUSTRATIONS
TO HER FATHER'S WRITINGS

are respectfully dedicated

BY THE AUTHOR

PREFACE

IN the matter of pictorial embellishment, the writings of Charles
Dickens may be regarded as occupying a unique position. The
original issues alone present a remarkable array of illustrations ;
and when we remember the innumerable engravings specially prepared
for subsequent editions, as well as for independent publication, we are
fain to confess that, in this respect at least, the works of " Boz " take
precedence of those of any other novelist. These designs, too, are ol
particular interest, inasmuch as they are representative of nearly every
branch of the art of the book-illustrator; both the pencil of the
draughtsman and the needle of the etcher have been requisitioned,
while the brush of the painter has depicted for us many striking
scenes culled from the pages of Dickens.

The evolution of a successful picture, as exhibited by means of pre-
paratory sketches, is eminently instructive to the student of Art. The
present volume should therefore appeal not merely to the Dickens
Collector, but to all who appreciate the artistic value of tentative studies
wrought for a special purpose. The abso\ute/acstmi/es, here given for the
first time, enable us to obtain an insight into the methods adopted by the
designers in developing their conceptions, those methods being further
manifested by the aid of correspondence which, happily, is still extant.

Referring to Dickens's intercourse with his Illustrators, Forster
significantly observes that the artists certainly had not an easy time with
him. The Novelist's requirements were exacting even beyond what is

vii

viii PREFACE

ordinary between author and illustrator ; for he was apt (as he him-
self admitted) "to build up temples in his mind not always makeable
with hands." While resenting the notion that Dickens ever received
from any artist "the inspiration he was always striving to give,"
his biographer assures us that, so far as the illustrations are con-
cerned, he had rarely anything but disappointments, — a declaration
which apparently substantiates the statement (made on good authority)
that the Novelist would have preferred his books to remain un-
adorned by the artist's pencil. That the vast majority of his readers
approved of such embellishment cannot be questioned, for the genius
of Cruikshank and " Phiz " has done much to impart reality to the
persons imagined by Dickens. We are perhaps even more indebted
to the excellent illustrations than to the Author's descriptions for
the ability to realise the outward presentments of Pickwick, Fagin,
Micawber, and a host of other characters, simply because the material
eye absorbs impressions more readily than the mental eye.

That Dickens's association with his Illustrators was something
more than mere coadjutorship is evidenced both in Forster's " Life "
and in the published " Letters." From these sources we derive much
information tending to prove the existence of a warm friendship sub-
sisting between Author and Artists ; indeed, the latter (with two or
three exceptions) were privileged to enjoy the close personal intimacy
of Dickens and his family circle. Recalling the fact that the Novelist
not unfrequently availed himself of the traits and idiosyncrasies of his
familiars, it seems somewhat strange that in the whole range of his
creations we fail to discover a single attempt at the portraiture of an
artist ; for those dilettanti wielders of the brush. Miss La Creevy and
Henry Gowan, can scarcely be included under that denomination.

PREFACE ix

During the earlier part of this century the illustrators of books
seldom, if ever, resorted to the use of the living model. Such experts
as Cruikshank, Seymour, "Phiz," Maclise, Doyle, and Leech were
no exceptions to this rule ; but at the beginning of the sixties there
arose a new "school" of designers and draughtsmen, prominent
among them being Leighton, Millais, Walker, and Sandys. Those
popular Royal Academicians, Mr. Marcus Stone and Mr. Luke Fildes
(the illustrators respectively of "Our Mutual Friend" and "Edwin
Drood "), are almost the only surviving members of that confraternity ;
they, however, speedily relinquished black-and-white Art in order to
devote their attention to the more fascinating pursuit of painting.
While admitting the technical superiority of many of the illustrations
in the later editions of Dickens's works (such as those by Frederick
Barnard and Charles Green), the collector and bibliophile claim for
the designs in the original issue an interest which is lacking in subse-
quent editions ; that is to say, they possess the charm of association
— a charm that far outweighs possible artistic defects and conventions ;
for, be it remembered, these designs were produced under the direct
influence and authorisation of Dickens, and by artists who worked
hand in hand with the great romancer himself.

It is averred that " Phiz," who rightly retains the premier position
among Dickens's Illustrators, placed very little value upon his tenta-
tive drawings, which, as soon as they had served their purpose, were
either thrown upon the fire or given away incontinently to those who
had the foresight to ask for them. Fortunately, the recipients were dis-
criminating enough to treasure these pencilHngs, many of them having
since been transferred to the portfolios of collectors. For the privilege
of reproducing interesting examples I am indebted to Her Grace the

X PREFACE

Duchess of St. Albans, Mr. J. F. Dexter, Mr. M. H. Spielmann, Mr.
W. H. Lever, Messrs. Robson & Co., the Committee of Nottingham
Castle Museum, and others. I am especially grateful to Mr. Augustin
Daly, of New York, for so generously permitting me to photograph
the famous " Pickwick " drawings by Seymour, together with a hitherto
unpublished portrait of that artist. The portrait of Dickens forming
the frontispiece to this volume is reproduced from a unique impression
of a very scarce lithograph in the possession of Mr. Stuart M. Samuel.

In order to give an effect of continuity to my Notes, I have lightly
sketched the career of each Artist, introducing in chronological
sequence the facts relating to his designs for Dickens. In several
cases, the proof-sheets of these chapters have been revised by the re-
presentatives of the Artists to whom they refer, and for valued aid in
this direction my cordial thanks are due to the Rev. A. J. Buss, Mr.
Field Stanfield, Mr. A. H. Palmer, and Mr. F. W. W. Topham. Those
of Dickens's Illustrators who are still with us have furnished me with
much information, and have kindly expressed their approval of what I
have written concerning them. I therefore avail myself of this oppor-
tunity of tendering my sincere thanks, for assistance thus rendered, to
Mr. Marcus Stone, R.A., Mr. Luke Fildes, R.A., Mr. W. P. Frith, R. A.,
and Sir John Tenniel, R.I., whose mark of approbation naturally im-
parts a special value to the present record. I am still further indebted
to Mr. Stone and Mr. Fildes for the loan of a number of their original
drawings and sketches for Dickens, which have not hitherto been
published.

Owing to the circumstance that many of the so-called " Extra"
Illustrations are now extremely rare, my list of them could never
have been compiled but for advantages afforded me by collectors, in

PREFACE xi

allowing me to have access to their Dickensiana. The kind offices
of Mr. W. R. Hughes, Mr. Thomas Wilson, Mr. W. T. Pevier,
and Mr. W. T. Spencer are gratefully acknowledged in this connec-
tion, as well as those of Mr. Dudley Tenney of New York, who has
rendered me signal service in respect of American Illustrations.

To Forster's " Life of Dickens " and to the published " Letters" I
am naturally beholden for information not otherwise procurable, while
certain interesting details concerning " Phiz's " drawings and etchings
are quoted from Mr. D. C. Thomson's •' Life and Labours of
Habl6t K. Browne," which is more extended in its general scope
than my previously-issued Memoir of the artist.

I am privileged to associate the names of Miss Hogarth and Mrs.
Perugini with this account of Charles Dickens and his collaborateurs i
to the former I am obliged for permission to print some of the
Novelist's correspondence which has never previously been made
public, while the latter has favoured me with the loan of photo-
graphic portraits. Finally, I must express my indebtedness for much
valuable aid to George Cattermole's daughter, Mrs. Edward Franks,
the " cousin " to whom the Novelist alluded in a letter to her father
dated February 26, 1841, and to whose "clear blue eyes" he desired
to be commended.

F. G. KITTON.

St. Albans, SepUmber 1898.

CONTENTS

PREFACE vii

LIST OF ILLUSTRATIONS xv

GEORGE CRUIKSHANK i

ROBERT SEYMOUR 29

ROBERT W. BUSS 47

HABL6t K. BROWNE ("PHIZ") 58

GEORGE CATTERMOLE 121

ILLUSTRATORS OF THE CHRISTMAS BOOKS . .136

JOHN LEECH 138

RICHARD DOYLE 149

CLARKSON STANFIELD, R.A 153

DANIEL MACLISE, R.A. 161

SIR JOHN TENNIEL 17*

FRANK STONE, A.R.A. I7S

SIR EDWIN LANDSEER, R.A 180

SAMUEL PALMER 182

F. W. TOPHAM 189

MARCUS STONE, R.A 192

LUKE FILDES, R-A. .... 204

APPENDIX

L ILLUSTRATORS OF CHEAP EDITIONS 219

II. CONCERNING "EXTRA ILLUSTRATIONS" . . . .227
III. DICKENS IN ART 243

INDEX 249

IP"!

LIST OF ILLUSTRATIONS

PlaU. Suhjtct.

I. Portrait of Charles Dickens

X Portrait of GEOftcB Cruikshank .

3. "Jemima Evans." — Skitchts by Bn

4. " The Four Miss W\\!asK»r—Sk€t<hts by Sot

5. < ' Thoughts about People."— J*//<^^j fy Sot

6. " The Parish Engine."— i^i«/M« by Bon .

7. Studies for Scenes and Characters. — Sitlches by Bat .

8. " Mr. Bumble Degraded in the Eyes of the Paupers."—

Olivtr Twisl

9. " Mr. Claypole as he Appeared when his Master was

OvX."— Oliver Twist

la "Oliver Amazed at the Dodger's Mode of 'Going to
Work.' "—Oliver Twist

11. Studies for Bill Sikes, Nancy, and the Artful Dodger. —

Oliver Twist

12. Studies for Bill Sikes in the Condemned QAX.— Oliver

Twist

13. Study for " Fagin in the Condemned CeW."— Oliver TMst

14. First Idea for " Fagin in the Condemned Cell " and other

Sketches.— 0/iirr Twist

ij. Portrait of Robert Seymour

16. "Mr. Pickwick Addresses ihcO-Mh."— The Pitkwick Papers

17. " The Pugnacious Cabman." — Tie Pickwick Papers

18. "Dr. Slammer's Defiance of Jingle."— 7X<r Pickwick

Papers

19. First Study for "The Dying Clown."— 7X< Pickwick

Papers

aa "The Runaway Chaise."— 7;4f/1rV/Sw* /'o/VrJ .

31. "The Pickwickians in Mr. Wardle's Kitchen." — 7X«

Pickwick Papers

28. Portrait of Robert W. Buss

93. Unused Design for the Title-Page. — The Pickwick Papers

24. " The Break-down." — The Pickwick Papers .

25. " A Souvenir of Dickens "

26. Dolly Varden. — Bamaby Pudge

27. Florence Dombey and Captain Cuttle. — Dombey ami Son

28. Portraits of Habl6t K. Browne and Robert Young .

29. " A Sudden Reci^nition, Unexpected on Both Sides." —

Nicholas Nickleby

30. Studies for the Cheeryble Brothers. — Nicholas Nickleby ,

31. Master Humphrey and the Deaf Gentleman. — Master

Humphreys Clock

32. "The Dombey Family." — Dombey and Son .

33. " Paul and Mrs. Pipchin." — Dombey and Son ,

34. " Mr. Peggott/s Dream comes True." — David Copperfitld

35. " Mr. Chadband ' Improving' a Tough Subject." — Bleak

ffoMse . . , ,

ArHst.

Sou Eytinoe, Junr.

Baugnibt

G. Cruikshank

Taylor
R. Seymour

R. W, Buss

From Photographs

H. K. Browne

Frontispiece
Fating page I

16
18
10

36
29

3»
34

38
40

42
47
48
50
Sa
54
56
58

64
68

7a
76
80
84

xvi LIST OF ILLUSTRATIONS

No. of

Plate. Subject. Artist.

36. Dolly \3.r6en.—Bamaby Rudge H. K. Brownb . Facing page 98

37. Miss Haredale. — Barnaby Rudge 1, ... ,, IIO

38. Portrait of George Cattkrmole From a Photograph ... „ 121

39. qxi^^H'Wa2sl— The Old Curiosity Shop . . . . G. Cattermolk ... „ 124

40. The Death-bed of Little Nell (Two Studies).— 7:4« Old

Curiosity Shop n ... ,, 126

41. The Night Watchman and The "Maypole" Inn. —

Barnaby Rudge ,1 ... ,, 130

42. The Murder at the Warren.— .ffarxa^y A'«(i^< . . . „ 132

43. Portrait of John Leech Sir J. E. Millais, P.R.A. ... „ 138

44. " Richard and Margaret."— 7X/! CAjWj. . . . J. Leech ... „ 140

45. "John, Dot, and Tilly Slowboy."— T^A* Cricket on the

Hearth „ ... „ 142

46. "CaXehafWoiW— The Criciei on the //earth . . „ ... „ 144

47. '• The Tetteihys."— The ffaunteJ JIfan .... „ ... „ 146

SFrom a Photc^raph, and )
from the Painting by > 149
E. M. Ward, R.A. )
49. Portraits of Clarkson Stanfield, R.A., and FRANK

Stone, A.R.A. From Photographs ... „ 153

JO. "Vfai" &nd"VeAce."— The Battle o/Lt/e . . . C Stanfibld, R.A. ... „ 156

51. "The Tower of the Chimes" and "The Spirit of the

Chimes."— 7X« Chimes D. Maclisb, R.A. ... ,, 162

52. "Milly and theOld Man."— 7'A«.fla«n/«rfiJ/o« . . F. Stonk, A.R.A. ... „ 176

,„, ... «. ,«« ( From a Photograph, and )

53. Portraits of Sir John Tknniei, R.I.. and Sir Edwin ^^^ ^^^ ^^^J^ ^g^

LANDSEER.R.A I Sir F. Grant. P.R.A.)

54. Portraits of F. W. TOPHAM and Samuel Palmer . . From Photographs ... ,, 182

55. " The Villa D'Este."—/'iV/«>-« /roOT //*&' . . . S. Palmer 186

56. Portrait of Marcus Stone, R.A. From a Photograph 193

57. Studies for "Mr. Venus Surrounded by the Trophies of

his Alt"— Our Afutua I Friend .... Marcus Stonb, R.A 194

58. Monsieur Defarge and Doctor Manette. — A Tale of Two

Cities „ ... „ 196

59. " Black and White." — American Notes .... „ ... „ 198

60. "Taking Leave of Joe." — Great Expectations . . ,, ... „ 200

61. Portrait of Luke FiLDES, R.A. From a Photograph 204

62. Study for the Head of Neville Landless. — The Mystery of

Edwin Drood . . L. FiLDBS, R.A. ... „ ao6

63. Studies for Edwin Drood. — The Mystery of Edwin Drood „ ... „ 208

64. Studies for Mr. Jasper. — The Mystery of Edwin Drood . „ ... „ 210

65. Study for " Good-bye, Rosebud, Darling." — Th* Mystery

of Edwin Drood „ ... „ 2t2

66. Study for Mr. Grewgious. — The Mystery of Edwin Drood ,, ... „ 214

67. Do. do. do. do. „ ... ,, 216

68. Portraits of Alfred Crowquill (A. H. Forrester) and

Frederick Barnard, R.I From Photographs ... „ 228

69. PortraitsofF.W. Pailthorpe and Charles Green, R.I. ,, ... „ 232

The Frontispiece Portrait of Charles Dickens was photo-engraved by Mr. E. Gilbert Hester, and tht
Collotype Plates were prepared and printed by Mr. James H^att,

Plate II

GEORGE CRUIKSHANK

From the Lithograph by
BAUGNIET

This Portrait is a reproduction of a proof impression, showing the retouch-
ing by Cruikshank himself.

DICKENS

AND HIS ILLUSTRATORS

GEORGE CRUIKSHANK

First Start in Life— Early Productions— " Sketches by Boz"— Introduction to Dickens —
First and Second Series of the " Sketches "—Extra Plates— Additional Designs for the
Complete Edition — Portraiture of Artist and Author — Historic Value of Cruikshank's
Illustrations— Some Slight Inaccuracies— Frontispiece of the First Cheap Edition— Tenta-
tive Sketches and Unused Designs—" Oliver Twist "—Incongruities Detected in a Few
of the Plates— Thackeray's Eulogium — Working Tracings and Water-Colour Replicas —
Trial Sketches— A Note from Cruikshank to Dickens— Sketches of Bill Sikes in the
Condemned Cell— How the Design for "Fagin in the Condemned Cell" was Conceived
— A Criticism by Raskin — The Cancelled Plate — Cruikshank's Claim to the Origin of
"Oliver Twist" — Designs for Dickens's Minor Writings in Bentley's Miscellany —
"The Lamplighter's Story"— Cruikshank's Last Illustration for Dickens — "Frauds on the
Fairies " — The Artist's Remuneration — Death.

TH E name of George Cruikshank, which stands first in the long
and imposing list of Dickens Illustrators, is familiar to every
one as that of a pencil humorist of no common calibre,
whose genius as a designer and whose marvellous skill as an
etcher have evoked enthusiastic praise from John Ruskin and other
eminent critics. He undoubtedly inherited his artistic talent from
his father, who was not only an etcher and engraver, but (as
George himself has recorded) "a first-rate water-colour draughts-
man." So experienced an artist was therefore thoroughly capable of
training his sons, George and Isaac Robert, for the same profession.

Like most boys, George dreamt of the sea, aspiring to become
a second Captain Cook ; but, happily, the death of his father com-
pelled him to take up seriously the work of designing, in order that
he might assist in maintaining his mother and sister. His first start

2 DICKENS AND HIS ILLUSTRATORS

in life originated in a publisher seeing some of his sketches, which
indicated such unusual talent that he was immediately engaged to
illustrate children's books, songs, and other cheap literature peculiar
to the period. Then the young artist essayed the more profitable
arena of political caricaturing, distinctly making his mark as a satirist.
Realising at this time his imperfections as a draughtsman, he deter-
mined to acquire the art of drawing with correctness, entering the
Royal Academy as a student ; but, finding it difficult to work on
pedantic lines, his resolution soon waned, and, after one course of
study, he left the place for a short interval of — forty years ! Although
he never became the learned artist, nor was able to draw with
academic accuracy, he wielded his pencil with a facility and vigour
that delighted all beholders, and this deftness, combined with a
remarkable sense of humour and satire, speedily brought him com-
missions from every quarter.

It was as a book-illustrator that George Cruikshank undoubtedly
excelled, and some idea of his industry in this direction (during a
period of eighty years of his busy life) may be obtained from G. C.
Reid's comprehensive catalogue of his works, where we find enume-
rated more than five thousand illustrations on paper, wood, copper,
and steel. This, however, by no means exhausts the list, for the
artist survived the publication of the catalogue several years, and was
" in harness " to the end of his long career. If the works described
by Mr. Reid be supplemented by the profusion of original sketches
and ideas for his finished designs, the number of Cruikshank's pro-
ductions may be estimated at about fifteen thousand !

Before his introduction to Charles Dickens in 1836, the versatile
artist had adorned several volumes, which, but for his striking illus-
trations, would probably have enjoyed but a brief popularity. His
etchings and drawings on wood are invariably executed in an ex-
ceedingly delicate manner, at the same time preserving a breadth of
effect unequalled by any aquafortiste of his day. "Only those who
know the difficulties of etching," observes Mr. P. G. Hamerton, "can

GEORGE CRUIKSHANK 3

appreciate the power that lies behind his unpretending skill ; there
is never, in his most admirable plates, the trace of a vain effort."

Dickens's clever descriptions of "every-day life and every-day
people" were originally printed in the Monthly Maga-
, Rr> '^''*^' ^^ Evening Chronicle and the Morning Chronicle,

jO-__-^ Bell's Life in London, and "The Library of Fiction,"
and subsequently appeared in a collected form under
the general title of "Sketches by Bo?." Early in 1836 Dickens sold
the entire copyright of the " Sketches " to John Macrone, of St. James's
Square, who published a selection therefrom in two duodecimo volumes,
with illustrations by George Cruikshank. It was at this time that
Charles Dickens first met the artist, who was his senior by about
a score of years, and already in the enjoyment of an established
reputation as a book-illustrator.- That the youthful author, as well
as his publisher, realised the value of Cruikshank's co-operation
is manifested in the Preface to the " Sketches," where Dickens,
after appropriately comparing the issue of his first book to the
launching of a pilot balloon, observes : " Unlike the generality of
pilot balloons which carry no car, in this one it is very possible for a
man to embark, not only himself, but all his hopes of future fame, and
all his chances of future success. Entertaining no inconsiderable feeling
of trepidation at the idea of making so perilous a voyage in so frail a
machine, alone and unaccompanied, the author was naturally desirous
to secure the assistance and companionship of some well-known in-
dividual, who had frequently contributed to the success, though his
well-known reputation rendered it impossible for him ever to have
shared the hazard, of similar undertakings. To whom, as possessing
this requisite in an eminent degree, could he apply but to George
Cruikshank .'' The application was readily heard and at once acceded
to ; this is their first voyage in company, but it may not be the
last" Each of the two volumes contains eight illustrations, and it
may justly be said of these little vignettes that they are among the

4 DICKENS AND HIS ILLUSTRATORS

artist's most successful efforts with the needle. Although highly
popular from the beginning, the " Sketches " were now received with
even greater fervour, and several editions were speedily called for.
As the late Mr. G. A. Sala contended, the coadjutorship of so ex-
perienced a draughtsman as George Cruikshank, who knew London
and London life "better than the majority of Sunday-school children
know their Catechism," was of real importance to the young reporter
of the Morning Chronicle, with whose baptismal name (be it re-
membered) his readers and admirers were as yet unacquainted.

During the following year (1837) Macrone published a Second
Series of the " Sketches " in one volume, uniform in size and character
with its predecessors, and containing ten etchings by Cruikshank ; for
the second edition of this extra volume two additional illustrations were
done, viz., "The Last Cab-Driver" and "May-day in the Evening."'
It was at this time that Dickens repurchased from Macrone the entire
copyright of the "Sketches," and arranged with Chapman & Hall
for a complete edition, to be issued in shilling monthly parts, octavo
size, the first number appearing in November of that year. The
completed work contained all the Cruikshank plates (except that
entitled " The Free and Easy," which, for some unexplained reason,
was cancelled) and the following new subjects : " The Parish Engine,"
"The Broker's Man," "Our Next-door Neighbours," "Early Coaches,"
"Public Dinners," "The Gin-Shop," "Making a Night of It," "The
Boarding-House," "The Tuggses at Ramsgate," "The Steam Ex-
cursion," " Mrs. Joseph Porter," and " Mr. Watkins Tottle."

Cruikshank also produced a design for the pink wrapper enclosing
each of the twenty monthly parts ; this was engraved on wood by
John Jackson, the original drawing (adapted from one the artist
had previously made for Macrone) being now in the possession of
Mr. William Wright, of Paris. The subject of the frontispiece is

' A set of the twenty-eight etchings, proofs before letters (First and Second Series),
realised ^^30 at Sotheby's in 1889. Lithographic replicas of the plates in the Second Series
were published in Calcutta in 1837.

Plate III

"JEMIMA EVANS"

Facsimile of Unused Designs for ' ' Sketches by Boz " by
GEORGE CRUIKSHANK

■rilyjAii- A*«'«^*' **^ ^<*»t. t4»4x^

(A«.>-«v>-<^ t^»»V«--^

/<.-'

! \

: '!]

ij juJ^i^ L-L no"^

GEORGE CRUIKSHANK 5

the same as that of the title-page in the Second Series. The altera-
tion in the size of the illustrations for this cheap edition necessitated
larger plates, so that the artist was compelled to re-etch his designs.
These reproductions, although on an extended scale, were executed
with even a greater degree of finish, and contain more "colour"
than those in the first issue ; but the general treatment of the smaller
etchings is more pleasing by reason of the superior freedom of line
therein displayed. As might be anticipated, a comparison of the
two sets of illustrations discloses certain slight variations, which are
especially noticeable in the following plates : " Greenwich Fair ; "
musicians and male dancer added on left. " Election for Beadle ; "
three more children belonging to Mr. Bung's family on right, and
two more of Mr. Spruggins's family on left, thus making up the full
complement in each case. "The First of May" (originally entitled
" May-day in the Evening ") ; the drummer on the left, in the
first edition, looks straight before him, while in the octavo edition
he turns his face towards the girl with the parasol. " London
Recreations ; " in the larger design the small child on the right
is stooping to reach a ball, which is not shown in the earlier
plate-
Additional interest is imparted to some of the etchings in
" Sketches by Boz " owing to the introduction by the artist of
portraits of Charles Dickens and himself, there being no less than
five delineations of the face and figure of the youthful " Boz " as he
then appeared. In the title-page of the Second Series (as well as
in the reproduction of it in the octavo edition), the identity of the
two individuals waving flags in the car of the balloon has been
pointed out by Cruikshank, who wrote on the original pencil-sketch,
" The parties going up in the balloon are intended for the author and
the artist," — which may be considered a necessary explanation, as
the likenesses are not very apparent.

In the plates entitled "Early Coaches," "A Pickpocket in
Custody," and " Making a Night of It," Cruikshank has similarly

6 DICKENS AND HIS ILLUSTRATORS

attempted to portray his own lineaments and those of Dickens ; he
was more successful, however, in the illustration to " Public Dinners,"
where the presentments of himself and the novelist, as stewards
carrying official wands, are more life-like. There exist, by the way,
several seriously-attempted portraits of Dickens by Cruikshank, con-
cerning the earliest of which it is related that author and artist were
members of a club of literary men known during its brief existence as
" The Hook and Eye Club," and that at one of their nightly meetings
Dickens was seated in an arm-chair conversing, when Cruikshank
exclaimed, "Sit still, Charley, while I take your portrait!" This
impromptu sketch, now the property of Colonel Hamilton, has been
etched by F. W. Pailthorpe, and a similar drawing is included in
the Cruikshank Collection at South Kensington. Among other con-
temporary portrait-studies (executed in pencil and slightly tinted in
colour) is one bearing the following inscription in the artist's autograph :
"Charles Dickens, Author of Sketches by Boz, the Pickwick Papers,
&c., &c., &c.," — an admission that seems to dispose of Cruikshank's
subsequent claim to the authorship of " Pickwick."

It has been remarked that Cruikshank was so accurate in the
rendering of details that future antiquaries will rely upon his plates
as authoritative in matters of architecture, costume, &c. For example,
in the etching of " The Last Cab-Driver," he has depicted an obsolete
form of cabriolet, the driver being seated over the right wheel; and
in that of "The Parish Engine" we may discover what kind of
public fire-extinguisher was then in use — a very primitive implement
in comparison with the modern "steamer." In the latter plate, by
the way, we behold the typical beadle of the period, who after-
wards figured as Bumble in " Oliver Twist." Apropos of this
etching, Mr. Frederick Wedmore points out (in Temple Bar, April
1878) that it is "an excellent example of Cruikshank's eye for pictur-
esque line and texture in some of the commonest objects that met
him in his walks : the brickwork of the house, for instance, prettily
indicated, the woodwork of the outside shutters, and the window, on

Plate IV

"THE FOUR MISS WILLISES"-

Facsimilt of an Unused Design for " Sketches by Boi " by
GEORGE CRUIKSHANK

■-^<%?i^

4/.' V" -s- >^-

\. • ^

-^ \

'•/;c-^:^^=^^''

''f^^XrUf^^

^<. "■,> -. IV-*'* • ■

GEORGE CRUIKSHANK 7

which various lights are pleasantly broken. I know no artist," he
continues, " so alive as Cruikshank to the pretty sedateness of Georgian
architecture. Then, too, there is the girl with basket on arm, a figure
not quite ungraceful in line and gesture. She might have been much
better if Cruikshank had ever made himself that accurate draughtsman
of the figure which he hardly essayed to be, and she and all her
fellows — it is only fair to remember — might have been better, again,
had the artist who designed her done his finest work in a happier
period of English dre^s." Mr. Wedmore alludes to another etching
in " Sketches by Boz " as being " perhaps the best of all in Cruikshank
as proof of that sensitive eye for what is picturesque and character-
istic in every-day London. It is called 'The Streets, Morning,' the
design somewhat empty of 'subject,' only a comfortable sweep who
does not go up the chimney, and a wretched boy who does, are
standing at a stall taking coffee, which a woman, with pattens striking
on pavement and head tied up close in a handkerchief, serves to the
scanty comers in the early morning light. A lamp-post rises behind
her ; the closed shutters of the baker are opposite ; the public-house
of the Rising Sun has not yet opened its doors ; at some house-corner
further off a solitary figure lounges homeless ; beyond, pleasant light
morning shadows cross the cool grey of the untrodden street ; a
church tower and spire rise in the delicate distance, where the turn
of the road hides the further habitations of the sleeping town."

It may be hypercritical to resent, on the score of inaccuracy, an
occasional oversight on the part of Cruikshank ; but it is nevertheless
interesting to note that in the plate entitled " Election for Beadle,"
Cruikshank has omitted from the inscription on Spruggins's placard
a reference to "the twins," the introduction of which caused that
candidate to become temporarily a favourite with the electors ; in
"Horatio Sparkins," the "dropsical" figure of seven (see label on
right) is followed by a little "id." instead of the diminutive "|d."
mentioned in the text ; in " The Pawnbroker's Shop " it will be
observed that the words " Money Lent " on the glass door should

8 DICKENS AND HIS ILLUSTRATORS

appear reversed, so as to be read from the outside; while in the
etching illustrating "Private Theatres," the artist has forgotten to
include the "two dirty men with the corked countenances," who are
specially referred to in the "Sketch."

The first cheap edition of " Sketches by Boz," issued by Chapman
& Hall in 1850, contained a new frontispiece, drawn on wood by
Cruikshank, representing Mr. Gabriel Parsons being released from
the kitchen chimney, — an incident in " Passage in the Life of
Mr. Watkins Tottle."

George Cruikshank not unfrequently essayed several "trial"
designs before he succeeded in realising to his satisfaction the subject
he aimed at portraying. Some of these are extremely slight pencil
notes — "first ideas," hastily made as soon as conceived — while others
were subjected to greater elaboration, and differing but slightly,
perhaps, from the etchings ; on certain drawings are marginal memo-
randa— such as studies of heads, expressions, and attitudes — which
are valuable as showing how the finished pictures were evolved.
The majority of the designs are executed in pencil, while a few are
drawn with pen-and-ink ; occasionally one may meet with a sketch
in which the effect is broadly washed in with sepia or indian-ink, and,
more rarely still, with a drawing charmingly and delicately wrought
in water-colours. Besides original sketches, the collection at the
South Kensington Museum contains a series of working tracings, by
means of which the artist transferred his subjects to the plates.
There are no less than three different suggestions for the frontispiece
of the first cheap edition of " Sketches by Boz," together with various
renderings of the design for the wrapper of the first complete edition,
in which the word "Boz" in the title constitutes a conspicuous feature,
being formed of the three letters superimposed, while disposed about
them are several of the prominent characters. Probably the most
interesting in this collection is a sheet of slight sketches signed by
the artist, although they are merely tentative jottings for his
etchings. One of these pencillings (an unused subject) represents a

Plate V

"THOUGHTS ABOUT PEOPLE"

Faaimile of an Unused Design for " Sketches by Boz " by
GEORGE CRUIKSHANK

V :n7..T'f
"aj<?oai TtJoaA 2thouoht"

■:.: , :jro 30»fono

\ ttrx-,. LU t t^.f !4. cM*

wr^wtm^tmmmtrw*:

GEORGE CRUIKSHANK 9

man proposing a toast at a dinner-table, doubtless intended as an
illustration for "Public Dinners"; and here, too, are marginal studies
of heads — including one of a Bill Sikes type — together with a signifi-
cant note (apparently of a later date) in the autograph of Cruikshank,
which reads thus : " Some of these suggestions to Chas. Dickens,
and which he wrote to in the second part of ' Sketches by Boz ' ! "

A large number of studies for " Sketches by Boz " may also be
seen in the Print Room of the British Museum, many of which are
very slight. In some instances we find the same subject rendered
in different ways, and it is worthy of note that a few of these
designs were never etched ; among the most remarkable of the
unused sketches is a rough drawing for the wrapper of the monthly
parts (octavo edition), with ostensible portraits of author and artist
introduced. This collection includes "first ideas" for "Thoughts
about People," "Hackney Coaches," "The Broker's Man," &c., and
a careful examination shows that the sketches for the plates illus-
trating " Seven Dials " and " The Pickpocket in Custody " are
entitled by the artist " Fight of the Amazons " and " The Hospital
Patient" respectively. In one of the trial sketches for "The Last
Cabman," the horse is represented as having fallen to the ground,
the passenger being violently ejected from the vehicle.

On August 22, 1836, Charles Dickens entered into an agree-
ment with Richard Bentley to edit a new monthly
q^ , magazine called Bentley s Miscellany, and to furnish that

18^7-^0. periodical with a serial tale. George Cruikshank's ser-
vices as illustrator were also retained, and his design for
the wrapper inspired Maginn to indite, for "The Bentley Ballads,"
the "Song of the Cover," whence this characteristic verse is
quoted : —

" Bentley, Boz, and Cruikshank stand
Like expectant reelers ;
' Music ! ' ' Play up ! ' pipe in hand
Beside \h& fluted pillars

lo DICKENS AND HIS ILLUSTRATORS

Boz and Cruikshank want to dance, —

None for frolic riper ;
But Bentley makes the first advance,

Because he pays the piper."

The first number of the Miscellany was issued in January 1837,
and in February appeared the initial chapter of the editor's story,
entitled "Oliver Twist, or, the Parish Boy's Progress," which was
continued in succeeding numbers until its completion in March 1839,
with etchings by Cruikshank.

The dramatic character of this stirring romance of low London
life afforded the artist unusual scope for the display of his talent ;
indeed, his powerful pencil was far more suited to the theme than
that of any of his contemporaries. The principal scenes in the
novel proved most attractive to him, and he fairly revelled in de-
lineating the tragic episodes associated with the career of Fagin and
Sikes. These twenty-four etchings are on the same scale as those
in the first collected edition of the " Sketches," but they are broader
and more effective in treatment. In October 1838, — that is, about
five months before completion in the Miscellany, — the entire story
was issued by Chapman & Hall in three volumes post octavo, and
there can be no doubt that its remarkable success was brought about
in no small meeisure by Cruikshank's inimitable pictures. Nearly
eight years later (in January 1846) a cheaper edition, containing
all the illustrations, was commenced in ten monthly parts, demy
octavo, and subsequently published in one volume by Bradbury &
Evans. On the cover for the monthly numbers Cruikshank has
portrayed eleven of the leading incidents in the story, some of the
subjects being entirely new, while others are practically a repetition
of the etched designs. The plates in this edition, having suffered
from previous wear-and-tear, were subjected to a general touching-
up, as a comparison with the earlier issue clearly indicates, such
reparation (carried out by jui engraver named Findlay, much to
Cruikshank's annoyance) being especially noticeable in cases where

Plate VI

"THE PARISH ENGINE"

FattimiU of the Original Drawing for the First Octavo Edition of
"Sketches by Bor" by

GEORGE CRUIKSHANK

• )C*. I* U-^^ t^i 1^9^' '

i^.

r'^\»Mi<j^'

^M^^^

l»r.

l^ Li-^k

#j]^

.^jr-

/0,a2A-A.

GEORGE CRUIKSHANK ii

"tones" have been added to wall-backgrounds and other parts of
the designs. Apart from actual proof impressions, the "Oliver
Twist" etchings are naturally to be found in their best state in
BentUys Miscellany, where they are seen in their pristine beauty.
In some of the plates it will be observed that Cruikshank has intro-
duced " roulette " (or dotted) work with excellent effect, although,
of course, this disqualifies them as examples of pure etching. The
first cheap edition of "Oliver Twist," issued in 1850 by Chapman
& Hall, contains a frontispiece only by George Cruikshank, repre-
senting Mr. Bumble and Oliver in Mrs. Mann's parlour, as described
in the second chapter.

It has been said that Cruikshank could not draw a pretty woman.
At any rate, he neglected his opportunity in " Oliver Twist," for he
fails in so depicting Rose Maylie, while his portrayal of Nancy is par-
ticularly ugly and repelling, whereas she certainly possessed physical
charms not unfrequently found in women of her class. Although the
artist has imparted too venerable an appearance to the Artful Dodger,
he hcis seized in a wonderful manner the characteristics of criminal
types in his rendering of Fagin and Bill Sikes. In many of Cruik-
shank's etchings the accessories are very dpropos, and sometimes not
without a touch of quiet humour. For example, in the plate repre-
senting Oliver recovering from the fever, there is seen over the
chimney-piece a picture of the Good Samaritan, in allusion to Mr.
Brownlow's benevolent intentions with respect to the invalid orphan ;
while in that depicting Mr. Bumble and Mrs. Comey taking tea,
may be noticed the significant figure of Paul Pry on the mantel-
shelf. Some of the designs are marked by slight incongruities, which,
however, do not detract from their interest. In the etching " Oliver
Plucks up a Spirit," it will be observed that the small round table
which the persecuted lad overthrows during his desperate attack
upon Noah Claypole could not possibly assume, by such accidental
means, the inverted position as here shown. In the plate entitled
"The Evidence Destroyed," the lantern (according to the text) should

12 DICKENS AND HIS ILLUSTRATORS

have been lowered into the dark well, but doubtless the error was
intentional on the part of the artist, in order to secure effect; in
" Mr. Fagin and his Pupil Recovering Nancy," the girl is represented
as being exceedingly robust, whereas she was really "so reduced with
watching and privation as hardly to be recognised as the same Nancy."
Again, in the illustration depicting Sikes attempting to destroy his
dog, we see in the distance the dome of St. Paul's, while, as a matter
of fact, the desperate ruffian had not reached a point so near the
metropolis when he thought of drowning the faithful animal.* In
"The Last Chance," where the robber contemplates dropping from
the roof of Fagin's house to escape his pursuers, the rope (described
in the letterpress as being thirty-four feet long) is barely half that
length, and could never have extended to the ground ; while the dog,
who lay concealed until his master had tumbled off the parapet, must
have been distinctly visible to all observers if he stood so promi-
nently on the ridge-tiles as here indicated. The latter etching is one
of the most fascinating of the series, for here Cruikshank has realised
every feature of the dramatic scene, — the harassed expression on
the evil face of the hunted criminal, the squalid tenements half
shrouded by approaching darkness, the excitement of the people
crowding the windows of the opposite houses ; indeed, the tragic
and repulsive element in the picture constitutes a remarkable effort
on the part of the artist.

In considering the story as a whole, it is difHcult to say how
much of the powerful impression we are conscious of may be due to
the illustrator. In his famous eulogy on Cruikshank, Thackeray
remarked : " We are not at all disposed to undervalue the works and
genius of Mr. Dickens, and we are sure that he would admit as readily
as any man the wonderful assistance that he has derived from the
artist who has given us portraits of his ideal personages, and made

' In a large water-colour replica of this subject, signed " George Cruikshank, Octr. 14th,
1873, in my 82nd year," the artist stated that the landscape represented the old Pentonville
fields, north of London.

Plate VII

STUDIES FOR
SCENES AND CHARACTERS IN "SKETCHES BY BOZ'

Facsimile of the Original Sketches by
GEORGE CRUIKSHANK

In the centre of the sheet the Artist has written : " Some of these suggestions
to Chas. Dickens, nnd which he wrote to in the second part of ' Sketches by
Boi." "

:.X

^*> it-«

/x^.

-"■'l^-

-Tr-

-5 ;,,..o

r >;'C ^ t*AirC t: ^ (^

%-^

-t ^

A s

^^)

->£:. .. :

?rJ\'Kcfc»L«^ (-<f '^''•.

■-'ie

•'^ A'-.

^'^-^'^ -■ ^-

GEORGE CRUIKSHANK 13

them familiar to all the world. Once seen, these figures remain im-
pressed on the memory, which otherwise would have had no hold
upon them, and the Jew and Bumble, and the heroes and heroines
of the Boz Sketches, become personal acquaintances with each of us.
O that Hogarth could have illustrated Fielding in the same way !
and fixed down on paper those grand figures of Parson Adams, and
Squire Allworthy, and the great Jonathan Wild." Again, with
more especial reference to the "Oliver Twist" designs, the kindly
" Michael Angelo Titmarsh " wrote : " The sausage scene at Fagin's ;
Nancy seizing the boy ; that capital piece of humour, Mr. Bumble's
courtship, which is even better in Cruikshank's version than in Boz's
exquisite account of the interview ; Syke's ^ farewell to his dog ; and
the Jew — the dreadful Jew — that Cruikshank drew! What a fine
touching picture of melancholy desolation is that of Sykes and the
dog ! The poor cur is not too well drawn, the landscape is stiff and
formal ; but in this case the faults, if faults they be, of execution
rather add to than diminish the effect of the picture ; it has a strange,
wild, dreary, broken-hearted look ; we fancy we see the landscape
as it must have appeared to Sykes, when ghastly and with bloodshot
eyes he looked at it. As for the Jew in the dungeon, let us say
nothing of it — what can we say to describe it .■* "

— The complete set of twenty- four working tracings of the original
designs for " Oliver Twist," some of which exhibit variations from
the finished etchings, realised jC^^o at Sotheby's in March 1892.
Water-colour replicas of all the subjects were prepared by Cruikshank
in 1866 for Mr. F. W. Cosens, which the artist supplemented by
thirteen smaller drawings and a humorous title-page, the entire series
being reproduced in colour for an edition de luxe of " Oliver Twist,"
published by Chapman & Hall in 1894. The Cruikshank Collec-
tions in the British and South Kensington Museums include many
of the artist's sketches and "first ideas" for the "Oliver Twist"

' The name of Sikes is frequently thus mis-spelt. It is odd that Dickens himself first
wrote it " Sykes," as may be seen in the original manuscript of the story.

14 DICKENS AND HIS ILLUSTRATORS

/ plates, as well as a number of the matured designs. Here are several
/ trial sketches for the monthly wrapper of the first octavo edition,
/ executed in pencil with slight washes of sepia added ; the original
/ drawings for "Rose Maylie and Oliver" (known to collectors as the
"Fireside" plate, to which reference will presently be made), and
for "Mr. Bumble Degraded in the Eyes of the Paupers" (with
marginal sketches), the title of which is appended in Dickens's auto-
graph, where, instead of "the eyes," the word "presence" was
originally written. Here, also, we find the first sketch of Noah
Claypole enjoying an oyster-supper, with the following query written
by the artist: "Dr. Dickens, 'Title' wanted — will any of these do?
Yours, G. Ck." The proposed titles are then given, thus: "Mr.
Claypole Astonishing Mr. Bumble and 'the Natives' ;" " Mr. Claypole
Indulging;" "Mr. Claypole as he Appeared when his Master was
Out," — the latter being adopted. On the back of a pen-and-ink draw-
ing of " Oliver's Reception by Fagin and the Boys," Cruikshank sug-
gested a different title, viz., "OHver Introduced to the Old Gentleman
by Jack Dawkins." A beautiful little water-colour drawing of the
subject, entitled " Oliver Introduced to the Respectable Old Gentle-
man," is in the Print Room of the British Museum, where we may
also discover a portrait of Oliver himself — a profile study of the head
as seen in the drawing now referred to. On the back of a sketch of
Mr. Brownlow at the bookstall (for the plate entitled " Oliver Amazed
at the Dodger's Mode of 'Going to Work'") is the rough draft of an
unsigned note in the autograph of Cruikshank, evidently addressed
to Dickens : —

" Thursday Eg.., June 15, '37.

" Mv DEAR Sir, — Can you let me have a subject for the second
Plate ? The first is in progress. By the way, would you like to see
the Drawing ? I can spare it for an hour or two if you will send for it"

I am enabled to reproduce in facsimile a very interesting sheet
of sketches for prominent characters in "Oliver Twist," containing

Plate VIII

"MR. BUMBLE DEGRADED IN THE EYES OF THE
PAUPERS"

Facsimile of the Original Sketch for "Oliver Twist " by
GEORGE CRUIKSHANK

The Inscription above the Sketch is in the Autograph of Dickens.

Ar*^. r7t.,,Xi

^■'C^u.^-OA. ^,»^,^ ^ Jl^l^ y,^ ^.^«^^

,<..

^. 77:r^-^-^

GEORGE CRUIKSHANK 15

no less than five studies of Fagin, including the "first idea" for the
famous etching of the Jew in the condemned cell. Still more note-
worthy are four studies of Bill Sikes in the condemned cell, evidently
made early in the progress of the book, thus seeming to indicate that
the artist conjectured this would be the fate of the burglar instead of
the Jew ; or is it possible that the existence of these studies may be
considered as a corroboration of his assertion (in a letter to the
Times, presently to be quoted) that he, and not Dickens, must be
credited with the idea of putting either Sikes or Fagin in the cell ?

Concerning Cruikshank's powerful conception of Fagin in the
condemned cell ("the immortal Fagin of 'Oliver Twist,'" as
Thackeray styled him), it is related by Mr. George Hodder (in
" Memories of my Time ") that when the great George brought forth
this picture, where the Jew is seen biting his finger-nails and suffering
the tortures of remorse and chagrin, Horace Mayhew took an oppor-
tunity of asking him by what mental process he had conceived such an
extraordinary notion ; and his answer was, that he had been labouring
at the subject for several days, but had not succeeded in getting the
effect he desired. At length, beginning to think the task was almost
hopeless, he was sitting up in bed one morning, with his hand
covering his chin and the tips of his fingers between his lips, the
whole attitude expressive of disappointment and despair, when he
saw his face in a cheval-glass which stood on the flioor opposite
to him. " That's it ! " he involuntarily exclaimed ; " that's just the
expression I want I " and by this accidental process the picture was
formed in his mind. Many years afterwards Cruikshank declared
this statement to be absurd, and when interrogated by Mr. Austin
Dobson, who met the artist at Mr. Frederick Locker's house in 1877,
he said he had never been perplexed about the matter, but attributed
the story to the fact that, not being satisfied whether the knuckles
should be raised or depressed, he had made studies of his own hand
in a glass, and illustrated his account by putting his hand to his
mouth, looking, with his hooked nose, wonderfully like the character

i6 DICKENS AND HIS ILLUSTRATORS

he was speaking of. Respecting another illustration in the story,
where "The Jew and Morris Bolter begin to Understand each Other,"
Professor Ruskin observes that it is "the intensest rendering of
vulgarity, absolute and utter," with which he is acquainted.

The latter portion of " Oliver Twist " was written in anticipation
of the magazine, in order that the complete story might be promptly
launched in volume form. The illustrations for the final chapters
had consequently to be produced simultaneously and with all possible
speed, so that the artist had no time to submit his designs to Dickens.
One of these plates, viz., " Rose Maylie and Oliver," depicted a scene
in the new home of the Rev. Harry Maylie; he, his wife, and mother,
are seated by the fire, while Oliver stands by Rose Maylie's side.
When Dickens first saw this etching he so strongly disapproved of it
that the plate was forthwith cancelled and another design substituted ;
but, the book being then on the eve of publication, it was impossible
to prevent a small number of impressions of this illustration being
circulated, and copies of the work containing the scarce " Fireside "
plate are therefore eagerly sought after by collectors. Dickens, in
expressing to Cruikshank his disapprobation of this etching, un-
doubtedly realised the delicacy of the situation, in the possibility of
injuring the susceptibilities of the artist, as the following carefully-
worded intimation testifies : —

" I returned suddenly to town yesterday afternoon, to look at
the latter pages of ' Oliver Twist ' before it was delivered to the
booksellers, when I saw the majority of the plates in the last volume
for the first time.

" With reference to the last one — Rose Maylie and Oliver — without
entering into the question of great haste, or any other cause, which
may have led to its being what it is, I am quite sure there can be
little difference of opinion between us with respect to the result. May
I ask you whether you will object to designing this plate afresh, and
doing so at once, in order that as few impressions as possible of the
present one may go forth ?

Plate IX

"MR. CLAYPOLE AS HE APPEARED WHEN HIS
MASTER WAS OUT"

Facsimile of the Original Sketch for " OUver Twist " by
GEORGE CRUIKSHANK

The Inscriptions are in the Autograph of the Artist.

^IH /

; ,'/' 1

■A -i

y^r-

T '

JlV^ CMyjfirCi. (^ Uf^jui^o^

GEORGE CRUIKSHANK 17

" I feel confident you know me too well to feel hurt by this
enquiry, and, with equal confidence in you, I have lost no time in
preferring it"

It seems, however, that Cruikshank did not immediately proceed
to carry out the author's wish, but endeavoured to improve the plate
by retouching and adding further tints by means of stippling, &c. In
the South Kensington Collection there is an early proof of the etching
in which the shadow tints are washed in with a brush, and the fact
that these alterations were subsequently carried out is established by
the existence of a unique impression of the plate in its second state.
This proof was probably submitted to Dickens and again rejected,
for no impressions having the stippled additions are known to have
been published. The substituted design, bearing the same title as
the suppressed one, does not much excel it in point of interest, as
the artist himself readily admitted ; it represents Rose Maylie and
Oliver standing in front of the tablet put up in the church to
the memory of Oliver's mother, this etching appearing in Bentlefs
Miscellany and in all but the earliest copies of the book. The
substituted plate (like many others in the volume) was afterwards
considerably "touched up," for it will be noticed that in the earlier
impressions Rose's dress is light in tone, while subsequently it was
changed to black.

A very circumstantial story relative to Cruikshank's connection
with "Oliver Twist" was published in a Transatlantic journal
called T/u Round Table, and reprinted immediately after Dickens's
death in a biography of the novelist by Dr. Shelton Mackenzie,
who avers that he had been informed that Dickens intended to
locate Oliver in Kent, and to introduce hop-picking and other pic-
turesque features of the county he knew so well : that the author
changed his purpose, and brought the boy to London : and further,
that for such important alterations in the plot Cruikshank was
responsible. But the more remarkable portion of this narrative
is Dr. Mackenzie's account of his visit to Cruikshank in 1847,

i8 DICKENS AND HIS ILLUSTRATORS

at the artist's house in Myddleton Terrace, Pentonville, concerning

which he writes : —

" I had to wait while he was finishing an etching, for which a
printer's boy was waiting. To while away the time, I gladly complied
with his suggestion that I should look over a portfolio crowded with
etchings, proofs, and drawings, which lay upon the sofa. Among
these, carelessly tied together in a wrap of brown paper, was a series
of some twenty-five to thirty drawings, very carefully finished, through
most of which were carried the now well-known portraits of Fagin, Bill
Sikes and his dog, Nancy, the Artful Dodger, and Master Charles
Bates— all well known to the readers of ' Oliver Twist '—and many
others who were not introduced. There was no mistake about it, and
when Cruikshank turned round, his work finished, I said as much.
He told me that it had long been in his mind to show the life of a
London thief by a series of drawings, engraved by himself, in which,
without a single line of letterpress, the story would be strikingly and
clearly told. ' Dickens,' he continued, ' dropped in here one day just
as you have done, and, while waiting until I could speak with him,
took up that identical portfolio and ferreted out that bundle of
drawings. When he came to that one which represents Fagin in
the condemned cell, he silently studied it for half-an-hour, and told
me that he was tempted to change the whole plot of his story ; not
to carry Oliver Twist through adventures in the country, but to take
him up into the thieves' den in London, show what their life was, and
bring Oliver safely through it without sin or shame. I consented to
let him write up to as many of the designs as he thought would suit
his purpose ; and that was the way in which Fagin, Sikes, and Nancy
were created. My drawings suggested them, rather than his strong
individuality suggested my drawings."

Forster naturally characterises this story as a deliberate untruth,
related with "a minute conscientiousness and particularity of detail
that might have raised the reputation of Sir Benjamin Backbite
himself," and points out that the artist's version, as here narrated, is

Plate X

"OLIVER AMAZED AT THE DODGER'S MODE
OF 'GOING TO WORK'"

Facsimile of the First Sketch for the Etching by
GEORGE CRUIKSHANK

Til'

;i//.

TL,(>^ fUr^h

GEORGE CRUIKSHANK 19

completely refuted by Dickens's letter to Cruikshank, which unques-
tionably proves that the closing illustrations had not even been seen
by the novelist until the book was ready for publication. Cruik-
shank, on reading in the Times a criticism of Forster's biography,
in which this charge against Dickens was commented upon, at once
indited the following letter to that journal, where it appeared on
December 30, 1871 :—

" To the Editor of • The Times'

" Sir, — As my name is mentioned in the second notice of Mr. John
Forster's ' Life of Charles Dickens,' in your paper of the 26th inst,
in connection with a statement made by an American gentleman (Dr.
Shelton Mackenzie) respecting the origin of ' Oliver Twist,' I shall be
obliged if you will allow me to give some explanation upon this subject.
For some time past I have been preparing a work for publication, in
which I intend to give an account of the origin of ' Oliver Twist,' and
I now not only deeply regret the sudden and unexpected decease of
Mr. Charles Dickens, but regret also that my proposed work was not
published during his lifetime. I should not now have brought this
matter forward, but as Dr. Mackenzie states that he got the information
from me, and as Mr. Forster declares his statement to be a falsehood,
to which, in fact, he would apply a word of three letters, I feel called
upon, not only to defend the Doctor, but myself also from such a gross
imputation. D^^j^Mackenzie^Joas confused some circumstances with
respect to Mr. Dickens looking over some drawings and sketches
in my studio, but there is no doubt whatever that I did tell this
gentleman that I was the originator of the story of ' Oliver Twist,*
as I have told very many others who may have spoken to me on
the subject, and which facts I now beg permission to repeat in the
columns of the Times, for the information of Mr. Forster and the
public generzilly.

" When Bentley's Miscellany was first started, it was arranged that

20 DICKENS AND HIS ILLUSTRATORS

Mr. Charles Dickens should write a serial in it, and which was to be
illustrated by me ; and in a conversation with him as to what the
subject should be for the first serial, I suggested to Mr. Dickens that
he should write the life of a London boy, and strongly advised him
to do this, assuring him that I would furnish him with the subject
and supply him with all the characters, which my large experience of
London life would enable me to do.

" My idea was to raise a boy from a most humble position up to a
high and respectable one — in fact, to illustrate one of those cases of
common occurrence, where men of humble origin, by natural ability,
industry, honest and honourable conduct, raise themselves to first-
class positions in Society. And as I wished particularly to bring the
habits and manners of the thieves of London before the public (and
this for a most important purpose, which I shall explain one of these
days), I suggested that the poor boy should fall among thieves, but
that his honesty and natural good disposition should enable him to
pass through this ordeal without contamination ; and after I had fully
described the full-grown thieves (the Bill Sykeses) and their female
companions, also the young thieves (the Artful Dodgers) and the
receivers of stolen goods, Mr. Dickens agreed to act on my sugges-
tion, and the work was commenced, but we differed as to what sort
of boy the hero should be. Mr. Dickens wanted rather a queer kind
of chap, and, although this was contrary to my original idea, I com-
plied with his request, feeling that it would not be right to dictate
too much to the writer of the story, and then appeared ' Oliver
Asking for More ; ' but it so happened just about this time that an
inquiry was being made in the parish of St. James's, Westminster,
as to the cause of the death of some of the workhouse children who
had been 'farmed out,' and in which inquiry my late friend Joseph
Pettigrew (surgeon to the Dukes of Kent and Sussex) came forward
on the part of the poor children, and by his interference was mainly
the cause of saving the lives of many of these poor little creatures.
I called the attention of Mr. Dickens to this inquiry, and said that

Plate XI

STUDIES FOR
BILL SIKES, NANCY, AND THE ARTFUL DODGER

Facsimile of Original Sketches by
GEORGE CRUIKSHANK

Lent hy Messrs. Roism &• Co.

fl3oao(j ;

^->iS3

^.■»* T*

GEORGE CRUIKSHANK 21

if he took up this matter, his doing so might help to save many a
poor child from injury and death ; and I earnestly begged of him to
let me make Oliver a nice pretty little boy, and if we so represented
him, the public — and particularly the ladies — would be sure to take
a greater interest in him, and the work would then be a certain
success. Mr. Dickens agreed to that request, and I need not add
here that my prophecy was fulfilled : and if any one will take the
trouble to look at my representations of 'Oliver,' they will see that
the appearance of the boy is altered after the two first illustrations,
and, by a reference to the records of St. James's parish, and to the
date of the publication of the Miscellany, they will see that both
dates tally, and therefore support my statement.

" I had, a long time previously to this, directed Mr. Dickens's
attention to Field Lane, Holborn Hill, wherein resided many thieves
and receivers of stolen goods, and it was suggested that one of these
receivers, a Jew, should be introduced into the story ; and upon one
occasion Mr. Dickens and Mr, Harrison Ainsworth called upon me
at my house in Myddleton Terrace, Pentonville, and in course of
conversation I then and there described and performed the character
of one of these Jew receivers, whom I had long had my eye upon ;
and this was the origin of ' Fagin.'

" Some time after this, Mr. Ainsworth said to me one day, ' I
was so much struck with your description of that Jew to Mr. Dickens,
that I think you and I could do something together,' which notion
of Mr. Ains worth's, as most people are aware, was afterwards carried
out in various works. Long before ' Oliver Twist ' was ever thought
of, I had, by permission of the city authorities, made a sketch of one
of the condemned cells in Newgate prison ; and as I had a great
object in letting the public see what sort of places these cells were,
and how they were furnished, and also to show a wretched condemned
criminal therein, I thought it desirable to introduce such a subject
into this work ; but I had the greatest difficulty to get Mr. Dickens
to allow me to carry out my wishes in this respect ; but I said I

22 DICKENS AND HIS ILLUSTRATORS

must have either what is called a Christian or what is called a Jew
in a condemned cell, and therefore it must be 'Bill Sikes' or
' Fagin ; ' at length he allowed me to exhibit the latter.

" Without going further into particulars, I think it will be allowed
from what I have stated that I am the originator of ' Oliver Twist,'
and that all the principal characters are mine ; but I was much dis-
appointed by Mr. Dickens not fully carrying out my first suggestion.

"I must here mention that nearly all the designs were made
from conversation and mutual suggestion upon each subject, and
that I never saw any manuscript of Mr. Dickens until the work was
, nearly finished, and the letter of Mr. Dickens which Mr. Forster
mentions only refers to the last etching— done in great haste — no
proper time being allowed, and of a subject without any interest ;
in fact, there was not anything in the latter part of the manuscript
that would suggest an illustration ; but to oblige Mr. Dickens I did
my best to produce another etching, working hard day and night,
but when done, what is it ? Why, merely a lady and a boy standing
inside of a church looking at a stone wall !

/- " Mr. Dickens named all the characters in this work himself, but
/ before he had commenced writing the story he told me that he had
heard an omnibus conductor mention some one as Oliver Twist,
which name, he said, he would give the boy, as he thought it would
answer his purpose. I wanted the boy to have a very different name,
I such as Frank Foundling or Frank Steadfast ; but I think the word
\ Twist proves to a certain extent that the boy he was going to employ
for his purpose was a very different sort of boy from the one intro-
duced and recommended to him by, Sir, your obedient servant,

George Cruikshank.

" Hampstead Road, Decetnber 29, 1871."

In 1872 Cruikshank issued a pamphlet entitled "The Artist and
the Author, a Statement of Facts," where he positively asserted that
not only was he the actual originator of "Oliver Twist," but also

PI.ATK XII

STUDIES FOR
BILL SIKES IN THE CONDEMNED CELL

Facnmilt of Original Sketches by
GEORGE CRUIKSHANK

GEORGE CRUIKSHANK 23

of many of Harrison Ainsworth's weird romances ; that these authors
"wrote up to his suggestions and designs," just as Combe did with
regard to " Dr. Syntax " and Rowlandson's previously-executed illus-
trations. In another published letter, dated more than a year prior to
that printed in the Times, the artist emphatically declared that the
greater part of the second volume of " Sketches by Boz " was written
from his hints and suggestions, and he significantly added, " I am pre-
paring to publish an explanation of the reason why I did not illustrate
the whole of Mr. Dickens's writings, and this explanation will not at
all redound to his credit." Indeed, so thoroughly was he imbued with
this conviction, that on April 20, 1874, in responding to a vote of
thanks accorded him by the Mayor of Manchester for an address on
Intemperance, he reiterated his statement relative to the origin of
"Oliver Twist." The Mayor having referred to the artist's designs
in Dickens's novels, Cruikshank intimated that the only work of the
novelist he had illustrated was "Sketches by Boz"; his worship re-
marked, "You forget 'Oliver Twist,'" whereupon Cruikshank replied,
"That came out of my own brain. I wanted Dickens to write me a
work, but he did not do it in the way I wished. I assure you I went
and made a sketch of the condemned cell maiay years before that work
was published. I wanted a scene a few hours before strangulation,
and Dickens said he did not like it, and I said he must have a Jew
or a Christian in the cell. Dickens said, ' Do as you like,' and I put
Fcigin, the Jew, into the cell. Dickens behaved in an extraordinary
way to me, and I believe it had a little effect on his mind. He was
a most powerful opponent to Teetotalism, and he described us as
'old hogs.' "^

Unfortunately for Cruikshank's claim to the origin of "Oliver
Twist," he cdlowed more than thirty years to elapse before making it
public When questioned on this point he would say that ever since

' This is, doubtless, a reference to an article by Dickens entitled "Whole Hogs," which
appeared in Household Words, ^nga&X. 23, 1851, protesting against the extreme views of the
Temperance party.

24 DICKENS AND HIS ILLUSTRATORS

these works were published, and even when they were in progress, he
had in private society, when conversing upon such matters, always
explained that the original ideas and characters of these works. eman-
ated from him ! Mr, Harrison Ainsworth has recorded that Dickens
was so worried by Cruikshank putting forward suggestions that he
resolved to send him only printed proofs for illustration. In a
letter to Forster (January 1838) the novelist wrote, alluding to the
severity of his labours : " I have not done the ' Young Gentleman,'
nor written the preface to ' Grimaldi,' nor thought of ' Oliver Twist,' or
even supplied a subject for the plate,'' the latter intimation sufficiently
indicating that Dickens was more directly concerned in the selection of
suitable themes for illustration than Cruikshank would have us believe.
The author of "Sketches by Boz" abundantly testified in those
remarkable papers that his eyes, like Cruikshank's, had penetrated
the mysteries of London ; indeed, we find in the "Sketches" all the
material for the story of poor Oliver, where it is more artistically and
dramatically treated. It is not improbable, of course, that from Cruik-
shank's familiarity with life in the Great City he was enabled to offer
useful hints to the young writer, and even perhaps to make suggestions
respecting particular characters ; but this constitutes a very unim-
portant share in the production of a literary work. To what extent
the interchange between artist and author was carried can never be
satisfactorily determined ; but of this there can be no doubt, that
Cruikshank's habit of exaggeration, combined with his eagerness in
over-estimating the effect of his work, led him (as Mr. Blanchard
Jerrold remarks) "into injudicious statements or over-statements,"
which were sometimes provocative of much unpleasant controversy.
It is, however, no exaggeration to say that the pencil of George
Cruikshank was as admirable in its power of delineating char-
acter as was the mighty pen of Charles Dickens, and that in the
success and popularity of " Oliver Twist" they may claim an equal
share.

Plate XIII

"FAGIN IN THE CONDEMNED CELL

Facsimilt of a Trial Sketch by
GEORGE CRUIKSHANK

GEORGE CRUIKSHANK 25

Certain humorous pieces written by Dickens for Richard Bentley
Minor ^^""^ ^'^° illustrated by Cruikshank. The first paper,

Writings entitled " Public Life of Mr. Tulrumble, once Mayor
In "Bent' of Mudfog" (published in January 1837), contains an
ley's Mis- etching of Ned * Twigger in the kitchen of Mudfog
cellany. j^j^j]^ ^^j^j ^^^ j^^j^^ contribution, purporting to be a

" Full Report of the Second Meeting of the Mudfog Association
for the Advancement of Everything" (September, 1838) is em-
bellished with a very ludicrous illustration, entitled " Automaton Police
Office and Real Offenders, from the model exhibited before Section
B of the Mudfog Association." This design depicts the interior
of a police-court in which all the officials are automatic — an in-
genious rendering of the idea propounded by Mr. Coppernose to
the President and members of the Association. To the second paper
the artist also supplied a woodcut portrait of " The Tyrant Sowster,"
of whom he made no less than six studies before he succeeded in
producing a satisfactory presentment of Mudfog's "active and intelli-
gent " beadle.

In his juvenile days Dickens wrote a farce entitled " The Lamp-
lighter," which, owing to its non-acceptance by the theatrical manage-
ment for whom it Wcis composed, he converted into an amusing tale
called "The Lamplighter's Story." This constituted his share in
a collection of light essays and other papers gratuitously supplied
by well-known authors, and issued in volume form under the title
of "The Pic Nic Papers," for the benefit of the widow of Macrone,
Dickens's first publisher. The work, edited by Dickens, was
launched by Henry Colborn in 1 841, in three volumes, with fourteen
illustrations by Cruikshank, " Phiz," and other artists. The first
volume opened with " The Lamplighter's Story," for which Cruik-
shank provided an etching entitled "The Philosopher's Stone," the
subject represented being the unexpected explosion of Tom Grig's

' In the original title on the plate, Ned Twigger's Christian name is incorrectly given
as Tom.

26 DICKENS AND HIS ILLUSTRATORS

crucible. This was the last illustration executed by the artist for
Dickens's writings,^ and it may be added that some impressions of
the plate were issued in proof state "before letters," but these are
exceedingly rare. Although for many years afterwards they con-
tinued fast friends, it may be (as Mr. Graham Everitt conjectures)
that Cruikshank found it impossible to co-operate any longer with
so exacting an employer of artistic labour as Charles Dickens, who
remonstrated, with some show of reason, that he was the best
judge of what he required pictorially, — an argument, however, which
did not suit the independent spirit of the artist. Of his genius
Dickens was ever a warm admirer, and remarking upon the ex-
clusion of so able a draughtsman from the honours of the Royal
Academy, because, forsooth! his works were not produced in cer-
tain mediums, the novelist pertinently asks : " Will no Associates be
found upon its books one of these days, the labours of whose oil
and brushes will have sunk into the profoundest obscurity, when
many pencil-marks of Mr. Cruikshank and Mr. Leech will be still
fresh in half the houses in the land ? "

It will be remembered that George Cruikshank published a
version of the Fairy Tales, converting them into stories somewhat
resembling Temperance tracts. Dickens was greatly incensed, and,
half-playfully and half-seriously, protested against such alterations
of the beautiful little romances, this re-writing them "according
to Total Abstinence, Peace Society, and Bloomer principles, and
expressly for their propagation ; " in an article published in House-
hold Words, October i, 1853, entitled "Frauds on the Fairies,"
the novelist enunciates his opinions on the subject, and gives
the story of Cinderella as it might be "edited" by a gentleman
with a " mission." This elicited a reply from Cruikshank (in a short-
lived magazine bearing his name, and launched by him in 1854),

1 Cruikshank designed the illustrations for the "Memoirs of Grimaldi," 1838, but this
work was merely edited by Dickens, and therefore does not come within the scope of the
present volume.

Platk XIV

FIRST IDEA AND SKETCH FOR

"FAGIN IN THE CONDEMNED CELL"

And Various Studies for Scbnes and Ciiaractbrs in
"Olivrr Twist"

Paciimile oi Original Drawings by
GEORGE CRUIKSHANK

VI X >

■J ! ' ' iini r,i /■.UJ/i^'

-•I SHJtT •■ ' '

K '^

^Jt,

> ^ '

v^<

\^^

J-- - •>._■

X.'

i'\

^^^ ^

GEORGE CRUIKSHANK 27

which took the form of " A Letter from Hop-o'-my-Thumb to Charles
Dickens, Esq.," commencing with "Right Trusty, Well-Beloved,
Much-Read, and Admired Sir," the artist contending that he was
justified in altering "a common fairy-tale" when his sole object
was to remove objectionable passages, and, in their stead, to inculcate
moral principles. There is no doubt, however, that Dickens's rebuke
seriously affected the sale of the Fairy Library.

In 1847 Dickens instituted a series of theatrical entertainments
for certain charitable objects, the distinguished artists and writers
who formed the goodly company of amateur actors including George
Cruikshank. On one occasion they made a tour in the provinces,
giving performances at several important towns, and on the conclusion
of this "splendid strolling" Dickens wrote an amusing little jeu
cCesprti in the form of a history of the trip, adopting for the purpose
the phraseology of Mrs. Gamp. It was to be a new "Piljian's
Projiss," with illustrations by the artist-members ; but, for some
reason, it was destined never to appear in the mamner intended by
its projector. Forster has printed all that was ever written of the
little jest, where we find a humorous description of Cruikshank in
Mrs. Gamp's vernacular : " I was drove about like a brute animal
and almost worritted into fits, when a gentleman with a large shirt-
collar and a hook nose, and a eye like one of Mr. Sweedlepipe's
hawks, and long locks of hair, and wiskers that I wouldn't have no
lady as I was engaged to meet suddenly a turning round a corner,
for any sum of money you could offer me, says, laughing, ' Halloa,
Mrs. Gamp, what are you up to ? ' I didn't know him from a man
(except by his clothes) ; but I says faintly, ' If you're a Christian
man, show me where to get a second-cladge ticket for Manjester,
and have me put in a carric^e, or I shall drop ! ' Which he kindly
did, in a cheerful kind of a way, skipping about in the strangest
manner as ever I see, making all kinds of actions, and looking and
vinking at me from under the brim of his hat (which was a good
deal turned up), to that extent, that I should have thought he meant

28 DICKENS AND HIS ILLUSTRATORS

something but for being so flurried as not to have no thoughts at
all until I was put in a carriage. . . ." When Mrs. Gamp was
informed, in a whisper, that the gentleman who assisted her into the
carriage was "George," she replied, "What George, sir? I don't
know no George." "The great George, ma'am — the Crookshanks,"
was the explanation. Whereupon Mrs. Gamp continues : " If you'll
believe me, Mrs. Harris, I turns my head, and see the wery man
a making picturs of me on his thumb-nail at the winder!" The
artist took part in several plays under Dickens's management, but,
cilthough it is not recorded that he created great sensation as an
actor, it seems evident that his impersonations met with the
approval of the novelist, who was a thorough martinet in Thespian
matters.
^ That George Cruikshank was by no means a prosperous man is
perhaps explained by the fact that he never was highly remunerated
for his work. "Time was," wrote Thackeray, "when for a picture
with thirty heads in it he was paid three guineas — a poor week's
pittance, truly, and a dire week's labour ! " The late Mr. Sala de-
clared that for an illustrative etching on a plate, octavo size, George
never received more than twenty-five pounds, and had been paid
as low as ten,— that he had often drawn "a charming little vignette
on wood" for a guinea. On February i, 1878, this remarkable
designer and etcher — the most skilled book-illustrator ot his day —
passed painlessly away at his house in Hampstead Road, having
attained the ripe old age of eighty-five. His remains were interred
at Kensal Green, but were ultimately removed to the crypt of St.
Paul's Cathedral, where a bust by Adams perpetuates his memory.

<Ji U^^ ?7^0C£/T-^

Plate XV

ROBERT SEYMOUR

From an Unpublished Drawing by
TAYLOR

Lent by Mr. A ugiistin Daly.

ROBERT SEYMOUR

Early Years— A Taste for High Art— Drawings on Wood for Figaro and Belts Ufe in London—
Essays the Art of Etching— Designs for " Maxims and Hints for an Angler"— Proposes
to Publish a Book of Humorous Sporting Subjects —A " Club of Cockney Sportsmen " —
Charles Whitehead and Charles Dickens — The Inception of " The Pickwick Papers "
—Seymour's Illustrations— The Artist Succumbs to Overwork— Suicide of Seymour—
Dickens's Tribute— Seymour's Last Drawing for " Pickwick "—" The Dying Clown"— His
Original Designs — Seymour's Conception of Mr. Pickwick — Letter from Dickens to the
Artist— "First Ideas" and Unused Sketches— A Valuable Collection— Scarcity of Seymour's
"Pickwick" Plates— Design for the Wrapper of the Monthly Parts— Mrs. Seymour's
Account of the Origin of "The Pickwick Papers"— An Absurd Claim Refuted— "The
Library of Fiction "— Seymoui^s Illustrations for " The Tuggses at Ramsgate."

CONCERNING the artist who was primarily engaged in the
illustration of "Pickwick," very little has been recorded,
owing perhaps to the fact that his career, which terminated
so tragically and so prematurely, was brief and uneventful. The
following particulars of his life and labours, culled from various
sources, will, I trust, enable the reader to appreciate Robert
Seymour's true position respecting his connection with Charles
Dickens's immortal work.

Born "in or near London" in 1798, Robert Seymour indicated
at a very early age a decided taste for drawing, whereupon his father,
Henry Seymour, a Somerset gentleman, apprenticed him to a skilful
/pattern-draughtsman named Vaughan, of Duke Street, Smithfieldj
Although this occupation was most uncongenial to young Seymour,
it caused him to adopt a neat style of drawing which ultimately
proved of much utility. He aspired to a higher branch of Art than

' In another account (written by a contemporary of the artist) it is stated that Seymour was
the natural son of Vaughan himself, and that the child bore the name of the mother, under
whose care he remained until his father acknowledged the paternity, when he took the boy
into his workshop.

30 DICKENS AND HIS ILLUSTRATORS

that involved in the delineation of patterns for calico-printers ; but
for a time he remained with Vaughan, pleasantly varying the mono-
tony of his daily routine by producing miniature portraits of friends
who consented to sit to him, receiving in return a modest though
welcome remuneration. Still cherishing an inclination towards " High
Art," he and a colleague named Work (significant patronymic !)
deserted Vaughan, and, renting a room at the top of the old tower
at Canonbury, they purchased a number of plaster-casts, lay-figures,
&c., from which the two juvenile enthusiasts began to study with
great assiduity. In Seymour's case tangible results were speedily
forthcoming, for he presently painted a picture of unusually large
dimensions, quaintly described by his fellow-student as containing
representations of "the Giant of the Brocken, the Skeleton Hunt,
the Casting of Bullets, and a full meal of all the German horrors
eagerly swallowed by the public of that day." This remarkable
canvas was, it seems, a really creditable work, and found a place on
the walls of a gallery in Baker Street Baazar. Seymour, like many
other ambitious young artists possessing more talent than pence,
quickly realised the sad fact that, though the pursuit was in itself a
very agreeable one, it meant penury to the painter unless he owned
a private fortune or commanded the purse-strings of rich patrons.
The artist's widow afterwards declared that he invariably sold his
pictures direct from the easel ; but there is no doubt that with him
"High Art" proved a financial failure, and he reluctantly turned his
attention to the more lucrative (if less attractiveXoCCUpatioTTofdesigning
on wood, for which he was peculiarly fitted by his previous practice
in clean, precise draughtsmanship during that probationary period
in Vaughan's workshop!

Seymour was endowed by Nature with a keen sense of the
ludicrous, and this, aided by a knowledge of drawing, enabled him
to execute designs of so humorous a character that his productions
were immediately welcomed by the proprietors of such publications
as Figaro and Belts Life in London, to which were thus given a

ROBERT SEYMOUR 31

vitality and a popularity they did not previously possess. Although
at first the recompense was but scanty, hardly sufficient, indeed, to
procure the necessaries of life, yet Robert Seymour felt it was the
beginning of what might eventually resolve itself into a fairly re-
munerative vocation. His talent speedily brought him profitable
commissions for more serious publications, while his pencil was
simultaneously employed in sketching and drawing amusing incidents,
especially such as related to 'fishing and shooting, — forms of sport
which constituted his favourite recreation.! Living at this time in
the then rural suburb of Islington, he had many opportunities of
observing the methods of Cockney sportsmen, who were wont to
wander thither on Sundays and holidays, and whose inexperience
with rod and gun gave rise to many absurdities and comic fiascos,
thus affording the young artist abundant material for humorous
designs.

Until 1827, Seymour confined his labours to drawing for the
wood-engravers. [He now essayed the art of etching upon plates
of steel or copper, simulating the style and manner of George Cruik-
shank ; he even ventured to affix the nom cU plume of " Shortshanks "
to his early caricatures, until he received a remonstrance from
the famous George himselfj Having attained some proficiency in
both etching and lithography, he determined to make practical
use of his experience, and in 1833 designed a /series of twelve
lithographic platesi for a new edition of a work entitled " Maxims
and Hints for an Angler," in which the humours of the pisca-
torial art were excellently rendered ; he also executed a number
of similar designs portraying, with laughable effect, the adventures
and misadventures of the very "counter-jumpers" whose ways
and habits came under his keen, observant eye. These amusing
pictures, drawn on stone with pen-and-ink, and published as a
collection of " Sketches by Seymour," achieved an immense popu-
larity, and were chiefly the means of rendering his name generally
familiar.

32 DICKENS AND HIS ILLUSTRATORS

Seymour was very fond of horticultural pursuits, and took great
pains in cultivating his own garden ; but the result of his efforts in
this direction proved disappointing, and when dilating upon his want of
success, it was suggested that the misfortunes of an cimateur gardener
might be made the subject of some entertaining drawings. After
pondering over this idea, and mindful of the fact that he still possessed
a number of unpublished sketches reflecting upon the abilities of
amateur sportsmen, he resolved upon reproducing some of a sporting
character. His original notion was to bring out a work similar in
plan to that of " The Heiress," a pictorial novel which he illustrated
in 1830, and he first proposed the subject to the printseller McLean
in 1835, and then to Spooner, the well-known publisher. The latter
highly approved the project, and in discussing it they concluded it
would be desirable to supplement the pictures with suitable letter-
press. The undertaking was so far advanced that Seymour etched
four plates, but, owing to unforeseen delays on the part of Spooner,
the matter was held in abeyance for about three months, by which
time Seymour determined to issue the work on his own responsibility,
and to endeavour to get H. Mayhew or Moncrieff to write for it.

When, in February 1836, Edward Chapman (of Chapman & Hall)
Thg called upon him with reference to a drawing which the

Pickwick firm had commissioned him to undertake, the artist
Papers, mentioned the scheme of a work to be illustrated by
1836-37. j^in,^ having, as a central idea, a "Club of Cockney
Sportsmen." [Chapman thought favourably of the notion, and pro-
posed that it should be brought out in two half-guinea volumes ;
but Seymour, desiring the widest circulation, insisted on the plan
he originally conceived, that ol shilling monthly numbersT] Then
came the question. Who should prepare the requisite text? Leigh
Hunt, Theodore Hook, and other prominent writers of the day
declined to undertake it, and shortly afterwards Seymour, having just
been reading " Sketches by Boz," the humour and originality of which

Plate XVI

"MR. PICKWICK ADDRESSES THE CLUB"

Facsimile of the Original Drawing for "The Pickwick Papers" by
R. SEYMOUR

Lent iy Mr, Ayguslin Daly.

lit

ROBERT SEYMOUR 33

highly delighted him, proposed that Dickens should be asked to
contribute the letterpress.

Mr. Mackenzie Bell has given (in the Alkenaum, June 11,
1887) a slightly different version of this part of the narration, and
states that Charles Whitehead, an early friend of Dickens, "used
constantly to affirm that he had been asked to write to Seymour's
sketches, and that, feeling uncertain of being able to supply the
copy with sufficient regularity, he [not Seymour] recommended
Dickens for the task. This appears very likely to have been the
case," adds Mr, Bell, "as at that time Whitehead, who was eight
years older than Dickens, was already known as a facile and fecund
writer, his coarse yet powerful romance of ' Jack Ketch ' having been
very popular for some time. It is even possible that ' The Pickwick
• Papers' may have been suggested to Dickens by a passage in the
preface of 'Jack Ketch,' where a humorous allusion is made to the
possibility of the author producing his more mature experiences under
the unambitious title of ' The Ketch Papers,' a work which never
appeared." It may be mentioned that Dickens had just sent in his
MS. of "The Tuggses at Ramsgate" for "The Library of Fiction,"
edited by Whitehead, who was already familiar with the budding
novelist's ability as an author. This carries us to the point whence
Dickens takes up the thread of the story, as printed in the preface to
the first cheap edition of " Pickwick " (1847), where he writes : —

" I was a young man of three-and-twenty when the present
publishers [Chapman & Hall], attracted by some pieces I was at
that time writing in the Morning Chronicle newspaper (of which one
series had lately been collected and published in two volumes, illus-
trated by my esteemed friend George Cruikshank), waited upon
me to propose a something that should be published in shilling
numbers. . . . The idea propounded to me was that the monthly
something should be a vehicle for certain plates to be executed by
Mr. Seymour, and there was a notion, either on the part of that
admirable humorous artist or of my visitor (I forget which), that a

34 DICKENS AND HIS ILLUSTRATORS

'Nimrod Club,' the members of which were to go out shooting,
fishing, and so forth, and getting themselves into difficulties through
their want of dexterity, would be the best means of introducing these.
I objected, on consideration, that although born and partly bred in
the country, I was no great sportsman, except in regard of all kinds
of locomotion ; that the idea was not novel, and had been already
much used ; that it would be infinitely better for the plates to arise
naturally out of the text ; and that I should like to take my own way,
with freer range of English scenes and people, and was afraid I should
ultimately do so in any case, whatever course I might prescribe to
myself at starting. My views being deferred to, I thought of Mr.
_Pickwick, and wrote the first number, from the proof-sheets of which
\Mr^ Seymour made his drawing of the Club, and that happy portrait
of its founder, by which he is always recognised, and which may be
said to have made him a reality. I connected Mr. Pickwick with a '
club because of the original suggestion, and I put in Mr. Winkle I
expressly for the use of Mr, Seymour."

The first monthly part of " The Pickwick Papers " appeared early
in April 1 836, consisting of twenty-six pages of text and four etchings
by Seymour. Judging from a letter written by Dickens at the time
the scheme was first proposed, it seems that the illustrations were
to have been engraved on wood. The artist was then excessively
busy, for besides pledging himself to produce four plates for each
monthly issue of " Pickwick," he had numerous other engagements
to fulfil, so great was the demand for his designs. Although a rapid
executant, the commissions he received from publishers accumulated
to such an extent, that the excessive strain resulting from overwork
at starvation prices began seriously to affect his health. Not only
did the monthly supply of the " Pickwick " plates constitute an
additional demand upon his mental resources, but he was harassed
by the uncertainty of receiving from the printer the proofs from which
he deduced his subjects, these sometimes being delayed so that very
little time was allowed for the preparation of the plates. Unhappily

♦I

Plate XVII

"THE PUGNACIOUS CABMAN"

Facsimile of the Original Drawing for " The Pickwick Papers" by
R SEYMOUR

Lent by Mr. AuguiHn Daly.

ROBERT SEYMOUR 35

his brain was unable to bear such pressure ; constant business worries
and anxieties induced symptoms of insanity, and before he had com-
pleted the second quartette of etchings for "Pickwick," the unfortunate
artist committed suicide. This deplorable act took place on April 20,
1836, in a summer-house in the garden at the back of his residence
in Liverpool Road, Islington, where, by the aid of a string attached to
the trigger of a fowling-piece, he deliberately sent the charge through
his head.

Seymour, we are assured, had not the slightest pecuniary embar-
rassment ; he was quite happy, too, in his domestic affairs, extremely
fond of his family, and naturally of a very cheerful disposition. His
melancholy fate caused a general feeling of regret among the public,
with whom he was a great favourite, and to whom he was then
better known than Dickens himsell. In the second number of
" Pickwick " appeared the following just tribute to the merits of the
artist : " Some time must elapse before the void the deceased gentle-
man has left in his profession can be filled up; the blank his death
has occasioned in the Society, which his amiable nature won, and
his talents adorned, we can hardly hope to see supplied. We do
not allude to this distressing event, in the vain hope of adding, by
any eulogium of ours, to the respect in which the late Mr. Seymour's
memory is held by all who ever knew him."

In the original announcement of "The Pickwick Papers" we
read : " Seymour has devoted himself, heart and graver, to the task
of illustrating the beauties of ' Pickwick.' [It was reserved to Gibbon
to paint, in colours that will never fade, the Decline and Fall of the
Roman Empire — to Hume to chronicle the strife and turmoil of the
two proud Houses that divided England against herself — to Napier
to pen, in burning words, the History of the War in the Penin-
sula ; — the deeds and actions of the gifted Pickwick yet remain foi;
' Boz ' and Seymour to hand down to posterity." This projected
collaboration, alas ! was speedily frustrated by the unexpected tragedy,
for Seymour had produced but seven plates when he terminated his

36 DICKENS AND HIS ILLUSTRATORS

life, the following being the subjects of his designs in the order
of their publication :

First Number.

" Mr. Pickwick Addresses the Club."

"The Pugnacious Cabman."

"The Sagacious Dog."

"Dr. Slammer's Defiance of Jingle."

Second Number.

"The Dying Clown."

"Mr. Pickwick in Chase of his Hat."

"Mr. Winkle Soothes the Refractory Steed."

The Address issued with the Second Part contains an apology
for the appearance therein of only three plates instead of four, as
promised. "When we state," says the author, "that they comprise
Mr. Seymour's last efforts, and that on one of them, in particular,
(the embellishment to the Stroller's Tale,) he was engaged up to a
late hour of the night preceding his death, we feel confident that
the excuse will be deemed a sufficient one." Dickens had seen the
unhappy man only once, forty-eight hours before his death, on the
occasion of his visit to Furnival's Inn with the etching just referred
to, which, altered at Dickens's suggestion, he brought away again for
the few further touches that occupied him to a late hour of the
night before he destroyed himself* In an unpublished letter (dated
April 3, 1866) addressed by the novelist to a correspondent who
required certain particulars respecting " Pickwick," he thus referred
to the artist: "Mr. Seymour shot himself before the second number
of ' The Pickwick Papers "... was published. While he lay dead,

> The artist's son asserts that the last plate Seymour etched for " Pickwick " (viz., " The Dying
Clown ") was submitted to Dickens a fortnight (not forty-eight hours, as recorded by Forster)
before his death. It seems that Seymour's final drawing was for a woodcut, executed for
John Jackson, the engraver, to whom the artist delivered it on the evening of the fatal day,
April 20, 1836.

Plate XVIII

^DR. SLAMMER'S DEFIANCE OF JINGLE"

Fatsimile of the Original Drawing for " The Pickwick Papers " by
A R. SEYMOUR

^^^H- /^nt if Mr. Augustin Daly.

ROBERT SEYMOUR 37

it was necessary that search should be made in his working room
for the plates to the second number, the day for the publication of
which was then drawing on. The plates were found unfinished,
with their faces turned to the wall. It was Mr. Chapman who found
them and brought them away."

In 1887 Messrs. Chapman & Hall appropriately celebrated the
Jubilee of "The Pickwick Papers" by publishing an Edition de luxe,
with facsimiles of the original drawings made for the work, or, rather,
of as many of these as were then available. In the editor's preface it
is stated that four out of the seven drawings etched by Seymour for
"Pickwick" had disappeared, but it afterwards transpired that two of
the missing designs remained in the possession of the artist's family,
until they were sold to a private purchaser, who, in 1889, disposed of
them by auction. Of these drawings, therefore, only one, viz., " The
Sagacious Dog," is undiscoverable. The album in which the missing
designs were found also contained other original drawings for
" Pickwick," as well as the Dickens letter to Seymour and an ex-
cellent portrait of the artist; this important collection included the
three published designs (viz., "Mr. Pickwick Addresses the Club,"
"The Pugnacious Cabman," and "Dr. Slammer's Defiance of Jingle,"
— the latter differing slightly from the etching), together with the
first sketch for "The Dying Clown," and two unpublished draw-
ings (evidently alternative subjects, illustrating incidents in the
fifth chapter), respectively representing " The Runaway Chaise "
and "The Pickwickians in Mr. Wardle's Kitchen." All these
drawings, except that of "The Dying Clown," are outlined with
pen-and-ink, and the eft'ects washed in with a brownish tint. Perhaps
the most astonishing circumstance in connection with this collection
is the extravagant sum it realised in the auction-room, for, as might
be anticipated, many were anxious to secure so valuable a memento.
The bidding was brisk until J^.ioo was reached, when competition
was confined to the representative of Mr. Augustin Daly (of New
York) and another whose name is unrecorded, the result being

38 DICKENS AND HIS ILLUSTRATORS

that the prize fell to Mr. Daly for ;^500 — probably a record figure
for such an item. No one experienced greater surprise at this
enormous price than the purchaser himself, who assures me that,
although he imposed no limit, it was never his intention to offer so
fabulous an amount ; indeed, the sum he had in his mind was not
so much as a quarter of that at which this attractive album eventually
fell to the hammer. Owing to the generosity of Mr. Daly, I am
enabled to reproduce in facsimile the whole of these extremely
interesting designs, which he brought to England expressly for
this purpose.

LSeymour's method of work was to sketch with pencil or pen the
outline of his subject, and add the shadow effects by means of
light washes of a greyish tint. A precision and neatness of touch
characterise these "Pickwick" drawings, the most interesting of
which is undoubtedly that representing Mr. Pickwick addressing the
Club, a scene such as Seymour may have actually witnessed in
the parlour of almost any respectable public-house in his own neigh-
bourhood of Islington.^! Here we have the first delineation of the
immortal founder of "the famous Club, "that happy portrait," as
Dickens said of it, "by which he is always recognised, and which
may be said to have made him a reality." Seymour originally
sketched this figure as a long thin man, the familiar presentment
of him as a rotund personage having been subsequently inspired
by Edward Chapman's description of a friend of his at Richmond
named John Foster, "a fat old beau, who would wear, in spite
of the ladies' protests, drab tights and black gaiters." It is curious,
however, that in " The Heiress," illustrated by Seymour six years
previously, we find in the second plate a character bearing a strik-
ing resemblance to Mr. Pickwick, and in "Maxims and Hints
for an Angler" (1833), the artist similarly portrayed an old gentle-
man marvellously like him, both as regards physique and benignity
of expression ; indeed, this seems to have been a favourite
type with Seymour, and thus it would appear that, in making

Plate XIX

FIRST STUDY FOR
"THE DYING CLOWN"

Faetimilt of the Original Drawing for " The Pickwick Papers " by
R. SEYMOUR

tint by Mr. AugusHn Dafy.

XJX -n /..''!

" /. 7/ o .i w» i-j /. ; x.i. .

ROBERT SEYMOUR 39

Dickens's hero short and comfortable, he only reverted to an earlier
conception.

The drawing which ranks second in point of interest is the artist's
first idea for "The Dying Clown," illustrating "The Stroller's Tale."
The original sketch is a slight outline study in pen-and-ink of the
figures only, the facial expressions being cleverly rendered. In the
Victoria edition of " The Pickwick Papers " a facsimile is given of a
later and more developed version of the subject ; this differs from
the published etching, the alterations being the result, doubtless, of the
criticism bestowed upon the drawing in the following letter addressed
by Dickens to the artist, — apparently the only written communication
from him to Seymour which has been preserved : —

"15 Furnival's Inn,
" Thursday Evening, April 1836.

" My dear Sir, — I had intended to write to you to say how
much gratified I feel by the pains you have bestowed upon our
mutual friend Mr. Pickwick, and how much the result of your
labours has surpassed my expectations. I am happy to be able to
congratulate you, the publishers, and myself on the success of the
undertaking, which appears to have been most complete.

" I have now another reason for troubling you. It is this. I
am extremely anxious about 'The Stroller's Tale,' the more especially
as many literary friends, on whose judgment I place great reliance,
think it will create considerable sensation. I have seen your design
for an etching to accompany it. I think it extremely good, but still
it is not quite my idea ; and as I feel so very solicitous to have it
as complete as possible, I shall feel personally obliged if you will
make another drawing. It will give me great pleasure to see you,
as well as the drawing, when it is completed. With this view I
have asked Chapman and Hall to take a glass of g^og with me
on Sunday evening (the only night I am disengaged), when I hope
you will be able to look in.

40 DICKENS AND HIS ILLUSTRATORS

"The alteration I want I will endeavour to explain. I think
the woman should be younger — the dismal man decidedly should,
and he should be less miserable in appearance. To communicate
an interest to the plate, his whole appearance should express more
sympathy and solicitude; and while I represented the sick man as
emaciated and dying, I would not make him too repulsive. The
furniture of the room you have depicted admirably. I have ventured
to make these suggestions, feeling assured that you will consider
them in the spirit in which I submit them to your judgment. I shall
be happy to hear from you that I may expect to see you on Sunday
evening. — Dear Sir, very truly yours, Charles Dickens."

In compliance with this wish, Seymour etched a new design for
"The Stroller's Tale," which he conveyed to the author at the ap-
pointed time, this being the only occasion on which he and Dickens
ever met. Whether the novelist again manifested dissatisfaction, or
whether some other cause of irritation arose, is not known, but it is
said that Seymour returned home after the interview in a very dis-
contented frame of mind ; he did nothing more for " Pickwick " from
that time, and destroyed nearly all the correspondence relating to
the subject It has been stated that he received five pounds for
each drawing, but it is positively asserted, on apparently trustworthy
evidence, that the sum paid on account was only thirty-five shillings
for each subject,* and that the artist never relinquished the entire
right which he had in the designs.

As in the case of "The Stroller's Tale," there are noticeable
differences between the drawing and the etching of the last of
Seymour's published designs, depicting Mr. Winkle and the Re-
fractory Steed. In this plate it will be observed that, although the
general composition is identical with that in the drawing, the
positions of the horse's forelegs are reversed, and trees have been
introduced on the left of the picture.

» R. W. Buss, the successor of Seymour as illustrator of " Pickwick," records that ten
shillings was the price accorded to the artist for each plate.

Plate XX

"THE RUNAWAY CHAISE"

Facsimitt of an Unused Design for " The Pickwick Papers" bjr
R. SEYMOUR

This Drawing iliustrates nn incident in Ibe fifkh chapter.

Ltnt by Mr. Au^stin Daly.

ROBERT SEYMOUR 41

/ An examination of Seymour's etchings for " Pickwick " shows u.
that, in the application of the dilute nitric acid to corrode the lines
produced by the etching-point, the artist was greatly troubled, and,
in order to save his designs and keep faith with the publishers and
the public, he was probably compelled to apply for help in his need
to one of the artist-engravers residing in his neighbourhood. It has
been suggested that certain faults in his plates caused by defective
" biting " were remedied by means of the engraving tool ; but, so
far as I have been able to discover, there is no evidence of thisJ
His plates possess the quality of pure etching; indeed, in that
respect they are superior to those by " Phiz " in the same work.
It should, however, be noted that there are extant very few copies
of " Pickwick " containing impressions from Seymour's own plates ;
perhaps in not more than one copy out of a hundred will they
be found, and this scarcity is explained by the fact that when the
plates suffered deterioration through printing, the artist's death
prevented him from duplicating them, so that the subjects had
to be copied and re-etched by " Phiz." Seymour reversed his
designs upon the steel plates, so that when printed they appear
exactly as originally drawn. There is reason to infer, from an
entry in the artist's memorandum-book, that the first four subjects
were etched before he showed them to Dickens, and that they
were afterwards re-etched and modified in some degree to suit the
author's views.

Besides these illustrations, Seymour is responsible for the design
appearing on the green wrapper of the monthly parts, which was
engraved on wood by John Jackson. A glance at this at once
convinces us how strongly the "sporting" element was at first'
intended to predominate, for here are displayed trophies of guns,
fishing-rods, and other sporting implements ; at the top of the page
is seen the veritable Winkle aiming at a sparrow, while below, seated
on a chair in a punt, peacefully reposes Mr. Pickwick with his rod,
watching for a "bite"; in the background of the picture may be

42 DICKENS AND HIS ILLUSTRATORS

recognised Putney Church, as well as the old wooden bridge which
once spanned the Thames at this point.

After the publication of " The Pickwick Papers " many veracious
reports as to its origin were circulated. In some of these statements
Dickens was entirely deprived of the credit of its inception, and partly
to assert his claim, but principally because he believed his readers
would be interested in the truth of the matter, he related the facts
in the already-quoted Preface to the first cheap edition. About two
years later he was considerably annoyed by the appearance of a
pamphlet purporting to give "An Account of the Origin of the
Pickwick Papers," the author of which was the "widow of the dis-
tinguished artist who originated the work." Mrs. Seymour printed
in her brochure a distorted version of Dickens's Preface, and at-
tempted a reply thereto, by which she endeavoured to show the
fallacy of his statements. The following extract from this privately-
printed pamphlet sufficiently indicates the tenor of Mrs. Seymour's
attempt to prove that the honour belonged exclusively to the artist :
"Mr. Dickens edited a work called 'The Pickwick Papers,' which
was originated solely by my husband in the summer of 1835, and
but for a cold (which brought on a severe illness) which he caught
on Lord Mayor's Day, on taking his children to view the procession
from the Star Chamber, would have been written, as well as embel-
lished, by himself; this cause alone prevented him from doing so,
as the numerous periodicals he was constantly engaged upon had
greatly accumulated during his illness."' Although such a claim,
so seriously maintained, necessitated immediate refutation, Dickens
allowed a considerable time to elapse before making a formal denial
thereof With a view to future action, however, he wrote to Edward
Chapman for his recollections of the primary events in the history
of the work, and accordingly received from him the following reply,

1 In 1889 Mrs. Seymour's own copy of this exceedingly scarce pamphlet (of which only
three copies are known to exist) was purchased by Mr. Daly for ;£74 at Sotheby's. It contains
a few slight corrections by Mrs. Seymour.

Plate XXI

THE PICKWICKIANS IN MR. WARDLE'S KITCHEN"

Fttcsimilt of an Unused Design for " The Pickwick Papers " by
R. SEYMOUR

This Drawing illustrates an incident in the fifth chapter.

Lent by Mr. Auguitin Daly.

IZX aTXi4

'A U O IL '/ i: e: M

^'fT''yi)(^

ROBERT SEYMOUR 43

dated July 7, 1849: "In November [1835] we published a little
book called * The Squib Annual," with plates by Seymour, and it was
during my visit to him to see after them that he said he should like
to do a series of Cockney sporting plates of a superior sort to those
he had already published. I said I thought it might do if accom-
panied by letterpress and published in monthly parts ; and this being
agreed to, we wrote to the author of ' Three Courses and a Dessert '
(a Mr. Clarke). I proposed it ; but receiving no answer, the scheme
dropped for some months, till Seymour said he wished us to decide,
as another job had offered which would fully occupy his time. And
it was on this we decided to ask you to do it. ... I am quite sure
that from the beginning to the end nobody but yourself had anything
whatsoever to do with it."

Further publicity was bestowed upon the subject in a letter con-
tributed to the Atkeneeum of March 24, 1866, by Seymour's son,
who not only repeated the principal arguments adduced by the
pamphlet, but promised further particulars in a subsequent communi-
cation. Whereupon Dickens, rightly considering that the oppor-
tunity had now arrived for emphatically repudiating the whole story,
forwarded the following letter for publication in the ensuing number
of the Atherueum : —

"As the author of 'The Pickwick Papers' (and of one or two
other books), I "send you a few facts, and no comments, having
reference to a letter signed 'R. Seymour,' which in your editorial
discretion you published last week.

" Mr. Seymour the artist never originated, suggested, or in any
way had to do with, save as illustrator of what I devised, an incident,
a character (except the sporting tastes of Mr. Winkle), a name, a
phrase, or a word, to be found in ' The Pickwick Papers.'

" I never saw Mr. Seymour's handwriting, I believe, in my life.

" I never even saw Mr. Seymour but once in my life, and that
was within eight-and-forty hours of his untimely death. Two persons,
both still living, were present on that short occasion.

44 DICKENS AND HIS ILLUSTRATORS

" Mr. Seymour died when only twenty-four [twenty-six] printed
pages of ' The Pickwick Papers ' were published ; I think before the
next three or four [afterwards corrected to "twenty-four"] were com-
pletely written ; I am sure before one subsequent line of the book
was invented." '

[Here follows the account of Mr. Hall's interview with the novelist,
as given in the Preface of the 1 847 edition, and the letter thus con-
tinues :]

" In July 1849, some incoherent assertions made by the widow
of Mr. Seymour, in the course of certain endeavours of hers to raise
money, induced me to address a letter to Mr. Edward Chapman,
then the only surviving business-partner in the original firm of
Chapman & Hall, who first published ' The Pickwick Papers,'
requesting him to inform me in writing whether the foregoing state-
ment was correct."

A few days later Dickens wrote to his eldest son a letter in
which he says : —

"There has been going on for years an attempt on the part of
Seymour's widow to extort money from me by representing that he
had some inexplicable and ill-used part in the invention of Pickwick ! ! !
I have disregarded it until now, except that I took the precaution
some years ago to leave among my few papers Edward Chapman's
testimony to the gross falsehood and absurdity of the idea.

"But, last week, I wrote a letter to the Athetueum about it, in
consequence of Seymour's son reviving the monstrosity. I stated in
that letter that I had never so much as seen Seymour but once in
my life, and that was some eight-and-forty hours before his death.

" I stated also that two persons still living were present at the
short interview. Those were your Uncle Frederick and your mother.
I wish you would ask your mother to write to you, for my preserva-

' The unpublished sketch by Seymour in Mr. Daly's collection, depicting the Pickwickians
in Mr. Wardle's kitchen, illustrates a scene described on page 50, so that Dickens's memory
was slightly at fault.

ROBERT SEYMOUR 45

tion among the aforesaid few papers, a note giving you her remem-
brance of that evening— of Frederick's afterwards knocking at our
door before we were up, to tell us that it was in the papers that
Seymour had shot himself, and of his perfect knowledge that the
poor little man and I looked upon each other for the first and last
time that night in Furnival's Inn.

" It seems a superfluous precaution, but I take it for the sake of
our descendants long after you." *

The " few papers " here alluded to were destroyed before the
novelist's death, with the exception of Edward Chapman's confirma-
tory letter. Needless to say, both Mrs. Charles Dickens and Frederick
Dickens entirely corroborated the novelist's assertions respecting his
own share and that of Seymour in the origin of " Pickwick."

In concluding this account of a most unpleasant controversy, we
may reasonably surmise that had not Seymour communicated his
idea to Chapman, " Pickwick " would never have been written. The
proposal for a book similar in character certainly emanated from
the artist, and in this sense he was, of course, the originator of that
work, while to him also belongs the honour of inventing, pictori-
ally, the portraits of the Pickwickians. But it was '* Boz, glorious Boz,"
who vitalised the happy conception, by imparting thereto such prodi-
gality of fun and so much individuality that " The Pickwick Papers " at
once leaped into fame, and, as all the world knows, was received
with acclamation by every section of the public.

Coincident with the publication of the first monthly number of
Yhc "The Pickwick Papers," there appeared the initial part

Library of of ^ "^w serial called "The Library of Fiction," which,
Fiction, under the editorship of Charles Whitehead, was launched

1830. by the same publishers. Whitehead, whose name has

already been mentioned in connection with " Pickwick," became
acquainted with Dickens at the time the latter was writing

* This letter was first published in the Introduction, by the late Mr. Charles Dickens the
Younger, to Macmillan & Co.'s edition of "The Pickwick Papers," 1892.

46 DICKENS AND HIS ILLUSTRATORS

"Sketches by Boz," which he so much admired that he endea-
voured to persuade the young author to contribute something
of a similarly striking character to the projected " Library of
Fiction." Dickens consented, and we find that his amusing
little story, entitled "The Tuggses at Ramsgate," constitutes the
opening paper. Several of the articles and tales in " The Library
of Fiction " were illustrated, and it is interesting to note that
Dickens's contribution to the first part was embellished with two
designs by Robert Seymour, engraved on wood by Landells. It is
generally considered that Seymour's woodcut illustrations are by far
the best specimens of his talent, and the engravers of that day were
exceedingly happy in reproducing the delicacy of touch and brilliancy
of effect which distinguished the drawings made by him direct upon
the blocks.

Seymour's first design represents the Tuggs family and their friends,
Mr. and Mrs. Captain Waters, on the sands by the seaside, and it is
interesting to learn that the fat man seated on a chair in front is said
to be a portrait of the artist, as he appeared during the latter part of
his life. The second illustration, depicting the incident of the irate
Captain Waters discovering Mr. Cymon Tuggs behind the curtain,
also formed the subject of Geprge Cruikshank's etching for the little
story when it was reprinted in the first edition of " Sketches by Boz,"
published about some three years later, and, in comparing the separate
designs, we find that they are almost identical, except that the two
prominent figures in the etching are in reverse of those in the woodcutj

Plate XXII

ROBERT W. BUSS
From the Painting by Himself.

Cina 1837.

ROBERT W. BUSS

Alteration in the Plan of Publishing " Pickwick "—The Difficulty Respecting a New Illustrator
— Buss Elected to Succeed Seymour — Studies Art under G. Clint, A.R.A. — His Painting
of "Christmas in the Olden Time"— His Ignorance of the Etcher's Art— Practises
Drawing in Pen-and-ink— "The Pickwick Papers "—Buss's First Plate Approved by
the Publishers — Failure of Subsequent Attempts— Expert Assistance Obtained— Plates
Cancelled — Buss Dismissed — Substituted Designs by " Phiz" — "Pickwick" Drawings by
Buss — His Unused Designs for "Pickwick" — His Illustrations for Marryat, Ainsworth,
&c— Accurate Draughtsmanship — "The Library of Fiction" — Buss's Illustrations
for "A Little Talk about Spring and the Sweeps" — His Paintings, Humorous and
Historical— Some Dickens Pictures — Drawings of Scenes in "Dombey and Son"— An
Unfinished Portrait of Dickens — Drawings on Wood for Charles Knight — Exclusion of
the Artist Buss's Pictures from the Royal Academy — Endeavours to Obtain Pupils —
Lectures on Art — His Wife and Daughter Establish a School for Girls — A Professor of
Drawing and a Teacher of Science — Praiseworthy Industry — Death of the Artist.

CHARLES DICKENS'S brother-in-law, the late Mr. Henry
Burnett, was a frequent visitor at the home of the novelist
during the " Pickwick " period, and years afterwards he
vividly recalled the consternation, disappointment, and anxiety of
the young writer on receipt of the melancholy news concerning the
distressing fate of Robert Seymour, the first illustrator of " The
Pickwick Papers." Dickens greatly admired the productions of that
unfortunate artist, and, realising how successfully he had so far por-
trayed the characters in the work, apprehended there would be
much difficulty in discovering a draughtsman who could interpret
him with equal felicity. Indeed, there was quite a dearth of suitable
talent, the only artist then living capable of etching his own designs
being George Cruikshank. Unfortunately, there was not much time
for consideration, as the third number of " Pickwick " had to be
provided for without delay.

The crisis brought about by the unexpected death of Seymour
compelled Chapman & Hall to promptly carry into effect a resolution

48 DICKENS AND HIS ILLUSTRATORS

they had formed of issuing future numbers of " The Pickwick Papers "
on an improved plan, with a view to enhancing the attractiveness and
popularity of the work. They determined that each succeeding number
should consist of thirty-two pages of letterpress instead of twenty-four,
and that there should be two illustrations in lieu of four — an arrange-
ment which held good to the end. The difficulty respecting an illus-
trator to succeed Seymour had now to be grappled with, whereupon
the publishers called to their assistance the eminent wood-engraver,
John Jackson, who advised them to approach Robert William Buss,
as being the only artist of his acquaintance likely to prove the most
suitable for the purpose. Chapman & Hall acted upon this sugges-
tion, and Buss, after much persuasion and at great personal incon-
venience, agreed to temporarily relinquish very important engagements
in order to assist them in their dilemma.

Robert William Buss is referred to in an address issued with the
third part of " Pickwick" as "a gentleman already well known to the
public as a very humorous and talented artist." He was born on
August 29, 1804, in Bull-and- Mouth Street, St. Martin's-le-Grand,
and in due coursqapprenticed to his father, an enameller and engraver
on gold and silver. \ Like Seymour, he was inoculated with the pre-
vailing mania for " High Art," and this inclination becoming too strong
to be thwarted, his indulgent father not only permitted the cancelling
of his indentures, but even defrayed the cost of gear's study in Artj)
placing him under his old friend George Clint, A.R.A. (a landscape
painter, and subsequently the President of the Society of British
Artists), whose son Alfred married the younger Buss's only sister.
Having thus, at the age of twenty-one, gained some practical experi-
ence in his adopted profession, Robert Buss thought himself competent
to start life on his own account by painting portraits and subject-
pictures. In this direction he met with fair success, but it was as a
painter of humorous incidents that he first made his reputation, these
finding eager purchasers among well-known collectors and connois-
seurs. Among his earliest achievements was a painting representing

Plate XXI II

DESIGN FOR THE

TITLE-PAGE

OF "THE PICKWICK PAPERS'

Facsimile of an Unpublished Drawing by
R. W. BUSS

-^Vt

^0'^>.Ha>fo,j

*nt

X Mi

(fiekHTC

fry

^ (. fi I - >-

'..^' • .

ROBERT W. BUSS 49

" Christmas in the Olden Time," which he exhibited in the gallery of
the Society of British Artists in 1838. This work, however, although
warmly praised by the critics, proved a most unhappy venture, as the
price realised by the artist for what represented the result of a year's
labour hardly recouped him for the expenses incurred by its production.'

It was doubtless this painting with which Buss was occupied when
The ^^- ^^^^ i^^ Chapman & Hall) called upon him respect-

Pickwick ing the illustrations for " Pickwick." " Taken quite by
Papers, surprise," relates the artist, when recalling his association

1836-37. ^ijh Dickens's famous work, ^I told him [Mr. Hall] I
had never in the whole course of my life had an etching-needle in my
hand, and that I was entirely ignorant of the process of etching, as
far as practice was concerned. He assured me it was very easy to do,
and that with my talent I was sure to succeed." After some hesitation,
overcome by Mr. Hall's promise that consideration would be shown
towards his want of experience. Buss yielded to the pressure thus put
upon him, and consented to put aside his picture (although most
anxious to complete it for exhibition at the jRoyal Academy), with a
view to embarking upon his new undertaking.,

^n^reparing studies for his pictures, Buss had accustomed himself
to the use of bold effects, obtained by means of chalk or black-lead
pencils of various degrees of hardness, blackness, and breadth of pomtn
He therefore deemed it necessary to undergo a course of training
which would enable him to impart to his work that delicacy of touch
so essential in the art of etching upon copper or steel, and devoted
himself almost day and night (as there was really no time to lose) to
(practice in drawing with pen-and-ink, — a fact (he observes) "of which
Mr. Hall was utterly and entirely ignorant^^^^^^^''^ ^^ still extant
a few of these experimental efforts (chiefly figures and faces copied

' The picture afterwards changed hands for six or seven times the amount originally
received by the painter. It eventually became the property of his daughter, the late Miss
Frances Mary Buss, for many years the Head-mistress of the North London Collegiate School
for Girls, in the Drawing-School of which institution this interesting canvas now hangs.

50 DICKENS AND HIS ILLUSTRATORS

from line engravings), including a sheet containing a dozen sketches
of heads — studies of characters in "Pickwick," apparently based upon
Seymour's etchings — which testify not only to his energy, but also to
his rapidly-acquired skill in the adoption of what was to him a novel
medium. In these drawings, by the way, he used ordinary ink for
the general design, diluting it for the delicate shades and distant
objects, thus assimilating the effect of his pen-and-ink work with the
variations resulting from the "biting-in" and "re-biting" of etchings.

After labouring incessantly for a period of three weeks, the artist
felt prepared to make his first attempt in etching, taking for his
subject " Mr. Pickwick at the Review." Referring to this plate, he
says : " Of course it was full of faults, inevitable to any one in the
early stage of practice in etching. But it was shown to Messrs.
Chapman & Hall, and approved by them, though not as one of
the illustrations to be published.* All this occupied much time, which
was every hour becoming more and more valuable, as the date of
publication was close at hand. I had barely time to prepare my two
subjects for the next number of ' Pickwick ' in pencil and submit them
for approval to the publishers, who returned them, being much pleased
with my efforts. pThe subjects I selected were the Fat Boy watching
Mr. Tupman and Miss Wardle in the arbour, and the Cricket-Match."
Buss now essayed to reproduce his designs upon the plates ; but
the result proved disastrous, the too violent action of the improperly
diluted acid tearing up the etching-ground, which also broke up
under the needle, creating sad hav6aJ^_Dreading the possible conse-
quences of delay, he placed his original drawings in the hands of anj
expert engraver, to be copied on the plate and " bitten-in." "This
work," remarks the artist, "he did very well indeed, but, as migh^
have been expected, had I had time for thought, the free touch
an original was entirely wanting. The etching itself failed, but the
* biting-in ' was admirably done. Time was up. The plates must be

' This design has been reproduced by photo-lithography, impressions of which may occa-
sionally be found in copies of " Pickwick."

Plate XXIV

"THE BREAK-DOWN"

FatsimH* of an Unpublished Dniwing by
R. W. BUSS

lUustreting tui incident in the ninth chapter of " The Pickwick Papers."

- ■*■

•>i>^..j

f ^

,*ps

ROBERT W. BUSS 51

placed at once in the printer's hands, and so (there being no help for
it) the plates were printed, the numbers stitched and duly published.
Thus my name appeared to designs of which not one touch of mine
was on the plates." Had opportunities been given. Buss would have
cancelled these plates, and prepared fresh ones of his own etching.
The immediate effect of this fiasco was the termination of his con-
nection with " The Pickwick Papers," the artist being actually engaged
in preparing designs for the succeeding number when he received a
note informing him that the work had been placed in other hands.
Under the circumstances, it is not surprising that Buss felt this curt
dismissal very keenly, for it must be remembered that he ventured
upon the undertaking mainly to oblige the publishers, who, it appears,
had promised him every consideration on account of his inexperience
with the etching-needle.

Forster disposes of the subject of Buss's association with " Pick-
wick " in a very few words, merely observing that " there was at first
a little difficulty in replacing Seymour, and for a single number
Mr. Buss was interposed," thus intimating that the engagement was
a temporary one. In commenting upon this, the artist's son, the
Rev. Alfred J. Buss, expresses a belief that his father could not
certainly have regarded it in this light. "Is it reasonable to suppose,"
he asks, in Notes and Queries, April 24, 1875, "that he would have
consented to devote three weeks of his time, at the most valuable
season to an artist, to the practice of an entirely new department
of art, if it had been clearly stated that his engagement was of the
transitory nature Mr. Forster would imply, and the more especially
when we bear in mind that the price to be paid for the etchings was
only fifteen shillings each?" It was Forster's scanty and misleading
reference to Buss's engagement as illustrator of " Pickwick " which
induced the artist to draw up for his children a concise and clear
account of everything that transpired.

It is not recorded whether Buss and Dickens became personally
acquainted, nor, indeed, that they ever met We may therefore

52 DICKENS AND HIS ILLUSTRATORS

surmise that all business transactions were carried on through the
publishers, who probably forwarded to the artist proofs of the letter-
press in order that he might select therefrom the subjects for illustration.
The third number of "Pickwick" contains the only two published
etchings by Buss for that work, viz., "The Cricket- Match" and "The
Fat Boy Awake on this Occasion only." These plates, the effect of
which was poor and thin, contrasted unfavourably with the Seymour
etchings immediately preceding them, and were therefore suppressed
as speedily as possible, others by " Phiz " (Habldt K. Browne) being
substituted before many copies had been issued.^ In one of the latter
an entirely different design is given, — that is to say, instead of " The
Cricket-Match," we have " Mr. Wardle and his Friends under the
Influence of 'the Salmon,'" depicting an incident described in the
succeeding chapter.

The drawings by Buss for "Pickwick" have fortunately been
preserved. Besides the original designs for the published etchings,
there are still in existence several tentative sketches prepared by
the artist in anticipation of future numbers, — those, indeed, upon
which he was at work when he received his congi. Some of these
sketches are vigorously limned with pen-and-ink outlines and the
effects laid in with a brush, while others are rendered in pencil
supplemented by washes of indian-ink. The following is a complete
list of Buss's original drawings for " Pickwick " : —

Mr. Pickwick at the Review.* — Unused design. — This subject was
etched by the artist as a specimen of his work to be submitted
to Chapman & Hall. Only two impressions are known to
exist, while the plate itself was irretrievably injured through the
surface being scratched with a piece of coarse emery paper.

The Cricket-Match.* — Published design.

' The two cancelled etchings by Buss have been copied on steel, but, being printed on
India paper, are not likely to be mistaken for the original plates. Impressions of the Buss
etchings are exceedingly scarce, only about seven hundred copies of the number containing them
having been circulated.

* Reproduced \r\ facsimile in the Victoria edition of " Pickwick," 1887.

Plate XXV

"A SOUVENIR OF DICKENS"

From an Unfinished Painting by
R. W. BUSS

Si$e of Original Picluri, Lent by Iht Kcv. /•'. Fleetwood Buss.

36 in. by ay i».

ROBERT W. BUSS 53

The Ckickzt-Match.— First sieicA, varying entirely from the etching.
The wicket-keeper is seen behind the fat man, receiving the ball
full in his face.

The Fat Boy Awake on this Occasion only.' — Published design.

The Fat Boy Awake on this Occasion only. — First sketch, varying
from the etching. Tupman is represented on his knees by the
side of Miss Wardle, who is holding a watering-pot, while the
Fat Boy is seen behind, facing the spectator.

The Fat Boy Awake on this Occasion only. — Second sketch, varying
from the etching. Here Tupman is standing, with his left arm
around Miss Wardle's waist, and the Fat Boy is in front, in
much the same attitude as represented in the published design ;
indeed, there are very slight differences between this sketch and
the accepted drawing.

Mr. Wardle and his Friends under the Influence of "the
Salmon." ' — Unused design.

The Break-down. — Unused design. Pickwick, in an attitude of
despair, stands facing the spectator ; behind him Wardle is
seen in the act of shaking his fist at the eloping party in the
retreating chaise ; while a postboy on the left holds the head of
one of the horses belonging to the vehicle which has come to grief.

Mr. Winkle's First Shot. — Unused design. The central figure is
Winkle, holding his gun ; close by stands Snodgrass in an atti-
tude of fear, while Pickwick and Wardle are sheltering behind
a tree.

Study for the Title- Page. — Unused design. In this rough sketch
Pickwick is the prominent personage, as he stands facing the
spectator, with his right hand in the pocket of his smalls, and
his left arm resting on what appears to be a mound of earth.
Separately displayed upon the face of this mound are medal-
lion portraits, in emblematical frames, of Pickwick, Snodgrass,
Winkle, and Tupman, while above all is suspended a female

* Reproduced m facsimile in the Victoria edition of " Pickwick," 1887.

54 DICKENS AND HIS ILLUSTRATORS

figure typical of Fame, blowing a miniature trumpet and holding
a laurel wreath over the head of Pickwick. The letters forming
the words "Pickwick Club" are made up of various articles
suggestive of conviviality and sport — such as corkscrews, bottles,
wine-glasses, pistol, stirrup, &c.

These drawings sufficiently indicate that the artist possessed a
decided power with the pencil, which he turned to good account
shortly after the abrupt termination of his connection with " The
Pickwick Papers." For example, in 1839 he successfully illustrated,
by means of etching, Mrs. Trollope's diverting story, " The Widow
Married," then appearing as a serial in the New Monthly Magazine,
and among the more remarkable of his later efforts with the etching-
needle are his designs for novels by Marryat, Ainsworth, and other
well-known writers of the day, many of the plates being equal, in the
matter of technique, to those by " Phiz," thus denoting that, had an
opportunity been afforded him, he might have made his mark with
" Pickwick." It may be said of Buss (as is asserted concerning
Cruikshank) that his works, whether in colour or black-and-white,
are regarded as affording authentic information respecting costumes
and other accessories ; for he was exceedingly conscientious in matters
of detail, preferring to incur infinite trouble to secure accuracy rather
than rely upon his imagination.

Like Seymour, Buss was associated with Dickens in connection

The '^\'Ca. that ephemeral work, " The Library of Fiction."

Library of Besides "The Tuggses at Ramsgate," the novelist

Fiction, wrote for its pages a paper called " A Little Talk about

1836. Spring and the Sweeps," containing an illustration

drawn by Buss and engraved on wood by John Jackson, who, it will

be remembered, introduced the artist to Chapman & Hall. This

short tale was reprinted in the first complete edition of " Sketches by

Boz," 1839, under the title of "The First of May," with an etching

Plate XXVI

DOLLY VARDEN

From an Original Water-colour Drawing by
R. W. BUSS

Lent by the Rev. A. J. Buss.

*•■

ROBERT W. BUSS 55

by Cruikshank depicting an incident differing entirely from that which
forms the subject of Buss's woodcut. ,

As a painter of humorous scenes and historical events, Buss gained
considerable popularity. From 1826 to 1859 he contributed nearly
every year subject-pictures and portraits to the Exhibitions of the
Royal Academy, Suffolk Street Gallery, and British Institution, and
among his numerous canvases (many of which have been engraved)
may be mentioned: — Humorous — "The Biter Bit," "The March of
Intellect," "The Monopolist," "An Unexpected Reception," "Solicit-
ing a Vote," "Chairing the Member," "Mob Tyranny," "The Mock
Mayor of Newcastle-under-Lyme." Historical — "The Introduction
of Tobacco by Sir Walter Raleigh," "James Watt's First Experience
with Steam," " Hogarth at School," " Chantrey's First Essay in
Modelling," "Nelson's First Victory over the French Fleet" The
artist was also occasionally inspired by Shakespeare and Dickens,
and it is specially interesting to note that he painted at least three
pictures of scenes in the novelist's works, viz., " Joe Willet Taking
Leave of Dolly Varden" (from " Barnaby Rudge"), exhibited at
the Royal Academy in 1844, and now in a South Australian public
picture-gallery; "The Cricket's Chirp" (Peerybingle, Dot, and Tilly
Slowboy, from "The Cricket on the Hearth," Chirp the First), ex-
hibited at Suffolk Street, 1846; and a representation of Trotty Veck
peeping into the basket containing his dinner of tripe which his
daughter brings him. In an album of studies and notes for his
pictures (arranged by the artist for preservation as an heirloom) may
be found several sketches for the first-named subject, and in addition
to these are two small water-colour drawings, oval in form, of scenes
in " Dombey and Son," representing " Mr. Dombey more Magnificent
than Usual," and "Captain Cuttle visited by Florence Dombey," the
latter being especially well rendered. Whether these have ever been
engraved I am unable to say, but the probability is they have not.
Curiously enough, the last picture on Buss's easel purported to repre-

56 DICKENS AND HIS ILLUSTRATORS

sent "A Dream of Dickens." This unfinished canvas (still in the
possession of a member of the artist's family) contains a portrait
of the novelist seated in his study, with visions of scenes from his
various works around him. The portrait is adapted from the well-
known photograph by Watkins, while the incidents depicted are taken
from the original illustrations.

Although Buss's large picture of " Christmas in the Olden Time "
proved, for the artist, a financial failure, it benefited him in being the
means of introducing him to Charles Knight (perhaps the most enter-
prising publisher of that day), who, recognising in the young painter
a diligent student of manners and customs, engaged his services on
the Pictorial Edition of Shakespeare's Works, "Old England," the
Penny Magazine, and Chaucer's "Canterbury Tales," all of which
were issued under Knight's auspices. The Rev. A. J. Buss well
remembers his father making these drawings on wood blocks,
which were engraved by Jackson, Sly, and others, and recalls that,
some years after, he obtained a commission from Mr. Hogarth, a
printseller, to execute some Christmas subjects for reproduction by
line-engraving.

After 1854 Buss's pictures were for some reason excluded from
the Royal Academy Exhibitions, and this so seriously affected the
sale of his work that he was ^compelled to have recourse to teaching
drawing as a means of supplementing a precarious income. As early
as 1843 he had issued circulars announcing a course of lessons in
drawing on Dupin's method, having previously purchased many expen-
sive models, and rented a room in Duke Street, Grosvenor Square ;
but all in vain, for not a single pupil was forthcoming ! He then
prepared a series of lectures on English Comic and Satiric Art, which
he delivered in London and the chief provincial towns in England,
these being illustrated by large diagrams.

During the period of struggle for a livelihood, the artist's wife and
daughter came nobly to his assistance by establishing, in 1850, the
North London Collegiate School for Ladies (as it was then desig-

Plate XXVI 1

FLORENCE DOMBEY AND CAPTAIN CUTTLE

From an Original Water-colour Drawing by
R. W. BUSS

Lent hy the Rev. A. J. Buss.

ROBERT W. BUSS 57

nated), which developed into the leading school in the cause of Female
Education. In order to g^ve it a higher grade than other similar
seminaries had then attained, Buss not only became its professor
of drawing, but teacher of science too, first devoting himself to
the study of Chemistry, Botany, Human Physiology, Mechanics,
Hydraulics, &c., and he soon became qualified for his self-imposed
responsibilities. His artistic capabilities here stood him in good
stead, for they enabled him to prepare large diagrams with which to
illustrate his lectures ; in addition to this, he made his own models for
demonstrating the science of Mechanics — thus proving the power he
possessed of adapting himself to circumstances, in the earnest desire
to obtain a living and in his love for wife and children. " I do not
think," observes the Rev. A. J. Buss, when corresponding with me on
this subject, '* I ever knew a man so industrious as my father. I have
a clear remembrance almost from my childhood of his industry, —
early morning in his painting-room — up to late hours drawing on wood
and etching. He deserved better fortune than he secured ; and I have
only learnt to admire him the more, the more I think of his career."

At the death of his wife, the artist led a very retired life, in a
studio most picturesquely fitted up with ancient furniture, and here
it was that he devoted the latter years of his life in preparing for
publication his lectures on Art, being aided and encouraged in his
congenial task by his affectionate daughter, the late Frances Mary
Buss, who subsequently gained high distinction in connection with
Education. This profusely-illustrated volume, printed for private
circulation, was issued in 1874, and bore the following title: "English
Graphic Satire, and its relation to Different Styles of Painting,
Sculpture, and Engraving. A Contribution to the History of the
English School of Art"

Robert William Buss died at his residence in Camden Street,
Camden Town, on February 26, 1875, •" his seventy-first year.
The end came very quietly and painlessly to him who had fought the
battle of life so honestly and so fearlessly.

HABLOT K. BROWNE ("Phiz")

An Illustrator required for " Pickwick " — Leech and Thackeray offer their Services — Thackeray's
First Meeting with Dickens — "Mr. Pickwick's Lucky Escape" — Leech's Specimen Draw-
ing—Hablot K. Browne ("Phii") Elected to Succeed Buss— His Etching of "John
Gilpin's Ride" Awarded a Silver Medal— His Designs for "Sunday under Three
Heads" and "The Library of Fiction"— Mr. J. G. Fennell's Reminiscences of the
Artist — Thackeray's Congratulations to "Phiz" — A Modest Banquet — "Phiz" as an
Etcher— Assisted by Robert Young— Their First Plate for " Pickwick "—An AU-Night
Sitting — Particulars Concerning a "First Edition" of "Pickwick" — The Success of the
Work Assured— The Sobriquet of "Phiz"— The Artist's Signatures— Method of Pre-
paring the " Pickwick " Illustrations — Variations in Duplicated Plates — George Augustus
Sala's Opinion of the "Pickwick" Plates— The Etchings Criticised— " Phiz's " Original
Drawings for "Pickwick" — His Tentative Designs — Differences between the Drawings
and the Etchings— Dickens's Hints to the Artist— " Phiz's " Sketch of Mr. Pickwick— A
Series of New Designs — Vignettes for the Library Edition — Woodcuts for the Household
Edition— Frontispiece for "The Strange Gentleman"— Illustrations for "Sketches
OF Young Gentlemen" and "Sketches of Young Couples"— Sale of the Original
Drawings— "Nicholas Nickleby"— Dickens and "Phiz" in Yorkshire— The Prototype
of Squeers — A Significant Memorandum — Mr. Lloyd's Recollections of William Shaw,
a Yorkshire Pedagogue — The " Nickleby " Etchings Criticised— Particulars Concerning
the Plates — The Original Drawings — A Missing Design — Dickens's Instructions to
"Phiz"- Variations in the Illustrations— Pictorial Wrapper — Vignettes for the Library
Edition.

IT is certainly extraordinary that within the space of a few weeks
two vacancies for the post of illustrator of "Pickwick" should
have occurred. It was about the beginning of June 1836 (the
date of the publication of the third part, containing his two etchings)
when Buss unexpectedly received the intimation that his services
would be no longer required, and no sooner had this fact become
known than there was quite a rush of aspiring artists eager to offer
their professionsil aid, among them being several who had already
made a reputation as draughtsmen — such as " Crowquill " (Alfred

Platk XXVI II

HABL6t K. BROWNE crHIZ")

From an Unpublished Photograph

Lent by Mr. Gordon Browiu, R.I.

ROBERT YOUNG

From a Photograph by
W. GREEN

Lent by Mr. R. Young.

yt^. $w**^ -

HABL6t K. BROWNE 59

Forrester), Lee, and others. It is of special interest to learn that
John Leech and William Makepeace Thackeray were also desirous
of obtaining the appointment, but the honour was destined for another.
Thackeray had practised etching for some years, having, while an
undergraduate at Cambridge, taken lessons of an engraver and print-
seller named Roe, who carried on his profession in the University
town, and under that gentleman's superintendence he etched a series
of plates illustrative of college life, which were first published in
1878. Possessing a natural gift for drawing, the famous satirist (in
his early days) earnestly desired to follow Art as a profession, and
so far encouraged his bent by copying pictures in the Louvre ; but
his studies seem to have been of a desultory character, and of little
value in making him a sound draughtsman. When, on returning
to London, he heard that a designer was required for the " Pickwick "
illustrations, he immediately sought an interview with Dickens at
his rooms in Furnival's Inn, taking with him some specimens of
his work, and more than twenty years afterwards, in responding to
the toast of " Literature " at the Royal Academy banquet, he thus
referred to the memorable incident : "I can remember when Mr,
Dickens was a very young man, and had commenced delighting
the world with some charming humorous works, of which I cannot
mention the name, but which were coloured light green and came
out once a month, that this young man wanted an artist to illustrate
his writings, and I recollect walking up to his chambers with two
or three drawings in my hand, which, strange to say, he did not
find suitable. But for that unfortunate blight which came over my
artistical existence, it would have been my pride and my pleasure
to have endeavoured one day to find a place on these walls for one
of my performances." Although at the time he was doubtless sur-
prised at, and sorely disappointed by, "Boz's" want of appreciation,
he afterwards acknowledged there was some justification for it, and
good-humouredly alluded to the rejection of his services as " Mr.
Pickwick's lucky escape." Who can say whether " Vanity Fair "

6o DICKENS AND HIS ILLUSTRATORS

and "Esmond" would ever have been written had this mighty pen-
man been elected to succeed Buss ? *

Thackeray's schoolfellow and life-long friend, John Leech, also sub-
mitted a design to Chapman & Hall, in the hope of being successful
where others had failed, but the little drawing, slightly tinted in colours,
depicting the amusing scene in the Bagman's story of Tom Smart and
the high-backed chair, did not indicate the possession by the artist of
the necessary qualifications. He was accordingly dismissed ; but it
was reserved for this amiable man and accomplished draughtsman not
only to adorn with his pencil the pages of the "Carol" and other
Christmas books of Charles Dickens, but to be afterwards honoured
by the friendship and esteem of England's great novelist.

As all the world knows, the privilege of illustrating Dickens's most
popular work was secured by Habldt Knight Browne ("Phiz"), this
clever designer being rightly regarded cis artistic exponent-in-chief of
Dickens's creations. At this time he had barely attained his majority,
and, unlike Cruikshank, who came to the pictorial embellishment of
"Sketches by Boz " and "Oliver Twist" with a distinct reputation,
was an almost untried artist. About his eighteenth year, while
serving his' apprenticeship with the Findens, the well-known line-
engravers, Browne was awarded a silver medal offered for com-
petition by the Society of Arts for " the best representation of an
historical subject " — a large etching^^portraying John Gilpin's famous
ride through Edmonton, Apropos of this etching Mr. Mason
Jackson writes in the Atlutueum, June ii, 1887: "Mr. Chapman
(of Chapman & Hall) was delighted with 'John Gilpin's Ride,' and
forthwith applied to Browne, who thus succeeded Seymour and Buss
as the illustrator of ' Pickwick.' " After a careful comparison ot

> According to the following anecdote, Thackeray did not over-estimate his own powers
as a draughtsman. Mr. M. H. Spielmann tells us that after Edmund Yates had started an
illustrated magazine, which had but a brief existence, Thackeray wrote to him : " You have
a new artist on The Train, I see, my dear Yates. I have been looking at his work, and I
have solved a problem. I find there is a man alive who draws worse than myself I "

HABL6t K. BROWNE 6i

dates, I venture to point out the probability that it was not with
a view to the illustration of " Pickwick " that Edward Chapman
paid his first visit to Browne, as generally supposed, but for the
purpose of engaging his services as designer of some woodcuts for
a pamphlet which the firm was about to publish, entitled " Sunday
under Three Heads — As it is ; As Sabbath Bells would make it ;
As it might be made" This brochure, written by Dickens under

the pseudonym of "Timothy Sparks," is prefaced by

Sunday under ^ Dedication dated June 1836, and was therefore

Q^ in progress prior to the publication of the fourth

number of " Pickwick," containing " Phiz's " first
designs, which appeared during the following month. When, in
after years, Mr. Morton Brune enquired of the artist concerning his
share in this little production, he replied : " The work of Dickens
mentioned by you was illustrated by me when quite a youngster, and
I am sorry to say I can give no information about it^recollecting
nothing whatever." * Besides a trio of heads (printed on both wrapper
and title-page), there are three full-page illustrations, engraved by
C. Gray and Orrin Smith. This excessively scarce pamphlet was
issued as a protest against the extreme views of Sir Andrew Agnew
and the Sabbatarian party, and had immediate reference to a Bill
"for the better observance of the Sabbath," then recently rejected
in the House of Commons by a small majority. " Sunday under
Three Heads " was originally published at two shillings, and now
realises as much as ;^io in the auction-room. There are two or
three facsimile reprints in existence, but the reproductions of the
woodcuts are comparatively poor.

It should be mentioned that "Phiz" (together with Seymour and
Buss) assisted in the illustration of "The Library of Fiction," pub-
lished by Chapman & Hall in 1836-37, so that his artistic efforts

* As early as 1837 Browne designed (as an advertisement for Bentley) a little woodcut
(now very rare) in which he depicted Charles Dickens leading by the lappel of his waistcoat
a burly and perspiring porter, who is seen carrying a huge bale of copies of BttUleys
Miscellany, of which magazine the novelist was then the editor.

62 DICKENS AND HIS ILLUSTRATORS

were by no means unfamiliar to the firm at this time. In his design
facing page 293 of the first volume of that work there may be dis-
covered the figure of an obese individual who is the very counterpart
of Tony Weller,

An intimate friend of Habl6t K. Browne, Mr. John Greville
Yhc Fennell (formerly of the Field journal), confirms my

Pickwick opinion that the artist's earliest association with the
Papers, writings of Dickens was his connection with " Sunday

l°30~37« under Three Heads"; but, as the engravings in that
pamphlet only bore the designer's initials, it is more than probable
that Browne himself was then an absolute stranger to the future
novelist. Within a very brief period, however, certain events
conspired to bring about the beginning of an acquaintance which
ripened into a friendship that never ceased during Dickens's life-
time. Mr. Fennell writes : " It was I who, while superintending
E. & W. Finden's establishment, sold his first drawing to Adolphus
Ackermann, and induced him (H. K. B.) to reproduce Buss's two
illustrations (viz.. The Cricket-Match' and The Fat Boy Awake on
this Occasion only), which I sent down to Chapman & Hall." It
was apparently through Mr. Fennell's intervention that the publishers
were enabled to recognise Browne's ability as an etcher, and to dis-
cover in the specimens submitted to them that he was the very man
to occupy the position then recently vacated by Buss. He first heard
of his appointment from his generous rival, Thackeray, who at once
made his way to the artist's abode in Newman Street for the purpose
of congratulating him, and it is said that they immediately repaired
to a neighbouring public-house, where a banquet consisting of
sausages and bottled stout was held in honour of the occasion.

At this juncture, Browne (who considered line-engraving too
tedious a process) suspended operations at Finden's establishment,
and, through the friendly auspices of Mr. Fennell, his indentures were

> So far as I am aware, no illustration by " Phiz" of this subject is extant

HABL6t K. BROWNE 63

cancelled two years before they had expired. In conjunction with
a kindred spirit, he hired a modest room as a studio, and employed
his time in the more congenial pursuit of water-colour drawing.
As the result of a solemn compact between them to produce three
drawings daily, Browne, who worked very rapidly, was enabled to
pay his share of the rent by the proceeds of his labours. In order
to familiarise himself with the human form, he attended the evening
class at the " Life " School in St. Martin's Lane, having as a fellow-
pupil that famous painter of the " nude," William Etty, who after-
wards joined the ranks of the Royal Academicians.

In 1836 (when in his twenty-first year) Browne had acquired
considerable facility with his pencil, and soon proved that his selection
as the illustrator of " Pickwick " was thoroughly justified. By means
of the training he had undergone at the Findens, he had obtained
a mastery over the difficulties and mysteries of etching, which now
proved eminently serviceable. Buss declared that " Phiz " was by
no means an expert when he commenced working for " Pickwick,"
being tcomp^lled to obtain help from an experienced engraver
named Sands, who "touched up the drawings with his own needle,
adding shade where required, and then applied the acid and did
all the necessary 'biting-in' and 'stopping-out.'". The facts, how-
ever, are rather over-stated, as witness that early effort (perhaps
unknown to Buss), viz., the etching of John Gilpin, which was
undoubtedly unaided work, testifying that the artist was then quite
capable of running alone. It is acknowledged, however, that, so far
as the " biting-in " was concerned, he invariably secured co-operation,
not on account of his own incapacity, but merely to save time, and
for this purpose he generally sought and obtained the requisite help
of his quondam fellow-apprentice, Robert Young.

Browne speedily communicated to Mr. Young the welcome intelli-
gence respecting the " Pickwick " appointment ; indeed, we are told
that he went at once to his friend's chambers, and on entering said,
" Look here, old fellow : will you come to my rooms to assist me

64 DICKENS AND HIS ILLUSTRATORS

with a plate I have to etch ? " Mr. Young, who was still in the employ
of Finden, had acquired such a thorough knowledge of the art
of biting-in designs upon steel plates, that Browne realised the im-
portance of securing his co-operation without delay, and, happily for
him, his friend readily acceded to his wish ; whereupon " Phiz "
suggested that he should take his key with him, as they might be
late. The design having already been drawn upon the plate, the
two conspirators devoted the entire night to the operation of
biting-in, the outcome of which was the production of the plate depict-
ing the eventful meeting of Mr. Pickwick and Sam Weller at the old
"^ White Hart Inn, perhaps the most notable illustration in the book.
Mf. Young's share of the undertaking consisted in the application
and manipulation of acid, which corroded the plate where exposed
by the needle — a troublesome and delicate operation, requiring con-
siderable experience, as, by too lengthy or too brief a subjection of
the metal to the action of the acid, the plate would be ruined, and
the labour of the artist rendered of no avail.

Mr. Young writes in reply to my enquiry respecting this and subse-
quent collaboration : " I did not bite-in the whole of 'Phiz's ' etchings.
I was some years abroad, during which he had assistance from two en-
gravers. Sands and Weatherhead. ' Phiz ' was quite capable of doing
this part of the work himself, for he had two or three years' practice
during his apprenticeship at Finden's ; but he had no time for such
work, being always fully occupied in etching or drawing on wood."

The title-page of " Pickwick " intimates that the volume contains
"Forty-three illustrations by R. Seymour and Phiz," thus ignoring
Buss's contributions. The fact is (as stated in the preceding chapter)
that only a few copies of Part III., containing the two plates by Buss,
were issued, these being quickly superseded by a couple of new designs
by Browne ; therefore, a copy of an absolutely first edition of the book
should include seven etchings by Seymour, two by Buss, and thirty-
four by "Phiz." Two plates, viz., "The Fat Boy Awake on this
Occasion only " and " Mr. Wardle and his Friends under the Influence

Plate XXIX

"A SUDDEN RECOGNITION, UNEXPECTED ON
BOTH SIDES"

Faesimik of the Original Drawing for " Nicholas Nickleby " by
H. K. BROWNE ("Phiz")

Above the Sketch is written the following, in the autograph of Dickens : —
" I don't think that Smike is frightened enough [or that Squeers is] earnest
enough, for my purpose."

Lent by Mr. M. H. Spielmann.

/.c

HABL6T K. BROWNE 65

of 'the Salmon'" were etched for Part III. (after those in Part LV.),
to take the place of Buss's cancelled designs. In early copies of the
first edition all the plates were printed without titles, and throughout
the first twelve numbers each plate bore only a reference in figures
to the page which it was intended to illustrate. In the remaining
numbers (Parts XIII. to XX.) the reference figures were withheld, the
plates showing in the first published copies neither figures, titles, nor
publishers' imprint.

\JFor the first three parts of " The Pickwick Papers " there was so
limited a demand that the publishers seriously contemplated a discon-
tinuance of the work, a fate which, from the same cause, threatened
Thackeray's famous novel, " Vanity Fair," in the early stages of its
career. Happily, such a disaster was averted by the appearance in
the fourth part of Sam Weller, who at once achieved such enormous
popularity that the sale went up by leaps and bounds, the number of
copies disposed of increasing from a few hundreds to several thousands. 1
This was an extremely happy augury, not only for author and pub-
lishers, but for the young artist whose connection with the book began
at this critical time, and the extraordinary circulation so suddenly im-
parted to the work was doubtless principally instrumental in obtaining
for him other commissions, with which he was soon overflowing.
Browne's earliest printed plates are signed " Nemo," and referring
to this he says : " I think I signed myself as ' Nemo ' to my first
etchings (those of No. 4) before adopting ' Phiz ' as my sobriquet, to
harmonise — I suppose — better with Dickens's ' Boz.' " The third and
succeeding plates bear the signature of " Phiz," a sign-manual which
presently became well known to all readers of the novels of Dickens,
Ainsworth, and Lever. Although he seldom appended his surname to
his designs, we not unfrequently find (in his woodcuts especially) the
initials " H.K.B.," in lieu of the more familiar pseudonym. It seems
the public could never quite realise that the different signatures were
those of the same artist, and were wont to remark that " Browne's
work was better than Phiz's."

66 DICKENS AND HIS ILLUSTRATORS

The " Pickwick " illustrations were produced in couples, that is, two
subjects were etched on one plate, this being^ printed at a single opera-
tion and the sheets afterwards divided. " Phiz " was exceedingly rapid
in his work when time was limited, and could design and etch a plate
in the course of a day, and have it bitten-in and ready for the printer
by the next morning. Unlike Seymour, he almost invariably drew
his subjects on the steel without reversing them, so that they appeared
reversed in the printing; it is evident, however, that he sometimes
failed to remember this when preparing his designs, so that occasion-
ally we find that his figures are left-handed, and other similar incon-
gruities. Doubtless, the artist's motive in thus copying his drawings
directly upon the plate was to facilitate operations, for in this way he
could dispense with the aid of a mirror. ,

— A noteworthy consequence of the increased sale of the " Pick-
wick " numbers was the serious deterioration of the plates caused by
friction in printing, as for every impression the plate must be inked
and the superfluous ink removed by wiping with the hand. In those
days the process called "steel- facing," by means of which the etched
or engraved surface is hardened, was unknown, so that, comparatively,
only a few impressions could be struck off before the plate indicated
any appreciable sign of wear-and-tear. The designs were therefore
etched in duplicate, and this appears to have commenced at the date
I of the publication of the tenth part of "Pickwick." The system of
I duplicating the plates readily accounts for the interesting varia-
tions observable in different copies of the first issue ; as, for example,
the faces in the illustration delineating Mr. Pickwick's first meeting
with Sam Weller are much improved in the replica, while other details
are greatly altered ; in the original plate portraying Mr. Pickwick in
the pound, there are two donkeys and four pigs, while the later im-
pression has but one donkey and two pigs ; in the etching where
Master Bardell is seen kicking Mr. Pickwick, the boy was first drawn
with his head down, but was subsequently represented with it raised,
the attitudes of Snodgrass and Winkle being also slightly changed ;

HABL6T K. BROWNE 67

the second version of the plate entitled " The Break-down " (which, by
the way, bears a remarkable resemblance to Buss's unused drawing
of the same subject) differs considerably from the first, and this remark
applies to many of the other designs ; but it is chiefly in the earlier
plates that these variations are particularly noticeable. 1 It is by no
means surprising that such unimportant alterations exist, for an artist
like " Phiz " would find it infinitely tiresome to slavishly copy, line
for line, the original designs, especally if he saw an opportunity for
improving them.~| .

The late George Augustus Sala held the opinion that Habl6t'
Browne's earlier illustrations to " Pickwick " are " exceedingly humor-
ous, but exceedingly ill-drawn," and believed that it was the amazing
success of the author which spurred the artist to sedulous study,
thus conducing in a remarkable degree towards the development
of his faculties. Remembering, however, that " Phiz " had only just
attained his majority, we cannot but admire the deftness and skill he
then displayed in so difficult an ^ as etching, for, although some
of the illustrations are marked by a certain grotesqueness, these plates
are marvels of technique, j

In the preface tcTTlTe first edition of "The Pickwick Papers" we
read : "It is due to the gentleman, whose designs accompany the
letterpress, to state that the interval has been so short between the
production of each number in manuscript and its appearance in print,
that the greater portion of the illustrations have been executed by the
artist from the author's mere verbal description of what he intended
to write." It was customary at this time for Dickens to call upon
Browne, and hastily explain his intentions respecting the chapters to
be illustrated, and from notes then made by the artist the requisite
designs were evolved. [This satisfactorily accounts for certain in-
accuracies in the plates, for which, however, " Phiz " cannot justly be
censured ; for example, in the etching representing Mr. Pickwick
hiding behind the door of the young ladies' seminary, the cook
should have been the only person shown beyond the threshold ; and

68 DICKENS AND HIS ILLUSTRATORS

in the plate depicting the discovery of Jingle in the Fleet, we see
Job Trotter standing behind Mr. Pickwick, whereas, according to the
text, he had not entered the room at that precise moment. On the
other hand, we may detect some defects for which " Phiz " must be
held responsible ; as, for instance, fthe^ inaccurate perspective of the
mantelshelf in the plate entided " The Red-nosed Man Discourseth,"
and the absence of proportion in the size of the figures of Mr. Pick-
wick and the old lady in the etching portraying Christmas Eve at
Mr. Wardle's, a similar anomaly appearing in |he etching of Mr.
Pickwick's encounter with Mrs. Bardell in the Fleet! Again, there
surely never existed so enormous a sedan-chair as 'That from the roof
of which Mr. Pickwick expostulates with Sam Weller when he
attacks the executive of Ipswich, or that into which Mr. Winkle
bolts in his robe de nuit. /in the skating scene, curiously enough,
there is no indication of skates being worn by any member of
the company. " Phiz " sometimes posed his figures in attitudes
I which, if not physically impossible, are unnatural and unpicturesquejj
it must be admitted, however, that he usually succeeded where George
Cruikshank invariably failed, that is, in delineating pretty women, of
y,^ whom his skilled pencil has given us quite an extensive gallery.

A set of proofs of " Phiz's " plates sold for twenty guineas at
Sotheby's in 1889. A reprint of " Pickwick," published at Launces-
ton, Van Diemen's Land, in 1838-39, was illustrated by means of
lithographic copies (signed " Tiz ") of some of the original etchings.
At the same time there appeared an American edition, issued in parts
by Turney, New York, With facsimiles of the plates engraved on steel.

It fortunately happens that, with two exceptions, the original
drawings by "Phiz" for "The Pickwick Papers" have been pre-
served; the missing designs are "Mr. Wardle and his Friends
under the Influence of 'the Salmon'" and the vignette for the
title-page, where Tony Weller is seen ducking Stiggins in the horse-
trough. Photogravure reproductions of all the existing designs
(some having Dickens's autograph) were published in the Victoria

Plate XXX

STUDIES FOR
THE CHEERYBLE BROTHERS

FacsimiU of Original Drawings by
H. K. BROWNE ("Phiz")

L€Ht iy Mr. J. F. DexUr.

1 ^

HABLOt K. BROWNE 69

edition by Chapman & Hall in 1887. The majority of the drawings
were executed in pencil or pen-and-ink, the effects washed in with a
brush, the remainder being entirely brushwork. The following is a
list of " Pickwick " designs by " Phiz " such as were merely tentative,
and therefore never etched : —

Mr. Winkle's First Shot. — Trial sketch, illustrating an incident in the
seventh chapter. A sketch of the same subject was made by Buss.

Christmas Eve at Mr. Wardle's. — Trial sketch, varying but slightly
from the approved design.

The Goblin and the Sexton. — First sketch, in pencil, varying
considerably from the etching. An attenuated sprite, with
sugar-loaf hat and arms akimbo, is seated on the top of a flat
gravestone beside Gabriel Grub, who, pausing in the act of
raising a bottle to his lips, gazes with astonishment at his un-
canny visitor. Behind is seen a church porch.

The Goblin and the Sexton. — Second sketch, similar in char-
acter, but more complete. Positions of figures reversed,
and the goblin more robust. In the published etching the
artist has introduced as a background a view of an ecclesi-
astical building, which bears some resemblance to St. Alban's
Abbey.

The Warden's Room. — Trial sketch, varying considerably from
the approved design. The attitudes of dancer and seated
figure are different, the man in the bed adjoining Mr. Pick-
wick's throws up both arms and one leg, while in either hand
he holds a nightcap and beer-jug. Other figures are introduced
on the right.

In comparing the drawings with the plates, important variations
are sometimes apparent. In the remarkable etching, " The Election
at Eatanswill," the artist has introduced fresh figures, while others
are altered ; in " Mr. Pickwick in the Pound," we see in the
first state of the etching two donkeys and four pigs, instead of one

70 DICKENS AND HIS ILLUSTRATORS

donkey and three pigs, as in the drawing ; in " Job Trotter encoun-
tering Sam in Mr. Muzzle's Kitchen," the pretty housemaid was
originally represented sitting on Sam Weller's knee ; in " The Valen-
tine," the artist's first intention was to portray Tony Weller without
hat and cape; and in "Conviviality at Bob Sawyer's," a human
skeleton is visible behind Mr. Ben Allen, which was omitted in
the etching.

The interest of a few of these drawings is considerably enhanced
by the fact that they contain instructions and suggestions in the
autograph of Dickens. The first so treated is "Mrs. Leo Hunter's
Fancy-dress Ddijeund," the drawing differing in many respects from
the etching, chiefly in the attitudes and arrangement of the figures ;
under it the author has written : "I think it would be better if
Pickwick had hold of the Bandit's arm. If Minerva tried to look
a little younger (more like Mrs. Pott, who is perfect), I think it
would be an additional improvement." The design was altered in
accordance with the spirit of the criticism, and we find Minerva,
instead of a plump and matronly personage, the very opposite in the
matter of physique. It is worthy of note that in the first state of the
etching the face of the Russian officer in the rear bore too close a
caricature resemblance to that of Lord Brougham, the subsequent
change in his appearance being due to some remonstrance against
the artist's freedom. The drawing depicting Mr. Pickwick's first
interview with Serjeant Snubbin contains the following hint from
the author : " I think the Serjeant should look younger, and a great
deal more sly and knowing; he should be looking at Pickwick too,
smiling compassionately at his innocence. The other fellows are
noble. — C. D." As a matter of fact, the drawing is more successful
than the etching, the Serjeant's face in the former indicating that
it had been obliterated and altered to suit Dickens's idea. In the
original design for the etching representing "Mr. Winkle's Situa-
tion when the Door 'Blew to,'" the artist portrayed Mr. Winkle
holding the candlestick in front of him ; but Dickens objected to this,

HABL6t K. BROWNE 71

and wrote at the top of the drawing : " Winkle should be holding
the candlestick above his head, I think. It looks more comical, the
light having gone out." The change was made, but the curious thing
is, neither author nor artist remembered the fact that at the moment
depicted Mr. Winkle had actually discarded the useless candlestick.
Under the same drawing Dickens penned the following comment : " A
fat Chairman so short as our friend here, never drew breath in Bath ; "
" Phiz" has also written in the margin : " Shall I leave Pickwick where
he is or put him under the bed-clothes ? I can't carry him so high as
the second floor. — H. K. B." (Mr. Pickwick's rooms are described
as being in the " upper portion " of the house, but it would seem
that Dickens had originally placed him on the "second floor," which
suggests that the text was altered to suit the illustration.) In repljr^
to this query the author wrote : "I would leave him Where he is
decidedly. Is the lady full dressed ? She ought to be. — C. D." Mr.
Pickwick was left accordingly ; likewise the fat chairman, whose
abnormal obesity was reproduced in the etching as it appears in the
drawing. In the sketch of " Mr. Winkle Returns under Extra-
ordinary Circumstances," the artist had not made Sam Weller and the
housemaid quite as Dickens desired, whereupon the novelist appended
the following queries : " Are Sam and the housemaid clearly made
out ; and [would it not be be]tter if he was looking on with his arm
roun[d Mary ?] I rayther question the accuracy of the housemaid." *
As the sketch, in its present state, realises Dickens's idejis, we may
assume that it was altered by the artist before he transferred his
design to the plate ; indeed, there seems to be evidence of this in
the blurred appearance of the young couple in the drawing, in the
margin of which "Phiz" has written the following instructions about
the biting-in : " The outlines of the figfures I have etched with a
broad point unintentionally ; bite them slightly, that they may not
be too hard, especially Pickwick." The last of the drawings con-
taining the novelist's handwriting is that illustrating "The Ghostly

' The words in brackets are unfortunately cut off the sketch.

72 DICKENS AND HIS ILLUSTRATORS

passengers in the Ghost of a Mail," this bearing the unusual signa-

his

ture, " Charles + Dickens," by which the novelist evidently meant

mark

to express his satisfaction with the artist's treatment of the subject.
In the " English Humorists " Exhibition held in London a few years
since, there was a capital study by " Phiz " of Mr. Pickwick, apparently
an enlarged replica of the familiar figure and pose as seen in Sey-
mour's illustration of him as he appeared when addressing the Club ;
it is a water-colour drawing on buff paper, supplemented by marginal
sketches of the head and bust of Pickwick with his hat on, to-
gether with two studies of hats ; upon the side of the drawing
is inscribed the following memorandum : " Nankeen tights, black
cloth gaiters, white waistcoat, blue coat, brass buttons, square cut in
the tails."

In 1847 "Phiz" prepared six new designs for "The Pickwick
Papers," which were delicately engraved on wood ; the series was issued
independently, and simultaneously with the first cheap edition of the
book. These drawings are undoubtedly superior to the etchings, being
the more matured work of the artist. The following were the subjects
chosen: "Mr. Winkle's First Shot," "The Effects of Cold Punch,"
"Mr. Pickwick at Dodson and Fogg's," "The Kiss under the
Misdetoe," "Old Weller at the Temperance Meeting," "The Leg
of Mutton ' Swarry.' " " Phiz " also contributed to each of the two
volumes of the Library Edition (1858-59)* a vignette illustration for
the title-page, the subjects being Mr. Pickwick and the Wellers, and
Sam Weller with the Pretty Housemaid ; they were engraved on
steel from the original drawings in water-colours. In 1867 the artist
was seized with a form of paralysis, the use of the right hand being
so greatly impaired that he was unable to make the forefinger and
thumb meet; this compelled him to hold the pencil or brush in a

' The early voliames in the Library Edition, issued during 1858-59, have only vignettes on
the title-pages. The later issues of this edition (1862-68) contain several illustrations, some of
these being reprints of the plates in the first edition, while others were specially designed.

Plate XXXI

MASTER HUMPHREY AND THE DEAF GENTLEMAN

Facsimilt of Ihe Original Drawing for " Master Humphrey's Clock " by
H. K. BROWNE ("Phiz")

Beneath the Sketch is written the following, in the autograph of Dickens :—
"Master Humphrey Admirable. Could his stick (with a crooked top) be
near his chair? I misdoubt the deaf gentleman's pipe, and wish he couk)
have a belter one."

LtHt by Mr. /. F. Dexter.

. r

Ki^ O A/

^Z?,

HABL6t K. BROWNE 73

clumsy fashion, and to draw with a sort of sweeping movement of
the whole arm. It was under such distressing conditions than in
1873-74 he executed a commission to illustrate Chapman & Hall's
Household Edition of "The Pickwick Papers." These fifty-seven
designs are necessarily extremely poor in treatment, and painfully
indicate the effect of the injury his hand had sustained ; indeed, the
wonder is that he could draw at all. It must be admitted, however,
that much of the feebleness of the woodcuts is due to the engraver,
as the original outline sketches (which were transferred to the box-
wood blocks and there developed) exhibit in a wonderful degree both
freedom and precision of touch. A small collection of these drawings
was sold at Sotheby's in December 1887, each drawing realising the
average price of seven pounds. Sets of the " Pickwick " designs in
the Household Edition, coloured by F. W. Pailthorpe, have been
issued as "extra" illustrations.

In 1836, as soon as Dickens terminated his connection with the
The Reporters' Gallery in the House of Commons, he was

Strange induced to take a considerable interest in the then

Gentleman, newly-erected St James's Theatre, and even essayed
l837« to write for his friend J. P. Harley ("as a practical

joke," he afterwards explained) a comic burletta called " The Strange
Gentleman," which was adapted from "The Great Winglebury Duel"
in "Sketches by Boz." The little farce was published by Chap-
man & Hall during the following year with a frontispiece by " Phiz,"
the subject of the plate being suggested by the concluding scene,
where the Strange Gentleman proposes marriage to Julia Dobbs ;
the two seated figures are vigorously drawn, and on a larger scale
than those in the " Pickwick " designs. " The Strange Gentleman "
is perhaps the rarest of Dickens's writings, and the extraordinary
sum of ;^45 was realised at Sotheby's in August 1892 for an
exceptionally fine copy. It has since been beautifully reprinted in
facsimile, with a new frontispiece etched by F. W. Pailthorpe.

74 DICKENS AND HIS ILLUSTRATORS

In the same year Chapman & Hall published a booklet (anony-
Sketchcs mously written by E. Caswell) entitled " Sketches of
of Young Young Ladies," by " Quiz," with six etchings by
Gentk' " Phiz," the author of which was erroneously be-

men, 1838. Heved to be Charles Dickens, whose literary style
it somewhat resembled. The " Young Ladies " being referred to
here in a rather ungallant fashion, Dickens essayed (as a kind of
protest) a similar work, in which he pokes fun at the idiosyncrasies
of youths of the sterner sex. Like its predecessor, the "Sketches
of Young Gentlemen " were written anonymously, and similarly con-
tained six etched illustrations by " Phiz."

In 1840 there appeared a third booklet, entitled "Sketches of
Sketches Young Couples ; " of this Dickens was also the un-
of Young avowed author, while " Phiz " contributed the usual six
Couples, etchings. In the third of these designs (only two
1840. of which are signed) we are reminded of his pre-

sentment of the Kenwigses in " Nicholas Nickleby," the illustrations
for which story were then occupying the artist's attention. These
little productions were issued in green paper covers, decorated with
designs by " Phiz."

The sets of six original drawings for " Sketches of Young Ladies "
and " Sketches of Young Gentlemen " realised _;^40 and /^^g re-
spectively at Sotheby's in 1897.

In the advertisement announcing the publication of " Nicholas
Nicholas Nickleby," it was stated that each monthly part would
Nickleby, be " embellished with two illustrations by ' Phiz '."
i838-39» This is not strictly accurate, for to the twenty parts
the artist contributed but thirty-nine plates, the full complement,
however, being made up with a portrait of the author (as the frontis-
piece), engraved by Finden from the painting by D. Maclise, A.R.A.
The most interesting of the "Nickleby" plates are undoubtedly

HABL6t K. BROWNE 75

those depicting scenes at Dotheboys Hall, that representing Squeers
at the Saracen's Head containing the most familiar presentment
of its amiable proprietor. Thus, as he stood mending his f)en, the
novelist and artist saw the living prototype, and had taken mental
notes of the odd figure, who, as will presently be related, was among
the several schoolmasters they interviewed.*

It was the novelist's intention to expose in this story the terrible
abuses practised in the cheap boarding-schools of Yorkshire, and, in
order that he might realise their true character, he determined
to investigfate for himself the real facts as to the condition of those
notorious seminaries. Accordingly, at the end of January 1838, he
and "Phil" started on this memorable journey, in bitterly cold
weather, and, visiting several schools in the locality, they came into
direct contact with the proprietors. One of these was William Shaw,
the identical schoolmaster who, some years previously, had been
heavily fined for what was represented at the trial as gross maltreat-
ment of his pupils. According to the following entry in the novelist's
private diary (under date February 2, 1838), there can be no doubt
that he had this individual principally in his mind when delineating the
infamous Squeers : — " Mem. — Shaw, the schoolmaster we saw to-day,
is the man in whose school several boys went blind some time since
from gross neglect. The case was tried, and the verdict went against
him. • It must have been between 1823 and 1826. Look this out in
the newspapers." Mr. Lloyd, a well-known Glasgow comedian, who
spent twelve months in Shaw's school at Bowes, Yorkshire, afterwards
testified to the truth of the outiuard appearance of the man as
described by Dickens and portrayed by the artist in the pages of the
novel, "allowing, of course, for both being greatly exaggerated. A
sharp, thin, upright little man, with a slight scale covering the pupil of
one of his eyes. Yes, there he stands, with his Wellington boots and

' Among the few drawings executed by " Phiz " for Punch, there is a representation of an
orthodox pettifogging attorney perched upon a stool, whose portrait is that of the very
Squeers. It constitutes one of a series of " i'uncks Valentines," and was published in the
second volume, 1842.

76 DICKENS AND HIS ILLUSTRATORS

short black trousers, not originally cut too short, but from a habit
he had of sitting with one knee over the other, and the trousers
being tight, they would get ' rucked ' half-way up the boots. Then,
the clean white vest, swallow-tailed black coat, white necktie, silver-
mounted spectacles, close-cut iron-grey hair, high-crowned hat worn
slightly at the back of his head— and there you have the man." It
certainly seems remarkable that Mr. Lloyd and others who knew Shaw
recollect him as a most worthy and kind-hearted gentleman, but this
perhaps is explained by certain facts concerning him and his school
that were published in the Athenceum, February 1894, together with a
commentary upon a reprint of the trial in which he was the defendant.

It is a curious fact that several Yorkshire schoolmasters actually
claimed to be the prototype of Squeers ; indeed, a member of the
fraternity (probably Shaw himself) declared that he remembered being
waited on by two gentlemen, one of whom held him in conversation
while the other took his likeness ; " and although " (says the author in
his preface to the story) "Mr. Squeers has but one eye, and he has
two, and the published sketch does not resemble him (whoever he may
be) in any other respect, still he and all his friends know at once for
whom it is meant, because the character is so like him." I think
there can be no doubt that both Dickens and " Phiz," when delineating
Squeers, reproduced too closely the idiosyncrasies of one individual,
and that the author's description, as well as the artist's presentment,
bore so obvious a likeness to Shaw, that he became the scapegoat for
others worse than himself, and suffered accordingly.

In some of the etchings may be discovered slight incongruities (as,
for example, in the first plate, where Ralph Nickleby's hat is too small
for his head), while in others there is a palpable touch of exaggeration.
In the illustration, " The Country Manager Rehearses a Combat," the
artist has omitted to introduce the figure of the landlord who ushered
into the managerial presence Nicholas and Smike, and the broad-
swords should have been basket-hilted weapons. In the etching,
where Nicholas instructs Smike in the art of acting, Nicholas wears

»i

Plate XXXI 1

"THE DOMBEY FAMILY"

FatsimiU of the First Study for the Etching by
H. K. BROWNE ("Phiz")

The "Query" written l^nrath the Drawing is in the autograph of the
Artist. It was addressed to Dickens, and reads as follows : — " Qy. Whether
'twere belter to hn\'e him standing thus, stiff as a poker, with a kind of side
glance at his daughter,— or sitting, as in the other? " The Etching differs
considerably from the Drawing.

I^enl ty Mr. J. F. Dexler.

'^ in»^i^f*»^^fyrS^U..f^i/u ^'**'-^tf'

.:.<

•r

■"/

HABL6t K. BROWNE 77

the rapier on the wrong side, this oversight doubtless resulting from
the non-reversal of the design upon the plate. The "Nickieby"
illustrations are, as a whole, very successful ; in many instances the
expressions are capitally rendered, although it is to be regretted that
the artist did but scant justice to the physical attractions of Kate
Nickieby and Madeline Bray.

There were sixty-three quarto plates etched for the thirty-nine
illustrations in the story, each plate carrying two designs ; some of
these were etched three times, while in seven instances the quarto
plate was reproduced no less than four times. In none of these
duplicated plates will be found such marked variations in detail as
may be noted in the replicas of the "Pickwick" designs, so that
the collector need only seek for well-printed impressions.*

All the original drawings for " Nickieby," with one exception,
are still in existence; they were disposed of on July 16, 1880, in
Robinson & Fisher's auction-rooms, when they realised in the
aggregate rather more than a hundred pounds. The missing design
is that depicting Nicholas in his capacity as tutor in the Ken wigs
family. These drawings are executed in pencil and wash, some
being especially valuable by reason of marginal notes in the auto-
graph of the novelist. At the top of the original sketch for "A
Sudden Recognition, Unexpected on Both Sides" (kindly lent by
Mr. M. H. Spielmann for reproduction), Dickens has pencilled a
note to the artist, a portion of which (that within the brackets) has
been cut away : " I don't think that Smike is frightened enough [or
that Squeers is] earnest enough, for my purpose," — a criticism which
was apparently not productive of much alteration in the direction
indicated, unless effected in the sketch before the subject was etched.

The late Mr. F. W. Cosens, who possessed several preliminary
studies of the Kenwigs children, had in his collection a note from
Dickens giving minute instructions to " Phiz " respecting the design

I The " Nickieby " plates were copied by J. Yeager for the first American edition of the
story.

78 DICKENS AND HIS ILLUSTRATORS

for the plate entitled "Great Excitement of Miss Kenwigs at the
Hairdresser's Shop." The novelist desired his illustrator to depict
"a hairdresser's shop at night — not a dashing one, but a barber's.
Morleena Kenwigs on a tall chair, having her hair dressed by an under-
bred attendant, with her hair parted down the middle and frizzed up
into curls at the sides. Another customer, who is being shaved,
has just turned his head in the direction of Miss Kenwigs, and she
and Newman Noggs (who has brought her there, and has been
whiling away the time with an old newspaper) recognise, with
manifestations of surprise, and Morleena with emotion, Mr. Lillivick,
the collector. Mr. Lillivick's bristly beard expresses great neglect of
his person, and he looks very grim and in the utmost despondency."

The original drawing for " Nicholas Starts for Yorkshire" presents
several important variations from the published plate, the positions
of the figures being considerably altered, the most remarkable differ-
ences being that Ralph Nickleby and Squeers in the sketch are
placed on the side opposite the coach and more in the background,
the coachman reading the way-bill is transferred to the spot where
Squeers now stands, while there is another coachman looking over
his shoulder, who is omitted in the etching ; the coachman with the
whip (as seen in the plate) was not introduced in the sketch. For
the monthly parts " Phiz " designed a pictorial wrapper ; on either
side of this wood-engraving is a corpulent figure mounted on tall
stilts, surmounted by an allegorical scene typifying Justice, with
cornucopia, &c., and below is seen the culprit Squeers wading
through a river, guided by imps carrying lanterns.

For the two volumes of the Library Edition of "Nicholas Nickleby"
(1858-59) "Phiz" prepared small designs, delicately tinted in water-
colours, which were engraved on steel as vignettes for the title-pages ;
the subjects represented are "The Nickleby Family" and "The Mad
Gentleman and Mrs. Nickleby," the original drawings realising /14
each at Sotheby's in 1889.

HABLOT K. BROWNE ("Phiz")

"Mastkr Humphrey's Clcx:k"— A Quaint Advertisement— Woodcuts instead of Etchings—
"Phil's" Contributions— Instances of his Exaggerated Grotesqueness — Mr. Frederic
Harrison's Comment — A Powerful Design — Illustrations in "The Old Curiosity Shop"
Criticised— Ruskin's Attack upon the Designs in "Bamaby Rudge"— His Admiration of the
Woodcut of "Bamaby and Grip"— " Phil's" Frontispieces— His Letter to Dickens— An
Amusing Epistle from Dickens to his Publisher — A "Clock Dinner" — Original Drawing
of Master Humphrey and the Deaf Gentleman— Frontispiece for the First Cheap Edition
of " Bamaby Rudge " — Vignettes for the Library Edition — New Designs for " Master
Humphrey's Clock " — Portraits of Dolly Varden, Little Nell, and Barbara— Sale of Water-
Colour Drawings— " Martin Chuzzlewit"— The Illustrations Characterised— How they
were Prepared — Slight Errors by "Phiz" — The Original Drawings — Minute Instractions
from Dickens to the Artist — A Humorous Rejoinder — Sale of the " Chuzzlewit " Designs —
Vignettes for the Library Edition—" Dombey and Son "—The Plates Etched in Duplicate
— Introduction of the Oblong Form of Illustration — Method of Obtaining Chiaroscuro —
Some Anomalies in the Etchings — Working under Difficulties — Dickens's Anxiety Respect-
ing the Designs— Studies for Mr. Dombey— A Letter of Instructions— Hints to the Artist
—Dickens Disappointed— The Etching of " Mrs. Pipchin and Paul "—" Doctor Blimber's
Young Gentlemen" — A Remarkable Oversight — Explicit Directions from Dickens to
" Phiz"— Original Drawings for " Dombey and Son "—Slight Variations from the Etchings
— " Dombey " Sketches Presented to Dickens — A Portrait of Little Paul — Pictorial
Wrapper— Extra Plates — Criticism by Dickens — Portraits of Alice and Florence Dombey—
Frontispiece for the First Cheap Edition — Vignettes for the Library Edition.

Master y^~>HARLES DICKENS'S next work, entitled

Hum- i " Master Humphrey's Clock," which comprises

phre/s V_^ "The Old Curiosity Shop" and " Barnaby

Clock, Rudge," was first issued in weekly instalments, as well

^ ^ * as the customary monthly parts, the new venture being

thus announced : "Now wound up and going, preparatory to its striking

on Saturday, the 28th March, Master Humphrey's Clock, Maker's

name — ' Boz.' The Figures and Hands by George Cattermole, Esq.

and 'Phiz.'" A novel feature of this undertaking was the illustra-

8o DICKENS AND HIS ILLUSTRATORS

tions, which were not etched as hitherto, but engraved on wood and
dropped into the text, the total number of designs being one hundred
and ninety-four, including three frontispieces and twenty-four initials.
Of these " Phiz " produced by far the greater proportion, he being
responsible for no less than a hundred and fifty-three, including two
frontispieces and all the initials ; the subjects of many of the latter,
by the way, have no connection with the letterpress. Some of the
drawings are unsigned, while others have appended to them the artist's
initials or monogram, occasionally reversed. At this time "Phiz"
was almost as anonymous as " Boz," but when " Master Humphrey's
Clock" ultimately appeared in volume form, his identity was fully
established on the title-page as " Habl6t Browne." The result of a
careful analysis of the illustrations discloses the fact that "Phiz"
produced sixty-one for "The Old Curiosity Shop" and " Barnaby
Rudge " respectively, and seven for the miscellaneous papers relating
to "The Clock," exclusive of the initials. The greater number of
figure-pieces fell to his pencil, while the architectural subjects were
entrusted to his coadjutor, George Cattermole.

In many of the drawings (admirably engraved by S. Williams,
Landells, Gray, and Vasey) Browne hardly did himself justice, their
exaggerated grotesqueness tending to deprive these little pictorial com-
positions of much of their artistic value. Observe, for example, the
repulsive features of Kit, his mother, and the child in the tenth chapter
of "The Old Curiosity Shop," and note how positively diabolical are his
representations of Sampson Brass and his sister, and of Dick Swiveller.
It is difficult to believe that the terrible-looking creature intended for the
Marchioness, in the fifty-seventh and sixty-fifth chapters, would ever
have developed into a "good-looking " girl, as she really did, according
to the text. It is probably such unpleasing illustrations as these which
induced Mr. Frederic Harrison in The Forum to condemn, with ex-
ceeding severity, the artist's propensity for caricature ; " the grins, the
grimaces, the contortions, the dwarfs, the idiots, the monstrosities of
these wonderful sketches could not be found in human beings con-

Plate XXXIII

• "PAUL AND MRS. PIPCHIN "

FacsimiU ot the Original Sketch for " Dombey and Son " by
H. K. BROWNE ("Phiz")

A subsequent and more complete Drawing of this subject is included in
the Duchess of St Albans' Collection.

Lnl h Mr. J. F. Dtxttr.

I/,

'^^/^^"'«w.

HABL6t K. BROWNE 8i

structed on any known anatomy." Other woodcuts are of course
excellent, especially those in which Mr. Pickwick and the Wellers are
resuscitated. One of the most striking, however, is the weird water-
scape showing the corpse of Quilp washed ashore — a vista of riparian
scenery which, for the sense of desolate breadth and loneliness it
suggests, it would be difficult to excel. An illustration deserving
special examination is the tailpiece for the chapter immediately fol-
lowing the end of "The Old Curiosity Shop," where the artist has
depicted Master Humphrey in his arm-chair, surrounded by Lilliputian
figures, among which may be recognised some of the principal actors
in the story.

A careful comparison of the illustrations with the text of " The Old
Curiosity Shop " reveals certain slight inaccuracies on the part of the
artist For example, in the twenty-seventh chapter we read that Quilp
leant upon his stick as he beckoned to the boy carrying his trunk,
whereas " Phiz " depicts him raising the stick. In the woodcut por-
traying Kit and his party at Astley's Theatre, the umbrella should be
held by Barbara's mother, and not Kit's. Again, in a subsequent chapter,
we are told that Sampson Brass's hat was " grievously crushed," but
" Phiz " has represented it with the crown suspended by a single
thread, — a striking instance of his tendency to exaggeration. The
careful reader will also note (in the seventeenth chapter) that the stilt
on the right leg of the "young gentleman" in "Grinder's lot" is at
least twelve inches shorter than its fellow, and that Mrs. Jarley's
horse (in the twenty-sixth chapter) is considerably out of proportion
with its surroundings ; the caravan, too, is incorrectly drawn, and
Mrs. Jarley with the drum should have been placed upon the
platform of the van. The inherent humour of " Phiz " was often
apropos, an amusing instance being discoverable in the illustration
of Miss Monflathers and her young ladies (in the thirty-first
chapter), where the inscription on the board above the wall reads,
"Take notice — Man traps."

Although the designs in " Bamaby Rudge " are not entirely

82 DICKENS AND HIS ILLUSTRATORS

exempt from the charge of exaggeration, they are, on the whole,
more pleasing. The artist seems to have fairly revelled in the scenes
depicting the rioters, and, while failing in his conception of Sir John
Chester, he successfully realised the more picturesque figures of
Barnaby and Maypole Hugh, the latter being admirably limned.
Professor Ruskin, however, in his " Ariadne Florentina," denounces
these woodcuts in language more caustic even than that of Mr.
Frederic Harrison : " Take up," he says, " for an average specimen
of modern illustrated works, the volume of Dickens's ' Master
Humphrey's Clock ' containing ' Barnaby Rudge.' . . . The cheap
popular Art cannot draw for you beauty, sense, or honesty ; and for
Dolly Varden, or the locksmith, you will look through the vignettes
in vain. But every species of distorted folly or vice . . . are pictured
for your honourable pleasure on every page, with clumsy caricature,
struggling to render its dulness tolerable by insisting on defect."
The drawing of Barnaby and the Raven (the final illustration in the
second volume) is one of the few the author of this pungent criticism
can bring himself to admire. "The raven," he observes, "like all
Dickens's animals, is perfect; and I am the more angry with the
rest because I have every now and then to open the book to look
for him." Respecting these woodcuts, it may be pointed out that
Dickens omitted to mention which arm Joe Willet was deprived of
" in the defence of the Salwanners." Curiously enough, " Phiz "
similarly fails to assist us in deciding the point, as, in the illustra-
tions depicting him after the war, he is seen minus the right arm
in four instances, while in another woodcut it is the left which
has disappeared.

The frontispieces designed by Browne for the second and third
volumes are both elaborate and fanciful. In the first is seen an
enormous hour-glass containing a crowd composed of some of the
minor characters in the story, while surrounding it are representa-
tions of the more prominent persons. It was originally intended that
George Cattermole should execute this drawing, but, being prevented

HABL6t K. BROWNE ^3

by illness, it fell into the hands of " Phiz," who thereupon wrote to
the novelist : —

" Sunday Morning.

" My Dear Dickens, — Will you give me some notion of what
sort of design you wish for the Frontispiece for second volume of
ClocA f Cattermole being put hors de combat — Chapman with a
careworn face (if you can picture that) brings me the block at the
eleventh hour and requires it finished by Wednesday. Now, as I
have two others to complete in the meantime, something nice and
tight would be best adapted to my palette, and prevent an excess of
perspiration in the relays of wood-cutters. You shall have the others
to criticise on Tuesday. — Yours very truly,

Habl6t K. Browne."

In the frontispiece to the third volume is portrayed an ornamental
clock, at the summit of which is seated Master Humphrey, while on
either side and at the base are introduced the presentments of
Barnaby with his raven and other individuals in the tale. " Phiz "
was also responsible for the elaborate design on the wrapper of the
weekly numbers.

The following amusing epistle, having reference to the initial
letter drawn by " Phiz " for the sixty-fifth chapter, was addressed by
Dickens to a member of his publishing firm, Edward Chapman, the
"precipice" here mentioned being a humorous allusion to the latter's
approaching marriage : —

" Broadstairs, Thursday, \tlh SepUmber 1841.

" Mv Dear Sir, — Know for your utter confusion, and to your
lasting shame and ignominy, that the initial letter has been provided,
that it was furnished to the artist at the same time as the subject — and
that it is a

— which stands for Double — Demnible — Doubtful — Dangerous —

84 DICKENS AND HIS ILLUSTRATORS

Doleful — Disastrous — Dreadful — Deuced — Dark — Divorce— and
Drop— all applicable to the Precipice on which you stand

" Farewell ! If you did but know— and would pause, even at this
late period -better an action for breach than— but we buy experience.
Excuse my agitation. I scarcely know what I write. To see a
fellow-creature— and one who has so long withstood — still if — will
nothing warn you?

"In extreme excitement

C. D.

" My hand fails me.

P.S. — PAUSE

PUT IT OFF
P.P.S. — EMIGRATE
P. P. P.S. — AND LEAVE ME

THE BUSINESS

I MEAN THE STRAND ONE."

On the conclusion of the second volume of " Master Humphrey's
Clock," a dinner was given by Dickens to celebrate the event.
Serjeant Talfourd presided, and the guests included those engaged
in the production of the work. " Phiz," in accepting the invitation
to be present, wrote as follows : —

33 HowLAND Street [1841].

"My Dear Dickens, — I shall be most happy to remember not
to forget the loth April, and let me express a </winterested wish that,
having completed and established one ' Shop ' in an ' extensive line
of business,' you will go on increasing and multiplying suchlike
establishments in number and prosperity till you become a Dick
Whittington of a merchant, with pockets distended to most Brobdig-
nag dimensions. — Believe me, yours very truly,

"Habl6t K. Browne."

Plate XXXIV

"MR. PEGGOTTY'S DREAM COMES TRUE"

Facsimile of the Original Drawing for "David Copperfield" by
H. K. BROWNE ("Phiz")

In the published version the figure of Rosa Dartle (on the left) is omitted,
and David's hat is placed upon the table.

Lent iy Her Grace tht Duchess of St. Alians.

7I/XX

^(1 "iiiia»^

HABL6t K. BROWNE 85

Through the courtesy of Mr. J. F. Dexter, I am enabled to
reproduce in facsimile one of the original designs for " Master Hum-
phrey's Clock," depicting Master Humphrey and the Deaf Gentle-
man. This drawing, executed in pencil, differs slightly from the en-
graving ; underneath it Dickens has written, " Master Humphrey
ADMIRABLE. Could his Stick (with a crooked top) be near his chair ?
I misdoubt the deaf gentleman's pipe, and wish he could have a
better one."

To the first cheap edition of " Barnaby Rudge," 1849, "Phiz"
contributed the frontispiece, — a drawing on wood (engraved by
W. T. Green) representing Dolly Varden, with Hugh hiding in the
bushes. In the Library Edition (1858-59) the stories were published
independently, each in two volumes, with pretty vignettes on the
title-pages, specially designed by the same artist and engraved on
steel. The original drawings were delicately tinted in water-colours,
the subjects being Little Nell and her Grandfather, Dick Swiveller
and the Marchioness, Dolly Varden and Joe Willet, Barnaby and
Hugh. In these engravings the female characters are much more
charmingly conceived than are those in the woodcuts.

In 1848, when the first cheap edition of the story appeared, Habl6t
Browne made four new designs as "Extra Illustrations" for "The
Old Curiosity Shop," viz.. Little Nell and her Grandfather, the
Marchioness, Barbara, and the Death of Little Nell. They were
beautifully engraved in stipple, and issued as an independent publica-
tion by the artist and his coadjutor, Robert Young, whose joint venture
it was. In the following year they produced a similar set of four
plates illustrating "Barnaby Rudge," viz., Emma Haredale, Dolly
Varden, Mrs. Varden and Miggs, and Hugh and Barnaby. The
portraits of the various characters were engraved by Edwards and
Knight, under the superintendence of Browne and Young. The
original drawing of Dolly Varden, one of " Phiz's " happiest concep-
tions, is in the possession of Her Grace the Duchess of St. Albans,
together with an unengraved study for Emma Haredale. There are

86 DICKENS AND HIS ILLUSTRATORS

extant, in Mr. J. F. Dexter's collection, two other studies for the
Dolly Varden plate, neither of which has been reproduced ; the same
gentleman also owns the drawings of Nell and Barbara, the latter
being slightly different from, and superior to, the engraving.

A complete series of original water-colour drawings by " Phiz "
for " The Old Curiosity Shop " and " Barnaby Rudge," including an
unused design for a tailpiece, were sold at Sotheby's in 1897, and
realised ;^6io. These drawings were executed as a commission
for Mr. F. W. Cosens.

Browne's versatile pencil was again actively employed in embellish-
ing the story begun by Dickens soon after his return
Martm ^^^^ America in 1842, and to this he contributed

P * forty etchings. Here the figures are drawn on a

larger scale than usual, thus affording more scope for
the delineation of character.

The frontispiece is a most elaborate design, representing the
principal characters and incidents in the story, with Tom Pinch at
the organ as a central idea. In the illustration where Mark Tapley
is seen starting from his native village for London, " Phiz " exhibits
his sense of the picturesque in the old gables and dormers of the ancient
tenements in the background, while that depicting " Mr. Pecksniff
on his Mission" is an excellent verisimilitude of such a locality as
Kingsgate Street of fifty years since. But the etching in "Chuzzle-
wit " which may be described as the artist's happiest effort as a comic
creation is that where Mrs. Gamp " propoges " a toast. Here he has
admirably illustrated the text, — the two midwives in friendly chat,
surrounded by bandboxes and other accessories, while behind are seen
the immortal Sarah's rusty gowns, which, depending from the bed-
posts, " had so adapted themselves by long usage to her figure, that
more than one impatient husband, coming in precipitately at about
the time of twilight, had been for an instant stricken dumb by the
supposed discovery that Mrs. Gamp had hanged herself."

HABL6t K. BROWNE 87

All the designs for "Martin Chuzzlewit" were etched on quarto
plates, two on each plate. Five of these plates were etched three
times, these including, besides the frontispiece and vignette title,
the first six illustrations in the book, and two which appeared in the
fourteenth number, viz., " Mr. Pinch Departs to Seek his Fortune," and
" Mr. Nadgett Breathes, as Usual, an Atmosphere of Mystery." A
careful examination of different copies of the first edition will disclose
minute variations in these particular illustrations, worthy of special
mention being the vignette title, where, in the earliest impressions, the
J[^ mark is incorrectly placed after the figures in the amount of reward
on the bill.

In the majority of the "Chuzzlewit" etchings there is a vigour
and precision of touch indicating the artist's riper experience. It must,
however, be admitted that a few of the plates are so feeble in execu-
tion in comparison with the rest as to suggest that " Phiz's " drawings
were copied on the plate by a less expert etcher. An instance of this
poverty of execution will be found in the first design, depicting
" The Meekness of Mr. Pecksniff and his Charming Daughters,"
and the fact that this plate is unsigned seems significant ; in
reply to my enquiry respecting it, Mr. Robert Young assured me
that " no one ever copied or etched plates for Browne ; he traced the
subject on the steel himself, and etched every line before it was bitten
in. I know no reason for the omission of his signature to any of his
plates."

In a few instances the artist has not strictly followed the text For
example, in the plate where Mr. Pecksniff calls upon Mrs. Gamp, the
pie-shop is placed next door, whereas it is clearly described as being
next door but one. In the etching of Mark Tapley "finding a jolly
subject for contemplation," instead of Mark's name being inscribed in
full upon the " Rowdy Journal " door, his initials only should appear,
" in letters nearly half a foot long, together with the day of the month
in smaller type ; " the four horses harnessed to the coach in which
Tom Pinch departs to seek his fortune ("Phiz's" horses, by the way,

88 DICKENS AND HIS ILLUSTRATORS

are always well drawn) are described as "greys," while in the plate
only one is thus represented. Such discrepancies, however, although
interesting to note, are unimportant. As usual, we find in the acces-
sories (such as the titles of books and pictures) sly touches of humour
peculiarly apropos of the principal theme. " Phiz's " design for the
wrapper of the monthly parts is emblematical of the story; here
"silver spoons" and "wooden ladles," as embodied in the original
title, play a conspicuous part.

The " Chuzzlewit " drawings, all of which have been preserved,
are executed in pencil, some having washes of neutral tint. They vary
but slightly from the etchings, the greatest differences being noted
in the first two designs, this doubtless arising from the difficulty
experienced by the artist in immediately seizing the author's meaning.
In one special instance Dickens favoured his illustrator with very
precise instructions. Respecting the American scenes, the £irtist
desired more details than usual, so he received from the novelist the
following letter (now in Mr. J. F. Dexter's collection), giving parti-
culars for the plate representing " The Thriving City of Eden, as it
appeared in Fact."

" Martin and Mark are displayed as the tenants of a wretched log
hut (for a pattern whereof see a vignette brought by Chapman &
Hall) in a perfectly flat, swampy, wretched forest of stunted timber in
every stage of decay, with a filthy river running before the door, and
some other miserable log houses distributed among the trees, whereof
the most ruinous and tumble-down of all is labelled ' Bank and National
Credit Office.' Outside their door, as the custom is, is a rough sort
of form or dresser, on which are set forth their pot and kettle and so
forth, all of the commonest kind. On the outside of the house, at one
side of the door, is a written placard, ' Chuzzlewit and Co., Architects
and Surveyors,' and upon a stump of tree, like a butcher's block, before
the cabin, are Martin's instruments — a pair of rusty compasses, &c.
On a three-legged stool beside this block sits Martin in his shirt
sleeves, with long dishevelled hair, resting his head upon his hands —

HABL6T K. BROWNE 89

the picture of hopeless misery — watching the river and sadly remember-
ing that it flows towards home. But Mr. Tapley, up to his knees in
filth and brushwood, and in the act of endeavouring to perform some
impossibilities with a hatchet, looks towards him with a face of un-
impaired good humour, and declares himself perfectly jolly. Mark,
the only redeeming feature. Everything else dull, miserable, squalid,
unhealthy, and utterly devoid of hope — diseased, starved, and abject.
The weather is intensely hot, and they are but partially clothed."

The artist, naturally bewildered by such elaborate directions, has
written underneath this note : " I can't get all this perspective in,
unless you will allow of a long subject — something less than a mile ! "

For the plate, " Martin Chuzzlewit Suspects the Landlady," two
drawings were prepared, but the second was probably only to guide
the biter-in of the steel as to the effect of light and shade required ; for
it occasionally happened that " Phiz " had not time to give verbal in-
structions to his assistant, when he would send a rough indication of
what was needed in the matter oi chiaroscuro. In the original drawing
representing "The Meekness of Mr. Pecksniff and his Charming
Daughters," the figure of Tom Pinch differs from the plate, and shows
signs of having been quickly sketched in, as though the first idea was
not to introduce him at all ; in a second delineation of the same subject
this figjure is limned with greater care.

The original designs for " Chuzzlewit " were disposed of at Sotheby's
in 1889 for ;^433, 13s., the beautifully-finished drawing of the frontis-
piece realising £zS> while that of " Mrs. Gamp 'Propoges' a Toast,"
rightly considered as one of the artist's c/ief-d'aeuvres, was purchased
for ;^35, los.

To the Library Edition (1858-59) " Phiz" contributed a vignette
for the title-page of each of the two volumes of " Martin Chuzzlewit,"
which were engraved on steel from the original water-colour drawings.
The subject of the first design is almost a repetition of the etching in
the original issue, and depicts the " Meekness of Mr. Pecksniff and his
Charming Daughters," the ladies being certainly more attractive in the

90 DICKENS AND HIS ILLUSTRATORS

later conception. In the second vignette we see Mrs. Gamp and
Betsy Prig, at the moment when the latter, in her wrath, denied the
existence of the memorable Mrs. Harris.

Among the forty illustrations prepared by " Phiz " for " Dombey
and Son" will be found some of the artist's happiest
Uombcy efforts. By this time his experience with the etching-
*ft ( °R ' needle enabled him to execute his designs upon the steel
plates with wonderful facility and dexterity, and con-
tinual practice had made him almost perfect in this particular branch
of art. All these plates were etched in duplicate ; the greater number
were drawn on quarto plates, having two subjects on each as usual,
but the frontispiece, the last four illustrations, and the duplicates of
three others were etched singly on steels of octavo size.*

The duplicates do not vary much ; that in which an alteration is
most noticeable, although hardly perceptible, is "Abstraction and
Recognition," the bills on the wall near Alice in one plate being less
mutilated than in the other. There was such a large circulation of
the book in part form that the printing from the plates could not be
executed quickly enough, the etchings being rarely sent in until the
last minute ; so that it became necessary to resort to lithographic
transfers until the duplicate plates could be etched. In " Dombey
and Son" the artist first introduced the oblong form of illustration,
this lending itself more appropriately to the subjects so treated, and in
succeeding novels we find a fair sprinkling of designs of this shape.
When nearing the end of the story he essayed, with considerable
success, a new method of obtaining chiaroscuro, and he afterwards
adopted it whenever striking effects were required. The only plate in
" Dombey " so treated is "On the Dark Road," on which, by means of
a ruling-machine, a tint had been placed before the subject was drawn,
and, by a process of biting-in, stopping-out, and burnishing, an effect

■ An American edition (published in 1844) contains fourteen clever replicas of the " Dombey "
etchings.

HABL6t K. BROWNE 91

resembling mezzotint was obtained. The machine was kept in Mr.
Young's studio at Furnival's Inn, and could be manipulated by a boy,
the operation of " ruling " being a purely mechanical one ; it was the
subsequent treatment by acid and burnisher, in reproducing the tones
of the original drawing, that required the knowledge of an expert.

A few anomalies may be discovered in the " Dombey " plates.
In the various representations of Captain Cuttle the artist has de-
picted him, in two instances, with the hook upon the left arm instead
of the right. When comparing the three plates portraying Sol Gills's
little back-parlour, certain little discrepancies are apparent, such as
the altered position of the model of a brig, &c. In the plate entitled
"The Wooden Midshipman on the Look-out," Florence is delineated
as a well-developed young woman, whereas, according to the text, she
was then but a mere child of fourteen. In the same illustration the
artist has drawn a pair of horses (or rather their heads) which can
have no possible connection with the omnibus near by, although they
are evidently intended to be associated therewith. In the etching
" Abstraction and Recognition," Alice and her mother standing in
the archway are much too tall ; it is interesting to note here the
advertisement on the wall of Cruikshank's "Bottle," which may be
considered as denoting the popularity of that remarkable series of
pictures, then being issued. Two palpable errors are discoverable in
the illustration entitled "On the Dark Road," for not only does the
driver hold the reins in the wrong hand, but it will be seen that the
wheels of the rapidly-moving carriage are really represented as station-
ary, while the " off" wheels are omitted altogether. In the last plate but
one, the figure of Florence is not sufficiently visionary, and therefore
fails to convey the author's meaning respecting the conscience-stricken
Dombey.

Habldt Browne invariably laboured under some disadvantage
when designing his illustrations for Dickens ; indeed, he was some-
times compelled to draw his inspiration merely from the author's
verbal explanation or reading of a particular passage ; so it is not

92 DICKENS AND HIS ILLUSTRATORS

surprising that we discover an occasional discrepancy. In the case of
" Dombey," he experienced a difficulty of another kind, for during
the writing of the story Dickens was living at Lausanne in Switzer-
land, and the sketches had to be sent there for his criticism and
approval, which not only caused delay, but gave the artist some
trouble in understanding the suggestions made by the author when
returning the drawings.

Several letters from Dickens to Forster at this time express
solicitude concerning these plates. Writing from Lausanne on the
1 8th of July 1846, he said: "The prints for illustration, and the
enormous care required, make me excessively anxious." A nervous
dread of caricature on the face of his merchant-hero had led him
to indicate by a living person the type of city gentleman he would
have had the artist select. " The man for Dombey," he explained,

"if Browne could see him, the class man to a T, is Sir A

E , of D 's ; " and this is all he meant by his reiterated urgent

request, " I do wish he could get a glimpse of A., for he is the
very Dombey." It seems, however, that the "glimpse of A." was
impracticable, so it was resolved to send, for selection by himself,
glimpses of other letters of the alphabet — actual heads as well as
fanciful ones — and the sheetful of sketches forwarded for this purpose
contains no less than twenty-nine typical Dombey portraits, compris-
ing full-length and half-length presentments, as well as studies of
heads in various poses, but with the same hard characteristic expres-
sion.* Against four of them " Phiz " has placed little arrows, to
indicate that (in his opinion) they best accorded with the author's
conception. The Dombey actually etched was not, after all, an
absolute transcript of these tentative ideas, but seems to be a com-
bination of several ; and it is curious to note that, in the various
representations of the proud city merchant as seen in the plates,
" Phiz " did not keep religiously to the same type. That Dickens

1 In Mr. Andrew Lang's opinion, these sketches for Mr. Dombey look like " a collection
of criminal butlers."

Plate XXXV

"MR. CHADBAND 'IMPROVING' A TOUGH SUBJECT"

FacHmilt of the Original Drawing for " Bleak House " by
H. K. BROWNE ("Phiz")

In the Etching the figtire of Jo is placed on the opposite side of the picture.
Latt by Her Grace the Duchess of St. AOans.

HiillOT

HABL6t K. BROWNE 93

considered the artist's presentment as satisfactory is proved by his
remark to Forster, " I think Mr. Dombey admirable," this doubtless
referring to the illustration entitled " Mr. Dombey and the World."
In a fragment of a letter preserved by Mr. J. F. Dexter may be
read a few instructions to the artist with reference to the delinea-
tion of Mr. Dombey and his second wife : " It is a part of his
character that he should be just the same as of yore. And in the
second subject, I should like Edith Granger to possess the reader
with a more serious notion of her having a serious part to play in
the story. I really hardly know, however, what [part] beyond an
expression of utter indifference towards Mr. Dombey. ..."

In the letter to Forster already quoted, the novelist sent (for trans-
mission to the artist) a few hints for the earlier designs: "Great
pains will be necessary with Miss Tox. The Toodle family should
not be too much caricatured, because of Polly. I should like Browne
to think of Susan Nipper, who will not be wanted in the first number.
After the second number, they will all be nine or ten years older,
but this will not involve much change in the characters, except in
the children and Miss Nipper." After the completion of the first
two plates, Dickens seems to have been in better heart about his
illustrator, for, again writing to Forster from Lausanne, he said :
" Browne seems to be getting on well. He will have a good subject
in Paul's christening. Mr. Chick is like D., if you'll mention that
when you think of it." Then, a little later : " Browne is certainly
interesting himself and taking pains." He seems, however, to have
been greatly disappointed with the designs in the second number,
viz., "The Christening Party" (which he anticipated would be a
success) and " Polly Rescues the Charitable Grinder," declaring them
to be so " dreadfully bad " (in the sense of not keeping strictly to the
text) that they made him "curl his legs up." This failure on the
part of the artist caused him to feel unusually anxious in regard to
a special illustration on which he had set much store, intended for
the number he then had in hand. Communicating with Forster

94 DICKENS AND HIS ILLUSTRATORS

anent this, he said : " The best subject for Browne will be at Mrs.
Pipchin's ; and if he liked to do a quiet odd thing, Paul, Mrs. Pipchin,
and the Cat, by the fire, would be very good for the story. I
earnestly hope he will think it worth a little extra care." On first
seeing the etching of this subject, he was sorely displeased, and could
not refrain from thus expressing himself to Forster : " I am really
distressed by the illustration of Mrs. Pipchin and Paul. It is so
frightfully and wildly wide of the mark. Good Heaven! in the
commonest and most literal construction of the text it is all wrong.
She is described as an old lady, and Paul's 'miniature arm-chair'
is mentioned more than once. He ought to be sitting in a little
arm-chair down in the corner of the fireplace, staring up at her. I
can't say what pain and vexation it is to be so utterly misrepresented.
I would cheerfully have given a hundred pounds to have kept this
illustration out of the book. He never could have got that idea of
Mrs. Pipchin if he had attended to the text Indeed, I think he
does better without the text ; for then the notion is made easy to
him in short description, and he can't help taking it in." It is cer-
tainly strange that the sketch for this subject was not submitted to
Dickens for approval before it was etched. We are told by Forster
that the author felt the disappointment more keenly because "the
conception of the grim old boarding-house keeper had taken back
his thoughts to the miseries of his own child-life, and made her, as
her prototype in verity was, a part of the terrible reality." In justice
to the artist, it must be conceded that the etching of this subject
seems to be an excellent rendering of the description of the scene
as conveyed in the letterpress.

"Phiz" sometimes complained that Dickens did not send him
more than a few printed lines as a guide to the subject to be illus-
trated, and, being kept in ignorance as to the context, he found it
difificult to delineate the characters as well as the novelist might
wish. Occasionally, as we have seen, he received quite a lengthy note
when at work upon the designs, these communications sometimes

HABL6t K. BROWNE 95

being partly literal extracts from the text and partly condensation,
such as the following : —

" Paul (a year older) has left Mrs. Pipchin's and gone to Doctor
Blimber's establishment at Brighton. The Doctor only takes ten
young gentlemen. Doctor Blimber's establishment is a good hot-
house for the young mind, with a forcing apparatus always at work.
Mental green peas are produced there at Christmas, and intellectual
asparagus all the year round. Every description of Greek and
Latin vegetable is got off the driest twigs of boys under the frostiest
circumstances. Mrs, Blimber is fond of the boys not being like
boys, and of their wearing collars and neckerchiefs. They have all
blown before their time. The eldest boy in the school — young Toots
by name, with a swollen nose and an exceedingly large head — left
off blowing suddenly one day, and people do say that the Doctor
rather overdid it with him, and that when he began to have
whiskers he left off having brains. All the young gentlemen have
great weights on their minds. They are haunted by verbs, noun-
substantives, roots, and syntactic passages. Some abandoned hope
half through the Latin Grammar, and others curse Virgil in the
bitterness of their souls. Classical Literature in general is an im-
mense collection of words to them. It's all words and grammar,
and don't mean anything else.

" Subject — These young gentlemen out walking, very dismally
and formally (observe it's a very expensive school), with the lettering.
Doctor Blimber s young gentlemen as they appeared when enjoying
themselves. I think Doctor Blimber, a little removed from the rest,
should bring up the rear, or lead the van, with Paul, who is much
the youngest of the party. I extract the description of the Doctor.
[Here follows a quotation from the eleventh chapter.]

" Paul cis last described, but a twelvemonth older. No collar or
neckerchief for him, of course. I would make the next youngest boy
about three or four years older than he."

A remarkable oversight on the part of "Phiz" with reference to

96 DICKENS AND HIS ILLUSTRATORS

this plate is immediately observable, for while Dickens explicitly
states the number of Dr. Blimber's pupils as ten, the artist has
introduced no less than seventeen young gentlemen. Concerning
the illustration, " Major Bagstock is Delighted to have that Oppor-
tunity," there is extant an interesting letter (dated March lo, 1847)
from Dickens to "Phiz" (printed for the first time in Mr. D. C.
Thomson's Memoir of H. K. Browne), in which the novelist is very
explicit respecting his requirements : —

"My Dear Browne— . . . The occasion of my coming home
makes me very late with my number, which I have only begun this
morning; otherwise you should have been fed sooner. . . . The
first subject I am now going to give is very important to the book.
/ should like to see your sketch of it if possible.

" I should premise that I want to make the Major, who is the
incarnation of selfishness and small revenge, a kind of comic Mephis-
tophilean power in the book ; and the No. begins with the departure
of Mr. Dombey and the Major on that trip for change of air and
scene which is prepared for in the last Number. They go to Leam-
ington, where you and I were once. In the Library the Major
introduces Mr. Dombey to a certain lady, whom, as I wish to fore-
shadow dimly, said Dombey may come to marry in due season. She
is about thirty, not a day more — handsome, though haughty-looking
— good figure, well dressed, showy, and desirable. Quite a lady in
appearance, with something of a proud indifference about her, sugges-
tive of a spark of the Devil within. Was married young. Husband
dead. Goes about with an old mother, who rouges, and who lives
upon the reputation of a diamond necklace and her family. Wants a
husband. Flies at none but high game, and couldn't marry anybody
not rich. Mother affects cordiality and heart, and is the essence of
sordid calculation. Mother usually shoved about in a Bath chair
by a page who has rather outgrown and outshoved his strength,
and who butts at it behind like a ram, while his mistress steers
herself languidly by a handle in front. Nothing the matter with

HABL6t K. BROWNE 97

her to prevent her walking, only was once when a Beauty sketched
reclining in a Barouche, and having outlived the Beauty and the
Barouche too, still holds to the attitude as becoming her uncommonly.
Mother is in this machine in the sketch. Daughter has a parasol.

"The Major presents them to Mr. Dombey, gloating within
himself over what may come of it, and over the discomfiture of
Miss Tox. Mr. Dombey (in deep mourning) bows solemnly.
Daughter bends. The native in attendance bearing a camp-stool
and the Major's greatcoat. Native evidently afraid of the Major
and his thick cane. If you like it better, the scene may be in the
street or in a green lane. But a great deal will come of it ; and I
want the Major to express that as much as possible in his apoplectic
Mephistophilean observation of the scene, and in his share of it."

The design was promptly executed and submitted to Dickens,
who, in a letter to the artist dated five days later, expressed his
approval thereof: "The sketch is admirable," he wrote, — "the
women quite perfect. I cannot tell you how much I like the younger
one. There are one or two points, however, which I must ask you to
alter. They are capital in themselves, and I speak solely for the story.

" First — I grieve to write it — that native — who is so prodigiously
good as he is — must be in European costume. He may wear earrings
and look outlandish and be dark brown. In this fashion must be
of Moses, Mosesy. I don't mean Old Testament Moses, but him
of the Minories,

" Secondly, if you can make the Major older, and with a larger
face — do.

" That's all. Never mind the pump-room now, unless you have
found the sketch, as we may have that another time. I shall ' propoge '
to you a trip to Leamington together. We might go one day and
return the next. . . . Don't mind sending me the second sketch. It
is so late." *

■ This letter was by chance preserved from a bonfire made by Browne of his old letters and
unfinished drawings previous to a change of residence.

98 DICKENS AND HIS ILLUSTRATORS

In Mr. J. F, Dexter's collection there is a pencil-sketch by " Phiz "
for this subject (evidently an earlier conception than that submitted
to Dickens), in which the incident is depicted as occurring at the sea-
side (probably Brighton), while, curiously enough, the figure of Mr.
Dombey is omitted. Another interesting drawing, also owned by
Mr. Dexter, is a tentative sketch (in blue ink) for "The Dombey
Family," under which the artist has written the following query :
"Whether 'twere better to have him [Mr. Dombey] standing thus,
stiff as a poker, with a kind of side glance at his daughter — or sitting,
as in the other.''" In the etching we see that Mr. Dombey is repre-
sented as seated, while Florence is transferred to the other side of
the picture.

Through the kind courtesy of Her Grace the Duchess of St.
Albans, I have been enabled to examine the original "working"
drawings for "Dombey and Son," all of these, with one exception
(viz. "Polly Rescues the Charitable Grinder," which has mysteriously
disappeared), being in the possession of her Grace. The majority of
the designs were not reversed when copied upon the steels, and
this accounts for some of the incongruities already referred to. In
certain cases the drawings are sketched with blue ink and the
effects lightly washed in ; others are in pencil, or pencil and brush-
work combined.

In comparing the drawings with the plates, certain unimpor-
tant variations are discoverable ; for example, in the drawing of
"Paul's Exercises," the candlestick is placed on the table, and more
to the right, instead of being raised on a pile of books ; in " Major
Bagstock is Delighted to have that Opportunity," the figure of the
"Native" is differently posed, besides being almost erased, in con-
sequence, perhaps, of Dickens's criticism ; in " Coming Home from
Church," the ringers hold two bells in either hand. On one of the
drawings Dickens has placed his initials, while in the corner of
another, "Secret Intelligence," the artist has written the words,
" Better, eh ? " whence we may infer that a previous sketch had been

Plate XXXVI

DOLLY VARDEN

Facsimile of an Original Drawing by
H. K. BROWNE ("Phiz")

This Drawing, which was designed for the series of extra plates for
" Barnaby Rudge," has never been engraved. The published portrait of
Dolly is a reproduction of a subsequent Drawing.

Lent by Mr. J. P. Dexter.

17/

A on

.4;

HABL6t K. BROWNE 99

submitted. It seems likely that " Phiz " made two or three trial
sketches for every etching in the book, as there are still in existence
other tentative designs for some of the subjects above referred to.

Writing to the editor of the Daily News (December 30, 1882),
Dr. Edgar A. Browne, the artist's son, says : " Dickens's delight in
the [' Dombey '] illustrations as a whole was, as a matter of fact, very
great, and was expressed (doubtless with some characteristic exaggera-
tion) so forcibly, that my father gave him the original designs, which
were acknowledged in the following letter : —

"'Devonshire Terrace, Thirteenth June, 1848.

" ' Mv Dear Browne, — A thousand thanks for the Dombey
sketches, which I shall preserve and transmit as heirlooms.

" ' This afternoon, on Thursday, I shall be near the whereabout of
the boy in the flannel gown, and will pay him an affectionate visit.
But I warn you now and beforehand (and this is final, you'll observe)
that you are not agoing to back out of the pigmental finishing said
boy ; for if ever I had a boy of my own that boy is

MINE,

and, as the demon says at the Surrey,

'i claim mv victim,'
ha! ha! ha!!

at which you will imagine me going down a sulphurous trap, with the
boy in my grasp — and you will please not to imagine him merely in
my grasp, but to hand him over.

" ' For which this is your warrant and requirement

(Signed) Charles Dickens.

" ' Witness — William + Topping,
His groom.'"

The allusion to " the boy in the flannel gown " has reference to
a portrait of Little Paul, painted by " Phiz " as a present to Dickens.

loo DICKENS AND HIS ILLUSTRATORS

Miss Hogarth informs me, however, that she has no recollection of
this picture, nor of the " Dombey " sketches.

" Phiz," as usual, designed the pictorial wrapper for the monthly
parts, concerning which Dickens wrote : " I think the cover very
good ; perhaps with a little too much in it, but that is an ungrateful
objection." The criticism was justified, however, for the design,
though ingeniously conceived, certainly errs on the side of over-
elaboration.

The success attending the sale of the extra plates for " Master
Humphrey's Clock " encouraged a repetition of this form of inde-
pendent publication, and a similar series of portraits were produced
ot the principal characters in " Dombey and Son." Four capital
plates, consisting of portraits of Little Paul, Florence, Edith, and
Alice, were designed by Browne, and engraved on steel {in stipple
and line) by Edwards and Knight, under the superintendence of
the artist and Robert Young, whose joint venture it was. The
engravings were published with Dickens's sanction concurrently with
the story ; the original impressions are now very scarce, but the
plates still exist in good condition, and have recently been reprinted.
Dickens was much pleased with these delightful portraits, and in a
hitherto unpublished letter to the artist (dated January 5, 1847) he
thus referred to the drawings : "I think Paul very good indeed — a
beautiful little composition altogether. The face of Florence strikes
me as being too old, particularly about the mouth. Edith, not so
handsome as in the little drawings, and something too long and
flat in the face. The better Alice of the two, decidedly that which
is opposite Edith." There are extant as many as six pencil-
sketches for the portrait of Alice, presenting slight variations in
pose and expression, and Mr. Dexter owns an interesting study (in
pencil and red chalk) of Florence Dombey, which has never been
engraved.

Almost simultaneously with the production of the above portraits,
"Phiz" designed and etched eight additional plates containing full-

HABL6t K. BROWNE loi

length presentments of Mr. Dombey and Carker, Mrs. Skewton,
Old Sol and Captain Cuttle, Miss Tox, Mrs. Pipchin, Major Bagstock,
Miss Nipper, and Polly Toodle. This undertaking was entirely a
speculation of the artist, the plates being also issued in sets
by Chapman & Hall. Dr. Browne informs me that the original
drawings were unexpectedly discovered by him, rolled up and dirty,
and were afterwards included in the Memorial Exhibition of his
father's works at the Liverpool Art Club in 1883.

The first cheap edition of "Dombey and Son," 1858, includes a
frontispiece by " Phiz," representing the flight of Carker. The artist
also contributed to each of the two volumes of the Library Edition
(1858-59) specially-designed vignettes, engraved on steel, the sub-
jects being Mr. Dombey and the second Mrs. Dombey, and Paul
with Florence at the seaside.

HABLOT K. BROWNE

III

"DavidCopperfield"— The DesignspreparedinDuplicate—" Phiz's" Port rait of Mr. Micawber
— Peggotty's Hut— Trifling Errors in the Plates— Original Drawings— Designs for " I Make
myself Known to my Aunt"— Variations in the Etchings— Frontispiece for the First Cheap
Edition— Vignettes for the Library Edition— "Bleak House"— Plates partly Duplicated
— Some Curious Inaccuracies— Skimpole successfully Portrayed— " Phiz " takes Mental
Notes— Original Drawings— Alterations in the Plates— The " Bleak House " Illustrations
Criticised— Frontispiece for the First Cheap Edition — Vignettes for the Library Edition—
"Little Dorrit"— Illustrations Unsigned— " Machine-ruled Designs— A Letter from
Dickens respecting one of the Plates— Original Drawings— Pictorial Wrapper—" A Talk
OF Two Cities "—A Letter from " Phiz " to his Son— Dickens Forestalled— An Unpublished
Design— Last of Dickens's Stories Illustrated by " Phiz "—The Artist's Conjectures as to
the Cause of the Severance — His Tender Regard for the Novelist — His Antecedents-
Apprenticeship at Finden's— Exhibits at the Royal Academy— Inability to Draw from
"the Life"— Some Letters to Dickens— " The Pic Nic Papers"— An Early Reminiscence
of Dickens— "Phiz's" Remuneration — From Prosperity to Adversity— Serious Illness —
A Broken-down Old Man— Paralysis— A Pathetic Grievance— Applies for a Government
Pension — Recognition by the Royal Academy — Decline of Imagination and Power of
Invention— Death of the Artist— Mr. J. G. Fennell's Tribute—" Phiz's " Shyness— An
Extraordinary Commission — Water-colour Replicas of the Dickens Illustrations — Vignettes
for the Library Edition of "Sketches by Boz" and "Oliver Twist"— " Phiz's" Fellow-
Apprentice, Coadjutor, and Friend— Etching the Plates— Mezzotint Eflfects— Fumival's Inn
—A Note from " Phiz " to his Colleague — Mr. Robert Young's Autobiographical Sketch.

David "T N " David Copperfield," the most fascinating of

Gspperficld, I Dickens's novels, it cannot be said that "Phiz"
1049-50. X quite rose to the occasion. Ahhough some of these

plates he never excelled, the majority are marked by a certain hard-
ness and stiffness of treatment, and are conspicuously deficient in
that vigour and deftness of touch which characterise his previous
efforts.

As in the case of " Dombey and Son," the whole of the designs
were etched in duplicate, the replicas differing but slightly from the

HABL6t K. BROWNE 103

originals. About half of the series were executed singly on octavo
steels, instead of in couples on the usual quarto plates. In one of
the designs, viz., "The River," the artist has again resorted to the
ruling-machine for attaining the desired effect, but the result is poor
and meagre. He has succeeded admirably in his presentment of
Micawber, respecting which Dickens wrote to Forster : " Browne has
sketched an uncommonly characteristic and capital Mr. Micawber for
the next number." The most pleasing of all these etchings, however,
are those in which the boy-hero figures, such as those depicting him
with the " friendly waiter " at the bar of the public-house, and as, with
battered hat and ragged raiment, he "makes himself known to his
aunt"

It has been asserted that " Phiz " at this period sometimes grew
careless, and that Dickens did not exercise that particular surveillance
over the cutist's work which he customarily bestowed upon it in the
early days. For example, the novelist thus describes Peggotty's odd
residence, an old boat drawn up on land and fashioned into a house :
" There was a delightful door cut in the side, and it was roofed
in, emd there were little windows in it." He never refers to it as
an inverted boat, although it is so delineated by " Phiz," — indeed,
the inference is that the vessel stood upon its keel, for elsewhere it
is mentioned as being left " high and dry," as though it were a boat
that had been washed ashore. If such was the novelist's conception,
it seems strange and unaccountable that he should have accepted
without a protest the artist's misrepresentation of Peggotty's home.
Curiously enough, there might have been seen within recent years,
on the open Denes at Yarmouth, an inverted boat similarly converted
into a cosy residence, the existence of which apparently gives actuality
to " Phiz's " drawing.

In some of the etchings may be discovered a few trivial errors ;
for instance, in the plate entitled " Somebody Turns Up," Mrs.
Heep is left-handed, an oversight which (as in previous cases) is
doubtless the result of the etching being in reverse of the original

104 DICKENS AND HIS ILLUSTRATORS

design, although "Phiz" was generally careful to remember this
when preparing his sketches. Strange to relate, in the scene de-
picting divine service at Blunderstone Church, he has omitted the
officiating clergy ! In " My First Fall in Life," the horses (especially
the leaders) are undoubtedly disproportionate, and the same criticism
applies to the figures in the illustration depicting the unexpected
arrival of David and his friend at Peggotty's fireside. In the etching
of "The River," the scene should have been reversed, and from this
point of view (the river-side at Millbank) the dome of St. Paul's is
not visible, although it is shown in the picture Another curious
mistake is apparent in the interesting plate entitled " Our Housekeep-
ing ; " here David is seen struggling with a loin of mutton, whereas
in the text the joint is distinctly described as a boiled leg of mutton.
It is amusing to note the appropriate character of the pictures adorn-
ing the walls of some of "Phiz's" interiors. In the etching of "The
Friendly Waiter and I " he has thus introduced the scene illustrating
the familiar fable of the Fox and the Stork ; in "Changes at Home"
we have the Return of the Prodigal Son and the Finding of Moses
in the bulrushes ; and in the plate delineating Steerforth and Miss
Mowcher will be noticed over the fireplace a scene from Gulliver's
adventures in Brobdingnag, an allusion to the diminutive proportions
of the remarkable dwarf who was " so volatile."

Her Grace the Duchess of St. Albans possesses the complete
series of " working " drawings for " David Copperfield." Like the
" Dombey " designs, these highly-finished drawings are executed
chiefly in pencil and the effects washed in with indian-ink, while a
few are in pencil only. Of that well-known design, " I Make myself
Known to my Aunt," there exist no less than three tentative sketches ;
the first (on which the artist has written "Or — so — so? ") represents
Miss Trotwood sitting " flat down on the garden-path," — a pose
which, although accurate enough according to the text, was rightly
deemed inartistic, whereupon the artist prepared another design, and
submitted it to Dickens. In the second picture (where "Phiz" has

HABL6t K. BROWNE 105

queried, " Or — so ? "), the lady stands erect, but the pathetic appearance
of David is lost, and the composition of the background proves less
fortunate. In the etching " Phiz " combined the two designs, — that is,
he used the first drawing, but substituted the standing figure of Miss
Trotwood for the seated one. On the margin of the second design
the artist (in a humorous mood) has limned an unmerciful caricature
of the whole incident. The third tentative drawing for this subject,
believed to be the first sketch, was sold at Sotheby's in 1887 for
£6, 15s. ; it is now in the collection of Mr. Thomas Wright, of Paris.

With the sketch for " The Friendly Waiter and I " the novelist
was delighted. " Phiz " originally represented David as wearing a
long jacket, but this not being quite in accordance with Dickens's idea,
he wrote asking the artist to " put Davy in a little jacket instead
of this coat, without altering him in any other respect," which was
accordingly done.

In the drawing for the plate entitled " My Magnificent Order at
the Public-house," the form of the two large spirit-vessels behind David
are more jug-shaped than in the etching. The " little white hat,"
by-the-way, as here worn by David, is just such head-gear as Dickens
himself disported when a boy. In the drawing of David on the box-
seat of the coach, " My First Fall in Life," the western towers of
Canterbury Cathedral are indicated in the distance, but these are
omitted in the etching. In the scene, " Mr, Micawber Delivers some
Valedictory Remarks," certain faint lines are observable near the
principal figure, indicating that he was originally delineated in a
different attitude. The effective sketch of " The Wanderer " portrays
more of the woman's figure than is visible in the plate. In the design
entitled " Our Housekeeping," the frame of a mirror or picture is
introduced on the wall behind David, but this was afterwards con-
sidered superfluous ; and in the drawing of " The Emigrants," Mr.
Micawber grasps a telescope, which does not appear in the plate.
The drawing of "Mr. Peggotty's Dream Comes True" varies con-
siderably from the etching, for not only is David seen wearing a hat

io6 DICKENS AND HIS ILLUSTRATORS

(which in the etching is placed upon the table), but the artist has
included a fourth figure, that of Rosa Dartle, who, seated in the
chair, leans her head upon her arms above the table. The introduc-
tion of Miss Dartle is, of course, incorrect, as she had left the room
before Mr. Peggotty entered ; but the error was detected, and the
necessary alteration effected in the published design.

"Phiz's" pictorial wrapper for the monthly parts is replete with
detail, around the title in the centre being displayed various figures
apparently exemplifying the Seven Ages of Man, with Dame Fortune
crowning the whole.

The first cheap edition of "David Copperfield," 1858, contained
a frontispiece by "Phiz," engraved on wood by Swain, representing
Little Em'ly and David as children on Yarmouth Sands ; to the
Library Edition (1858-59) the artist contributed two vignettes (en-
graved on steel), the subject in the first volume being Little Em'ly
and David by the sea, and for the second, another version of the
etching entitled " Mr. Peggotty's Dream Comes True."

Bleak

House,

1852-53.

In the forty illustrations for " Bleak House" the artist introduced a
greater variety of subjects, and resorted more frequently
to the use of the ruling-machine, no less than ten being
so treated with considerable success. "Phiz" etched
one complete set of the plates and duplicates of the
machine-ruled designs, which were repeated probably because they
could not so readily withstand the wear-and-tear of the printing.

A very few of the "Bleak House" illustrations are signed. In
some of them the details do not entirely accord with the letterpress,
a noteworthy instance of this inaccuracy being found in the etching
entitled " Miss Jellaby," who is represented as dipping her forefinger
in the egg-cup, whereas we are told that it was her " inky middle
finger." A more important oversight in the same picture is the intro-
duction of the infant Jellaby in the bed, who was not in the room
at all, as a careful reading of the text readily discloses. In two

HABL6t K. BROWNE 107

instances, Turveydrop pire is depicted without the false whiskers
he customarily wore, and in the illustration of "The Smallweed
Family," the son is incorrectly omitted. It is perhaps worth noting
an odd mistake on the part of the artist — in the etching entitled
" Consecrated Ground " he has represented the iron gates in a manner
to lead one to suppose they could not be opened ; it is unfortunate,
too, that, in this pathetic scene (in which, by the way, the chiar-
oscuro is curiously forced) he partly destroys its sentiment by in-
appropriately introducing on the left the comical shadow of a man
in the act of drinking from a tankard. With reference to one of the
characters in "Bleak House" Dickens wrote to Forster: "Browne
has done Skimpole, and helped to make him singularly unlike the
great original." The "great original" was, of course, Leigh Hunt,
a fact which the novelist himself did not so successfully disguise,
and subsequently paid the penalty for his indiscretion.

" Phiz " invariably depended upon his imagination or memory for
his scenes and characters ; as the artist himself expressed it, he would
merely go " to have a look at a thing," and then be able to prepare his
picture without further aid. For instance, before designing the weird
illustration of "The Lonely Figure" in "Bleak House," he visited a
lime-pit, in order to see what the big crushing-wheels were like that
he desired to introduce, and made a mental note of them without
leaving the seat of his trap.

Besides the original "working" drawings for " Dombey and Son"
and " David Copperfield," Her Grace the Duchess of St. Albans also
possesses those for " Bleak House." They vary considerably in treat-
ment, some being carefully rendered, while those reproduced with the
mezzotint shading are very broadly and vigorously executed by means
of a soft lead-pencil, the lights heightened with chinese-white. In
comparing the drawings with the etchings, slight variations may here
and there be noted ; for example, in the design for " Mr. Guppy's En-
tertainment," Mr. Jobling was first seen wearing his hat, but this was
partly obliterated and the contour of the head afterweirds drawn in ; in

io8 DICKENS AND HIS ILLUSTRATORS

" Visitors at the Shooting Gallery," the figure of Mr. George is slightly
different in pose, while the sword rests on his shoulder ; in " Mr. Small-
weed Breaks the Pipe of Peace," Miss Smallweed stands a short distance
from her father's chair, holding his "long clay ; " in the charming design
representing " Lady Dedlock in the Wood," we see Ada coming up
behindher ladyship, the figure of Charley (differently posed) being trans-
ferred to the other side of the picture. A more remarkable alteration,
however, occurs in the design "Mr. Chadband ' Improving' a Tough
Subject." Chadband's attitude is entirely changed from that in the
etching, and Jo is placed on the other side of the drawing, with his
back to Guster, while a cat reposes upon an ottoman near Mrs.
Snagsby. In the drawing of " Attorney and Client," the face of
Mr. Vholes is of a type differing from the published version, and his
arms rest upon the desk ; also, there is no waste-paper basket, and the
deed-box is nearer the table. Mr. J. F. Dexter has another sketch for
this illustration (presumably an earlier one), in which Richard Carstone
stands with his back to the table, with his right hand pressed despond-
ingly against his forehead. The original drawings for the sombre
scenes, although more effective than the etched reproductions, are
remarkably crude in treatment — a criticism which applies more especi-
ally to those depicting, " The Lonely Figure" and " The Night." The
etchings of these subjects are technically superior to the drawings,
their quality, however, being principally owing to the results obtained
by means of the ruling-machine. The late Mr. James Payn once ex-
pressed the belief that it was " Phiz's " selection of subjects such as
these which made him so acceptable an illustrator to Dickens.

In 1882, a writer in The Academy, who considered the illustrations
in "Bleak House "as being practically perfect, said of them: "Not
only is the comic side, the even fussily comic, such as ' The Young Man
of the Name of Guppy,' understood and rendered well, but the dignified
beauty of the old country-house architecture, or the architecture of the
chambers of our Inns-of-court, is conveyed in brief touches ; and there
is apparent everywhere that element of terrible suggestiveness which

HABL6t K. BROWNE 109

made not only the art of Habldt Browne, but the art of Charles
Dickens himself, in this story of ' Bleak House,' recall the imaginative
purpose of the art of Mdryon. What can be more impressive in con-
nection with the story — nay, even independently of the story — than
the illustration of Mr. Tulkinghom's chambers in gloom ; than the
illustration of the staircase of Dedlock's own house, with the placard
of the reward for the discovery of the murderer ; than that of Tom
All Alone's ; the dark, foul darkness of the burial-ground under scanty
lamplight, and the special spot where lay the man who ' wos wery good
to me — he wos!'? And then again, 'The Ghost's Walk,' and once
more the burial-ground, with the woman's body — Lady Dedlock's —
now close against its gate. Of course it would be possible to find fault
with these things, but they have nothing of the vice of tameness — they
deliver their message effectually. It is not their business to be faultless;
it is their business to impress."

The design for the monthly wrapper is emblematical of the Court
of Chancery, the artist availing himself of this opportunity of indulg-
ing in humorous pencillings reflecting upon the integrity of lawyers.
"Phiz" contributed the frontispiece to the first cheap edition, 1858,
representing Mr. Jarndyce and his friends in Bell Yard. He also
designed the usual vignettes for the two volumes in the Library
Edition (1858-59), which were engraved on steel; in the first is
delineated Lady Dedlock and Jo, and in the second we behold Lady
Dedlock and Esther Summerson in the wood, the latter cqmposition
much resembling the original etching of the same incident.

Among the illustrations in " Little Dorrit " there are some as feeble

in execution as there are others remarkable for exception-

I! , ally vigorous treatment ; and it is worthy of note that,

o _ ' whereas in " Bleak House " the artist began partly to

relinquish the custom of appending his familiar nom de

guerre to the plates, in " Little Dorrit " not a single design bears his

signature.

no DICKENS AND HIS ILLUSTRATORS

An examination of the "Dorrit" etchings discloses the fact that no
less than eight are toned by means of the ruling-machine, the result
being even more satisfactory than usual. The first of these " ruled "
plates represents the interior of a French prison, and the effect of deep
gloom, enhanced by a few bright rays of light darting through the
barred window, is remarkable for its Rembrandt-like chiaroscuro.
Pleasantly contrasting with this sombre subject there is the plate de-
picting "The Ferry," a delightfully rural view, with trees and wind-
ing river, and that entitled " Floating Away," where the moon, rising
behind the trees, imparts a romantic aspect to the scene. The old
house in the last illustration but one, "Damocles," indicates "Phiz's"
power in expressing the picturesqueness of ancient architecture, and
his appreciation of the effect of light as it falls upon quaintly-carved
door and window. The plate entitled " Mr. Flintwinch has a Mild
Attack of Irritability" is probably one of the most forcible etchings ever
executed by " Phiz," and it is difficult to conceive that the same master-
hand was responsible for the apparently inexperienced work to be
found in an earlier illustration, " Little Mother," the execution of which
is as timid and lifeless as the other is bold and expressive.

" Phiz " etched one complete set of the plates, and duplicated the
tinted subjects, the variations from the originals being slight and un-
important. Of the forty illustrations, thirty-four are on octavo plates
containing single subjects, and three are quarto plates having two
subjects on each.

A part of " Little Dorrit" was composed in France, and on July 2,
1856, Dickens informed the artist that he was returning to Boulogne
the next day, and desired him to make the illustration of "The Pen-
sioner Entertainment" "as characteristic as ever you please, my little
dear, but quiet." This plate proved a decided success. When, early
in 1857, the novelist was again in London, "Phiz" forwarded for his
inspection a sketch for the etching entitled "An Unexpected After-
dinner Speech," which, however, did not quite realise Dickens's idea ;
whereupon the artist received a letter (printed for the first time in Mr.

Plate XXXVII

STUDY KOR
MISS HAREDALE

Facsimile of an Original Drawing by
H. K. BROWNE ("Phiz")

Designed for the series of extra plates for " Barruiby Rudge." This
Drawing differs from the published Engraving.

Lent iy Hir Graet the Duchess of St. Albans,

HABL6t K. BROWNE in

Thomson's Memoir) suggesting certain improvements, afterwards duly
carried out. " In the dinner scene," he wrote, "it is highly important
that Mr. Dorrit should not be too comic. He is too comic now. He
is described in the text as ' shedding tears,' and what he imperatively
wants is an expression doing less violence in the reader's mind to what
is going to happen to him, and much more in accordance with that
serious end which is so close before him. Pray do not neglect this
change."

Dickens seems to have been much pleased with the artist's original
drawings of " Flora's Tour of Inspection" and "Mr. Merdle a Borrower,"
which he characterised as " very good subjects — both." Of the latter
he said : " I can't distinctly make out the detail, but I take Sparkles to
be getting the tortoise-shell knife from the box. Am I right ? "

Only a few of the drawings for " Little Dorrit " have been available
for my inspection. Two of these, viz., " Mr. Merdle a Borrower " and
"Under the Microscope" (now in Mr. J. F. Dexter's collection), are
executed in pencil and wash, the second design not being reversed in
the etching. As usual, the pictorial wrapper for the monthly parts was
designed by " Phiz." The central picture represents Little Dorrit
emerging from the gates of the Marshalsea ; above is placed the
despondent figure of Britannia in a bath-chair, attended by figures
emblematical of the Circumlocution Office, while at the base of the
design is seen a mixed assemblage of people, including some of the
more prominent characters in the story.

Although " A Tale of Two Cities " was written specially for the

pages of All the Year Round, it appeared concurrently

£t *i° in the familiar monthly numbers, with illustrations
Two Cities, , „„,. „ T,, . . ,. ,,, ,

Q by " rhiz. 1 he artist, m writmg to his son Walter,

said : " A rather curious thing happened with this

book. Watts Phillips, the dramatist, hit upon the very same identical

plot: they had evidently both of them been to the same source

in Paris for their story. Watts's play [' The Dead Heart '] came

112 DICKENS AND HIS ILLUSTRATORS

out with great success, with stunning climax, at about the time of
Dickens's sixth number. The public saw that they were identically
the same story, so Dickens shut up at the ninth number, instead of
going on to the eighteenth as usual." Whether this explanation is
correct or not, the fact remains that "A Tale of Two Cities" was
brought to a conclusion in the eighth number (not the ninth, as stated
by " Phiz "), being therefore less than half the usual length of Dickens's
serials.

As in the case of " Little Dorrit," the artist's signature does not
appear in any of the sixteen etchings contributed by "Phiz" to this
novel. It has been pointed out that the French personages in the
pictures are not characteristic of the period, there being but little
attempt at archaeological accuracy in the costumes. Only one set
of the illustrations was prepared, none being etched in duplicate ; they
were executed on eight quarto steels, each bearing two designs. Of
the original drawings for "A Tale of Two Cities " I have seen only
one (now in Mr. J. F. Dexter's collection), and this was never etched.
The sketch in question, which is vigorously executed with pencil and
brush, depicts the incident of the stoppage at the Fountain, and con-
stitutes an excellent subject for illustration.

The artist's design for the monthly wrapper is composed of distinct
scenes separated by dividing lines. At the top of the page is St. Paul's
Cathedral as viewed from the Thames, and at the base the Cathedral
of N6tre Dame is represented, while around are displayed some of the
prominent characters in the story.

"A Tale of Two Cities" is the last of the novels containing
illustrations by " Phiz," for, with the completion of the final plate in
that story, there came a severance of that fortuitous collaboration
between novelist and artist which had been maintained during a period
of twenty-three years. As there is no evidence of any actual rupture
between them, it is fair to surmise that a legitimate desire on the part
of Dickens for a new illustrator constituted the actual reason for that
severance. "Phiz" naturally felt aggrieved at "Dickens's strangely

HABL6t K. BROWNE 113

silent manner of breaking the connection," and could only surmise the
reason ; for, in an undated letter to Mr. Robert Young, written pre-
sumably a short time before the publication of the succeeding story,
he said : " Marcus [Stone] is no doubt to do Dickens. / have been
a ' good boy,' I believe. The plates in hand are all in good time, so
that I do not know what's ' up,' any more than you. Dickens pro-
bably thinks a new hand would give his old puppets a fresh look, or
perhaps he does not like my illustrating Trollope neck-and-neck with
him — though, by Jingo, he need fear no rivalry there'. Confound all
authors and publishers, say I. There is no pleasing one or t'other.
I wish I had never had anything to do with the lot."

The amicable relationship that had subsisted between the author
and his principal illustrator was not strained by this event. As a
matter of fact, the artist ever entertained a tender regard and
admiration for the famous romancer with whom he had so long
been associated, and we may readily believe what a writer in the
Frankfurt Zeitung tells us when he says : "Just after the death
of Charles Dickens, ' Phiz ' was considerably affected by the mere
mention of the name of that illustrious novelist, which seemed to
stir up in his breast feelings of regret at losing such a friend."

Habl6t Knight Browne, as designer of the plates for ten of the
fourteen principal novels by "Immortal Boz," is justly termed "the
illustrator of Dickens." His name and fame are similarly identified
with the works of Lever and Ainsworth, while, in addition to this,
his familiar signature (" Fizz, Whizz, or something of that sort," as
Tom Hood used to say, when endeavouring to recall the artist's
sign-manual) may be found appended to innumerable etchings and
woodcuts. He was born at Kennington, London, in July 18 15,
being the ninth son of William Loder Browne, who is somewhat
indefinitely described as "a merchant." The artist's forefathers
were of French descent, the original name (according to tradition)
being Le Brun, a member of which family emigrated to England

114 DICKENS AND HIS ILLUSTRATORS

after the Massacre of St Bartholomew in 1572. His ancestors
lived in London in the early part of the last century and adopted
the essentially English cognomen of Browne. With regard to the
artist's baptismal names, it is interesting to learn that the first
(Habl6t) was the patronymic of a Colonel (or Captain) who was
engaged to marry a sister of " Phiz," but was killed in a charge
of Napoleon's Garde Impdriale at Waterloo, while the second
(Knight) was received from Admiral Sir John Knight, an old friend
of the family ; thus, in respect of names, was the artist associated
with both Army and Navy.

"Phiz" inherited a strong artistic faculty, and, when a boy, was
encouraged to cultivate his wonderful talent for drawing by his
brother-in-law, Mr. Elhanan Bicknell, the well-known Art patron,
who took so keen an interest in his welfare that he offered to defray
all expenses of a thorough art education. It was through Mr. Bick-
nell's generosity that the youth was apprenticed to Finden, the
engraver, who, it appears, more than once complained that his
proUgi persisted in covering with comic figures the entire margins
of the plates entrusted to him, thus indicating the humorous bent
of his mind. In after years he took occasional lessons in painting,
but he never distinguished himself as a painter, although he occa-
sionally exhibited at the Royal Academy and other public galleries.
The only regular training he ever had was at Finden's ; but the
work he was required to perform there proved much too irksome
and monotonous for one who, like " Phiz," possessed ideas so emi-
nently original and fanciful. As in the case of his two famous con-
temporaries, Cruikshank and Leech, " Phiz " could never accustom
himself to draw from the living model, which accounts, of course,
for his conventional treatment of the human figure ; his representa-
tions of moving crowds, as well as other scenes of life and character,
being drawn either from recollection or by the aid of a few slightly-
pencilled memoranda.

It is unfortunate for my present purpose that nearly all the

HABL6t K. BROWNE 115

correspondence which passed between author and artist should have
been destroyed. I am enabled, however, to print one or two brief
notes indicating their friendly and familiar relationship. In 1841,
" Phiz " supplied some etchings to " The Pic Nic Papers," a col-
lection of essays edited by Dickens and produced for the benefit
of Mrs. Macrone, the widow of the well-known publisher, who had
been left in impoverished circumstances. In reply to an inquiry
on the part of the novelist respecting the illustrations, the artist
wrote : —

" Mv Dear Dickens, — I have just got one boot on, intending
to come round to you, but you have done me out of a capital
excuse to myself for idling away this fine morning. I quite forgot
to answer your note, and Mr. Macrone's book has not been very
vividly present to my memory for some time past, for both of
which offences I beg innumerable pardons. I think by the begin-
ning of next [week] or the middle {certain) I shall have done the
plates, but on the scraps of copy that I have I can see but one good
subject, so if you know of another, pray send it me. I should like
' Malcolm ' again, if you can spare him. — Yours very truly,

" Very short of paper. Hablot K. Browne."

The following terse epistle is undated, which is characteristic of
" Phiz's " letters :—

" My Dear Dickens, — I am sorry I cannot have a touch at battle-
dore with you to-day, being already booked for this evening, but I
will give you a call to-morrow after church, and take my chance of
finding you at home. — Yours very sincerely,

" Habl6t K. Browne."

On March 15, 1847, when forwarding to the artist some written
instructions respecting a " Dombey " illustration, the novelist made an
interesting allusion to an early incident in his own life. " I wish you

ii6 DICKENS AND HIS ILLUSTRATORS

kadheen at poor Hall's' funeral, and I am sure they would have been
glad. . . . He lies in Highgate Cemetery, which is beautiful. ... Is
it not a curious coincidence, remembering our connection afterwards,
that I bought the magazine [T/ie Monthly Magazine, Dec. 1833] in
which the first thing I ever wrote was published [" A Dinner at
Poplar Walk"] from poor Hall's hands? I have been thinking all
day of that, and of that time when the Queen went into the City, and
we drank claret (it was in their [Chapman & Hall's] earlier days) in
the counting-house. You remember ? "

" Phiz " received fifteen guineas each for his early plates, but
sometimes agreed to accept smaller fees ; he estimated that it took
him ten days to prepare and etch four designs. Being a bad business
man, he never raised his prices, the consequence being that his income
was not what it should have been for one who so long held a unique
position as an illustrator of popular books. During the first ten or
twelve years of his professional life he was comparatively prosperous,
but when etching as a means of illustrating went out of favour, and
he became somewhat indifferent concerning this method of work, his
income suffered considerably. The artist did not actually experience
financial difficulties, however, until he was seized with a serious illness
in 1867, said to have been partly caused by his having slept in a
draught at a seaside house. After five months of great suffering he
again essayed to use his pencil, but it soon became obvious to his
friends that his health was completely shattered, and that, in less
than six months, he had become a broken-down old man. The worst
trouble of all was a partial paralysis of the right arm and leg, which
he persisted in calling "rheumatism," and in consequence of which
his hand lost its cunning. Then it was that the demand for his work
practically ceased. " I don't know where to turn or what to do," he
wrote in 1879. "I have at last come to a full stop, and don't see
my way just yet to get on again. My occupation seems gone, extinct ;
I suppose I am thought to be used up, and I have been long enough

' Partner in the firm of Chapman & Hall.

HABL6t K. BROWNE 117

before the public. I have not had a single thing to do this year, nor
for some months previous in the past year."

In 1878, at the suggestion of his friend Mr. Luke Fildes, R.A.,
"Phiz" applied to Government for a pension. The petition was pre-
pared by Mr. Robert Young, but the result was unfavourable.
Happily he received unexpected assistance from another quarter,
in the shape of a well-deserved annuity from the Royal Academy,
awarded in recognition of his distinguished services to Art. Ever
hopeful of being restored to health, he began on his recovery to
again use his pencil, but the crippled condition of his right hand,
together with the rapid decline of his fanciful imagination and power
of invention, made it impossible for him to produce anything worthy
of his past reputation. At length his affliction became so pronounced
that all hope of recovery was abandoned, and on the 8th of July
1882 the famous "Phiz" breathed his last, in his sixty-seventh year.
He spent the end of his busy life in the quiet seclusion of Hove, and
his last resting-place is on the summit of a hill on the northern side
of the extra-mural cemetery at Brighton.

" Phiz's " many excellent qualities far outweighed any defects in
his character. A life-long friend of the artist, Mr. John Greville
Fennell, writes thus to me : " No man knew more of Habldt Browne
than I- did, for though he was very reticent to most, he never, I
believe, concealed anything from me. We used to wander together
in the country for two or three weeks or more at a time, and a man
more full of fun, when he had thrown off the 'harness,' I have not
known in my large acquaintance." His naturally modest disposition
eventually developed into a remarkable shyness, and this, when coupled
with a dislike of publicity, was often misconstrued as pride. Even
Dickens had considerable difficulty in persuading him to meet a few
friends and spend a pleasant evening. When he did accept such
invitations, he invariably tried to seclude himself in a corner of the
room or behind a curtain. In former years he was occasionally
prevailed upon to attend certain dinners given by Dickens to celebrate

ii8 DICKENS AND HIS ILLUSTRATORS

the completion of his stories ; and the novelist sometimes succeeded
in inducing him to accept invitations to join him for a brief holi-
day by the sea, as we. learn from a communication addressed to
Forster, and dated from Bonchurch during the "Copperfield" days,
in which Dickens said : " Browne is coming down when he has
done his month's work." Eventually, all desire for social intercourse
ceased, " Phiz " preferring to lead the life of a recluse in his country
home.

A short time prior to his severe illness in 1867, Habl6t Browne
received an extraordinary commission from Mr. F, W. Cosens, one of
his most liberal patrons, who solicited the artist to make coloured
replicas of the entire series of his published designs for the works of
the great novelist. In a letter to me on this subject in 1882, Mr.
Cosens said : " I remember to have had only two or three interviews
with him, and, as a stranger, found him shy and nervous. I desired
to secure any sketches he might have of the illustrations to Dickens,
but understood him to say he had none, as he drew them on the
blocks [plates]. He evidently did not like the drudgery of reproduction,
and named such terms as he thought would deter me ; but finding the
honorarium was of great importance to him, the bargain was struck.
The work extended over some years, and the later productions evince
haste and inferiority. The work can hardly be called water-colour
drawing, as it is simply sketching, slightly heightened by colour-
washing." Strange to say, " Phiz " did not possess copies of Dickens's
novels, so he borrowed Mr. Cosen's set, and from these he executed
the tinted replicas. At the sale of Mr. Cosen's library at Sotheby's
in 1890, this interesting collection, numbering 405 drawings, was
disposed of for the aggregate sum of ;^67i.

It should be mentioned in conclusion, that, besides the vignettes
already described as having been prepared by " Phiz " for the Library
Edition (1858-59), he also designed for that edition the following
subjects, which were executed in water-colours and, like the rest,
engraved on steel :— Mr. Trott and the " Boots," illustrating " The

HABL6t K. BROWNE 119

Great Winglebury Duel" in "Sketches by Boz ; " Mr. Bumble and
Oliver, for "Oliver Twist;" Scrooge and Marley, for the series of
Christmas Books ; and a Vineyard Scene, which appropriately decorates
the title-page of " Pictures from Italy."

Although, as already stated, Habl6t Browne was quite capable
of biting-in his own designs upon the steel plates, he had not sufficient
time to devote to this part of his work. From the " Pickwick " days
onward the artist was fortunate in securing the services of his fellow-
apprentice in Finden's studio, Mr. Robert Young, who was afterwards
his partner in many artistic ventures, and always his most intimate
friend and admirer. When at Finden's, Mr. Young acquired the art
of biting-in, a process which, although to some extent a mechanical
one, requires a considerable amount of artistic knowledge and manipu-
lative skill, for there is nothing to guide the etcher as to the required
effect, except in some cases a rough indication on paper. It was
Mr. Young's duty, after each plate was bitten-in, to go over it with
a graver and join any lines which in the etching had become broken
or rotten. For biting-in and finishing the two subjects on one plate
he received from Chapman & Hall (with whom he had a separate
account) the sum of three guineas. Browne's ruling-machine for
producing the mezzotint effects was kept in his colleague's room at
Furnival's Inn, where, more than half-a-century ago, he and the
artist took chambers for business purposes and to be near the pub-
lishers. These quarters, which were situated in the south-west comer
of the Inn, have been lately demolished, together with the chambers
at No. 15, rendered famous by the fact that the earlier portion of
" Pickwick " was there written.

Mr. Young acted as Browne's assistant in the manner described
during the greater part of the years of "Phiz's" popularity, and his
co-operation extended not only to the Dickens illustrations, but to
the thousand-and-one designs that embellished the works of other
writers. The following brief note (quoted from Mr. Thomson's

I20 DICKENS AND HIS ILLUSTRATORS

Memoir) is a specimen of the many communications which constantly
passed between the artist and his coadjutor : —

[Circa 1845.]

"My Dear 'Co,' — Pray help me in an emergency. Put a bottle
of aquafortis in your pockets, wax and all other useful adjuncts, and
come to me to-morrow about one or two o'clock, and bite in an
etching for me, ferociously and expeditiously. Can you ? — will
you ? — oblige. Yours sincerely, H. K. Browne."

Mr. Robert Young, who is now in his eighty-second year, has
recently favoured me with a few facts concerning himself, which are
not devoid of interest in the present record. Writing from Norham-
upon-Tweed, he says: "I was born in Dalkeith in 1816, educated
in France, and, on leaving school, was apprenticed to Finden, the
engraver, where my friendship with ' Phiz ' commenced, which closed
with his death. Some years ago I was presented with a clerkship
in the Admiralty, and retired on a pension in 1878, which enables
me to pass my last days in this humdrum village. I am, as you see,
very old, have many infirmities, and cannot always remember past
events."

/y^^C^^^.f^.^^'T^

3 0

Plate XXXVI II

GEORGE CATTERMOLE

From an Unpublished Photograph by
LAKE PRICE
Lent by Iht Artists Daughter, Mrs. Edviard franks.

GEORGE CATTERMOLE

First Acquaintance with Dickens — Declines Offer of Knighthood — Favourite Subjects for
Pictures— " Master Humphrey's Clock"— A Letter from Dickens respecting the
Illustrations— Cattermole's Designs Copied on Wood by "Phiz" and Samuel Williams —
Some Dickens Correspondence — Minute Directions to the Artist — Design for Frontis-
piece— Useful Hints and Suggestions — The "Maypole" Inn — "Grip," the Raven —
Subjects for " Bamaby Kudge " — An Unpublished Letter from Cattermole to Dickens —
Closing Chapters of the Story — The Novelist Approves of the Illustrations — Frontispiece
for the First Cheap Edition of "The Old Curiosity Shop" — Water-colour Drawings of
"Little Nell's Home" and "Little Nell's Grave"— Dickens's Gratitude to Cattermole—
Death of the Artist — His Vivacity and Good-fellowship.

BORN at Dickleburgh, Norfolk, in the year 1800, George
Cattermole was a dozen years the senior of Charles Dickens,
His acquaintance with the novelist began in 1838, and when,
in the following year, he married Miss Elderton, a distant connection
of the author of " Pickwick," the friendship subsisting between the
two men ripened into sincere affection. George Cattermole had been
elected a member of the Society of Painters in Water-Colours as early
as 1833, which indicates that his reputation was already well estab-
lished, and in 1839 he had achieved such distinction in Art that he
received the offer of knighthood, — an honour he modestly declined.
Thv, subjects he loved to portray were scenes from mediaeval history,
fiction, or ballad literature, and he revelled in depicting incidents of
bygone times, with their manners and customs, their architecture and
costumes, in the representation of which he has been considered the
chief exponent. It was this antiquarian feeling, as well as his power-
ful imagination and vivid fancy, which excited the admiration of John
Ruskin, whose favourable criticisms of the artist's early productions
proved of infinite service.

122 DICKENS AND HIS ILLUSTRATORS

George Cattermole had already enjoyed considerable experience

as an illustrator of books, and had made drawings

Master ^""^' of buildings and scenery described in Scott's novels,

"_, ^ ' when, in 1840, Dickens invited him to collaborate

1840-41.

with D. Maclise, R.A., and Habl6t K. Browne

("Phiz") in designing the woodcuts for " Master Humphrey's Clock."

The earliest intimation received by the artist respecting the projected

publication was contained in the following letter, dated January

13, 1840:—

"My Dear Cattermole, — I am going to propound a mightily grave
matter to you. My new periodical work appears — or I should rather
say the first number does — on Saturday, the 28th of March. . . .
The title is ' Master Humphrey's Clock,' Now, among other im-
provements, I have turned my attention to the illustrations, meaning
to have woodcuts dropped into the text, and no separate plates. I
want to know whether you would object to make me a little sketch
for a woodcut — in indian-ink would be quite sufficient — about the size of
the enclosed scrap ; the subject, an old quaint room with antique
Elizabethan furniture, and in the chimney-corner an extraordinary
old clock— the clock belonging to Master Humphrey, in fact, and
no figures. This I should drop into the text at the head of my
opening page.

" I want to know, besides — as Chapman & Hall are my partners
in the matter, there need be no delicacy about my asking or your
answering the question — what would be your charge for such a thing,
and whether (if the work answers our expectations) you would
like to repeat the joke at intervals, and if so, on what terms .■* I
should tell you that I intend to ask Maclise to join me likewise,
and that the copying, the drawing on wood, and the cutting will be
done in first-rate style. ... I want to talk the matter over with
you, and wish you would fix your own time and place. ... —
Faithfully yours Charles Dickens."

GEORGE CATTERMOLE 123

We gfather from this letter that Cattermole was then unaccustomed
to drawing upon the wood block, and therefore executed his designs
upon paper, to be afterwards copied upon wood by a practical hand.
In the next communication, dated a few days later, it will be seen
that the artist agreed to Dickens's proposals (preferring, however, to
select his own subjects), and that " Phiz's " pencil was made available
for copying purposes ; the drawing here referred to being that of the
"old quaint room" which forms the heading of the first chapter of
" Master Humphrey's Clock." The novelist wrote : —

" I think the drawing most famous, and so do the publishers, to
whom I sent it to-day. If Browne should suggest anything for the
future which may enable him to do you justice in copying (on which
point he is very anxious), I will communicate with you. It has
occurred to me that perhaps you will like to see his copy on the
block before it is cut, and I have therefore told Chapman & Hall
to forward it to you.

" In future, I will take care that you have the number to choose
your subject from. I ought to have done so, perhaps, in this case ;
but I was very anxious that you should do the room. . . ."

The artistic skill of the eminent draughtsman and engraver,
Samuel Williams, was at first similarly requisitioned for copying
purposes, as proved by the signature appended to the illustration of
Little Nell's room in the initial chapter of " The Old Curiosity
Shop," the original drawing of which was undoubtedly supplied by
Cattermole, who, before very long, was enabled to dispense with these
professional services.

Judging from the amount of correspondence still extant, Dickens
was constantly in communication with Cattermole respecting the
illustrations for "Master Humphrey's Clock." In a letter dated
March 9, 1840, he said : —

"I have been induced, on looking over the works of the 'Clock,'
to make a slight alteration in their disposal, by virtue of which the
story about ' J ohn Podgers ' will stand over for some little time, and

124 DICKENS AND HIS ILLUSTRATORS

that short tale will occupy its place which you have already by you,
and which treats of the assassination of a young gentleman under
circumstances of peculiar aggravation.^ I shall be greatly obliged
to you if you will turn your attention to this last morsel as the feature
of No. 3, and still more if you can stretch a point with regard to
time (which is of the last importance just now), and make a subject
out of it, rather than find one in it. I would neither have made this
alteration nor have troubled you about it, but for weighty and cogent
reasons which I feel very strongly, and into the composition of which
caprice or fastidiousness has no f)art. . . .

" I cannot tell you how admirably I think Master Humphrey's
room comes out, or what glowing accounts I hear of the second design
you have done.* I had not the faintest anticipation of anything so
good, taking into account the material and the despatch."

The text of " Master Humphrey's Clock" afforded the artist many
congenial themes for his pencil. The story of Little Nell evidently
fascinated him, and the various subjects selected for illustration were
lovingly dealt with. An interval of several months elapsed before
the following instructions were received by him respecting future
designs : —

" I sent the MS. of the enclosed proof, marked 2, up to Chapman
& Hall from Devonshire, mentioning a subject of an old gateway,'
which I had put in expressly with a view to your illustrious pencil.
By a mistake, however, it went to Browne instead.

"The subject to which I wish to call your attention is in an
unwritten number to follow this one, but it is a mere echo of what
you will find at the conclusion of this proof marked 2. I want the
cart, gaily decorated, going through the street of the old town with
the wax brigand displayed to fierce advantage, and the child seated
in it also dispersing bills. As many flags and inscriptions about

• " Mr. Pickwick's Tale," in the first chapter.

^ See headpiece to " First Night of the Giant Chronicles."

' See illustration in " The Old Curiosity Shop," chap, xxvii.

Plate XXXIX

^Cg^i QUILP'S WHARF

Fatsimilt of the Original Sketch for " The Old Curiosity Shop" by
GEORGE CATTERMOLE

Lent iy Mrs. Edward Franks.

GEORGE CATTERMOLE 125

Jarley's Wax Work fluttering from the cart as you please. You
know the wax brigands, and how they contemplate small oval
miniatures ? That's the figure I want. I send you the scrap of
MS. which contains the subject.

"Will you, when you have done this, send it with all speed to
Chapman & Hall, as we are mortally pressed for time. . . ."

For some reason, the drawing of Mrs. Jarley's cart was not
executed by Cattermole ; perhaps he was otherwise occupied at the
moment, so that the work fell to Browne, whose initials are appended.
Concerning the frontispiece the novelist offered some valuable sug-
gestions, of which the artist readily availed himself : —

"Will you turn your attention to a frontispiece for our first
volume, to come upon the left-hand side of the book as you open it,
and to face a plain printed title ? My idea is, some scene from ' The
Curiosity Shop,' in a pretty border, or scroll-work, or architectural
device ; it matters not what, so that it be pretty. The scene even
might be a fanciful thing, partaking of the character of the story,
but not reproducing any particular passage in it, if you thought that
better for the effect.

" I ask you to think of this, because, although the volume is not
published until the end of September, there is no time to lose. We
wish to have it engraved with great care and worked very skilfully ;
and this cannot be done unless we get it on the stocks soon. They
will give you every opportunity of correction, alteration, revision, and
all other -ations and -isions connected with the fine arts."

In this design will be found Cattermole's only representations of
Mr. Pickwick and the two Wellers. In the following letter (dated
December 21 [1840]), some hints were gfiven as to the treatment of
one of the most charming illustrations in the series, viz., the pictu-
resque parsonage-house which was the temporary home of Little Nell
and her Grandfather. The lanthorn here referred to is not only omitted
from the drawing, but we fail to find it mentioned in the text : —

" Kit, the single gentleman, and Mr. Garland go down to the

126 DICKENS AND HIS ILLUSTRATORS

place where the child is, and arrive there at night. There has been
a fall of snow. Kit, leaving them behind, runs to the old house, and,
with a lanthorn in one hand and the bird in its cage in the other,
stops for a moment at a little distance with a natural hesitation before
he goes up to make his presence known. In a window — supposed
to be that of the child's little room — a light is burning, and in that
room the child (unknown, of course, to her visitors, who are full of
hope) lies dead.

" If you have any difficulty about Kit, never mind about putting
him m. . . .

The next letter contained useful suggestions for the delineation
of the most pathetic scenes in "The Old Curiosity Shop."

(i.) "The child lying dead in the little sleeping-room, which is
behind the open screen. It is winter-time, so there are no flowers ;
but upon her breast and pillow, and about her bed, there may be strips
of holly and berries, and such free green things. Window overgrown
with ivy. The little boy who had that talk with her about angels may
be by the bedside, if you like it so ; but I think it will be quieter and
more peaceful if she is quite alone. I want it to express the most
beautiful repose and tranquillity, and to have something of a happy
look, if death can.

(2.) The child has been buried inside the church, and the old man,
who cannot be made to understand that she is dead, repairs to the
grave and sits there all day long, waiting for her arrival, to begin
another journey. His staff and knapsack, her little bonnet and
basket, &c., lie beside him. ' She'll come to-morrow,' he says when
it gets dark, and goes sorrowfully home. I think an hour-glass
running out would help the notion ; perhaps her little things upon
his knee or in his hand.

" I am breaking my heart over this story, and cannot bear to
finish it."

In the first of these two delightful drawings the artist rightly
omitted the figure of the boy, and in order to emphasise the sense

Plate XL

TWO STUDIES FOR
"THE DEATH-BED OF LITTLE NELL"

Fttcsimitt of the Original Drawings for " The Old Curiosity Shop " by
GEORGE CATTERMOLE
Unt by Mr. S. J. Davey and Mrs. Edward Franks.

■ni ■

fe" rS^yV^'

^'■%.

GEORGE CATTERMOLE 127

of repose in that humble death-chamber, he introduced a bird, which
is seen perched upon the window-ledge, while the hour-glass (sug-
gested for the second picture) seemed to him more appropriate here.
Cattermole made two or three sketches of No. i before he quite
satisfied the author, who had asked him to carry out certain altera-
tions, these resulting in such a marked improvement that Dickens
wrote : " I cannot tell you how much obliged I am to you for alter-
ing the child, or how much I hope that my wish in that respect didn't
go greatly against the grain."* "Will you do me," he asks, in the
same letter, "a little tailpiece for the 'Curiosity' story? — only one
figure if you like — giving some notion of the etherealised spirit of
the child ; something like those little figures in the frontispiece."
This litde allegory formed the closing illustration.

" Barnaby Rudge " immediately followed " The Old Curiosity
Shop," under the collective title of " Master Humphrey's Clock."
For the first chapter of this stirring romance Cattermole provided
a charming illustration, depicting the old "Maypole" Inn, which,
however, was not intended to portray the " delicious old inn "
opposite Chigwell churchyard, referred to by Dickens in a letter to
Forster at this time, it being an entirely fanciful design. When
the novelist saw the drawing on wood of this subject he was delighted.
" Words cannot say how good it is," he wrote to the artist. " I can't
bear the thought of its being cut, and should like to frame and gla^e
it in statu quo for ever and ever." On January 28, 1841, he
queried : —

" I want to know whether you feel ravens in general and would
fancy Barnaby 's raven in particular? Barnaby being an idiot, my
notion is to have him always in company with a pet raven, who is
immeasurably more knowing than himself. To this end I have been
studying my bird, and think I could make a very queer character

• Macready, upon whom the death of Little Nell had a painful effect, was much impressed
by this illustration, as an entry in his diary testifies : " Found at home ... an onward number
of ' Master Humphrey's Clock.' I saw one print in it of the dear dead child that gave a dead
chill through my blood. I dread to read it, but must get it over."

128 DICKENS AND HIS ILLUSTRATORS

of him. Should you like the subject when this raven makes his
first appearance ? "

Two days later, he again pressed the question : —

" I must know what you think about the raven, my buck ; I other-
wise am in this fix. I have given Browne no subject for this number,
and time is flying. If you would like to have the raven's first appear-
ance, and don't object to having both subjects, so be it. I shall be
delighted. If otherwise, I must feed that hero forthwith."

But Cattermole apparently declined the privilege of introducing
to the world a presentment of the immortal " Grip," — an honour which
therefore fell to " Phiz's" pencil. On January 30, 1841, Dickens de-
spatched to the artist some printed slips describing Gabriel Varden's
house, " which I think [he said] will make a good subject, and one
you will like. If you put the ''prentice' in it, show nothing more
than his paper cap, because he will be an important character in the
story, and you will need to know more about him, as he is minutely
described. I may as well say that he is very short. Should you
wish to put the locksmith in, you will find him described in No. 2
of ' Barnaby ' (which I told Chapman & Hall to send you).
Browne has done him in one little thing, but so very slightly that
you will not require to see his sketch, I think."

On February 9th the artist received the following request : —

"Will you, for No. 49, do the locksmith's house, which was
described in No. 48 ? I mean the outside. If you can, without
hurting the effect, shut up the shop as though it were night, so much
the better. Should you want a figure, an ancient watchman in or on
his box, very sleepy, will be just the thing for me.

" I have written to Chapman and requested him to send you a
block of a long shape, so that the house may come upright, as it were."

From this note, and a subsequent one in which Dickens commands
the artist to put " a penny pistol to Chapman's head and demand the
blocks of him," we learn that Cattermole had by this time accustomed
himself to copying his designs upon wood, and could dispense with that

GEORGE CATTERMOLE 129

kind of assistance. His drawing of the dilapidated but picturesque
old country inn, "The Boot," whither the rioters resorted, is, I
believe, a direct transcript from an old print representing the place as
it appeared at the time referred to, 1 780 ; the woodcut is in reverse
of the print.* Here are two letters (dated July 28th and August 6th,
1 84 1 , respectively) that fairly bristle with details of scenes, in chapters
liv. and Ivi., which the artist was desired to depict : —

"Cui you do for me by Saturday evening — I know the time is
short, but I think the subject will suit you, and I am greatly pressed —
a party of rioters (with Hugh and Simon Tappertit conspicuous among
them) in old John Willet's bar, turning the liquor taps to their own
advantage, smashing bottles, cutting down the grove of lemons,
sitting astride on casks, drinking out of the best punch-bowls, eating
the great cheese, smoking sacred pipes, &c., &c. ; John Willet fallen
backward in his chair, regarding them with a stupid horror, and
quite alone among them, with none of the Maypole customers at
his back?

"It's in your way, and you'll do it a hundred times better than
I can suggest it to you, I know."

" Here's a subject for the next number. . . . The rioters went,
sir, from John Willet's bar (where you saw them to such good pur-
pose) straight to the Warren, which house they plundered, sacked,
burned, pulled down as much of it as they could, and greatly
damaged and destroyed. They are supposed to have left it about
half-an-hour. It is night, and the ruins are here and there flaming
and smoking. I want — if you understand — to show one of the
turrets laid open — the turret where the alarm-bell is, mentioned in
No. I ; and among the ruins (at some height if possible) Mr. Hare-
dale just clutching our friend, the mysterious file, who is passing over

' A modem public-house still stands upon the site, in Cromer Street, Gray's Inn Road.
It retains the original sign.

I30 DICKENS AND HIS ILLUSTRATORS

them like a spirit ; Solomon Daisy, if you can introduce him, looking
on from the ground below.

" Please to observe that the M. F. wears a large cloak and slouched
hat. This is important, because Browne will have him in the same
number, and he has not changed his dress meanwhile. Mr. Haredale
is supposed to have come down here on horseback pell-mell ; to be
excited to the last degree. I think it will make a queer picturesque
thing in your hands. . . . P.S. — When you have done the subject, I
wish you'd write me one line and tell me how, that I may be sure
we agree."

In sending to Dickens for approval a sketch of the ruined home
of Mr. Haredale, the artist enclosed the following letter, now printed
for the first time : —

"My Dear Dickens, — I cannot hope you will make much out
of the accompanying sketch.' I suppose the spectator to be placed
upon the roof of one of the wings of the Warren House, and towards
him are rushing . . . [Rudge] and Mr. Haredale as they issue from a
small door in the tower, whereunto is attached (as part and parcel
of the same) the bell-turret. A small closet through which they pass
to the roof has been dismantled, or rather thrown down and carried
by the fire and the other spoilers ; on the grass below is rooted
Solomon Daisy in an ecstasy of wonder, &c., &c. ; beyond are clouds
of smoke a-passing over and amongst many tall trees, and all about
are heard the tenants, frightened rooks, flying and cawing like mad. —
In haste, my dear Charles, G. Cattermole."

Clapham, Aug. 12 [1841].

It will be observed that the incident depicted in this illustration
takes place in utter darkness, while the published woodcut represents
a daylight scene. This remark also applies to the subject of the
next letter (dated August 19, 1841), which was treated by the artist

> See Plate. Both sketch and letter are in the collection of Mr. Augustin Daly, of New
York, to whom I am indebted for the opportunity of reproducing them.

Plate XLI

"THE NIGHT WATCHMAN"

AND

"THE 'MAYPOLE' INN"

Facsimiks fii Original Sketches for " Bamaby Rudge" by
GEORGE CATTERMOLE

Lent by Mr, S. /. Davty.

■'KAWHOrAW rHTMH BHV

'^^f ,.'T ,. J

t • ■.•r'-.i-'-'r f ■!

■<-V'\ >,

GEORGE CATTERMOLE 131

in a similar manner ; the effect of torchlight being entirely absent from
the picture necessarily deprives it of much dramatic character : —

" When Hugh and a small body of the rioters cut off from the

Warren beckoned to their pals, they forced into a very remarkable

postchaise Dolly Varden and Emma Haredale, and bore them away

with all possible rapidity ; one of their company driving, and the

rest running beside the chaise, climbing up behind, sitting on the

top, lighting the way with their torches, &c., &c. If you can express

the women inside without showing them — as by a fluttering veil, a

delicate arm, or so forth, appearing at the half-<:losed window — so

much the better. Mr. Tappertit stands on the steps, which are

partly down, and, hangjing on to the window with one hand and

extending the other with great majesty, addresses a few words of

encouragement to the driver and attendants. Hugh sits upon the

bar in front ; the driver sitting postilion-wise, and turns round to

look through the window behind him at the little doves within. The

gentlemen behind are also anxious to catch a glimpse of the ladies.

One of those who are running at the side may be gently rebuked for

his curiosity by the cudgel of Hugh. So they cut away, sir, as fast

as they can.

"P.S.—]ohn Willet's bar is noble."

There were yet a few more illustrations required for the closing
chapters of " Barnaby Rudge," concerning which the artist, received
very precise instructions from the author. For example, on September
14, 1 84 1, Dickens forwarded to his illustrator the following "business
letter, written in a scramble just before post-time," the directions
having reference to incidents in chapters Ixxiii., Ixxxi., and Ixxxii. : —

"Firstly, Will you design, upon a block of wood. Lord George
Gordon, alone and very solitary, in his prison, and after your own
fancy ; the time, evening ; the season, summer ?

''Secondly, Will you ditto upon a ditto, a sword-duel between Mr.
Haredale and Mr. Chester, in a grove of trees .<• No one close by.
Mr. Haredale has just pierced his adversary, who has fallen, dying, on

132 DICKENS AND HIS ILLUSTRATORS

the grass. He (that is, Chester) tries to staunch the wound in his
breast with his handkerchief; has his snuff-box on the earth beside
him, and looks at Mr. Haredale (who stands with his sword in his
hand looking down on him) with most supercilious hatred, but polite
to the last. Mr. Haredale is more sorry than triumphant.

" Thirdly, Will you conceive and execute, after your own fashion,
a frontispiece for ' Barnaby ' ?

''Fourthly, Will you also devise a subject representing 'Master
Humphrey's Clock' as stopped; his chair by the fireside empty ; his
crutch against the wall ; his slippers on the cold hearth ; his hat upon
the chair-back; the MSS. of 'Barnaby' and 'The Curiosity Shop'
heaped upon the table ; and the flowers you introduced in the first
subject of all withered and dead ? Master Humphrey being supposed
to be no more.

" I have a fifthly, sixthly, seventhly, and eighthly ; for I sorely
want you, as I approach the close of the tale ; but I won't frighten you,
so we'll take breath.

" P.S. — I have been waiting until I got to subjects of this nature,
thinking you would like them best."

Owing to an illness from which Cattermole was then suffering, the
frontispiece here referred to was designed by Habl6t Browne. A few
days later, the author bethought him of an incident earlier in the
story (chapter Ixix.), which required an illustration, and anent this he
despatched the following note : —

" Will you, before you go on with the other subjects I gave you,
do one of Hugh, bareheaded, bound, tied on a horse, and escorted by
horse-soldiers to jail.-* If you can add an indication of old Fleet
Market, and bodies of foot-soldiers firing at people who have taken
refuge on the tops of stalls, bulk-heads, etc., it will be all the
better."

This letter is the last (of those which have been preserved) having
reference to George Cattermole's artistic association with "Master
Humphrey's Clock." Of the one hundred and ninety-four illustrations

Plate XLII

THE MURDER AT THE WARREN

Facsimile of the Original Sketch for " Barnaby Rudge " by
GEORGE CATTERMOLE

Ltnt by Mr. AtigusHn Daly.

.,1.. J ..U;,1tlt .

i.t'-ir.nr-jTTA'.i

.:?*«'■

>--v>;^

L-

7:..^ .

GEORGE CATTERMOLE 133

contained in this work, thirty-nine were designed by him, these com-
prising fourteen for " The Old Curiosity Shop," fifteen for " Barnaby
Rudge," and ten for the "Clock" chapters; his signature, "G.C.,"
appended thereto has occasionally been mistaken for the initials of
George Cruikshank, to whom some of these designs have been incor-
rectly attributed. There can be no doubt that George Cattermole's
drawings greatly enhanced the popularity of the work, for nothing
could be happier than his facile treatment of such subjects as the
" Maypole " Inn, the interior of the Old Curiosity Shop, and Quilp's
Wharf; while especially effective are his representations of the old
church in the village where Little Nell died. This picturesque little
structure really exists at Tong, in Shropshire, and, with its splendid
carving and magnificent monuments, presents the same attractive
appearance which inspired both Dickens and his illustrator. The
novelist was so much charmed with Cattermole's designs in "The
Old Curiosity Shop" that he could not refrain from expressing to
the artist his warm appreciation of them. " I have so deeply felt," he
wrote, " your hearty and most invaluable co-operation in the beautiful
illustrations you have made for the last story, that I look at them
with a pleasure I cannot describe to you in words, and that it is im-
possible for me to say how sensible I am of your earnest and friendly
aid. Believe me that this is the very first time that any designs
for what I have written have touched and moved me, and caused me
to feel that they expressed the idea I had in my mind. I am most
sincerely and affectionately grateful to you, and am full of pleasure
and delight."

In concluding this account of George Cattermole's illustrations for
the writings of Dickens, it only remains to add that he prepared a
special design as the frontispiece for the first cheap edition of " The
Old Curiosity Shop" (1848), an admirable drawing on wood, excel-
lently engraved by Thomas Williams, depicting " Little Nell in the
Church."

On the completion of "Master Humphrey's Clock," the author

134 DICKENS AND HIS ILLUSTRATORS

commissioned Cattermole to make two water-colour drawings of scenes
in " The Old Curiosity Shop," one representing " Little Nell's Home,"
while the other (now in the Forster Collection at South Kensington)
portrays "Little Nell's Grave" in the old church, this being an en-
larged version of the woodcut. These drawings are excellent examples
of Cattermole's work, and were highly valued by the novelist, who,
in a letter to the artist (dated December 20, 1842), expressed his
sincere approval of them. " It is impossible," he said, "for me to tell
you how greatly I am charmed with those beautiful pictures, in which
the whole feeling, and thought, and expression of the little story is
rendered, to the gratification of my inmost heart ; and on which you
have lavished those amazing resources of yours with power at which
I fairly wondered when I sat down yesterday before them. I took
them to Mac [Maclise] straightway in a cab, and it would have done
you good if you could have seen and heard him. You can't think
how moved he was by the old man in the church, or how pleased I
was to have chosen it before he saw the drawings. You are such a
queer fellow, and hold yourself so much aloof, that I am afraid to say
half I would say touching my grateful admiration ; so you shall imagine
the rest. . . ."

After two years of failing health and much acute suffering, George
Cattermole closed an anxious and laborious life on the 24th of July,
1868, the end being undoubtedly hastened by the almost simultaneous
deaths, in 1862, of a much-loved. son and daughter. Dickens, who
sincerely lamented the loss of this cherished friend, actively interested
himself on behalf of his widow and young children (who were left in a
very distressed condition) by starting a fund for their relief

It needs but an examination of the correspondence that passed
between Charles Dickens and George Cattermole (in which, during
later years, the novelist playfully addressed his friend as " My dear
Kittenmoles ") to prove how deep was their mutual affection. The
artist's natural vivacity and good-fellowship caused him to be a great
favourite, and those of his family who survive recall with delight

GEORGE CATTERMOLE 135

the "red-letter" days when Dickens. Thackeray. Landseer, and other
kindred spirits foregathered at the Cattermole residence in Clapham
Rise, on which occasions the genial company retired after dinner to
brew punch in the studio — a picturesque apartment adorned with
armour and tapestry and carved furniture, indicative of the artist's
tastes, and strongly reminiscent of his most characteristic pictures.

ILLUSTRATORS

OF THE CHRISTMAS BOOKS

JOHN LEECH.
RICHARD DOYLE.
CLARKSON STANFIELD, R.A.

D. MACLISE, R.A.
SIR JOHN TENNIEL.
FRANK STONE, A.R.A.

SIR E. LANDSEER, R.A.

IT was nothing less than an inspiration when, in 1843, Dickens
conceived the idea of "A Christmas Carol," the composition of
which induced in him such mental excitement, that when it was
completed he "broke out like a madman." Its extraordinary popu-
larity encourged him to prepare a similar story for publication at
the end of the following year, this being succeeded by three
others, all of them appearing during the festive season, in a binding
of crimson cloth embellished with gold designs.* Not the least
interesting feature of these handsome little volumes is the illustra-
tions, mainly owing to the fact that they were designed by the
leading black-and-white artists of the day, including three Royal
Academicians and one Associate of the Royal Academy. Of this
talented company only one member survives, — Sir John Tenniel,
whose pencil is still actively employed in the pages of Punch. The
following table denotes the number of designs supplied by each
artist to the Christmas Books.

' The first issue of the " Carol " was bound in cloth of a brownish colour, the subsequent
issues appearing in crimson.

i3«

THE CHRISTMAS BOOKS

137

Analysis of Illustrations.

Artist

A Christmas
Carol,
1843.

The

Chimes,

1845.

The Cricket

on the

Hearth,

1846.

The Battle

of Ufe,

1846.

The

Haunled

Man, 1848.

Total.

Leech . . .
Doyle . . .
Stanfield . .
Maclise . .
Tenniel . .
Stone . . .
Landseer

5
4

a
2

7
3

3
3
3
4

5
3

6
3

28
10

9
8
6

3
I

The engravers were the Dalziel Brothers (14 subjects), T.
Williams (11), W. J. Linton (10), Martin and Corbould (8), Smith
and Cheltnam (5), Groves (3), Thompson (3), F. P. Becker (2), Gray
(2), Swain (2), Green (i). Four designs were etched on steel by
John Leech, thus making up the full complement of illustrations.

JOHN LEECH

Leech's Early Attempts at Drawing — Medical Studies— First Published Work— Desires to
Illustrate "Pickwick" — Becomes Acquainted with Dickens — "A CHRISTMAS Carol" —
Sale of the Original Drawings — "THE Chimes" — Leech Misinterprets his Author —
"The Cricket on the Hearth" — An Altered Design— The Artist's Humour Exem-
plified—"The Battle OF Life"— Sale of Original Drawings— Unpublished Letters by
Leech— A Grave Error— "The HAUNTED Man"— Leech's Method of Work— Artistic
Value of his Sketches — Ruskin's Criticism — Leech as an Actor — A Serious Accident —
Dickens as Nurse— Ill-health— A Fatal Seizure — Sir John Millais' Portrait of Leech.

JOHN LEECH, the leading spirit ol Punch for more than twenty
years, was born in London in 1817, his father (an Irishman of
culture) being a vintner, and at one time the proprietor of the
London Coffee- House on Ludgate Hill, then the most important of
the large City hotels. As the elder Leech showed some skill as a
draughtsman, we may reasonably assume that from him the son in-
herited a talent for drawing, by means of which he was destined,
before many years had passed, to astonish the world by his humour
and originality. When a mere lad, he exhibited such aptitude and
dexterity with the pencil, that Flaxman, the famous sculptor, pro-
nounced these precocious efforts to be wonderful, and exclaimed :
" That boy must be an artist ; he will be nothing else or less."
Notwithstanding this recommendation, young Leech (after a course
of schooling at the Charterhouse, where he had William Makepeace
Thackeray as a fellow-pupil) was entered by his father at St. Bartho-
lomew's Hospital, with a view to his adopting the medical profession ;
but his penchant for drawing and sketching proved irresistible, and
he gained more repute among the students by means of his lifelike
(but good-natured) caricatures, than for any ability he may have
displayed in hospital work. On leaving St. Bartholomew's, he was

placed under an eccentric practitioner named Whittle (whom Albert

.38

Plate XLIII

JOHN LEECH

From the Water-colour Drawing by
Sir JOHN E. MILLAIS, P.R.A., 1864

finn-! t v.voi

JOHN LEECH 139

Smith has immortalised as Mr, Hawkins), and subsequently under
Dr. John Cockle, afterwards Physician to the Royal Free Hospital.

Leech, however, gradually relinquished his medical studies, and
resolved to live by his pencil. He was only eighteen years of age
when he published his first venture, " Etchings and Sketchings, by
A. Penn, Esq.," comprising a collection of slightly caricatured sketches
of various odd characters to be met with on the streets of London.
Shortly after this maiden effort there appeared upon the scene the
initial number of the celebrated " Pickwick Papers," and when, in the
second number, the sad death was announced of Robert Seymour, the
illustrator, Leech immediately conceived the idea of seeking election
as his successor. " Boz " at this time was absolutely unknown to him
except by that strange pseudonym, so the ambitious young artist com-
municated his desire to the publishers. Chapman & Hall, to whom he
sent as a specimen of his powers a clever drawing, delicately tinted in
colour, of that familiar scene in " Pickwick " where Tom Smart sits
up in bed and converses with the animated chair.* Thackeray (it
will be remembered) also aspired to the position coveted by Leech, but
neither possessed the necessary qualifications.

In those early years Leech designed numerous illustrations for
Belts Life in London, and concocted schemes of drollery with his
literary friends which resulted in the publication of such humorous
productions as the " Comic Latin Grammar," " Comic English
Grammar," &c. In August, 1841, he contributed his first drawing
to Punch (the fourth number), this being the forerunner of many
hundreds of pictures, chiefly of " life and character," bearing the

' Concerning this design, of which a facsimile is given in the Victoria edition of " The
Pickwick Papers," 1887, a correspondent received the following interesting communication
from a representative of Dickens's publishing firm : —

"Mayvid, 1888.

"Dear Sir,— The history of the drawing by Leech of 'Tom Smart and the Arm-chair'
is, that at the time there was a difficulty about the artist for illustrating ' Pickwick,' Mr. Leech
sent it in as a specimen of his ability to illustrate the work. This was in the year 1836, and
it was in the possession of my predecessor, Mr. Edward Chapman, until twenty-five years ago,
when it came into my possession. — Faithfully yours, Fred. Chapman."

I40 DICKENS AND HIS ILLUSTRATORS

familiar sign-manual of a leech wriggling in a bottle. The artist's
connection with Punch gave him a great opportunity, for he was
thus enabled to come before the public, week after week, with
an endless succession of scenes in high life and low life, now of
the hunting-field and now of the river, — always with something that
could not fail to delight the eye and to excite good-natured laughter.
His deftness and versatility naturally brought many commissions
from publishers anxious to secure the aid of his prolific pencil, so
that besides his weekly contribution to Punch he was occupied in
preparing designs for other works, notably Douglas Jerrold's Shilling
Magazine, Hood's Comic Annual, and " The Ingoldsby Legends."

The year 1843 w^s memorable to John Leech, for then he first
. , became acquainted with the author of " Pickwick."

C n1 ifl/iQ ^y whom the introduction was brought about is
not quite clear ; perhaps the credit of it may be
awarded to Douglas Jerrold or Thomas Hood. In the above-men-
tioned year Leech's services were obtained for the illustration of
" A Christmas Carol," for which he prepared eight designs ; four
of these were etched on steel, the impressions being afterwards
coloured by hand, while the remaining four were drawn on wood,
and beautifully engraved by W. J. Linton. The popularity of
the "Carol" (the pioneer of all Dickens's Christmas Books, and,
indeed, of Christmas literature generally) proved enormous, and
much of its success was undoubtedly due to the attractive designs
of John Leech, who entered so thoroughly into the spirit of this
charming little allegory. In 1893 the original drawings, with the
exception of that entitled " Scrooge's Third Visitor," were sold at
Sotheby's for 155 guineas, and afterwards catalogued by a London
bookseller at j[,2Afi — a considerable advance on the price paid to
the artist and engraver, which was just under ;^50. This interesting
series of drawings (two of them tinted in colours) had hitherto re-
mained in the possession of a daughter of the artist.

Plate XLIV
"richard and margaret"

FatrimiU of the Original Sketch for " The Chimes" by
JOHN LEECH

The figure of Richard was altered in the published design.

By Permission of the An Museum Commitlet 9f Iht
CorforatUm cf NoUiiigkam.

JOHN LEECH 141

To " The Chimes " Leech contributed five illustrations, the
original drawings for which realised 66 guineas at
P ' Sotheby's in 1893. Some of these slight pencillings

now form part of the Leech Collection at Nottingham
Castle, including the first sketch for the illustration referred to by
Dickens (in a letter to his wife) as being, together with a sketch
by Doyle for the same story, so unlike his ideas that he invited both
artists to breakfast with him one morning, and, " with that winning
manner which you know of, got them, with the highest good-humour,
to do both afresh." The design in question appears in the "Third
Quarter," in which two scenes are represented, the upper one depict-
ing Margaret in her garret, while in the lower compartment appears
Richard, with "matted hair and unshorn beard," as he enters Trotty
Veck's cottage. The artist misunderstood his author, and delineated,
instead of Richard as described in the text, an extremely ragged and
dissipated-looking character, with a battered hat upon his head. When
the novelist saw it, the drawing had already been engraved, but
the woodcut was promptly suppressed ; there still exists, however,
an impression of the cancelled engraving, which is bound up with
what is evidently a unique copy of " The Chimes" (now the property
of Mr. J. F. Dexter), where blank spaces are left for some of the
woodcuts; this particular copy is probably the publishers' "make
up," and had accidentally left their hands.

'• The Cricket on the Hearth " is embellished with seven designs

by Leech. The original sketch for one of these

, illustrations, representing John and Dot seated by

H tVi iR/tft ^^^ ^^^' i'^dicates that it was Leech's intention at first

to introduce Tilly Slowboy nursing the baby ; but it

was apparently considered that her presence in the picture destroyed

the domestic harmony of the scene, so the figure was omitted, and

a separate woodcut made of the subject for a subsequent chapter.

It is interesting to compare Leech's illustration of Caleb Plummer

142 DICKENS AND HIS ILLUSTRATORS

and his blind daughter at work with a similar design by Doyle in
the same chapter, the vigorous character of the former happily con-
trasting with the more restrained treatment of the latter. In the final
woodcut of " The Dance," Leech's sense of humour (not always
devoid of exaggeration) has free play, for here not only do we see
the human characters in the story indulging in the pleasant exercise,
but observe that, in one corner, the carrier's pets. Boxer and the
cat, are similarly disporting themselves, while even the artist's signa-
ture (in the opposite corner) of a leech in a bottle is placed upon a
couple of lively legs, and is kicking away with an abandon worthy
of the occasion.

In Dickens's fourth Christmas Book, " The Battle of Life," John
Leech is represented by three illustrations, all of which
t T 't ^ ^^ designed in the manner characteristic of these little
Q , * volumes, in having one scene superimposed upon

another. The original sketches for two of these
woodcuts, viz., "The Parting Breakfast" and "The Night of the
Return," are in the South Kensington Museum,^ while the third
drawing has found its way to America, whither so many Dickens
relics have departed. When, in June 1893, some highly-finished
replicas of these designs were disposed of at Sotheby's, they realised
the extraordinary sums of ;^35, los., £,\T, los,, and ;^20, los. re-
spectively. In the Forster Collection at South Kensington there
are two very interesting letters, addressed by Leech to the biographer
of Dickens, having special connection with these illustrations. The
first (dated November 16, 1846) refers to the breakfast scene, and
from it we gather that there was a very limited time for preparing
the designs : —

' Facsimiles of these have already appeared in my Memoir of John Leech. A duplicate
sketch (more completely carried out) of "The Parting Breakfast" will be found in the Print
Room of the British Museum, but there is, I believe, some doubt as to its authenticity. The
late Mr. G. A. Sala pointed out that the engraving of this subject contains an astonishingly good
likeness of that admired comedian, Robert Keeley, as the old servant Britain.

Plate XLV

"JOHN, DOT, AND TILLY SLOWBOY "

Fatsimilt of the Original Drawing for ' ' The Cricket on the Hearth " by
JOHN LEECH

The figure of Tilly Slowboy was omitted in the published Drawing, a
separate Illustration being made of that portion of the Design.

Unt fy Mr. W. H. Ixvtr.

VJX fTAl'?

■"'""^ ' ' ' '^^ ,i,uu ,.-.

H-JH'M VlHOi

JOHN LEECH 143

" My Dear Forster, — I really cannot say off-hand how many
illustrations I can make within the week ; indeed, I am so embarrassed
by the conditions under which I am to make my share of the drawings
that 1 hardly know what to do at all. Conscientiously, I could not
make Clemency Newcome particularly beautiful. If you will read
a little beyond the words ' plump and cheerful,' you will find the
following : ' But the extraordinary homeliness of her gait and manner
would have superseded any face in the world. To say that she had
two left legs and somebody else's arms, and that all four limbs
seemed to be out of joint, and to start from perfectly wrong places,'
&c., &c. Again, she is described as having 'a prodigious pair of
self-willed shoes,' and a gown of ' the most hideous pattern pro-
curable for money.' The impression made upon me by such a
description as I have quoted certainly is that the character so de-
scribed is both awkward and comic. Of course I may be wrong in
my conception of what Dickens intended, but / imagine the lady in
question a sort of clean 'Slowboy.' The blessed public (if they
consider the matter at all) will hold me responsible for what appears
with my name ; they will know nothing about my being obliged to
conform to Maclise's ideas. I cannot tell you how loath I should
be to cause any delay or difficulty in the production of the book, or
what pain it would give me to cause either Dickens or yourself any
annoyance. I confess I am a little out of heart. — Believe me ever
yours faithfully, John Leech."

"John Forster, Esq."

Maclise, who also provided illustrations to " The Battle of Life,"
was anxious that his own type of character for Clemency Newcome
should be reproduced in the designs by Leech ; hence that artist's
protest. Writing again two days later on the subject. Leech said : —

" Mv Dear Forster, — Perhaps I was wrong in using the word
'conditions' in my note to you — I should have said 'circumstances,'

144 DICKENS AND HIS ILLUSTRATORS

and by being ' embarrassed ' by them I meant that I found it very

harassing to do work (that I am for several reasons anxious to do

well) under the constant feeling that I have too little time to do it

in ; and also I meant to convey to you that the necessity (which I

certainly supposed to exist) of preserving a sort of resemblance to

the characters as conceived by Mr. Maclise made it a rather nervous

undertaking to me. It seems I expressed myself clumsily, as the

tone of my note appeared to you anything but what I intended it to

be. Any suggestion from you I should always consider most valuable.

I send you one drawing, completed this morning at four o'clock, and

I assure you I would spare neither time nor any personal comfort to

show my personal regard for both yourself and Dickens.

" I should not like to promise more than two other drawings, if

Saturday is positively the last day. I might be able to do more,

but I should not like to promise, and fail. Pray overlook any glaring

defects in the block I send, and believe me yours faithfully,

John Leech,
"John Forster, Esq., &c. &c.

"P.S. I should like, if there is no objection, that Linton should
engrave for me."

It was natural that, remembering the excellent reproductions of
his wood-drawings in the "Carol" and "The Chimes," Leech should
express a wish that Linton * might also engrave those in " The
Battle of Life ; " but the signatures appended to the cuts show

1 As I write, the decease of that admirable artist and engraver is reported from New
Haven, U.S.A. W. J. Linton was bom in London in 1812, and had therefore attained a
venerable age, spending the latter portion of his life in America. During an extremely active
career he produced, among other literary works, a valuable and comprehensive history of the
art of which he was undoubtedly the most capable exponent. Mr. Linton, who may justly
be termed the father of modern wood-engraving, carried on the tradition of Bewick, and was
a thorough champion of the " white-line school." As a zealous Chartist he took an active
and prominent part in politics, and, in addition to this, he was a voluminous writer both in
poetry and prose, his works including " The English Republic," " Claribel, and other Poems,"
" A Life of Whittier," &c.

Plate XLVI

"CALEB AT WORK"

FacsimiU of the Original Drawing for " The Cricket on the Hearth " by
JOHN LEECH

Lent ty Mr. W. H. Lever.

IVJX ITA.lH

3JAD ■

HD33.I WHOO

•J" 0 ^ ■■■

-i..-

.^Sgj^j^

:-^

r-i

•U^

JOHN LEECH 145

that, doubtless for some sufficient reason, the artist's wish was not
respected.

In his third design for "The Battle of Life" Leech committed
an extraordinary blunder, the result (it must be confessed) of care-
lessly studying his author. In this illustration, where the festivities
to welcome the bridegroom at the top of the page contrast with the
flight of the bride represented below, Leech gravely erred in suf>-
posing that Michael Warden had taken part in the elopement, and
has introduced his figure with that of Marion, This curious mistake,
which might have been avoided had the drawing been submitted to
Dickens, was not discovered until too late for remedy, and it is
highly characteristic of the novelist, of the true regard he felt for
the artist, that he preferred to pass it silently. The most remarkable
thing of all is (as Forster has pointed out), nobody seems to have
noticed the unfortunate oversight, although it must be obvious to every
attentive reader that it makes great havoc of one of the most delicate
episodes in the story. The feelings of the author, on realising the
seriousness of this terrible misconception on the part of the artist,
may be readily imagined. Writing to his biographer, he said :
"When I first saw it, it was with a horror and agony not to be
expressed. Of course I need not tell you, my dear fellow, Warden
has no business in the elopement scene. He was never there! In
the first hot sweat of this surprise and novelty, I was going to implore
the printing of that sheet to be stopped, and the figure taken out of
the block. But when I thought of the pain this might give to our
kind-hearted Leech, and that what is such a monstrous enormity to
me, as never having entered my brain, may not so present itself to
others, I became more composed ; though the fact is wonderful to
me. No doubt a great number of copies will be printed by the time
this reaches you, and therefore I shall take it for granted that it
stands as it is. Leech otherwise is very good, and the illustrations
altogether are by far the best that have been done for any of my
Christmas Books. . . ."

146 DICKENS AND HIS ILLUSTRATORS

" The Haunted Man and the Ghost's Bargain " — the last of the

Christmas stories — contains five designs by Leech,

__ n -, and one of the original sketches is here reproduced,
Man, 1848. , , . f u A/r L. • •

through the courtesy ot the Museum authorities at

Nottingham Castle. They are not among Leech's happiest efforts,
and do not compare favourably with the vignettes in " A Christmas
Carol."

Like Cruikshank, " Phiz," and other contemporary book-illustrators,
John Leech never worked from models, relying chiefly upon his re-
tentive memory ; he seldom made sketches of any kind, but merely
jotted down such useful memoranda of bits of scenery and character,
details of particular costume, &c., as could be recorded in a little
note-book which he invariably carried about with him. When
developing an idea for a drawing, he would first make a slight out-
line of the subject upon paper of the size required, then trace it
down upon the wood-block, and finally complete the picture with
care and deliberation. The only lessons in etching he ever had he
received from George Cruikshank ; but it was as a draughtsman on
wood that he excelled, his etchings (of which those in the "Carol"
are among the best) not being technically equal to those of either
Cruikshank or " Phiz," nor do they exhibit that sense of freedom
and spontaneity visible in his published drawings. The late George
du Maurier, his friend and colleague on Punch, tells us that Leech
"drew straight on the wood block, with a lead-pencil; his delicate
grey lines had to be translated into the uncompromising coarse black
lines of printer's ink — a ruinous process ; and what his work lost in
this way is only to be estimated by those who know." In giving
an account of Leech's work. Professor Ruskin points out a fact not
generally known, viz., that from an artistic standpoint his first sketches
for the woodcuts are much more valuable than the finished drawings,
even before those drawings sustained any loss in engraving. " The
first few lines in which he sets down his purpose are invariably, of all
drawing that I know," says the eminent critic, "the most wonderful

!■

Plate XLVII

"THE TETTERBYS"

Faesimilt of the Original Drawing for ' ' The Haunted Man ' by
JOHN LEECH

By Permission of the Art Museum Committee of tkt
Corporation of Noltingkam.

H'-'.-

>5. _

JOHN LEECH 147

in their accurate and prosperous haste." Dickens remained a constant
admirer of Leech's genius, and when, in 1848, there appeared a col-
lection of lithographs, where the artist humorously depicted "The
Rising Generation," the novelist indited for The Examiner a glowing
eulogium upon the work of his friend, in the course of which he
declared that he was "the very first Englishman who had made
beauty a part of' his art." It was from Dickens that Leech occa-
sionally accepted happy thoughts for Punch, and it will be remembered
that he frequently availed himself (as did Sir John Tenniel subse-
quently) of " Phiz's " designs for Dickens, whenever he thought they
could be appropriately converted into political cartoons.

John Leech occasionally associated himself with the amateur
theatrical performances organised by Dickens, but it must be admitted
that, owing to his naturally modest and retiring disposition, he did
not achieve great distinction as an actor. In 1849, while on a visit
to the novelist at Bonchurch, he was stunned by a huge wave when
bathing, and was put to bed with " twenty of his namesakes on his
temples." Congestion of the brain ensued, and Dickens, who pro\/ed
one of the most attentive of nurses during this anxious time, proposed
to Mrs. Leech to try magnetism. "Accordingly," he wrote to Forster,
" in the middle of the night I fell to, and after a very fatiguing bout
of it, put him to sleep for an hour and thirty-five minutes. A change
came on in the sleep, and he is decidedly better. I talked to the
astonished Mrs. Leech across him, when he was asleep, as if he had
been a truss of hay."

Incessant brain-work induced in John Leech a peculiar irritability,
and he was so much affected by street noises, even such as would
escape ordinary attention, that he was compelled at length to resort
to the device of double windows. Eventually this abnormal sensi-
tiveness told so seriously upon his health that he was ordered to
Homburg for change of scene ; but, on returning to his London home
in the autumn of 1864, he was still strangely susceptible to noise of
all kinds. In addition to this, the artist suffered acutely from angina

148 DICKENS AND HIS ILLUSTRATORS

pectoris, and on October 29, 1864, he was seized with an attack of
that terrible disease, which, alas ! proved fatal. Dickens was sadly
overcome by the death of this kindly man, and attributed thereto his
inability to make progress with " Our Mutual Friend," upon which
he was then engaged. Around the artist's grave there assembled,
on a bright autumn day, many who were distinguished in Art and
Literature, in honour of him they sincerely mourned, grieving for the
loss of a spirit, so gentle and graceful, that had just passed away.

The portrait of John Leech reproduced for this work is from a
beautiful water-colour drawing by his friend, the late Sir John E.
Millais, P.R.A., representing the artist in the prime of life. This
interesting and valuable presentment of the great pictorial humorist
was purchased in 1892 by the Trustees of the National Portrait
Gallery, and during the previous year a reproduction of it was given,
at my suggestion, as the frontispiece to the biography of John Leech
by Mr. W. P. Frith, R.A. Another intimate friend of Leech, Mr.
Holman Hunt, informs me that he considers this drawing by Millais
as undoubtedly the best portrait of the artist.

db,

oy/t^^

(?■

/^l-ec^c^Ce^f.

IllVJX :m..i'f

! i Y O '■ fj H A i:

.t<t ..k.A ,UMi.,Vr, H,

Platk XLVIII

RICHARD DOYLE

From a Photograph by
G. JEKRARI)

/^n/ *v Afn. Henry Voyle.

D. MACLISE, R.A.

From the Painting by
E. M. WAKD, R.A., lK4fi

RICHARD DOYLE

Inherits a Talent for Drawing— Not Permitted to Study from Models— No Regular Training

in Art — A Skilful Amateur— Precocious Sense of Humour — Fanciful Designs Doyle

Joins the Punch Staff— Instructed in Drawing on Wood— His Sign-manual— Retirement
from Punch— Hot Acquainted with Dickens— His Illustrations for "The Chimes"— Elves
and Goblins— An Oversight by the Artist— "The Cricket ON THE Hearth " and "The
Battle of Life"- Doyle's Original Sketches for the Christmas Books Dispersed.

WITH the single exception of John Leech, Richard Doyle
contributed the greatest number of illustrations to the
Christmas Books, three of these little volumes containing,
in the aggregate, ten designs by him. He Wcis born in London in
1824, his father, John Doyle, being the famous caricaturist, "H.B.,"
whose political cartoons created much sensation in their day. At an
early age Richard Doyle proved that he inherited a talent for drawing,
and was encouraged in this direction by his father, who (strange to
say) would not allow him to study from the living model, preferring
that the boy should be taught "to observe with watchful eye the
leading features of the object before him, and then some little time
after to reproduce them from memory as nearly as he could." He
had no regular training in art, except such as he was privileged to enjoy
in his father's studio, the result being that (as Mr. M. H. Spielmann
reminds us in his "History of Puruh") he never attained a higher
position than that of an extremely skilful amateur, "whose short-
comings were concealed in his charming illustrations and imaginative
designs, but were startlingly revealed in his larger work and in his
figure-drawing. . . . He was saved by his charm and sweetness, his
inexhaustible fun and humour, his delightful though superficial realisa-
tion of character, and his keen sense of the grotesque."

Richard Doyle's precocious sense of humour is exemplified in his

I50 DICKENS AND HIS ILLUSTRATORS

illustrations for the Comic Histories, executed by him when fifteen years
of age, but which were posthumously published. An extraordinary
power of fanciful draughtsmanship distinguishes the majority of his
designs, so that his pencil was in frequent request for works which
demanded the display of this special faculty, such as Leigh Hunt's
"Jar of Honey," Ruskin's "King of the Golden River," "Pictures
from the Elf World," Planches " Old Fairy Tales," &c. In 1843,
when the artist was only nineteen, he was installed as a member of
the regular pictorial staff of /*««M, and received instruction in drawing
on wood from Joseph Swain, the engraver for that journal. Richard
Doyle was familiarly known to his intimate friends as " Dicky Doyle,"
which probably suggested his sign-manual of a little dicky-bird
perched upon his initials, R.D., — a signature that may be found
appended to a very considerable number of cuts designed for Punch
during a period of seven years — that is, until his retirement there-
from in 1850.

Although Doyle furnished illustrations to three of Dickens's
— ,, -,, , Christmas Books, there is no evidence that he was

jO ' ever personally acquainted with the novelist. No

reference is made to the artist by Forster, nor does
it appear that any correspondence passed between him and Dickens,
the necessary instructions being apparently transmitted through the
publishers. The earliest Christmas story with which we find him
associated is " The Chimes," to which he supplied four illustrations,
viz., " The Dinner on the Steps," " Trotty at Home," " Trotty
Veck among the Bells," and "Margaret and her Child." His de-
signs embellish the initial pages of each chapter, and are treated
in a decorative and fanciful manner. In the first of these it will be
noticed that the upper portion consists of a representation of the tower
of St. Dunstan's Church in Fleet Street, — a subject repeated by
Clarkson Stanfield, R.A., in a subsequent illustration. In the other
woodcuts the artist exhibits his acknowledged skill in delineating elves

RICHARD DOYLE 151

and goblins, that depicting Trotty among the Spirits of the Bells
affording a delightful example of his wonderful power in portraying
goblin-like creatures, with their weird expressions and varied postures.
Apropos of this engraving, a curious oversight has been discovered
by the Rev. H. R. Haweis, for Doyle has introduced only three
bells, thus seeming to have forgotten that four are required to ring
a quarter! The subject of the remaining design, where Margaret,
with her babe, kneels at the river's brink, is replete with pathos, the
impression of desolation and despair being admirably rendered by
means of a few simple lines.

The next Christmas story, "The Cricket on the Hearth," con-
tains three illustrations by Doyle, one for each
y^ chapter, as before. The first really comprises two

H th \9,a( '^is^'"'^^ subjects, separated by a quaintly-designed
initial letter; in the upper drawing is seen John
Peerybingle's cart on its journey, preceded by Boxer, while below
we are presented with an ideal scene of domestic happiness, where
John and Dot are seated before the fire in their humble home.
The first page of " Chirp the Second " contains a capital picture of
Caleb Plummer and his blind daughter Bertha, busily at work among
the toys ; in the last design, illustrating the opening lines of " Chirp
the Third," the honest carrier is observed reclining his head upon
his hand in silent grief, while comforting spirits hover around him.

Dickens's fourth Christmas Book, " The BatUe of Life," includes
three designs by Doyle, which are also introduced as
The Battle of embellishments of the initial pages of the different
Lite, 1846. . _, . . , , . I.

chapters. They are much bolder m treatment, how-
ever, than the artist's earlier drawings, and do not possess the
artistic charm appertaining to his illustrations in " The Cricket on the
Hearth." The most successful are the vignette subjects at the top
of each page, which are charming little studies.

152 DICKENS AND HIS ILLUSTRATORS

It is unfortunate that no original sketches for these illustrations
are available for reproduction. A member of the artist's family
declares that they were dispersed, principally as gifts to friends, and
that their present destination is unknown.

On December lo, 1883, Richard Doyle was struck down by
apoplexy as he was quitting the Athenaeum Club, and died on the
following day. Thus passed away not only one of the most graceful
limners of Fairyland that England has produced, but one who
will long be remembered for his many noble qualities of heart
and mind.

Plate XLIX
clarkson stanfield, r.a.

From a Photograph

Lenl by Mr. Fitld StanJuUL

FRANK STONE, A.R.A.

From a Photograph

Lent by Mrs. Kalt Ptnigini.

CLARKSON STANFIELD, R.A.

Apprenticed to a Heraldic Painter — Goes to Sea — Meets Douglas Jerrold— Scene-painting —
Exhibits at the Royal Academy— Becomes Acquainted with Dickens— A Memorable
Trip to Cornwall— The Logan Stone— Illustrations for "The Chimes"— A Labour of
Love — A Present and a Letter from Dickens— Illustration for "The Cricket on the
Hearth"— A Quaint Epistle, signed "Henry Bluff"— Illustrations for "The Battle of
Life"— Dickens's Opinion of Stanfield's Designs— Illustration for "The Haunted Man"
—Another Gift from Dickens to the Artist— A Drawing of the " Britannia" Steam-ship—
Private Theatricals— A Remarkable Act-Drop — Declining Health— Death of the Artist
—Dickens's Eulogium— " The Most Lovable of Men."

FIRST a sailor, then an artist and a Royal Academician,
William Clarkson Stanfield acquired the reputation of being
the greatest marine-painter of his time. Born in 1793, he
was brought up to the sea, and at sea (curiously enough) was
thrown into the companionship of Douglas Jerrold, who, like him-
self, was ordained to make his mark in a very different profession.

When about twelve years old Clarkson Stanfield was appren-
ticed to a heraldic painter in Edinburgh, but an intense longing for
the career of a sailor resulted in his entering the merchant service
in 1808. Four years later he was pressed into the Royal Navy,
and while on board the King's ship Namur in 18 14 (where he first
met Jerrold, then a midshipman), his talent for drawing was dis-
covered, whereupon he was sent ashore at Sheerness to assist in
the painting and decoration of the Admiral's ball-room, his work
giving so much satisfaction that he was promised his discharge
from the Navy — a promise, however, that was not fulfilled. After
another interval of three or four years he finally left the sea, having
been temporarily disabled by a fall, and procured an engagement
as scene-painter at the East London Theatre, for he had already
essayed this branch of Art on board ship. So eminently satis-

>5J

154 DICKENS AND HIS ILLUSTRATORS

factory were his pictorial achievements in East London that he
obtained a similar position at the Edinburgh Theatre, and thence,
in 1822, in conjunction with his friends David Roberts and Nasmyth,
he was employed in a like capacity at the Theatre Royal, Drury
Lane. From that time his success in Art was assured.

Stanfield had already exhibited in the Royal Academy, and year
by year his work in this and other Institutions continued to excite
interest and admiration, by reason of the simple truthfulness of all
his representations. Usually, but not invariably, he preferred to
depict scenes in which his nautical experience could be made avail-
able, and his natural gifts permitted him to combine with the
genuine sailor-like feeling displayed in the treatment of his subjects
a poetical sentiment which considerably enhanced the charm of his
productions. In 1832 Stanfield was elected an Associate of the
Royal Academy, and three years later he attained full honours. It
will thus be seen that he had gained a very dignified position in
the world of Art before even the name of Charles Dickens became
known to the reading public, — as a matter of fact, the future novelist
was at that date writing the earliest of those wonderful sketches
which appeared under the nom de guerre of " Boz."

Clarkson Stanfield, who was Charles Dickens's senior by about nine-
teen years, made the acquaintance of the novelist late in the " Thirties,"
when began those affectionate relations subsisting between the two
distinguished men. " I love you so truly," observed Dickens to the
artist, in a letter dated August 24, 1844, "and have such pride and
joy of heart in your friendship, that I don't know how to begin writing
to you." Two years previously Stanfield joined Dickens and his
friends Forster and Maclise in their famous trip to Cornwall, — three
memorable weeks, overflowing with enjoyment and fun ; the artists
made sketches of the most romantic of the halting-places, one of
these being a drawing of the Logan Stone by Stanfield (now in the
Forster Collection at South Kensington), where are seen the figures
of himself and his three fellow-travellers.

CLARKSON STANFIELD, R.A. 155

In 1844 Dickens conceived the idea of a second Christmas Book,

_ "The Chimes," and what more natural than that he

J, * should desire to enlist the services, as illustrator, of

so skilled a draughtsman as Clarkson Stanfield? It

was decided to depart from the plan adopted in regard to the "Carol,"

by engaging more than one artist, thus imparting an agreeable variety

to the designs. Stanfield, eager to gratify his friend, did not require

much persuasion to co-operate in the pictorial embellishment of the

little volume, for which he provided two choice drawings, viz., "The

Old Church," — a faithful representation of the " old London belfry " of

St. Dunstan's in Fleet Street, — and "Will Fern's Cottage," — a pretty

bit of landscape scenery, such as the artist knew so well how to depict.

With these Dickens was charmed, and in a letter to his wife he said :

" Stanfield's readiness, delight, wonder at my being pleased with what

he has done is delicious."

Stanfield, it appears, would not accept payment for these drawings,
preferring that they should be considered as tokens of friendship.
Dickens, however, could not pass over so generous an act without
some acknowledgment, and this took the form of a silver claret-jug,
which was presented (as the inscription records) " In Memory of
'The Chimes.'" Accompanying the gift was the following letter,
dated October 2, 1845, where allusion is made to the succeeding
Christmas Story : —

"Mv Dear Stannv, — I send you the claret-jug. But for a
mistake, you would have received the little remembrance almost
immediately after my return from abroad.

"... I need not say how much I should value another little
sketch from your extraordinary hand in this year's small volume, to
which Mac again does the frontispiece. But I cannot hear of it,
and will not have it (though the gratification of such aid to me is
really beyond all expression), unless you will so far consent to make
it a matter of business as to receive, without asking any questions,

156 DICKENS AND HIS ILLUSTRATORS

a cheque in return from the publishers. Do not misunderstand me —
though I am not afraid there is much danger of your doing so, for
between us misunderstanding is, I hope, not easy. I know perfectly
well that no terms would induce you to go out of your way, in such
a regard, for perhaps anybody else. I cannot, nor do I desire to,
vanquish the friendly obligation which help from you imposes on me.
But I am not the sole proprietor of these little books ; and it would
be monstrous in you if you were to dream of putting a scratch
into a second one without some shadowy reference to the other
partners, ten thousand times more monstrous in me if any considera-
tion on earth could induce me to permit it, which nothing will
or shall.

" So, see what it comes to. If you will do me a favour on my
terms, it will be more acceptable to me, my dear Stanfield, than I can
possibly tell you. If you will not be so generous, you deprive me
of the satisfaction of receiving it at your hands, and shut me out
from that possibility altogether. What a stony-hearted ruffian you
must be in such a case ! — Ever affectionately yours,

"Charles Dickens."

The "small volume" here alluded to was "The Cricket on the
The Cricket Hearth," for which Stanfield prepared one illustra-
on the tion, viz., " The Carrier's Cart."

Hearth, 1846.

To the fourth Christmas Book, "The Battle of Life," Stanfield
_ contributed three beautiful little designs, represent-

L'f iR/i^ *"S respectively "War," "Peace," and "The 'Nut-

meg Grater' Inn." Happily, I am enabled to
present facsimiles of the original sketches (very slight in treatment)
of the first two subjects, through the courtesy of the artist's son,
Mr. Field Stanfield. The story was written at Lausanne, and,
during Dickens's absence in Switzerland, Forster succeeded in
enlisting Stanfield as one of the illustrators as a glad surprise for

Plate L

"war" and "peace"

Faciimilt of the Original Sketches for " The Battle of Life " by
C. STANFIELD, R.A.

LtHt by Mr Field Slanfietd.

CLARKSON STANFIELD, R.A. 157

the author, who, on being informed of the fact, wrote to his biog-
rapher : " Your Christmas Book illustration-news makes me jump
for joy." Forster intimates that these " three morsels of English
landscape," delineated by Stanfield, had a singular charm for Dickens
at the time, who referred to the illustrations altogether as by far
the best that had been done for any of the Christmas Books. " It
is a delight," he remarked concerning Stanfield's designs, " to look
at these little landscapes of the dear old boy. How gentle and
elegant, and yet how manly and vigorous they are! I have a
perfect joy in them."

The last of the Christmas Books, viz., " The Haunted Man,"

_ contains three illustrations by this artist, viz., " The

M 8 8 Lighthouse," " The Exterior of the Old College,"

and " The Christmas Party in the Great Dinner

Hall." In the first subject, which is decidedly the most successful,

Stanfield found a most congenial theme, for here his knowledge of

sailors and of the dangers of the sea proved serviceable. With

regard to his designs for these little annuals, it appears that the

artist could not be prevailed upon to accept payment for them,

Dickens's protests notwithstanding. He consequently became the

recipient of another gift — a pair of handsome silver salvers, bearing

the simple inscription, "Clarkson Stanfield from Charles Dickens," in

recognition of his friendly collaboration, and these are now in the

possession of one of the artist's sons.

There is another illustration by Stanfield to which some allusion
must be made. This is an admirable water-colour
J, Q drawing of the Britannia, the steamship that

conveyed Dickens to America in 1842. The
drawing was made with a view to reproduction as the frontis-
piece for the first cheap edition of "American Notes," and the
following hitherto unpublished letter (dated May 11, 1850) to

158 DICKENS AND HIS ILLUSTRATORS

Edward Chapman (of Chapman & Hall), is of interest in this
connection : —

" Dear Sir, — Mr. Stanfield will ^draw the packet-ship for the
frontispiece to the ' American Notes.' He says lithograph is better
than wood for that kind of subject ; please let me know immediately
whether it will suit us to lithograph it.— Faithfully yours,

"Charles Dickens."

The suggestion was found impracticable, so it was decided that
the drawing should be made on wood. The block was therefore
forwarded to the artist, who complained to Dickens of its imperfect
surface, whereupon the novelist despatched to Edward Chapman this
brief missive, dated May 22 : —

" Dear Sir, — Mr. Stanfield wonders you didn't send him a paving-
stone to draw upon, as send a block in this unprepared state. I send
you his drawing to do the best you can with. It costs nothing, and
I wish it to be kept very clean and returned to me. — Faithfully yours,

"Charles Dickens."

It may be inferred from this letter that the drawing was copied
upon the wood-block by the engraver himself, whose name (T.
Bolton) is appended to the frontispiece. The original picture was
purchased at the sale of Dickens's effects in 1870 for the sum of
£1 10, 5s., by the late Earl of Darnley, for many years the novelist's
friend and neighbour.

Clarkson Stanfield, whose intimacy with the Dickens family was
very close, used to take part in their Christmas sports and gambols,
and in connection with the private theatricals at Tavistock House
his services as scene-painter were invaluable. Apropos of this, the
novelist once wrote to Frank Stone, A.R.A. : "Stanfield bent on
desperate effects, and all day long with his coat off, up to his eyes
in distemper colours." Again : " If Stanfield don't astonish 'em [the

CLARKSON STANFIELD, R.A. 159

audience], I'm a Dutchman. O Heaven, if you could hear the ideas he
proposes to me, making even my hair stand on end!" For Wilkic
Collins's drama, " The Lighthouse," produced at Tavistock House, the
artist painted a very remarkable act-drop representing the Eddystone
Lighthouse, concerning which it may be observed that, although it
occupied the great painter only one or two mornings, it realised at
the novelist's death nearly a thousand guineas !

Dickens, when writing to Stanfield, frequently adopted nautical
expressions, in allusion to the artist's experiences as a seaman. He
sometimes addressed him as "Old Tarpaulin," "Old Salt," "Messmet,"
&c, and as an example of this I here reprint a letter, written on an
occasion when Stanfield innocently demanded of Dickens to be in-
formed of the amount due for a pair of candlesticks that the novelist
had sent him : —

"Mv Dear Stannv, — In reference to the damage for the candle-
sticks, I beg to quote (from 'The Cricket on the Hearth,' by the
highly popular and deservedly so Dick) this reply :
' I'll damage you if you inquire.'
Ever yours.

My block-reeving,

Main-brace splicing,

Lead-heaving,

Ship-conning,

Stun'sail-bending,

Deck-swabbing

Son of a sea-cook,

Henry Bluff,

H.M.S. Timber:"

■ From "The Letters of Charles Dickens." Mr. Field Stanfield informs me that it is
quite certain the candlesticks were not a gift from Dickens to his father. It would seem most
probable that there may have been some accident during theatrical preparations, for which the
artist considered himself responsible, and that Dickens undertook to repair the misfortune
hiinsel£

i6o DICKENS AND HIS ILLUSTRATORS

During the last ten years of his life Stanfield's health became
less strong, and he was obliged in some measure to retire from the
congenial circle of his artistic and literary associates, continuing, how-
ever, to take great delight in his art. Stanfield breathed his last
on May i8, 1867. His death proved a great blow to Dickens,
who, in a note of sympathy to Mr. George Stanfield, observed :
" No one of your father's friends can ever have loved him more dearly
than I always did, or can have better known the worth of his noble
character." To the famous painter, for whom he ever entertained
a strong affection, the novelist had dedicated " Little Dorrit," and,
as a tribute to his memory, wrote (in All the Year Round) a
sympathetic eulogium upon his departed friend of thirty years,
where, after alluding to the artist as "the National historian of
the Sea," he says : " He was a charitable, religious, gentle, truly
good man. A genuine man, incapable of pretence or of concealment.
He was the soul of frankness, generosity, and simplicity. The most
genial, the most affectionate, the most loving, and the most lovable
of men."

DANIEL MACLISE, R.A.

His Precocious Talent— Studies Anatomy— Enters the Royal Academy Schools— Gains a
"Travelling Studentship"— Elected a Royal Academician— Declines the Presidency-
Introduced to Dickens — A Lifelong Friendship — " Master Humphrey's Clock" —
Maclisc Essays an Illustration— "The Chimes"— A Reading by Dickens and a Sketch by
Madise — His Original Drawings— "The CRICKET ON THE HEARTH "—An Unpublished
Letter from Madise— "The Battle of Life"— Dickens's Appreciation of Maclise's
Illustrations — The Artist's Correspondence with Forster Respecting his Designs— His
Anxiety Concerning the Engraving— An Indignant Letter— " Little Dirty Scratches" —
Madise Dispenses with the Living Model — Dickens's Relations with the Artist — A
Memorable Trip— Picture of the Waterfall at St. Nighton's Cave — A Portrait of Dickens
—An Interesting Pencil- Drawing — Death of "Grip" — The Raven Immorulised by
Madise — A Letter of Sympathy— The Artist's Dedining Health— His Death a Severe
Shock to Dickens — The Novelist's Tribute to his Memory.

A MONG a host of intimate friends, none was more beloved by
/ \ Dickens than the warm-hearted Irish artist, Daniel Maclise,
■^ ^ whose fine genius and handsome person charmed all who
knew him. Maclise was the son of a Scotch soldier quartered at
Cork, and was born in that city on January 25, 181 1, being thus the
novelist's senior by about a year. As a child he exhibited great
facility in executing caricatures, and was soon enabled to support
himself by the sale of his sketches. It was at first intended that
he should adopt the surgical profession, with which object he studied
anatomy under Dr. Woodroffe, but, like John Leech, he did not take
kindly to the science of healing, preferring (as did Leech) the more
congenial pursuit of Art. Accordingly, in 1827, Maclise entered
the Royal Academy Schools, where he made such rapid progress,
that two years later his work was admitted to the Exhibition of the
Royal Academy. Although, in 1831, the fortunate young painter re-
ceived the gold medal entitling him to the " Travelling Studentship,"
he elected to remain in England, having already visited Paris and

i62 DICKENS AND HIS ILLUSTRATORS

studied at the Louvre and the Luxembourg. Achieving success after
success as a painter of Shakesperian scenes, portraits, &c., he became
an Associate of the Royal Academy in 1836, and attained full honours
in 1840. In 1866 he was offered the Presidency, but, as did Sir
Edwin Landseer during the previous year, he declined that distinction.

It was in the year of his election as Associate that Maclise was

introduced by Forster to Charles Dickens, and we

Master Hum' ^^^^^ ^^^^ ^^le tastes and pursuits of the three friends

phre/s Clock, ... , r . ,

ifl/in /If were so congenial that thenceforth they were msepar-

able, — this affectionate intercourse being maintained
without interruption for nearly thirty years. When, in 1840, Dickens
contemplated the publication of " Master Humphrey's Clock," it
was his intention to endeavour to secure the valuable co-operation
of Maclise as an illustrator of that work, in conjunction with George
Cattermole. Forster states that there seems to have been a desire
on Maclise's part to try his hand at an illustration, but he did not
remember that it bore other fruit than "a very pleasant day at Jack
Straw's Castle, where Dickens read one of the later numbers to us."
That Maclise's wish was actually realised, however, is proved by
the fact that in the fifty-fifth chapter of "The Old Curiosity Shop"
there is a design by him representing Little Nell and the Sexton.
Why this should have been his only contribution to the pages of
" Master Humphrey's Clock " has never been explained, but it is not
improbable that the artist was too busily occupied with his paintings
just at this time, and therefore unable to devote serious attention to
black-and-white work.

Maclise had been much engaged in book-illustration (sometimes

-,, p., signing himself "Alfred Croquis") when, in 1844,

o ' it was proposed that he should provide designs for

Dickens's second Christmas Book, "The Chimes."

This little story was written in Italy, and, during Dickens's absence.

Plate LI

THE TOWER OF THE CHIMES'

AND

"THE SPIRIT OF THE CHIMES"

Fiutimibs of the Original Drawings for " The Chimes " bjr
D. MACLISE. R.A.

-•i /,'

K»

^ ^>- !:^> Rm7^ -^ "i^

DANIEL MACLISE, R.A. 163

the necessary arrangements respecting the illustrations were made by
Forster. It may be incidentally mentioned that, eager to try the
effect of the story, the novelist journeyed to England for the express
purpose of reading it aloud to his friends at Forster's residence in
Lincoln's Inn Fields, the memorable incident being depicted by Mac-
lise in an amusing pencil-sketch, afterwards reproduced for Forster's
biography. Maclise became responsible for the frontispiece and de-
corative title-page of "The Chimes," both of these fanciful designs
gracefully portraying elves and fairies, spirits of the bells, and alle-
gorical figures typifying Love, Life, and Death. The original drawings,
now in South Kensington Museum, were delicately executed in pencil,
and engraved on steel by F. P. Becker. With reference to these
illustrations, the artist wrote : —

" My Dear Forster, — I wonder if it would be possible to make the
paper of the book an inch bigger, that is, to increase the width of
margin around the letterpress, without much additional expense. I
wish you to put the question. I do not think my design too large, but
it would marvellously increase the elegance of the look of the book. I
must say the ' Carol ' book is the very climax of vulgarity in its mise
en planches. — Au revoir. D. M."'

It was, of course, considered inadvisable to depart from precedent
by acting upon the above suggestion. Dickens was highly pleased
with the artist's designs, and, writing to his wife on December 2,
1844, he said : " Mac's frontispiece is charming."

To the third Christmas Book, "The Cricket on the Hearth,"

Maclise also contributed the frontispiece and deco-

u '' rative title-page, which were engraved on wood

?? .1 o A instead of steel. These designs are replete with
Hearth, 1846. . , , r • • l • • n u

quamt fancy, the frontispiece being especially worthy

of attention, comprising, as it does, no less than ten miniature tableaux,

• This and the succeeding letters from Maclise to Forster are now printed for the first time.

i64 DICKENS AND HIS ILLUSTRATORS

the chief of these representing a homely scene, where the Carrier and
his wife are seated by the fireside, their babe being rocked in its
cradle by the fairies, while above the steaming kettle is perched that
good spirit, the Cricket. The following undated letter is interesting
on account of its connection with this Christmas story : —

" My Dear FoRSTER, — . . . I write to ask ifyou have a moment to
see B[radbury] and E[vans] about these blocks for my little designs. I
wrote to Dpckens] Saturday, and there came to me such a small pair
that I instantly sent them back. Then on Saturday evening two more
came ; one of them will do — but as you understand the matter, and last
year even got the book enlarged a little,^ I want you to say that I
muU have a block for the frontispiece the exact size of the leaf on
which the frontispiece of the ' Chimes ' is. I have made a little sketch
to be placed on the wood, and some of the little shapes come as close to
the edge of the page as this line I make — . I want the wood as high
and as wide as that page — but oh ! my I — on, if it could but be — the
page I mean, not the wood, — a little — so much larger, ah ! I should be
happy for life. Tell B. and E. this and ask D. to insist on it. Mind,
I am not exceeding the present paper of the 'Chimes,' but for the
look of the book it would be very important — and they have sent me a
block much smaller than that page, whereas I cannot afford one-
hundredth part of a pin's point. I know 'tis vain to write to them — so
trouble you, and I want the blocks — in an hour ! ! ! — Ever most
faithfully, D. M."

The artist prepared for " The Battle of Life " not only the custo-

_ . mary frontispiece and title-page, but two additional

J ,r p X designs for the later portion of the story. Dickens,

who was in Paris at the time, was delighted when he

heard of this, and in a letter to a friend observed : " Forster writes

me that Mac has come out with tremendous vigour in the Christmas

* There was practically no enlargement

DANIEL MACLISE, R.A. 165

Book, and took off his coat at it with a burst of such alarming energy
that he has done four subjects!" Of these, the principal is the
frontispiece, representing the Dance round the Appletree, but the
most successful design is that depicting "The Sisters," — a graceful
composition, and the last drawing produced by the artist for Dickens.

Remembering the novelist's keen appreciation of Maclise's illustra-
tions in the preceding Christmas Books, it seems somewhat strange that
the artist should have thus emphatically expressed himself to Forster
in the following letter, evidently indited in a moment of pique : —

" My Dear F., — It is clear to me that Dickens does not care one
damn whether I make a little sketch for the book or not. However,
if jfou think that the appearance of the volume should be as like the
former ones as possible, I will with even pleasure gulp down my
jealousy and draw on the wood that apple-tree, &c., for a frontispiece.
In which case you must skut tip that same subject to Doyle— as I saw
in his sketch last night. But I do this at your bidding, and not at all
for D., and on the whole would much prefer not engaging in the
matter at all. — Yours truly, D. M."

Apparently some little misunderstanding had hurt the suscepti-
bilities of the artist, but, happily, it was speedily removed, for he
presently wrote in a more conciliatory spirit : —

" My Dear Forster, — I have received the blocks and will make
the design of the apple-tree and the girls dancing — so keep that
subject sacred to me. B[radbury] and E[vans] have sent the block
as large as the last, but as I do not approve the look of the design
without margin, I intend to keep this one within bounds. They have
sent me a smaller one for title-page. Now I propose, and I know it
will improve the appearance of the little book, not to cram in another
design there with the title — a printed title in type has always still been
necessary — but if you like I will make another design for the body of

i66 DICKENS AND HIS ILLUSTRATORS

the book. That one, perhaps, the lover of Marion's interview with
her — and Clemency. I hope very much you will see no good objection
to this proposition — or will j^ou propose a second subject ? — Ever yours
truly D. M."

Again, a few days later : —

" My Dear Forster, — . . . I write to say that you will find me at
the Athenaeum to-morrow at five o'clock. Do not be later, I hope
tken to bring with me the drawing on the block for the frontispiece —
the girls dancing ; for the other, I will do what you like, the girls and
the Doctor, Marion reading, &c., or the lover of Marion's interview
with her, and Clemency outside the door, &c. We will agree to-
morrow.— Very truly yours, D. Maclise.

" I hope there may be time enough then not to hurry it."

The following letter probably refers to the allegorical design on
the title-page, depicting the triumph of Virtue over Vice, in which the
figures (with one exception) are nude : although, from an allusion to
"that tree," it might be suggested that it was the frontispiece : —

"My Dear Forster, — I suppose the stern moralist, Thackeray,
would have described the last design I made lecherous, libidinous,
lustful, lewd, and loose ; but I meant it to be pure and ' mi-Id as the
moo-n-beams.'

"... I only write to tell you, if you can exercise any control over
its fate, that it may be placed in the hands of as good a wood-man as
possible, and that he be recommended to spare tAai tree-^-.

" I fear that my character is gone abroad, and that I am a dog with
a bad name. . . . — Ever yours, Daniel Maclise."

Both the frontispiece and title-page were excellently rendered on
wood by John Thompson, one of the foremost engravers of the day.

DANIEL MACLISE, R.A. 167

Maclise, however, had hoped the work would have been ent'rusted to
others, for he observed to Forster : "I am annoyed that neither
Williams nor Dalziel are to do that little design. Some one called here
and took it away on Monday, and he said that there was not time (the
old excuse) to do it justice." Judging from the following trenchant
remarks, the artist was anything but gratified by the engraved repro-
ductions of these drawings when they appeared in print : —

" My Dear F., — I can never hope to get you to understand how
I am mortified and humiliated by the effect of these damnable cuts.
It really is too much to be called upon to submit to, to be shown
up in these little dirty scratches and to have one's name blazoned as
if one was proud of them. I wish to Heaven you would have my
name cut out from the corners, that at least I might have the benefit
of the doubt as to which of the blots is mine. I would give anything
that I had kept to my original notion and had nothing to do with the
thing. ... I wish you had left me that last one ; I would have tried
to beguile myself with a belief that it might be improved. My curses
light upon the miserable dog that produced it — I don't mean myself. —
Ever yours, D. Maclise.

" And what is the good of employing Thom[p]son — if the demon
printers are to ruin them with their diabolic press ? "

Maclise, like other draughtsmen on wood, doubtless often ex-
perienced a sense of disappointment when their delicately-pencilled
drawings were hurriedly engraved and submitted to the arbitrary
treatment of printer's ink. In this way those subtle touches upon
which the artist prided himself were lost for ever, so that the designs
appear coarse and crude. Such was obviously the case with regard
to the illustrations now under consideration, notwithstanding the fact
that they bear the signatures of thoroughly experienced engravers. It
is a fact worth recording here that Maclise did not draw from life
the figures in his designs for the Christmas Books. Indeed, it was

i68 DICKENS AND HIS ILLUSTRATORS

a matter of astonishment to his brother artists that, even when
working upon his more important canvases, he very rarely resorted
to the use of the living model, his singular facility in composition
leading him, perhaps, too often to dispense with the study of the
human form ; yet his works, although possessing a mannered look,
are distinctively marked by characteristics of individual as well as
general nature.

As already intimated, the friendship subsisting between Dickens
and Maclise was of a kind the most sincere, and it was naturally
coupled with a true admiration which each entertained for the genius
of the other. Dickens never tired of praising the talent of the artist,
whom he thought "a tremendous creature, who might do anything,"
and recalled with delight those halcyon days when Maclise accom-
panied Clarkson Stanfield, Forster, and himself on that memorable
Cornish trip in 1842, one result of which was a charming painting
(now in the Forster Collection at South Kensington) of the Waterfall
at St. Nighton's Keive, near Tintagel, into which the artist introduced
as the principal feature a young girl carrying a pitcher, the model for
whom was Dickens's sister-in-law, Miss Georgina Hogarth. It should
be remembered that one of the finest of the early portraits of Dickens
himself was painted by Maclise in 1839, at the instigation of Chap-
man & Hall, with a view to an engraving for "Nicholas Nickleby,"
the reproduction duly appearing as the frontispiece. The original
picture was presented to Dickens by his publishers, and at the
sale of the novelist's effects in 1870 this very interesting canvas
was purchased for .^693 by the Rev. Sir E. R. Jodrell, by whom
it was bequeathed to the National Gallery, where it may, now be
seen. Maclise is responsible also for another excellent portrait of
the novelist at the same youthful period — a slight pencil-drawing
(executed in 1843) representing him with his wife and her sister.

The premature death of Dickens's raven, immortalised in " Bar-
naby Rudge," was formally notified to Maclise by the novelist in
the form of a letter narrating the details of that domestic calamity.

DANIEL MACLISE, R.A. 169

The artist forwarded the missive to Forster, together with a sketch
purporting to represent "Grip's" apotheosis, while to Dickens him-
self he dispatched (March 13, 1841) the following letter, which does
not appear in the published collection, and is one of a very few
letters extant that were addressed by him to the novelist:'

"Mv Dear Dickens,— I received the mournful intelligence of
our friend's decease last night at eleven, and the shock was great
indeed. I have just dispatched the announcement to poor Forster,
who will, I am sure, sympathise with us in our bereavement. I
know not what to think of the probable cause of his death, — I re-
ject the idea of the Butcher Boy, for the orders he must have in his
(the Raven's) life-time received on account of the Raven himself must
have been considerable. I rather cling to the notion o{ felo cU se —
but this will no doubt come out upon the post-mortem. How blest
we are to have such an intelligent coroner as Mr. Wakley. I think
he was just of those melancholic habits which are the noticeable
signs of your intended suicide, his solitary life, those gloomy tones,
— when he did speak, which was always to the purpose. Witness
his last dying speech, ' Hallo ! old girl,' which breathes of cheerful-
ness and triumphant recognition, — his solemn suit of raven black,
which never grew rusty. Altogether his character was the very proto-
type of a Byron hero — and even of a Scott — a Master of Ravens-
wood. He ought to be glad he had no family. I suppose he seems
to have intended it, however, for his solicitude to deposit in those
Banks in the garden his savings was always very touching. I
suppose his obsequies will take place immediately.

"It is beautiful, the idea of his return, even after death, to the

' Replying to Mr. W. J. O'DriscoU's application for the loan of any of the artist's corre-
spondence, with a view to publishing them in his Memoir of Maclise, Dickens stated that
a few years previously he destroyed an immense correspondence, expressly because he
considered it had been held with him and not with the public. Thus we have been deprived
of valuable records which would have thrown additional light upon the friendly intercourse
subsisting between the novelist and many of his distinguished contemporaries.

lyo DICKENS AND HIS ILLUSTRATORS

scene of his early youth and all his associations, and lie with kindred
dusts amid his own ancestral graves after having made such a noise
in the world, having clearly booked his place in that immortality-
coach driven by Dickens. Yes, he committed suicide ; he felt he
had done it and done with life. The hundreds of years ! what were
they to him ? There was nothing more to live for — and he committed
the rash act. — Sympathisingly yours, Dan. Maclise."

It is evident from the following epistle, addressed to Forster at
the time when " Dombey and Son" was appearing in monthly
numbers, that Maclise, while acknowledging his intense admiration of
the novelist's powers, could not bring himself to appreciate certain of
his youthful creations : —

"My Dear Forster, — I think it very great — the old nautical-
instrument-seller novel, and most promising. I'm never up to his
young girls — he is so very fond of the age of ' Nell,' when they are
most insipid. I hope he is not going to make another 'Slowboy' —
but I am only trying to say something, and to find fault when there is
none to find. He is absolutely alone. — Ever yours, D. M."

In 1870 Maclise's health began seriously to fail him ; he appeared
languid and depressed, and in April of that year he succumbed to
an attack of acute pneumonia, predeceasing the novelist by only a
few weeks.

Dickens experienced a severe shock on hearing of the death of
this steadfast and genuine friend, and when, three days later, he
returned thanks for " Literature " at the Royal Academy dinner (his
final appearance in public), he offered a most affectionate, graceful,
and eloquent tribute to the memory of him who had just passed away.
"For many years," he said, "I was one of the two most intimate
friends and most constant companions of the late Mr. Maclise. Of
his genius in his chosen art I will venture to say nothing here, but

DANIEL MACLISE, R.A. 171

of his prodigious fertility of mind and wonderful wealth of intellect,
I may confidently assert that they would have made him, if he had
been so minded, at least as great a writer as he was a painter. The
gentlest and most modest of men, the freshest as to his generous
appreciation of young aspirants, and the frankest and largest-hearted
as to his peers, incapable of a sordid or ignoble thought, gallantly
sustaining the true dignity of his vocation, without one grain of self-
ambition, wholesomely natural at the last as at the first, 'in wit a
man, simplicity a child,' no artist, of whatsoever denomination, I make
bold to say, ever went to his rest leaving a golden memory more
pure from dross, or having devoted himself with a truer chivalry to
the art-goddess whom he worshipped." These were the last public
words of Charles Dickens, and they were uttered when the speaker
was far from well, and when, indeed, he was himself nearing the
brink of the Great Unknown.

SIR JOHN TENNIEL

Cartoons for Punch — Book Illustrations — A Self-Taught Artist — Becomes Acquainted with
Dickens — Designs for " The Haunted Man " — A Wonderful Memory of Observation — An
Interview with Dickens — Knighthood.

SIR JOHN TENNIEL, lh& doyen of the Punch staff, is un-
doubtedly best known as the designer and draughtsman of the
cartoon published weekly in that journal. This famous pictorial
satirist succeeded Richard Doyle on Punch in 1850, and since 1861 ,

(with the exception of a few brief intervals) he has supplied the ^H

subject of the principal engraving with unfailing regularity. Confining
himself almost entirely to black-and-white drawing, Sir John has pro-
duced, during a long and active career, a large number of book-
illustrations, such as those embellishing certain editions of "yEsop's
Fables," "The Ingoldsby Legends," " Lalla Rookh," and "The
Arabian Nights," while those charming designs in the late " Lewis
Carroll's" "Alice in Wonderland," with its sequel, "Through the
Looking-Glass," will be readily remembered. In Once a Week may
also be found many of his illustrations.

Sir John Tenniel was born in London in 1820. Although for a time
he attended the Royal Academy Schools, he is practically a self-taught
artist, and exhibited his first picture when sixteen years of age. After
this initial success he continued to paint and exhibit pictures both in
oil and water-colours, but soon realised that he could exercise his facile
pencil with greater advantage, his designs possessing a refinement and
good taste, coupled with a sense of humour — characteristics suggesting
the thought that to him may be attributed the establishment of
the connection between " High " Art and what may be termed
" Grotesque " Art.

«7«

SIR JOHN TENNIEL 173

Prior to joining the Punch staff— that is to say, in 1847 — Sir
TU H \ A (^^^" ^'"•) J°^" Tenniel became acquainted with
Man 1848 Charles Dickens, who invited the young artist

to contribute (in conjunction with Clarkson Stan-
field, R.A., John Leech, and Frank Stone, A.R.A.) some designs
to "The Haunted Man," published in 1848. Accordingly, in this
Christmas Book we find him represented by six illustrations, con-
sisting of the frontispiece, engraved title-page, and four other
designs, the latter appearing at the opening of the chapters. The
frontispiece is a remarkable achievement in respect to the deco-
rative border surrounding the central picture, — a beautifully-fanciful
treatment of elf-like and other figures, typifying Good and Evil,
the drawing being admirably engraved on wood by Martin and
Corbould. In the second chapter the artist has represented the
Tetterby family, which it is interesting to compare with a similar
group of the Tetterbys by John Leech in the same chapter. Sir
John Tenniel's final drawing is a successful attempt to portray,
in the form of allegory. Night receding before Dawn.

Except in painting, Sir John Tenniel never resorts to the use
of the living model for his figures, but depends entirely upon a
wonderful memory of observation. Apropos of his collaboration with
the novelist, he has favoured me with the following note : —

" My ' artistic association ' with Charles Dickens began and ended
simply with my poor little contributions towards the illustration of
' The Haunted Man.' There was no written correspondence between
us that I can remember, and I believe I had but one interview with
Dickens on the subject, when he gave me certain hints as to treatment,
&c. &c. &c. Only that, and nothing more !

" As to what became of the original sketches I have not the
remotest idea ; probably I gave them away — or, more probably still,
they were one day consigned to the waste-paper basket. At all
events, and after an interval of about forty-five years, it is perhaps

174 DICKENS AND HIS ILLUSTRATORS

scarcely surprising that I should have long since forgotten all about
them."

It should be mentioned that, as in the case of Leech, many of Sir
John Tenniel's Punch cartoons are adapted from illustrations in the
works of Dickens, these happily suggesting the political situation of
the moment. This subject is fully treated in my paper on " Dickens
and Punch" in the English Illustrated Magazine, August 1891.

Sir John is one of the oldest members of the Royal Institute of
Painters in Water-Colours. In June 1893 the distinction of knighthood
was conferred upon the veteran artist, his name having been included
in the list of Royal birthday honours, at the recommendation of Mr.
Gladstone, whose face and figure he has so frequently delineated ; thus
for the first time were the claims of black-and-white draughtsmen
deservedly recognised. Sir John Tenniel's busy pencil continues to
be effectively employed in the pages of Punch ; but he remains, alas !
the sole survivor of the band of clever artists whose designs adorn
the Christmas Books of Charles Dickens.

FRANK STONE, A.R.A.

Early Career— Intimacy with Dickens— Illustrations for "The Haunted Man"— Selects his
Own Subjects— A Letter from Dickens— His Approbation of the Drawing of" Milly and
the Old Man"— Hints from the Novelist to the Artist— Amateur Theatricals- Frank
Stone's Portrait of Lieutenant Sydney Dickens — His Election as Associate of the Royal
Academy — His Portraits of 'Tilda Price, Kate Nickleby, and Madeline Bray— His Fron-
tispiece for the First Cheap Edition of " Martin Chuizlewit "—Sudden Death.

FRANK STONE, A.R.A,, father of Mr. Marcus Stone, R.A.,
was privileged to join the ranks of Dickens Illustrators. This
distinguished artist, born in 1800, was the son of a Manchester
cotton-spinner, which business he also followed until twenty-four years
of age, when he abandoned mercantile pursuits in favour of Art
During the early portion of his professional career, which was begpjn in
London under very modest and unassuming conditions, he made pencil-
drawings for Heath's " Book of Beauty," and presently became suc-
cessful as a painter in water-colours. His engaging personality and
innate abilities caused him to be welcomed in both literary and
artistic circles, and in this way he secured the warm friendship of
Dickens, Thackeray, and other celebrities of the day.

Frank Stone's intimacy with Charles Dickens was especially close.

, ^" 1845 the artist, with his family, went to reside

The Haunted •t--,,tt t^-^ic

-- op m Tavistock House, lavistock Square, remammg

there until 1851, when it became the home of Dickens.

In the interval the novelist's fourth Christmas Book, "The Haunted

Man," was published, for which Frank Stone prepared three designs,

representing respectively "Milly and the Old Man," "Milly and

the Student," and " Milly and the Children." As indicated by the

following letter (dated November 21, 1848), the novelist dispatched

»7J

176 DICKENS AND HIS ILLUSTRATORS

proofs of the letterpress to the artist, in order that he might select
his own subjects : —

"My Dear Stone, — I send herewith the second part of the book,
which I hope may interest you. If you should prefer to have it read
to you by the Inimitable rather than to read it, I shall be at home
this evening (loin of mutton at half-past five), and happy to do it.
The proofs are full of printer's errors, but, with the few corrections
I have scrawled upon it, you will be able to make out what
they mean.

" I send you on the opposite side a list of the subjects already in
hand from the second part. If you should see no other in it that
you like (I think it important that you should keep Milly, as you
have begun with her), I will in a day or two describe you an un-
written subject for the third part of the book."

"Subjects in hand for the Second Part.

1. Illuminated page. Tenniel. Representing Redlaw going up-

stairs, and the Tetterby family below.

2. The Tetterby Supper. Leech.

3. The boy in Redlaw 's room, munching his food and staring at

the fire."

A preliminary sketch (in pencil and indian-ink) for the first subject
was immediately submitted to the novelist for approval, and elicited
the following reply : —

" We are unanimous.

"The drawing of Milly on the chair is charming. I cannot tell
you how much the little composition and expression please me. Do
that, by all means.

" I fear she must have a little cap on. There is something coming
in the last part about her having had a dead child, which makes it
yet more desirable than the existing text does that she should have

Plate LI I

"MILLY AND THE OLD MAN"

FacHmiU of Ihe Original Drawing for " The Haunted Man " by
FRANK STONE, A.R.A.

Ltnt by Mr. Marcus Stout, K. A.

1 1 - » '^- - —5- S»

FRANK STONE, A.R.A. 177

that little matronly sign about her. Unless the artist is obdurate
indeed, and then he'll do as he likes.

" I am delighted to hear that you have your eye on her in the
students' room. You will really, pictorially, make the little woman
whom I love. ..."

The original sketch of Milly on the chair has fortunately been
preserved, and has been kindly lent for reproduction by Mr. Marcus
Stone, R. A. The drawing of the old man in the published engraving
is hardly so satisfactory as the delineation of him in the sketch. The
second illustration, " Milly and the Student," was duly executed ; it
is a very graceful design, the pose of the male figure being excellently
rendered. Respecting the third illustration, the novelist communicated
to the artist the following facts, to assist him in realising the principal
theme : —

" There is a subject I have written to-day for the third part, that
I think and hope will just suit you. Scene — Tetterby's. Time-
morning. The power of bringing back people's memories of sorrow,
wrong, and trouble has been given by the ghost to Milly, though she
don't know it herself. As she comes along the street, Mr. and Mrs.
Tetterby recover themselves and are mutually affectionate again, and
embrace, closing rather a good scene of quarrel and discontent. The
moment they do so, Johnny (who has seen her in the distance and
announced her before, from which moment they begin to recover)
cries 'Here she is! 'and she comes in, surrounded by the little
Tetterbys, the very spirit of morning, gladness, innocence, hope, love,
domesticity, &c. &c. &c. &c.

" I would limit the illustration to her and the children, which will
make a fitness between it and your other illustrations, and give them
all a character of their own. The exact words of the passage I
enclose on another slip of paper. Note : There are six boy
Tetterbys present (young 'Dolphus is not there), including Johnny ;
and in Johnny's arms is Mulock, the baby, who is a girl. . . . Don't wait
to send me the drawing of this. I know how pretty she will be with

lyS DICKENS AND HIS ILLUSTRATORS

the children in your hands, and should be a stupendous jackass if I
had any distrust of it. . . ."

{Slip of paper eficlosed.)

" ' Hurrah ! here's Mrs. Williams ! ' cried Johnny.

" So she was, and all the Tetterby children with her ; and as she
came in, they kissed her and kissed one another, and kissed the
baby, and kissed their father and mother, and then ran back and
flocked and danced about her, trooping on with her in triumph.

"(After which she is going to say, 'What, zr^ you all glad to
see me too ! Oh, how happy it makes me to find every one so glad
to see me this bright morning ! ') "

The amateur theatricals brought author and artist constantly
together, Frank Stone being an actor of some ability. The im-
mortal Mrs. Gamp, in describing the members of that famous
company of players, alludes to Frank Stone as "a fine-looking portly
gentleman, with a face like an amiable full moon." He became the
recipient of many nicknames, that of "Pump" (or "Pumpion") being
one by which Dickens sometimes addressed him, and it was both
pleasantly intended and jocularly received. In 1849 the artist painted
the portrait of the novelist's fifth son. Lieutenant Sydney Dickens, who
was buried at sea in 1872, his death being due to a sharp attack
of bronchitis when on his way home.

Frank Stone exhibited at the Society of Painters in Water-
Colours from 1833 to 1846, and was elected a member of that
Society in 1842. He first exhibited at the Royal Academy in
1838, his election as an Associate taking place in 185 1. The
artist, on receiving a commission from Dickens for a picture,
painted a presentment of "'Tilda Price," the yfaw^/ig of the genial
John Browdie in " Nicholas Nickleby," the picture realising the
sum of ;^42 at the sale of the novelist's effects in 1870. This and
^wo other paintings by Stone (portraits of Kate Nickleby and

FRANK STONE, A.R.A. 179

Madeline Bray) were engraved on steel by Finden, and published
("with the approbation of Charles Dickens") by Chapman & Hall
in 1848; the plates were intended for insertion in the first cheap
edition of "Nicholas Nickleby." Besides his illustrations for "The
Haunted Man," he also designed the frontispiece for the first cheap
edition of "Martin Chuzzlewit" (1849), which depicts Mark Tapley
on the sick - bed ; this drawing was engraved on wood by T.
Bolton.

The sudden death of Frank Stone in 1859 caused Dickens
heartfelt sorrow. "You will be grieved," he wrote to Forster on
November 19, "to hear of poor Stone. On Sunday he was not
well. On Monday went to Dr. Todd, who told him he had
aneurism of the heart. On Tuesday went to Dr. Walsh, who told
him he hadn't. On Wednesday I met him in a cab in the Square
here [Tavistock Square], and he got out to talk to me. I walked
about with him a little while at a snail's pace, cheering him up;
but when I came home, I told them that I thought him much
changed, and in danger. Yesterday at two o'clock he died of
spasm of the heart. I am going up to Highgate to look for a
grave for him."

SIR EDWIN LANDSEER, R.A.

First Acquaintance with Dickens— Designs an Illustration for "The Cricket on the
Hearth"— Elected a Royal Academician— Receives the Honour of Knighthood —
Declines the Presidency of the Royal Academy— Severe Illness and Death.

CHARLES DICKENS first became acquainted with Sir
Edwin Henry Landseer during the "Nickleby" period, and
ever entertained the highest admiration and personal regard
for this famous artist, to whom Thackeray once referred as "a sort of
aristocrat among painters." Sir Edwin was an artist by hereditary
right and family instinct, being the eldest son of the well-known
engraver, John Landseer, A. R.A. He was born in London in 1802,
and at the age of thirteen exhibited two pictures at the Royal
Academy, thus proving that he possessed most exceptional powers
as a draughtsman even at this early period.

It is perhaps not generally remembered that Sir Edwin Landseer

has a just claim to be numbered among the lllus-

t. trators of Dickens. Though he made but a single

TT 4.t, o A design, it is indubitably a masterpiece, and suffices to

indicate the admirable skill acquired by this great

painter in depicting what may be considered his favourite subject —

the dog. The charming little woodcut of " Boxer" — the irrepressible

companion of John Peerybingle, in "The Cricket on the Hearth" —

defies criticism.

In 1825, Sir Edwin (then Mr.) Landseer was elected an Associate
of the Royal Academy, and five years later he attained the full
honours, from which date might be chronicled a long and regular
patalogue of pictures exhibited by him, year by year, either at the

Platk LI 1 1

SIR JOHN TENNIEL, R.I.

From a Photograph by

Messrs. BASSANO

Lent ty Ikt Artiil.

SIR EDWIN LANDSEER, R.A.

From the Painting by
Sir FRANCIS GRANT, P.R.A.

The dog's head was added by Sir Edwin himself.

»n «i8

^(^^u^ /c^cyCt^tJC^ .

j^t^c^f^^^^^

SIR EDWIN LANDSEER, R.A. i8i

British Institution or on tlie walls of the Royal Academy. In 1850 he
received the honour of Knighthood, and, at the death of Sir Charles
Eastlake in 1865, was offered the Presidency of the Royal Academy,—
a distinction which he could not be induced to accept. In 1871 a
severe illness paralysed his powerful pencil ; from this illness the artist
never recovered, and two years later the mournful intelligence of
his death was announced, his mortal remains being interred in Sl
Paul's Cathedral. In private life Sir Edwin was one of the most kind
and courteous of men and warmest of friends, — qualities of mind and
heart which endeared him to all with whom he came in contact.

SAMUEL PALMER

A Self-taught Artist — Exhibits at the British Institution and the Royal Academy — Marriage
with John Linnell's Daughter— Visits Italy— His Sketches of Italian Scenery— Elected an
Associate, and afterwards a Member, of the Society of Painters in Water-Colours — An
Etcher and Draughtsman on Wood— His Designs for "Pictures from Italy"— A
Letter from Dickens— The Artist's Method of Work— The Villa D'Este— His Drawings
Difficult to Reproduce — Elaborate Instructions to Engravers — Literature a Favourite
Amusement — Fondness for Reading Aloud — Admires the Novels of Dickens — Illness
and Death.

DURING Charles Dickens's very brief connection with the
Daily News, at the time of its foundation in 1846, he con-
tributed to its columns a series of "Travelling Sketches,"
descriptive of his experiences in Italy, and of his impressions con-
cerning the scenery, institutions, and social aspects of the people in
that beautiful country. Shortly after the publication of the conclud-
ing paper, these " Sketches " were re-issued in book form, under the
title of " Pictures from Italy," with vignette illustrations on wood by
Samuel Palmer.

Samuel Palmer, who was born in Newington, London, in 1805,
was to a great extent a self-taught artist, his first successes dating
from his fourteenth year, when he was represented by two pictures
at the British Institution and three at the Royal Academy, his work
from that time being frequently seen at one or the other gallery.
In 1837 (that is, while "Pickwick" was in course of publication) he
married the eldest daughter of John Linnell, the famous portrait and
landscape painter, leaving England soon afterwards with his young
wife for Italy. Here they stayed two years — years of such persistent
and enthusiastic study that the sketches and elaborate drawings of

some of the finest Italian scenery which the artist brought back, very

tit

Plate LIV
f. w. topham

From a Photograph by
Messrs. ELLIOTT & FRY

Lent fy Mr. F. W. W. Tofham.

SAMUEL PALMER

From a J*hotograph

Lent by Mr. A. H. Palmer.

'fv/a^'^.

r I /^,D.

* 1

SAMUEL PALMER 183

numerous though they were, are no measure of the influence which
the sojourn in the land of his favourite poet, Virgil, had upon his
after-life and upon his artistic labours.

Samuel Palmer is chiefly remembered by his charming water-
colour drawings, but it seems that in his early years he preferred
painting in oils, whence he afterwards gradually drifted into the
use of the former medium, his election as Associate of the Society
of Painters in Water-Colours in 1 843 * determining his future career.
He was a most successful etcher, his plates being admired by the con-
noisseur for the beauty of technique therein displayed. Concerning his
efforts with the needle, Mr. P. G. Hamerton says that Samuel Palmer
was one of the most accomplished etchers who ever lived, and that
" there is more feeling, and insight, and knowledge in one twig drawn
by his hand than in the life's production of many a well-known artist" *
It must be admitted, however, that the occasional drawings executed
by him for the wood-engraver do not indicate equal ability as a
draughtsman on wood. In early days he actually attempted, in
emulation of his intimate friend Edward Calvert, to engrave upon
wood some of his own designs, this fact testifying to the extraordinary
influence exercised by William Blake over the contemporary work of
such young artists as Palmer, Calvert, and the rest of the " Ancients,"
as they jocosely dubbed themselves.

The first drawings executed upon the wood-block by Palmer and
intended as book-illustrations were apparently the
J . P . designs for " Pictures from Italy ; " these are four in

number, representing the Street of the Tombs, Pompeii ;
the Villa D'Este at Tivoli, from the Cypress Avenue ; the Colosseum
of Rome ; and a Vineyard Scene. One of the artist's memorandum-
books contains an entry recording the receipt from the publishers
of twenty guineas for these drawings. Samuel Palmer and Charles

> Palmer was elected a Member of this Society in 1854.
' "Etching and Etchers," 3rd edition, 1880.

i84 DICKENS AND HIS ILLUSTRATORS

Dickens were never on terms of intimacy ; however the acquaintance
originated has never transpired, nor does the artist's son, Mr. A. H.
Palmer, remember his father ever referring to the subject. It is pro-
bable that the novelist's attention had been directed to Palmer's
excellent rendering of Italian scenery, which had attracted consider-
able notice among artists, and that, having met him, he found a
degree of warm enthusiasm for that scenery which was so unusual,
that he felt convinced that the illustrating of the " Pictures" could not
be placed in better hands. Palmer accepted the commission, but,
like all his drawings that were destined to be engraved on wood, it
somewhat perplexed him, for reasons presently to be explained. A
correspondence of a formal business character ensued, and of the
few letters still extant I am enabled to print the following, which
endorses the belief that an interview had taken place between author
and artist.

" Devonshire Terrace,
Wednesday, Thirteenth May, 1846.

"Dear Sir, — I beg to assure you that I would on no account
dream of allowing the book to go to press without the insertion of
your name in the title-page. I placed it there myself, two days ago.

" I have not seen the designs, but I have no doubt whatever (re-
membering your sketches) that they are very good.

Dear sir, faithfully yours, ^ Charles Dickens.

" Samuel Palmer, Esq."

Two of the woodcuts, viz., those printed on the first and last pages
of the little book, were designed to allow the text to be dropped in.
Sketches (or rather finished drawings) were made on paper before
the subjects were copied by the artist upon the wood-blocks, which
drawings, by the way, are much inferior to the artist's water-colours
of the same or similar subjects. It seems evident, from the word
" On " being tentatively introduced at the top of the original sketch of
the Villa D'Este, that this illustration was at first intended to be

SAMUEL PALMER 185

placed at the beginning of the chapter entitled "Going through
France," instead of appearing (as it eventually did) in conjunction
with the opening lines of the preliminary chapter,—" The Reader's
Passport." It was apparently Palmer's proposal to insert on the
block a decorative letter "S," but Dickens, in a letter to the artist,
says, " I am afraid I cannot comfortably manage an S. What do
you say to the word 'On'? Could you possibly do that?"

With regard to the treatment of these illustrations, there is no
doubt that they are faithful representations of Nature, adapted from
sketches made on the spot. As a matter of fact, it was directly con-
trary to the artist's habit and principles to transcribe a sketch detail
for detail. Although the character of his drawing was somewhat
involved, rendering more difficult the work of the engfraver, the
woodcuts (which bear no signature) are most carefully executed.
Notwithstanding this, Mr. A. H. Palmer assures me that these
designs, and the rendering of them by the wood-engraver, were
not of a kind to which the artist could look back with much
satisfaction.

Mr. A. H. Palmer still retains in his possession a drawing on
wood by his father of the Villa D'Este, the second illustration in
" Pictures from Italy," which was apparently discarded because the
artist had omitted to reverse his design, and therefore could not be
properly adapted to the particular page for which it was pre-
pared. Those who are familiar with the freedom and vigour of
Samuel Palmer's work from Nature will realise at a glance that
he was not at his ease upon wood. In the margin of this draw-
ing the artist pencilled the following instructions to the engraver,
who had not entirely succeeded in producing the more subtle
effects : —

" I wish the thin cypress to be very much as it appears upon the
block — not lighter. Now that the trees have been darkened, it will be
necessary to leave the lines of the building guiie as thick as they are
drawn, letting them gradually gain more strength as they come

i86 DICKENS AND HIS ILLUSTRATORS

downwards towards the steps. The degree of sharpness with
which the drawing terminates toward the letterpress is just what I
wish."

From this and the following notes, minutely written upon the two
retouched proofs of the engraving of this subject, we discover how
very much too sanguine the artist was as to the result of the trans-
lation of his work, the voluminous directions clearly indicating his
solicitude respecting the treatment of microscopic details in his de-
sign, the alleged importance of which would be quite beyond the
comprehension of an ordinary engraver. Palmer subsequently learnt
by experience that his drawing on wood was practically untranslat-
able as he preferred to offer it for engraving.

MS. Notes on tJu First Proof.

" (i.) In both proofs the top of the cypress is very indistinct, which
greatly injures the design.

"^.) From A to B the illuminated side of the cypress has lost its
tint in both impressions, which is ruinous to the effect, as the eye
can no longer follow it as a simple object distinct from the building
from the top to the bottom of the design. The top of the building,
too, in both impressions, is nearly invisible, as if the inking had
failed. It is very important that this should be rectified, so as not
to appear in the printing of the work, as otherwise it will spoil the
whole work. I have worked upon building and cypress a little in
pencil to show how they ought to have come even in a faint
impression.

"(3.) Opposite this mark the light on the cypress stems has been
carried down a little lower, and two or three fine threads of light
have been introduced into the shadowed side (which are intended to
be scarcely perceptible) to remove a blottiness in the dark.

" (4.) The touches on the steps, the statue, and the whole of the
lower part of the trees and ground, though not very numerous, are
very important to the finish of the foreground.

Plate LV

"THE VILLA D'ESTE"

facsimile of an Original Design for " Pictures from Italy ' by
SAMUEL PALMER

Unlby Afr. A H. Palmtr.

SAMUEL PALMER 187

"(5.) The darkest lines in the great vase have been thinned in the
slightest degree.

"(6.) Close to C the thickness of a black line on the edge of the
cypress has been split.

"(7.) From E down to F a minute speck of light has here and
there been inserted on the outline of the cypress foliage to split some
blots of dark which will be seen on the untouched proofs, and which
were rather harsh.

" (8.) The light flashing on the steps ought to make thinner without
removing the outline of the arm of the statue. The foot resting upon
the pedestal should be indicated. The action of the other leg thrown
back is shown in the retouching by the removal of the black line.

" (9.) The getting the upper part of the slender cypress of as full
a tint as I have given it here seems to me so important that if it can
be done in no other way, I think a piece should be inserted into the
block to effect it. In the drawing on the block it was like this, which
I have retouched with pencil."

Second Proof.

"(i.) Opposite are a few touches on the slender cypress — two very
thin lines of light on the stem. Specks of light on the foliage.

"(2.) There is a thick black line on the block, thus) which I have
here crossed with specks of white ; although it is in the body of the
tree, it kills the fine work on the Villa.

" (3.) The thickness of outline on the light side of this vase un-
finishes the foreground. I have altered it.

" (4.) The thick outline on this leaf unfinishes everything about it."

Thus we discover how fastidious to a degree was the artist in his
desire that every subtle touch of his poetic pencil should be repro-
duced— a result which, as he quickly perceived, it was impossible
to achieve.

Samuel Palmer took a still keener delight in Literature than he did

i88 DICKENS AND HIS ILLUSTRATORS

in Art. An insatiable but punctilious reader, the novels of Dickens
and Scott were among the very few works of fiction which he read
aloud to members of his own household. Mr. A. H. Palmer informs
me that he has known his father to be so engrossed by reading aloud
one of Dickens's finer and more exciting passages, that the announce-
ment and entry of a visitor served to stop the reading only for a few
moments ; the crisis past, he laid down the book and apologised.
Literature, indeed, constituted the chief pleasure of his simple life —
a life that, at one period at least, would have been almost insupport-
able without the consolation afforded by books. Early in May, 1881,
he became, alas ! too ill to work, and on the twenty-fourth of that
month he passed peacefully away, leaving behind him a reputation
which is blameless.

F. W. TOPHAM

Illustrations for " A CHILD'S HISTORY OF ENGLAND "—Begins Life as a Writing- Engraver-
Designs for Books— Exhibits at the Royal Academy — Elected an Associate of the New
Society of Painters — Retires from the Society — Elected a Member of the Old Society of
Painters in Water-Colours — First Visit to Spain— Fatal Illness — Some Pictures Inspired
by Dickens's Stories — Histrionic Ability — The Artist as a Juggler.

DURING the years 1851-52-53, there appeared in the pages
of Household Words one of Charles Dickens's less familiar
writings, "A Child's History of England." On its com-
pletion as a serial, the little work was issued in three i6mo volumes,
each containing a frontispiece by F. W, Topham. These illustra-
A Child's tions were engraved on wood, each consisting of a

History of circular design, printed in black, and surrounded by
England, an ornraaental border of a light mauve colour, the

1852-53-54. latter enclosing familiar scenes from English History,
viz., Alfred in the Neatherd's Cot ; Canute reproving his Courtiers ;
Edwy and Elgiva ; Eleanor and Fair Rosamond. The decorative
border with its four tableaux remained unchanged, but the subject of
the central illustration varied, that in the first volume depicting a girl
reading to two children ; in the second, Alfred the Great receiving
instruction in reading from his mother. Queen Osburgha ; while in the
third there is a more modern representation of a similar incident.

Francis William Topham, who was born at Leeds in 1808, enjoyed
the privilege of being numbered among the personal friends of Charles
Dickens. He entered professional life as a writing-engraver, and his
first design was for a label required by a well-known firm of pin
manufacturers. From this modest beginning he advanced to more
artistic work, and was soon busily engaged in engraving plates for

190 DICKENS AND HIS ILLUSTRATORS

pocket-books, &c. During the several years he was thus occupied he
engraved many original designs for book-illustrations, and in 1832
began to exhibit pictures ; his works after this date being frequently
seen at the Royal Academy and other London galleries. In 1842 he
was elected an Associate of the New Society of Painters in Water-
Colours, of which body he became a full member in the following year.
He, with several other members, left the New Society after a com-
paratively short time, and was immediately elected into the Old Society
of Painters in Water-Colours — the present Royal Water-Colour Society
— to the Exhibitions of which the majority of his more important pro-
ductions were contributed. It was in Spain, whither he first went in
1852-53, that he found subjects most congenial to his tastes, and there,
in that land of sunny skies, he was seized with a fatal illness in 1877,
expiring at Cordova on March 31st of that year.

Topham was a great admirer of the works of Charles Dickens, and
selected from them the subjects of some of his most successful pictures.
One of these — a water-colour drawing executed in 185 1 — illustrates a
scene in " Barnaby Rudge," where children flock round the half-witted
hero as he and his mother pass through her native village ; the
drawing was presented by the artist to Dickens, and realised at the
sale of the novelist's effects the sum of ;^ii5, los. This picture was
followed by another from " The Old Curiosity Shop," representing
Little Nell and her Grandfather in the tent, making bouquets for the
racecourse, which was also a gift to Dickens, being subsequently dis-
posed of at the above-mentioned sale for ;^288, 15s. It is also recorded
that the artist, in 1856, produced a drawing portraying "Little Nell in
the Churchyard," which some five years after the novelist's death found
a purchaser for ;^325, los.

F. W. Topham proved a welcome addition to Dickens's company
of distinguished amateur actors, and concerning his histrionic ability
the artist's son, Mr. Frank W. W. Topham (himself an eminent painter),
thus writes : " My father had, from quite a young man, a great love of
acting, at which he was considered unusually good. One of my earliest

F. W. TOPHAM 191

recollections of a play was one acted at the St. James's Theatre, in
which my father, Sir John Tenniel, the late Francis Holl, A.R.A.
(the engraver), and others took part, for the benefit of the Artists'
Benevolent Fund. I do not know if my father owed his introduction
to Dickens to his acting, but have an impression that he did, — certainly
it was the cause of their after intimacy."

Apropos of their "splendid strolling," and the fun incidental
thereto, Dickens observed to his wife, in a letter dated from Clifton,
November 13, 185 1 : "I forgot to say that Topham has suddenly
come out as a juggler, and swallows candles, and does wonderful things
with the poker very well indeed, but with a bashfulness and embarrass-
ment extraordinarily ludicrous."

MARCUS STONE, R.A.

The Artist's Boyish Admiration of Dickens's Stories — His Delineation of Jo, the Crossing-
Sweeper — A Present and a Letter from Dickens — First Success as a Painter — Death
of his Father — Desires to Become an Illustrator of Books — Befriended by Dickens —
Initial Attempt at Drawing upon Wood — Frontispiece for the First Cheap Edition of
"Little Dorrit" — The Artist's Dibut as a Black-and- White Draughtsman — His Designs
for "Our Mutual Friend" — The Pictorial Wrapper— Suggestions from Dickens-
Portrait of Silas Wegg — Preliminary Sketches for the Illustrations — Valuable Hints for
the Artist — Realism in his Designs — The Prototype of Mr. Venus— Photography upon
Wood — Defective Engraving — Sale of the Original Sketches — Illustrations for Cheap
Editions — Relinquishes Black-and-White Drawing — Elected a Royal Academician —
Popularity of his Pictures — Intimacy with Dickens — Private Theatricals.

IT will be remembered that "A Tale of Two Cities," the last of
Dickens's novels containing Hablot Browne's designs, was suc-
ceeded by "Our Mutual Friend," the initial number of which
appeared on May i, 1864. In this story Dickens repeated an early
experience in having woodcut illustrations instead of the customary
etchings, availing himself of the services of an artist whose style and
method of work differed very considerably from those of " Phiz." The
new recruit was Mr. Marcus Stone, who now holds high rank among
Royal Academicians.

As the son of the novelist's cherished friend, Frank Stone, A.R.A.,
who partly illustrated "The Haunted Man," Mr. Marcus Stone was
brought by force of circumstances into early communication with the
author of "Pickwick." Born in 1840, he soon indicated by his
penchant for Art that he inherited his father's talent, becoming in
course of time a painter even more distinguished ; for Frank Stone did
not live to attain full honours of the Royal Academy. Mr. Marcus
Stone proudly confesses that, even as a mere lad, Charles Dickens's

romances proved most fascinating to him, and he recalls an interesting

19a

Plate LVI

MARCUS STONE, R.A.

From a Photograph speciiiUy taken for this Work by
JAMES HYATT

MARCUS STONE, R.A. 193

incident as evidence of this influence. When, in 1852-53, the
dramatic story of "Bleak House" appeared in serial form, he eagerly
read each number as it came out, and was much attracted by the
novelist's rendering of Jo, the crossing-sweeper, being quick to per-
ceive the artistic capabilities of the scenes in which that pathetic
character is introduced. In the eleventh chapter a specially touching
reference is made to the poor outcast — that memorable occasion when
he softly sweeps the step of the gateway leading to the loathsome
graveyard in which was buried the man who had been "wery good"
to him. Dickens's vivid description of the weird picture at once
induced Marcus Stone (then twelve years of age) to try his hand at
depicting it with his pencil. While so engaged the novelist entered
the room, and, looking over his shoulder, he immediately recognised
the subject of the sketch, whereupon he encouragingly observed,
" Well, now, that is very good. You will have to give that to me."
Accordingly, on completion, the little drawing was sent to Tavistock
House.' About a year afterwards the young artist received a copy
of " A Child's History of England," containing the author's autograph,
and accompanied by the following note, dated December 19, 1853: —

" My Dear Marcus, — You made an excellent sketch from a book
of mine which I have received (and preserved) with great pleasure.
Will you accept from me this little book? I believe it to be
true, though it may be sometimes not as genteel as history has
a habit of being. — Faithfully yours, Charles Dickens."

Even at the early age of three or four, Mr. Marcus Stone evinced
a desire to become an artist, — a wish that was never discountenanced.
In his seventeenth year he ostensibly began his career as a painter,
but his father, who was then an invalid, could not for that reason

' Curiously enough, "Phiz" had already selected the same subject as an illustration for
the succeeding number, an early proof of which was forwarded by Dickens to Mr. Marcus
Stone, in order to direct his attention to the coincidence.

194 DICKENS AND HIS ILLUSTRATORS

efficiently direct the course of his son's studies. Indeed, Mr. Marcus
Stone never had any systematic training in the details of his profession,
and what he learnt during his boyhood was, for the most part, casually
"picked up" in his father's studio. At this time he painted a picture
called " Rest," representing a knight in armour lying under a tree,
and this, the first of his productions accepted by the Royal Academy,
excited much favourable comment, the work being especially remark-
able on account of the juvenility of the artist, who, as he himself
intimates, was really ten years before his time.

In November 1859, shortly after his initial success in the world of
Art, Mr. Marcus Stone mourned the death of his father, an event
rendering it imperative that, in entering upon a career which not un-
frequently fails to yield a golden harvest, he should have a powerful
helping hand. Among those of his father's friends who recognised this
necessity was Charles Dickens, who, with characteristic promptitude and
energy, exerted his influence on behalf of the young man. Besides
other kind actions, the novelist introduced him to Thomas Longman,
the publisher, to whom he wrote : " I am very anxious to present to you,
with the earnest hope that you will hold him in your remembrance,
young Mr. Marcus Stone, son of poor Frank Stone, who died suddenly
but a little week ago. You know, I daresay, what a start this young
man made in the last Exhibition, and what a favourable notice his pic-
ture attracted.' He wishes to make an additional opening for himself
in the illustration of books. He is an admirable draughtsman, has a
most dexterous hand, a charming sense of grace and beauty, and a
capital power of observation. These qualities in him I know well
to my own knowledge. He is in all things modest, punctual, and
right ; and I would answer for him, if it were needful, with my head.
If you will put anything in his way, you will do it a second time, I
am certain."

The opportunity soon arrived when the novelist's interest in the

' This picture was entitled " Silent Pleading " and represents a tramp with a child in his
arms, who are discovered asleep in a shed by the squire and the village constable.

Plate LVII

studies for
"mr. venus surrounded by the trophies of

HIS ART"

Facsimile of Original Sketches for "Our Mutual Friend " by

MARCUS STONE, R.A.

Lent by the Artist.

MARCUS STONE, R.A. . 195

son of " poor Frank Stone " assumed a very practical form, for at this
juncture it occurred to him to test the artistic capabilities of Marcus
Stone, probably without any intention of permanently ousting " Phiz."
The young proUg"^, however, possessed no knowledge of etching, and,
indeed, had gained but little experience in any other form of illustration.
Fortunately, the art of drawing upon wood (then much in vogue, but now
practically obsolete) needed very little training in the hands of one
skilled in the use of the pencil, so that Dickens was induced to favour
Marcus Stone by agreeing to the adoption of the readiest means of
producing his designs for the engraver. It is not generally known
that the artist's first attempt at drawing on wood was the frontispiece
, for the first cheap edition of " Little Dorrit" (1861),

p. ' which, although showing marked ability, is by no

means equal to his subsequent efforts. Marcus Stone
was fortunate in making his dSui as a black-and-white draughtsman
at the time when a remarkable array of talent presented itself in the
pages of the Cornhill Magazine, just then launched by Thackeray, the
illustrations for which were supplied by Millais, Fred. Walker, Sandys,
and Leighton — a new school of designers, whose admirable pencillings
could not fail to inspire the younger members of the craft.

Mr. Marcus Stone, who was scarcely twenty-one years of age

when he first essayed the art of book-illustration,
Our Mutual . , , ., , , ,

T7 • JO/ A rightly considers that one 01 the most important
Fncnd, 1864-65. . u- tr u r u

events of his life was the receipt of the com-
mission to illustrate " Our Mutual Friend," and, doubtless, he fully
realised at the time how valuable was the prestige arising from
such collaboration with so popular a writer as Charles Dickens.
This story, like those which preceded it, was issued in monthly parts,
the first instalment appearing in May 1864. At the beginning the
novelist was about four numbers in advance, but he lost his advantage
as the tale progressed, until at length he found himself in a position
necessitating the preparation of each number month by month, a^

196 DICKENS AND HIS ILLUSTRATORS

required by the exigencies of publication. Before the initial number
could be circulated, a pictorial wrapper was requisitioned, for which
' Mr. Stone designed a series of tableaux embodying somewhat allegori-
cally the leading characters and incidents, and displaying prominently
in the centre the title of the story, the word " Our " being dropped in
over one of the subjects. A preparatory sketch was submitted to
Dickens, who, while thoroughly approving thereof, made certain pro-
posals tending to its improvement. Writing to the artist (February
23, 1864) he said:

" I think the design for the cover excellent, and do not doubt its
coming out to perfection. The slight alteration I am going to
suggest originates in a business consideration not to be overlooked.
The word 'Our' in the title must be out in the open like 'Mutual
Friend,' making the title three distinct large lines — 'Our' as big as
'Mutual Friend.' This would give you too much design at the
bottom. I would therefore take out the dustman, and put the Wegg
and Boflfin composition (which is capital) in its place. I don't want
Mr. Inspector or the murder reward bill, because these points are
sufficiently indicated in the river at the top. Therefore you can have
an indication of the dustman in Mr. Inspector's place. Note, that the
dustman's face should be droll, and not horrible. Twemlow's elbow
will still go out of the frame as it does now, and the same with Lizzie's
skirts on the opposite side. With these changes, work away ! . . ."

Before executing this drawing for the wrapper, the artist had
received from Dickens a few general hints as to the points to be
illustrated, beyond which he had little to guide him. "Give a vague
idea," said the novelist, "the more vague the better." Mr, Stone
desired to introduce Silas Wegg into his composition, but the de-
scription of the mercenary old ballad-monger was so indefinite that
he was compelled to ask Dickens if he had absolutely decided in his
own mind whether Silas's wooden leg was the right or the left one.
Judging by his reply, the novelist had evidently overlooked this detail,
for he said, " It's all right — please yourself;" whereupon the doubtful

Plate LVIII

MONSIEUR DEFARGE AND DOCTOR MANETTE

Facsimiles of the Original Studies by
MARCUS STONE, R.A.

These Studies were prepared for the First Cheap Edition of
" A Tale of Two Cities."

Ltnt by the Artist.

MARCUS STONE, R.A. 197

point was settled by the artist, who placed the timber limb on Wegg's
left side. Mr. Stone recalls an interesting circumstance in the fact
that Dickens laid special stress upon a certain incident which he
desired should be hinted at by the artist in his design for the monthly
cover. " One of the strongest features of the story," observed the
novelist, "will be the death of Eugene Wrayburn after the assault
by the schoolmaster. I think," he added, " it will be one of the best
things I have ever done." Dickens, however, changed his mind, for
Wrayburn does not die.

It is a recognised fact among illustrators of works of fiction that
authors are usually devoid of what Mr. Stone aptly designates a sense
of " pictorialism," — that is to say, the subjects selected by them for
illustration invariably prove to be unsuitable. Charles Dickens
(according to Mr. Stone's experience) was a noteworthy exception to
the rule, although he usually afforded the artist free scope in this
matter, sending him the revised proof-sheets of each number, that he
might make his own choice of the incidents to be depicted ; and it is
worthy of remzirk that in no instance did the novelist question the
propriety of his selection. A preliminary sketch for each illustration
was forwarded to Dickens, who returned it to the artist with sug-
gestions, and with the title inscribed by him in the margin. The
finished drawings upon the wood were never seen by the novelist,
as they were dispatched by Mr. Stone to the engravers immediately on
completion.

Mr. Marcus Stone affirms that he was much hampered by Dickens
with respect to these designs, for the novelist, hitherto accustomed
to the diminutive scale of the figures in Hablot Browne's etchings, was
somewhat imperative in his demand for a similar treatment of the
illustrations for "Our Mutual Friend." The author, it seems, was
usually in an appreciative mood whenever a sketch was submitted for
approval, now and then favouring his illustrator with information that
often proved indispensable. With reference to the drawing entitled
" The Boffin Progress," he wrote : " Mrs. Boffin, as I judge of her

198 DICKENS AND HIS ILLUSTRATORS

from the sketch, ' very good indeed.' I want Boffin's oddity, without
being at all blinked, to be an oddity of a very honest kind, that people
would like." Concerning a second sketch for another proposed illustra-
tion, he observed: "The doll's dressmaker is immensely better than
she was. I think that she should now come extremely well. A weird
sharpness not without beauty is the thing I want." Towards the close
of the first volume Dickens wrote to the artist from Paris the following
letter respecting subsequent designs : — " The sooner I can know about
the subjects you take for illustration the better, as I can then fill the
list of illustrations to the second volume for the printer, and enable
him to make up his last sheet. Necessarily that list is now left blank,
as I cannot give him the titles of the subjects, not knowing them
myself. ... I think the frontispiece to the second volume should be
the dustyard with the three mounds, and Mr. Boffin digging up the
Dutch bottle, and Venus restraining Wegg's ardour to get at him.^
Or Mr. Boffin might be coming down with the bottle, and Venus
might be dragging Wegg out of the way as described."

The story, when concluded, was issued in two volumes, each contain-
ing twenty illustrations, engraved by Dalziel Brothers and W. T. Green
in almost equal proportions. Mr. Marcus Stone regards these early
efforts in black-and-white art as very immature, and believes he could
have achieved greater results if he had been less handicapped by
certain harassing restrictions. That these clever designs possess the
charm of unconventionality is undeniable, while in addition to this they
are marked by an originality of treatment which may be attributed to
the fact that each drawing is the fruit of many careful studies of
figures and accessories, these imparting an air of reality to the scenes
depicted. Notable instances of this may be observed in the first fron-
tispiece, entided "The Bird of Prey," in which is represented a
characteristic portion of the river- bank below London Bridge (pro-
bably Rotherhithe), and in the last engraving "Not to be Shaken
Off," the snow-covered lock-gates in this illustration having been

' This subject was chosen.

Plate LIX

"BLACK AND WHITE"

Facsimile of tbe Original Drawing by
MARCUS STONE, R.A.

This Study was prepared for the Library Edition of ' ' American Notes. '

Lent by the Artist.

s^^^'

MARCUS STONE, R.A. 199

drawn from a sketch of the gates still existing on the Regent's
Canal, Hampstead Road.

Mr. Stone enjoys the distinction of having introduced to Dickens's
notice the original of that remarkable personage, Mr. Venus. Early
in 1864, the artist was engaged upon a painting representing a "loaf-
ing " deserter being marched off under arrest, while some busy work-
men temporarily suspend their labours in order to watch the military
procession as it wends its way along a public thoroughfare.* The
artist desired to introduce into the composition a begging dog, but, not
succeeding to his own satisfaction, he consulted a brother-artist (well
known for his clever delineation of animals), who said, " Why don't
you go to Willis ? He will soon find you a dog, and ' set him up ' for
you." Willis was a taxidermist, who lived on the north side of St.
Andrew's Street, near Seven Dials, and to him Mr. Stone at once
stated his requirements, with the result that in the course of a few days
the stuffer of skins went to Mr. Stone's studio accompanied by a dog
such as the artist had described. The animal being deemed suitable,
its fate was sealed, and there is a touch of pathos in the recollection
that the little creature made such friendly overtures to the artist during
the interview that he felt very much averse to authorising its destruc-
tion. However, sad to relate, he hardened his heart, and the poor beast
was "set up" accordingly. On the evening of the day when Mr.
Stone first called upon Willis, and observed the strange environment
resulting from the man's occupation, he was invited by Dickens to go
with him to the play, and between the acts the novelist enquired if he
knew of any peculiar avocation, as he wished to make it a feature
of his new story, — "it must be something very striking and unusual,"
he explained. The artist immediately recalled Willis as he appeared
when "surrounded by the trophies of his art," and informed Dickens
that he could introduce him to the very thing. Delighted with the
suggestion, the novelist appointed "two o'clock sharp" on the follow-

* This picture, called " Working and Shirking," was exhibited at the Royal Academy during
the same year.

200 DICKENS AND HIS ILLUSTRATORS

ing day, for a visit to Willis. It happened that the man was absent
when they called, but Dickens, with his unusually keen power of
observation, was enabled during a very brief space to take mental
notes of every detail that presented itself, and his readers were soon
enjoying his vivid portrayal of that picturesque representative of a
curious profession, Mr. Venus. The novelist was so elated by the
discovery that he could not refrain from confiding the secret to
Forster: "While I was considering what it should be," he wrote,
" Marcus, who has done an excellent cover, came to tell me of an
extraordinary trade he had found out, through one of his painting
requirements. I immediately went with him to St. Giles's to look at
the place, and found — what you will see."

Mr. Stone visited Willis's shop two or three times for the purpose
of sketching, in order that he might effectively introduce the more
salient features into his drawing. The illustration gives an approximate
representation of that dingy interior, with its " bones warious ; bottled
preparations warious ; dogs, ducks, glass eyes, warious ; " but, in
delineating the proprietor, the artist did not attempt to give a true
presentment of Willis, whom, by the way, Dickens never saw, and
who never suspected that it was his own establishment which figures
in the story.

In all the illustrations there is that happy delineation of character
which indicates how admirably the artist understood his author.
Perhaps the most successful designs are those where Rogue Rider-
hood appears, particularly that in which we behold the thankless
ruffian at the moment of his recovery from " that little turn-up with
Death ; " while among other drawings deserving attention special
mention must be made of those containing the quaint and pathetic
figure of Jenny Wren, and of that entitled " The Boofer Lady," the
latter denoting Mr. Stone's ability, even at this early date, in depicting
a pretty woman, — an art in which he has since displayed such con-
summate skill.

Mr. Marcus Stone claims the credit of bringing into repute the

Plate LX

"TAKING LEAVE OF JOE"

Facsimilt of the Original Drawing for the Library Edition of
"Great Expectations" by

MARCUS STONE, R.A.

In the engraved version of this Design, Pip is seen wearing a " bowler " hat.

Ltnt by tkt Artist.

MARCUS STONE, R.A. 201

now universal custom of duplicating drawings upon wood-blocks by
means of photography, his illustrations for Anthony Trollope's story,
" He Knew He was Right," being the first thus treated. The adop-
tion of this plan secures the preservation of the original designs, and
therefore renders them available for comparison with the engraved
reproductions. Mr. Stone, nevertheless, is by no means satisfied with
the engraver's treatment of his work, nor is this surprising when we
critically examine such deplorable examples of wood-engraving as
instanced in the illustrations entitled " The Garden on the Roof"
and " Eugene's Bedside." In one of the designs, that representing
"The Boffin Progress," it will be noticed that the wheels on the " off-"
side of the Boffin chaise are omitted, an oversight (explains Mr. Stone)
for which the engraver is really responsible.

The original sketches for "Our Mutual Friend" were disposed
of by the artist, many years ago, to the late Mr. F. W. Cosens, who
desired to add them to his collection of Dickensiana. At the sale in
1890 of that gentleman's effects at Sotheby's, the series of forty
drawings (some of which were executed in pen-and-ink and others
in pencil) sold for ;^66, the purchaser acting for a well-known
firm of American publishers. The drawings were subsequently
bound up in a copy of the first edition of the story, and the treasured
volume now reposes in the library of a New York collector.

Mr. Stone is naturally best known as a Dickens illustrator through

his designs for " Our Mutual Friend." In addition

Illustrations ^^ these, however, he has essayed some illustra-

P ,, , tions (engraved on wood by Dalziel Brothers) for

cheap issues of the works of the great novelist, of

which the following is a complete list : —

Little Dorrit — Firsi Cheap Edition, 1861. Frontispiece.
Great Expectations — Library Edition, 1862. Eight Illustra-
tions.

202 DICKENS AND HIS ILLUSTRATORS

Pictures from Italy — Library Edition, 1862. Four Illustrations.
American Notes — Library Edition, 1862. Four Illustrations.
A Child's History of England — Library Edition, 1862. Eight

Illustrations.
A Tale of Two Cities — First Cheap Edition, 1864. Frontis-
piece.

From this record it will be seen that (with the exception, perhaps,
of the frontispiece for " A Tale of Two Cities ") all the above-
mentioned designs were executed prior to those for "Our Mutual
Friend." It was hardly to be anticipated that Mr. Stone's pencil
would rival the work of his more experienced contemporaries, yet it
will be seen that these illustrations are characterised by the very
essential quality of always telling their story. Mr. Stone much regrets
that he never had the opportunity of doing himself justice in black-
and-white Art. Needless to say, he revels in subjects appertaining
to a bygone age, as they afford considerable scope for pictorial treat-
ment, and one of the novels he would have most enjoyed to illus-
trate is " Barnaby Rudge," because of the picturesque period in which
the story is laid. In response to my enquiry why he did not under-
take the illustration of Dickens's next and final romance, "The
Mystery of Edwin Drood," Mr. Stone explains : " I had entirely
given up black-and-white work when ' Edwin Drood ' was written,
and was making an ample income by my pictures. I was not in
the field at all." Indeed, black-and-white drawing possessed little
to attract the young artist, who, preferring the more alluring charm
of colour, had already begun to acquire a reputation as a painter.
In 1877 he was elected an Associate of the Royal Academy, and
ten years later was advanced to the full rank of Academician. During
the last twenty years his most popular pictures have been his groups
of interesting lovers and pathetic maidens ; for, after exhibiting in
eighteen Academy Exhibitions various presentments ofhuman passion,
he at last decided to limit himself to the one which makes the widest

MARCUS STONE, R.A. 203

appeal to all sorts and conditions of men and women, such as those
subtle domestic dramas in which love plays the leading r$le.

Mr. Marcus Stone's intimacy with Charles Dickens originated
while his father, Frank Stone, and the novelist were living not more
than a couple of houses apart ; but it should be understood that the
elder artist and the author of "Pickwick" were friends many years
before they were neighbours. From the days of his childhood until
the famous writer breathed his last, Mr. Stone spent a portion of every
year of his life at Dickens's abode. " I saw him," he observes, " under
the most natural and simple conditions, and my affection and regard
for him were intense. Dickens was one of the shyest and most
sensitive of men, as I have reason to know, for I saw him constantly
at his own home, often for weeks together. He used to treat me
as though I were his son. Nothing was more delightful than the
way in which he shared our pleasures and pursuits. His influence
was like sunshine in my life whilst his own lasted." Mr. Stone
occasionally took part in private theatricals at Tavistock House, where
the novelist had installed " The Smallest Theatre in the World," and
the artist has pleasant recollections of his own share in the various
plays, such as Planchd's fairy extravaganza, " Fortunio," in which he
impersonated the Captain of the Guard, and Wilkie CoUins's " The
Frozen Deep," where, as an Officer in the British Navy, he had but
three words to say.

LUKE FILDES, R.A.

An Illustrator Required for "The Mystery of Edwin Drood"— Charles Alston Collins
Offers his Services — His Design for the Wrapper — He Prepares Sketches for the First
Number — Ill-Health — The Project abandoned — Death of Mr. Collins creates a Dilemma
— "The Fellow for 'Edwin Drood'" Discovered — Luke Fildes, R.A. — His Drawing of
"Houseless and Hungry" — Specimens of his Black-and- White Drawings Submitted to
Dickens — A Complimentary Letter from the Novelist— Mr. Fildes Elected to Illustrate
"Edwin Drood" — First Meeting of Author and Artist — A Pen-Portrait of Dickens — A
Memorable Interview — Pictorial Exactness— Working under Difficulties — Studies from the
Life — Successful Realisation of Types — The Opium-Smokers' Den — Cloisterham — The
Artist's Method of Executing his Designs — The Engraved Reproductions — The Finale
of the Story Hinted at — Mr. Fildes Invited to Gad's Hill — Suggestion for the Last Drawing
— Death of Dickens — "The Empty Chair" — A Visit to John Forstcr — A Curious Coin-
cidence—Pleasing Reminiscences of Dickens — Mementoes of the Novelist — Unpublished
Drawings for " Edwin Drood."

WHEN Mr. Marcus Stone, R.A., had completed his designs
for " Our Mutual Friend," he determined to relinquish
black-and-white drawing and to concentrate his energy
upon painting ; but for this, it is probable that his skilled pencil would
have been requisitioned for Charles Dickens's last story, " The Mystery
of Edwin Drood." That the re-engagement of Hablot Browne as
illustrator of that unfinished romance was not contemplated may be
attributed chiefly to the fact that, in 1867, the clever artist whose
name and fame will ever be associated with the writings of Dickens
was unhappily struck with severe paralysis, and consequently his hand
had lost its cunning. The assistance of either of these draughtsmen
being, therefore, out of the question, the novelist was compelled
to seek a new illustrator, and at this crisis his son-in-law, Charles
Alston Collins (brother of Wilkie Collins), intimated that he would like
to undertake the necessary designs for "Edwin Drood," or rather
to test his powers in that direction. Although he occupied himself,

Plate LXI
luke fildes, r.a.

From a Photograph specially taken for this Work by
JAMES HYATT

LUKE FILDES, R.A. 205

in a desultory fashion, with both Literature and Art, Charles Collins
had been bred a painter, and achieved a notable position among the
young artists of the Pre-Raphaelite School, He favoured the pen,
however, rather than the pencil, his fugitive pieces being distinguished
for the most part by humour of a charming quality. Dickens had
great faith in his artistic talent, and accordingly (on September 14,
1869) sent his publishers the following note: "Charles Collins
wishes to try his hand at illustrating my new book. I want him to
try the cover first. Please send down to him at Gad's Hill any of
our old green covers you may have by you." The pictorial wrapper was
satisfactorily completed, whereupon Charles Collins began to prepare
sketches for the first number, an undertaking which he looked upon
rather as an experiment. Ill-health, alas ! proved a serious obstacle,
and, after making a futile endeavour to realise his conceptions, he was
compelled to abandon the project altogether. It has been suggested
that, as the leading incidents portrayed by him on the cover were
intended to prefigure the course of the narrative, Charles Collins must
have obtained a clue to the "mystery" involved in the story, Asa
matter of fact, there is no evidence that he had the faintest notion
of the meaning of the enigmatical little tableaux of which his design
consists ; on the contrary, it is asserted that he merely received the
novelist's verbal directions without obtaining any hint as to their real
significance. Charles Alston Collins died in 1873 in his forty-
fifth year, having " borne much suffering, through many trying years,
with uncomplaining patience." He was a son-in-law of Charles
Dickens, whose younger daughter, Kate, he married in i860, the
occasion being signalised by much rejoicing on the part of the novelist's
friends and neighbours at Gad's Hill.

The speedy relinquishment by Charles Collins of the illustrating
of " Edwin Drood " caused something of a dilemma. Dickens being
again without an illustrator, he appealed for advice to his friends
Mr. (afterwards Sir John) Millais, R.A., and Mr. W. P. Frith, R.A.,

2o6 DICKENS AND HIS ILLUSTRATORS

who promised to aid him in searching for a suitable artist. Shortly
afterwards there was published in the initial number of The Graphic
an engraving entitled " Houseless and Hungry," depicting a crowd
of vagrants of both sexes awaiting admission to the workhouse, —
a picture at once so powerfully conceived and so pathetic in sentiment
that it immediately attracted the attention of Sir John Millais, who
immediately hastened in a cab to Dickens's rooms at Hyde Park
Place, bearing in his hand a copy of the new journal. Striding into
the study, and waving The Graphic above his head, the famous
painter exclaimed, " I've got him ! "

" Got whom ? " inquired the novelist.

" The fellow for ' Edwin Drood,' " replied Millais, as he threw the
paper down on the table.

No sooner had Dickens examined the picture than he became
similarly enthusiastic in his praise, and wrote forthwith to his pub-
lishers, requesting them to communicate with the artist, Mr. Samuel
Luke Fildes, now a popular Royal Academician, but who was then
comparatively unknown in the world of Art. At the period referred
to, Mr. Fildes was a young man of five-and-twenty, who had but just
begun to make his mark as a draughtsman in black-and-white. After
some desultory study of drawing and painting at Chester and Warring-
ton, he came to London in 1862 for the purpose of seeing the Great
Exhibition, and was so impressed that he determined to make his
future home in the Metropolis. In the following year he gained a
scholarship at the South Kensington Schools, and afterwards became
a student of the Royal Academy. The Cornkill, Once a Week, and
other magazines then in the ascendant, owed much of their popularity
to the beautiful designs by Millais, Leighton, and similarly distinguished
artists, and these remarkable productions inclined Mr. Fildes to adopt
book-illustration as a stepping-stone towards painting. Good-fortune
attended his efforts, and in June 1869, by which time he had achieved
a position as a black-and-white draughtsman, he received an inti-
mation from Mr. W. L. Thomas that he had conceived the idea of

Plate LXII

study for the head of
NEVILLE LANDLESS

Facsimilt of an Original Sketch for " The Mystery of Edwin Drood ' by

LUKE FILDES. R.A.

Ltnl by the Artist.

•^^

LUKE FILDES, R.A. 207

publishing a new illustrated paper, eventually called The Graphic,
and suggested that he should draw something effective, the subject
to be the artist's own choice, for publication therein.

" I went home," says Mr. Fildes, "and, at ten o'clock on a terribly
hot night, I sat with a piece of paper and sketched out the idea for
' The Casuals.' Some few years before, when I first came to London, I
was very fond of wandering about, and remember beholding somewhere
near the Portland Road, one snowy winter's night, the applicants for
admission to a casual ward." Recollecting the incident, Mr. Fildes
endeavoured to reproduce this scene as a subject likely to prove accept-
able to the manager of The Graphic, and it was that very picture
which, as already related, led to the artist's introduction to the famous
novelist.

Messrs. Chapman & Hall, who had been authorised to write to
Mr. Fildes respecting the illustration of " Edwin Drood," desired him
to submit specimens of his black-and-white work, and at the same time
expressed a hope that, as they had no recollection of having seen
representations of beautiful women in any of his drawings, he would
enclose a few examples of his ability in that direction, for the very
important reason that in Charles Dickens's new story would appear
two attractive heroines. Mr. Fildes immediately dispatched a parcel
containing various illustrations designed by him for the magazines,
and promised to execute, for the novelist's inspection, two or three
drawings of scenes from one of his stories. A few days later the
artist became the recipient of a very complimentary letter, in which
Dickens said : "I beg to thank you for the highly meritorious and
interesting specimens of your art that you have had the kindness to
send me. I return them herewith, after having examined them with
the greatest pleasure. I am naturally curious to see your drawing
from ' David Copperfield,' in order that I may compare it with my
own idea. In the meanwhile, I can honestly assure you that I enter-
tain the greatest admiration for your remarkable powers."

In accordance with his own proposal, Mr. Fildes prepared two or

2o8 DICKENS AND HIS ILLUSTRATORS

three designs from "Copperfield," one of which fulfilled the requisite
condition that it should contain a representation of a pretty girl, the
subject selected being the scene depicting Peggotty embracing Little
Em'ly after the announcement of her betrothal to Ham. Dickens
considered these drawings so eminently satisfactory that he desired
the artist to call upon him at his temporary residence, No. 5 Hyde
Park Place, for the purpose of consulting him regarding the illustrations
for " Edwin Drood." The eventful day at length arrived when author
and artist met for the first time, and the auspicious occasion is thus
pleasantly recalled in the following note from Mr. Fildes (written for
"Charles Dickens by Pen and Pencil"), in response to my inquiry
respecting his earliest impressions of the novelist's personality : —

" I can tell you so little of Dickens that is ' terse, graphic, or vivid.'
It's so long ago! He passed by me so like a vision. At least it
seems so to me now. When I first saw him, I felt a little oppressed —
I don't know why— he loomed so large, and was so great in my imagi-
nation. He rose from his writing-table to greet me. He was dressed
in dark clothes ; I cannot quite recall the cut of coat, but it was loose
and unbuttoned, — a black silk neckerchief was loosely tied, with hang-
ing ends, round his throat. His general appearance, with the 'cut' of
his head, gave me the idea — perhaps reminded me somehow — of one
who was, or had been, connected with the sea. But I thought so
much of the Man, and had so affectionate a respect, that it never
occurred to me then nor since to take an inventory of his features or
the details of his clothes. I could possibly be contradicted on nearly
every point were I to attempt it. What I do remember — and it is as
clear to me as yesterday — is the indescribable sweetness and kindness
of manner — a frank affectionate way that drew me towards him the
moment I saw him. I don't know what it was, or how — perhaps his
smile, the clasp of his hand, the drawing me down to sit beside him —
but I felt like one does with one's own father, that you ' get on with '
when a boy. That impression never left me."

When, at this memorable interview, Dickens had expressed his

Plate LXIll

STUDIES FOR
EDWIN DROOD

Facrimile of Original Sketches by
LUKE FILDES, R.A.

This figure appears in the Illustration entitled " At the Piano.'
ridf "The Mystery of Edwin Drood."

Lent h the Artist.

LUKE FILDES, R.A. 209

requirements, Mr. Fildes (as he himself informs me) explained to the
novelist that, while fully appreciating the honour of being selected as
illustrator of " Edwin Drood," he would be compelled most reluctantly
to forego the privilege if it were really a sine qua non that the designs
should be of a humorous character, following the lead of the versatile
" Phiz." He conceived it advisable to make it clearly understood,
there and then, that comic drawing was not his metier, and ventured to
remind the novelist that his stories, in view of the fact that they
possessed an intensely serious side as well as a jocular one, lent them-
selves admirably to a graver style of Art. After pondering for a
moment, Dickens observed that he was "a little tired" of being re-
garded by his illustrators mainly as a humorist,— a remark, however,
which he qualified in a manner that did not at all suggest dissatisfaction
with those artists, but implied, rather, that he was not averse to the
more solemn incidents in his writings being considered by his pictorial
interpreters ; his agreement with Mr. Fildes in this respect might
well have arisen from what he knew would be the leading character-
istic of his last romance (certainly not humorous), which would give
scope only to the "serious" artist. The interview resulted in the
appointment of Mr. Fildes as illustrator of the forthcoming story, and
in a letter to James T. Fields (of Boston, U.S.A.) the novelist said :
" At the very earnest representations of Millais (and after having seen
a great number of his drawings), I am going to engage with a new
man ; retaining, of course, C. C.'s [Charles Collins's] cover." So con-
tent was Dickens with his choice of this artist, that he could not
refrain from expressing his satisfaction to his friends.

As the date fixed for the publication of the first number of " Edwin
Drood" was rapidly approaching, it became necessary
The Mystery of ^.j^^^j. jyjj. YMe.s should immediately begin to prepare
P ' his designs. Receiving the proof-sheets of each

number, he studied them so diligently and care-
fully that he allowed no incident or personal trait to escape him.

210 DICKENS AND HIS ILLUSTRATORS

Indeed, Dickens himself (as Mrs. Meynell tells us in The Century of
February 1884) was astonished at the way in which his mind found
itself mirrored in that of his coadjutor, both as regards the pictorial
exactness of inanimate things and the appreciation of individual human
character. The artist, however, was at first considerably perplexed
in being kept in total ignorance of the plot, as Dickens volunteered no
information respecting either the characters or the various parts they
played, and although Mr. Fildes was much puzzled, before the plot
began to develop, in discovering who was the hero and who the villain of
the story, he hesitated to interrogate the novelist, because he surmised
that there was a particular motive for his reticence. "He did, at my
solicitation," observes Mr. Fildes, "occasionally tell me something —
at first charily — for he said it was essential to carefully preserve the
'mystery' from general knowledge to sustain the interest of the
book, and later he appeared to have complete confidence in my
discretion."

Dickens, it seems, was seldom in advance with his manuscript, and
each number was barely completed in time for the printers, thus neces-
sitating excessive promptitude on the part of the engravers as well as
the designer. The subjects of the earlier illustrations were selected
by the author, who marked on the proofs the particular incidents to
be depicted. In thus trotting after the novelist, the artist experienced
a sense of restraint, and felt unable to do himself justice. At length,
when Dickens proposed that one of the incidents to be delineated
should be that in which John Jasper steals up a winding staircase in
absolute darkness with murder on his face, Mr. Fildes courteously
protested by pointing out the artistic disadvantages of illustrating such
a scene, adding that it was already so graphically recounted that
further elucidation became superfluous. Apropos of this, Mr. M. H.
Spielmann remarks : " It is curious to observe how Dickens's dramatic
sense obtruded itself when arranging for the drawings. He would
always wish that scene or tableau to be illustrated on which he had
lavished the whole force and art of his descriptive powers — naturally

Plate LXIV

studies for
mr. jasper

Facsimile of Original Sketches by
LUKE FILDES, R.A.

The figure on the right was inlroductd in the Illustration entitled

" On IJangerous Ground. "

Vide " The Mystery of Edwin Drood."

Lent by the Artist.

I t

LUKE FILDES, R.A. 211

the one that least required or justified illustration." By this time
the novelist realised the advisability of leaving the responsibility of
selection in the hands of the artist, who thenceforth was relieved of
the limitations and restrictions hitherto imposed upon him.

The requisite consultations between Dickens and his illustrator
were invariably held at Hyde Park Place. Whenever practicable,
Mr. Fildes made sketches from the life of suitable types for the
characters in the story, and was fortunate in securing living models
for the principal personages. Over the type of Jasper there was
much discussion, the artist making several attempts before he obtained
an exact portrait of the choirmaster ; and so successful and sympathetic
were this and other delineations of character, that Dickens was de-
lighted with them, declaring them to be like veritable photographs
of the people themselves. The backgrounds, too, were drawn from
actual scenes, as, for example, the opium-smokers' den which figures
in the first and last illustrations ; this was discovered by the artist
somewhere in the East End of London; the exact spot he cannot
recall, nor does he believe that Dickens had any particular den in his
mind, but merely described from memory the general impression of
something of the kind he had observed many years before. The
architectural details introduced in the illustration, " Durdles Cautions
Mr. Sapsea against Boasting," were drawn from a careful sketch
made within the precincts of Rochester Cathedral, although in the
published design there is substituted a gateway different from that
existing at this spot, in order to assist, no doubt, in promoting the
novelist's obvious intention of disguising the identity of " Cloisterham."
In the engraving entitled "Good-bye, Rosebud, darling! "it is very
easy to recognise the quaint courtyard of Eastgate House in Rochester
High Street. In the river scene we obtain a glimpse of Putney
Church and of the picturesque wooden bridge which, until a few years
ago, spanned the Theunes at that point ; ^ while in a third illustration,

' By a curious coincidence, this scene is almost identical with that depicted by Seymour
on the wrapper for the monthly parts of " Pickwick."

212 DICKENS AND HIS ILLUSTRATORS

" Under the Trees," the artist availed himself of a sketch (made some
time previously) of the cloisters at Chester Cathedral.

Concerning another of these designs, viz., " Mr. Grewgious Ex-
periences a New Sensation," it may be mentioned that not only was
this cosy interior actually drawn from a room in Staple Inn, but that
the original of the capacious arm-chair in which Rosa is seated still
remains in the artist's possession, it being almost the sole survivor of
the furnishing items which formed part of his bachelor establishment.

It is interesting to learn that Dickens, who placed such great con-
fidence in his illustrator, did not consider it essential that preliminary
sketches should be submitted to him. Mr. Fildes's original studies
for his designs were vigorously executed with chalk upon tinted paper,
the high-lights being emphasized with chinese-white ; the finished
drawings were made upon paper and then photographed upon boxwood
blocks. The engraving was at first entrusted to Dalziel Brothers, one
of the best-known firms of wood-engravers of that day, but after
the first two engravings were completed, Mr. Fildes intimated to the
novelist a wish that the work of reproduction might be transferred to
a former colleague of his, Charles Roberts, whereupon Dickens thus
wrote to the late Frederick Chapman, of Chapman & Hall : " Mr.
Fildes has been with me this morning, and, without complaining of
Dalziel, or expressing himself otherwise than as being obliged to him
for his care in No. i, represents that there is a brother-student of his,
a wood-engraver, perfectly acquainted with his style and well under-
standing his meaning, who would render him better. I have replied
to him that there can be no doubt that he has a claim beyond dispute
to our employing whomsoever he knows will present him in the best
aspect. Therefore, we must make the change ; the rather because
the fellow-student in question has engraved Mr. Fildes's most successful
drawings hitherto."

An examination of the illustrations discloses the fact that ten out
of the full complement of twelve bear the signature of C. Roberts.
In some instances, however, the result is disappointing, for the delicate

Plate LXV

study for
"GOOD-BYE, ROSEBUD, DARLING"

Facsimile of the Original Sketch for " The Mystery of Edwin Drood " by
LUKE FILDES, R.A.

l-eni by the Artist.

LUKE FILDES, R.A. 213

tone-values which mark the original drawings are not apparent in the
reproductions. This defect is chiefly due to the technical difficulties
caused by the thick photographic film covering the surface of the
wood-blocks, which curled up under the point of the graver ; un-
engraved portions of the picture were thus lost, and the engraver,
although carefully copying the missing portions, seldom succeeded in
reproducing the characteristic touch of the artist. Mr. Fildes,
perhaps, is hypercritical, for those who had not compared the en-
graved replicas with the original designs were delighted with these
decidedly effective illustrations, while Mr. W. P. Frith, R.A., quick
to recognise the unusual ability displayed in them, wrote to the
novelist complimenting him on securing so facile and graceful an
interpreter of his text, — a comment with which Dickens was much
gratified. As events proved, Mr. Fildes was as receptive as Dickens
was impressive, and "vividly as Dickens saw the creatures of his
brain, he saw them no otherwise than as they lived by this quick and
sympathetic pencil."

For reasons already explained, Dickens never wholly confided
to his illustrator his intentions respecting the plot of the story. A
part of the "mystery," however, was (in a sense) surprised out of him
by the keenness and care with which the artist took up a suggestion.
Mr. Fildes informs me that it happened in this way : " I noticed in
the proof of the forthcoming number a description of Jasper's costume
so markedly different from what I had been accustomed to conceive
him as likely to wear, that I went at once to Dickens to ask him if
he had any special reason for so describing him. It was a matter of
a neck-scarf. Whereupon Dickens, after some little cogitating, said
he had a reason, and that he wished the scarf to be retained, and,
after some hesitation, told me why. He seemed to be rather troubled
at my noticing the incident, and observed that he feared he was
' paying out ' the ' mystery ' too soon, unconsciously doing so ; for, he
said, he trusted to the 'mystery' being maintained until the end
of the book. He seemed to me to think it was essential to do so,

214 DICKENS AND HIS ILLUSTRATORS

and especially enforced me to secrecy respecting anything I knew or
might divine. This description of my interview with the novelist on
the occasion in question gives, of course, only the sense of what
transpired, and I do not pretend to quote exactly any of his words,
or any phrase he may have used." The scarf was, in fact, the instru-
ment of murder, employed by Jasper as the means of strangling the
young breath of Edwin Drood on the night of the great gale.

Mr. Luke Fildes having made so shrewd a guess respecting the
important part to be played by Jasper in the story, Dickens thought
fit to confide in him some details concerning the final scene. Princi-
pally, perhaps, with this object in view, he invited the artist to spend
a few days with him at Gad's Hill, in order that he might become
familiar with the neighbourhood in which many of the scenes in
" Edwin Drood " are laid. The novelist promised him that, if he
were a good pedestrian, he would introduce him to some of the most
charming scenes in Kent, and they would visit together the pictur-
esque Hall at Cobham with its famous gallery of paintings, Cobham
Park and village, and other interesting places in that locality.
In the course of conversation during this interview, Dickens (who
evidently anticipated much enjoyment from the little holiday) recalled
that, when a boy, he had seen in Rochester a gaol or " lock-up," and
significantly added that Mr. Fildes should make a note of one of
the prison cells, which would do admirably to put Jasper in for the
last illustration — thus pretty clearly foreshadowing the conclusion
of the story. " I want you to make as good a drawing," said Dickens,
"as Cruikshank's ' Fagin in the Condemned Cell,'" — a suggestion
which Mr. Fildes did not approve, as any attempt on his part to
treat the subject in the Cruikshankian manner might be resented as
an obvious plagiarism, although a comparison of the two designs
would have proved interesting.

It was decreed, alas ! that Mr. Fildes 's visit to Charles Dickens's
"little Kentish freehold" would never be realised while the great
writer lived. On the morning of the appointed day, Dickens intended

Plate LXVI

study for
MR. GREWGIOUS

Facsimile of the Original Sketch by
LUKE FILDES, R.A.

This figure appears in the Illustration entitled •■ Mr. Grewgious has his
Suspiaons." Vide - The Mystery of Edwin Drood."

/^nt by the Anisl.

LUKE FILDES, R.A. 215

making his usual weekly call at the office of All the Year Round,
and was to have been accompanied on his return by Mr. Fildes.
That very day, however, the artist (whose luggage was packed ready
for departure) took up the newspaper, and was startled to read the
melancholy intelligence that Dickens was no more. This terribly
sudden death changed everything ; but in order to fulfil the novelist's
express desire, the artist was invited (after the funeral) to stay with
the Dickens family. "It was then," remarks Mr. Fildes, "while in
the house of mourning, I conceived the idea of " The Empty Chair,"
and at once got my colours from London, and made the water-colour
drawing a very faithful record[of his library." *

The death of Dickens had an extraordinary effect on Mr. Fildes,
for it seemed as though the cup of happiness had been dashed from
his lips. Following the example of Mr. Marcus Stone, he decided to
abandon black-and-white illustration and direct his entire attention to
painting, with what success all the world knows. In 1879 he was
elected an Associate of the Royal Academy, and attained full honours
eight years later. The first picture that brought him into notice was
" Applicants for Admission to a Casual Ward " (exhibited at the
Royal Academy in 1874), this being elaborated from The Graphic
drawing, " Houseless and Hungry," which, as already described, led
to his acquaintance with the author of " Pickwick." While occupied
with this important canvas, Mr. Fildes was desired by Forster to
call upon him, and, on entering the study, he was interrogated respect-
ing his welfare ; for Forster apparently opined that the demise of the
novelist, and the consequent termination of his illustration-work for
" Edwin Drood," might have caused the young artist some embar-
rassment. After listening intently to Mr. Fildes's description of the
subject he was then painting, Forster suddenly exclaimed, " How
very strange ! You are exactly depicting a scene witnessed by
Dickens himself many years ago. I have just copied his letter
referring to it, which has never been out of my possession ; " and

' An engraved reproduction of this picture appeared in The Graphic Christmas number, 187a

2i6 DICKENS AND HIS ILLUSTRATORS

from an accumulation of papers on his desk (for he was then preparing
his biography of the novelist) he abstracted the missive in which
the novelist alluded to the unfortunate outcasts as " dumb, wet, silent
horrors — sphinxes set up against that dead wall, and none likely to
be at the pains of solving them until the general overthrow." Mr.
Fildes was so struck by this coincidence, that he sought and obtained
permission to quote Dickens's forcible sentence under the title of his
picture when printed in the Academy Catalogue.

Mr. Luke Fildes has many pleasant recollections of Charles
Dickens to impart. " He was extremely kind to me," observes the
artist, "and, when living in Hyde Park Place, asked me to many
of his entertainments. He was almost fatherly, seeming to throw
a protecting air over me, and always elaborately introducing me to
his guests." The artist still cherishes, as valued mementoes, a little
memorandum porcelain slate bound in leather, a quill pen with the
blue ink dried upon it, and a square sheet of blue paper, which were
given to him by Miss Hogarth, who found them on the novelist's
desk just as he had left them.

When Dickens died, only three numbers of " The Mystery of
Edwin Drood " had been published. The illustrations for the ensuing
portion of the story, as completed up to the time of his brief but fatal
illness, had yet to be executed, and it is interesting to know that the
titles for these were composed by the artist. With a view to future
numbers, Mr. Fildes had made several drawings in Rochester, in-
cluding the choir of the Cathedral and the exterior of Eastgate House
{t.e. " The Nuns' House"), which were never utilised ; he also painted
a view of Rochester Castle and Cathedral as seen from the Medway,
this being reproduced as a vignette for the engraved title-page. The
artist invariably signed his drawings " S. L. Fildes ; " but in the
vignette here referred to the signature incorrectly appears as "J.
L. Fildes."

It will readily be conceded that Mr. Fildes's illustrations for
Dickens's final romance are remarkable for a serious and sound

Plate LXVII

STUDY FOR
MR. GREWGIOUS

Faesimilt of ihe Original Sketch by
LUKE FILDES. R A.

This figure appears in the Illustration entitled " Up the River."
Vidt " The Mystery of Edwin Drood."

Untby the Artist.

LUKE FILDES, R.A. 217

draughtsmanship, while the lifelike delineation of the various characters,
as well as the pictorial exactitude of backgrounds and accessories,
invite careful study and examination. Without unduly disparaging
the excellent etchings by Cruikshank and " Phiz," it must be admitted
that there is a vitality appertaining to Mr. Fildes's designs which
imparts to them a reality not always discoverable in the illustrations
produced by those admirable artists.

♦

APPENDIX
I

ILLUSTRATORS OF CHEAP EDITIONS

C. R. Leslie, R.A. — Design for " Pickwick" — Washington living's Tribute to the Artist — Por-
trait of "Dickens as Captain Bobadil"— T. Webster, R.A. — His Picture of "Dotheboys
Hall"— A. Boyd Houghton— Illustrations for " Hard Times" and " Our Mutual Friend"
— G. J. PiNWELL — Illustrations for "The Uncommercial Traveller" — Interesting Portrait
of the Novelist— F. Walker, A.R.A. — Illustrations for "Reprinted Pieces" and "Hard
Times "—Illustrators of the Household Edition— C. Green, F. Barnard, J. Mahonev,
E. G. Dalziel, F. A. Fraser, G. Thomson, H. French, A. B. Frost, and J.
M'^L. Ralston — Charles Green's Illustrations for"The Old Curiosity Shop," "Great Expec-
tations," and the Christmas Books — F. Barnard, the Premier Illustrator of Dickens — The
Novels Illustrated by him — His Favourite Model — Tragic Death of the Artist — An
American Household Edition — New Designs by C. S. Reinhart, T. Worth, W. L.
Sheppard, E. A. Abbey, A. B. Frost, and T. Nast— Illustrations by J. M'^Lenan— F. O.
C. Darley — His Reputation as a Draughtsman — His Designs for an American House-
hold Edition Engraved on Steel — Independent Illustrations — Death of the Artist — Sir
John Gilbert's Designs for " Holiday Romance "— G. G. White— S. Eytinge— Prolific
Contributor to Books and Periodicals — His Picture of " Mr. Pickwick's Reception " — De-
signs for the Diamond Edition, &c. — Character Sketches — Dickens's Admiration of
the Artist's Conceptions — Gives a Sitting for his Portrait — A Unique Print — Eytinge
Visits Gad's Hill— Illustrations by H. Billings for "A Child's Dream of a Star"— The
"Christmas Carol" Designs by Gaogengigl and Chominski— " The Cricket on the
Hearth " Designs by Marold and MiTTis, and L. Rossi— Some Dickens Illustrations by
J. Nash, T. W. Wilson, J. E. Christie, and G. Browne— Designs by E. J. Wheeler
for "Tales from Pickwick"— Illustrations by Phil May, Maurice Greiffenhagen, and
Harry Furniss — Coloured Frontispieces for the Temple Library Edition.

BESIDES the illustrators of the original issues of Charles Dickens's novels
there are other distinguished artists concerning whose designs for the
cheaper editions some mention should be made in the present work.
Besides Clarkson Stanfield, R.A., who has already been referred to as supplying
the frontispiece to the first cheap issue of "American Notes," Dickens was under
a similar obligation to two other Royal Academicians, Leslie and Webster, for
frontispieces to the first cheap edition of "Pickwick" (1847) and "Nicholas
Nickleby " (1848) respectively. Charles Robert Leslie, of whom Thackeray once
r* 1? T r PA ^^^^ ^^^ ^° artist possessed so much as he "the precious
. K» Vx& e, quality of making us laugh kindly," found a suitable subject

in the twelfth chapter of "The Pickwick Papers," his illustration representing

319

220 APPENDIX I

Mrs. Bardell fainting in the arms of Mr. Piclcwick, — an incident that had
already been depicted by " Phiz." The original picture by Leslie — which
was a commission from Dickens — is a cabinet-painting in grisaille or mono-
chrome; it realised £137, lis. at the sale of the novelist's effects in 1870,
and is now the property of Mr. William Wright, of Paris. It seems probable
that Dickens owed his introduction to this artist through the friendly inter-
vention of Washington Irving, who, in May 1841, thus wrote to the novelist:
" Do you know Leslie the painter, the one who has recently painted a picture
of Queen Victoria ? If you do not, I wish you would get acquainted with
him. You would like one another. He is full of talent and right feeling. He
was one of my choice and intimate companions during my literary sojourn in
London. While I was making my early studies with my pen, he was working
with his pencil. We sympathised in tastes and in feelings, and used to explore
London together, and visit the neighbouring villages, occasionally extending our
researches into different parts of the country. He is one of the purest and best
of men, with a fine eye for nature and character, and a true Addisonian humour."
In 1846 Leslie produced his well-known picture of Dickens as Captain Bobabil,
in Ben Jonson's play, " Every Man in his Humour," which was exhibited in the
Royal Academy the same year ; shortly afterwards the painting was reproduced
in lithography by T. H. Maguire, impressions of which (especially those that
were coloured) are now very scarce.

The first cheap edition of " Nicholas Nickleby " was embellished by means
_ __ p . of a frontispiece engraved on wood by T. Williams from

' the picture by T. Webster, R.A., which (like Leslie's) was

painted for the novehst. This exquisite painting (measuring only ten inches
by seven inches) depicts the familiar scene at Dotheboys Hall, where Mrs.
Squeers administers the much-dreaded brimstone and treacle; at the Dickens
sale the interesting little picture reahsed the substantial sum of £535, los. It
is said that the artist was so thorough and so persistent in illustrating the
humours of boys' schools that he earned the sobriquet of " Dotheboys Webster."

The first cheap editions of later works were graced with frontispieces from

>.- A R H u '^^ pencils of two artists better known as draughtsmen than

- /I r T P' 11 ^^ painters. These were A. Boyd Houghton, who designed

the frontispiece for " Hard Times " (1865) and " Our Mutual
Friend" (1867), and G. J. Pinwell, who furnished an illustration for "The Un-
commercial Traveller" (1865) — all of which were engraved on wood by the
Dalziel Brothers. In 1868 Pinwell likewise contributed four excellent woodcut illus-
trations to the Library Edition of the same work,' and it is interesting to note

' The later volumes of the Library Edition were issued at intervals during 1862- 1868.

APPENDIX I 221

that in one of these, "Leaving the Morgue," he has introduced a full-length
presentment of the novelist.' Associated with the Library Edition we find the
name of Fred. Walker, A.R.A., whose position as a designer in black-and-white
F W lit AJRJ^ stands high in the first rank of English masters. This clever
* artist prepared four illustrations respectively for " Reprinted

Pieces" and "Hard Times" (1868), and for refinement of execution they have
probably never been excelled. Fred. Walker, the painter of those world-famous
pictures known as " The Harbour of Refuge," " The Bathers," " The Lost Path,"
&c., died prematurely of consumption in 1875, at the age of thirty-five, a loss
which all artists and art-lovers have never ceased to deplore. The Library
Edition of the "Christmas Stories" is illustrated by F. A. Fraser, H. French,
E. G. Dalziel, J. Mahoney, Townley Green, and Charles Green, fourteen wood-
cuts in all.

After Dickens's death, that is, during 1871-79, Chapman & Hall issued
a Household Edition of his novels, ensuring their further popularity by inserting
entirely fresh illustrations. The artists selected for this undertaking were Charles
Green, Fred. Barnard, J. Mahoney, E. G. Dalziel, F. A. Fraser, Gordon Thomson,
H. French, A. B. Frost, and J. M<=L. Ralston, nearly all of whom had already been
represented in the Library Edition. In commenting upon these designs, it may
be remarked that, of his numerous illustrators, Dickens has never been more
sympathetically interpreted than by Charles Green and Fred. Barnard.

The thirty-two illustrations contributed by Charles Green to the House-
_, J ^ hold Edition of " The Old Curiosity Shop " contrast most

favourably with those by " Phiz " in the original issue ;
these drawings, which, for the most part, were made upon paper by means of
the brush-point, are entirely free from the gross exaggeration and caricature
which impart such grotesqueness to the majority of the figure subjects by Habldt
Browne for this story. Mr. Green's design for the wrapper enclosing each
part of the Crown Edition of the novelist's works (subsequently published by
Chapman & Hall) is cleverly conceived, for here he has introduced all the
leading personages, happily grouped around the principal figure, Mr. Pickwick,
who occupies an elevated position upon a pile of books representing the novels
of Dickens. A few years ago Messrs. A. & F. Pears commissioned Mr. Green
to design a number of illustrations for a series of their Annuals, the artist's
services being specially retained for the following reprints of Dickens's Christmas
Books: "AChristmas Carol" (1892), twenty-seven drawings; " The Battle of Life "
( 1 893), twenty-nine drawings ; "The Chimes" (1894), thirty drawings; and "The
Haunted Man" (1895), thirty drawings. His latest productions as a Dickens

' The Library Edition of "The Uncommercial Traveller" also contains four illustrations
signed " W.M.," which are much inferior to Pinwell's designs.

222 APPENDIX I

illustrator consist of a series of ten new designs, reproduced by photogravure
for the Gadshill Edition of "Great Expectations," recently published by Chapman
& Hall. Undoubtedly Mr. Green's most important work in connection with
Dickens is to be found in his water-colour drawings of scenes from the novels,
of which a complete list is given in the chapter entitled "Dickens in Art."^

Fred. Barnard has come to be considered, par excellence, the illustrator of
F (4 B «1 ^^ famous novelist; indeed, he has been not inaptly termed
"the Charles Dickens among black-and-white artists." Like
Dickens himself, he was essentially a humorist, and his designs, although
never lacking in infectious humour, had always something in them which raised
them above the commonplace. To his skilful and vigorous pencil the House-
hold Edition is indebted for the majority of the illustrations appearing therein, as
the following list testifies: "Sketches by Boz," "Nicholas Nickleby," "Martin
Chuzzlewit," "Barnaby Rudge," "Master Humphrey's Clock" (incidental chapters),
" David Copperfield," " Dombey and Son," " Bleak House," " Christmas Books,"
"A Tale of Two Cities," "Hunted Down," "Holiday Romance," and -"George
Silverman's Explanation," — making a grand total of nearly four hundred and
fifty drawings. There is no doubt that Fred. Barnard "knew his Dickens"
as well as any man, and he produced (independently of the foregoing designs)
a number of pictures and drawings of characters and scenes from the novels,
to which special reference is made in the next chapter.

Mr. M. H. Spielmann informs me that, for the purposes of his Dickensian
subjects, the model who sat to Barnard was the late well-known French. The
tragic death (in his fiftieth year) of this popular artist in September 1896 is
not yet forgotten. He had accustomed himself to the pernicious habit of
smoking in bed, and falling asleep (under the influence of a powerful drug)
while his pipe was yet alight, the bedding caught fire, with the result that he
was suffocated by the smoke, his body being much burned.

The Household Edition was simultaneously published in London and New

York, Harper & Brothers having arranged with Chapman & Hall to be

supplied with clichh of the illustrations. For some reason, however, the English

engravings do not appear in several of the volumes thus issued in America, there

, being substituted for them a similar number of entirely new designs

"Household ^^ ^^^ following American artists: C. S. Reinhart ("Nicholas

Edition." Nickleby," "The Uncommercial Traveller," and "Hard Times"),

Thomas Worth ("The Old Curiosity Shop"), W. L. Sheppard

("Dombey and Son"), E. A. Abbey, R.A. ("Christmas Stories"), A. B. Frost

("Sketches by Boz"), and Thomas Nast ("Pickwick" and "American Notes").

' During the printing of this work, the death was announced of Mr. Charles Green, R.I.,
who succumbed to a painful illness of long standing.

APPENDIX I 223

Mr. Nast has also illustrated various Dickens subjects for American magazine*,
and independent works such as "Gabriel Grub" (from "Pickwick"), issued by
McLoughin as a Christmas book. Mr. Frost is likewise responsible for twelve
illustrations engraved on wood for an edition of " Pickwick " published a few years
ago by Ward, Lock & Co., of London and New York ; and there is a design by
him in Scribner's Magazine, December 1897, entitled "That Slide," and depicting
the familiar scene described in the thirtieth chapter of "Pickwick." In 1859
Harper & Brothers printed " A Tale of Two Cities " as a serial in Harper's
Weekly, with thirty-four woodcut illustrations by a New York artist, J. M^Lenan,
and in the following year the same firm similarly produced " Great Expectations,"
with twenty-seven illustrations by that artist, the first chapter appearing in
November i860. Both stories were subsequently issued in volume form by
T. B. Peterson & Brothers, of Philadfelphia.

Perhaps the best of Dickens's American illustrators was Felix Octavius Carr
F O C D I Darley, a most eminent and successful " character " draughts-

man, whose productions are both original and clever. When,
in 1 860, an octavo edition (also designated the Household Edition) was prepared
by W. A. Townsend & Co. of New York, it was proposed that the services of
Darley and Mr. (afterwards Sir) John Gilbert should be secured as illustrators for
the new venture, this resulting in the American artist executing nearly the whole
of the vignette designs, all of which assumed the form of frontispieces. He had
already prepared more than five hundred illustrations for an edition of Cooper's
novels, so it is probable that the excellence of those drawings led to his engage-
ment in a like capacity for this Household Edition of Dickens. His designs, which
were beautifully engraved on steel, are very refined both as regards conception and
execution, and are especially interesting as indicating an intelligent appreciation,
on the part of a Transatlantic artist, of the nov^ist's characterisation, the ex-
travagant and grotesque being instinctively avoided. Darley, although born in
Philadelphia in 1822, was the son of an English actor; his natural gift for draw-
ing was properly encouraged, and he developed into one of the most efficient book-
illustrators of his time ; in addition to this he achieved a distinct reputation
through the production of large prints, such as "The Village Blacksmith," "The
Unwilling Labourer," " The Wedding Procession," " Washington's Entry into New
York," and other popular subjects. The Dickens series of designs have recently
been reprinted by Houghton, Mifflin & Co. (Boston and New York) for their
Standard Library Edition. Darley also prepared six drawings for a little work
entitled " Children from Dickens's Novels," and subsequently painted a series
of eight familiar scenes from Dickens, which were reproduced as photo-etchings
and issued in sets ; these afterwards appeared in an Imperial Edition of
the novelist's works by Estes & Lauriat, Boston, U.S.A. Darley continued

224 APPENDIX I

to occupy himself with his art up to the end of his life, but withdrew in his latter
years from the cities to his home at Clayton, Delaware, where he died, March
27, 1888.1

The small number of frontispieces furnished by Sir John Gilbert to W. A.
_, _ , /"|c__t p A Townsend & Co.'s Household Edition are reprinted, with
' those of Darley, in Houghton, Mifflin & Co.'s Standard

Library Edition. It is perhaps not generally known that, in 1868, four woodcut
illustrations were specially designed by Sir John for one of Dickens's minor pro-
ductions, " Holiday Romance," — a short story written expressly for Our Young
Folks, a magazine published by Ticknor & Fields, of Boston, U.S.A. In the
original announcement we read that the artist had " consented to waive his decision
not to draw again on wood, in order to give additional interest to Mr. Dickens's
' Romance,' " by which it may be inferred that these are among the last examples
of Sir John's skill in that direction. For the initials in " Holiday Romance," a
Transatlantic artist, G. G. White, was responsible. Sir John Gilbert, R.A., P.R.W.S.,
also produced a series of" Pickwick " illustrations, now exceedingly rare, particulars
of which will be found in the next chapter. This accomplished painter and prolific
designer died so recently as October 5, 1897, in his eightieth year, and of him it
has been truly observed that in his most distinctive line — viz., illustration — we
can look in vain for his equal. It is recorded that he must have contributed
no fewer than thirty thousand subjects to the pages of The Illustrated London
News alone, besides supplying innumerable designs to The London Journal and
other publications. It is therefore no exaggeration to say that Sir John Gilbert
stands out pre-eminently the great popular illustrator of the Victorian era.

Among the American illustrators of the writings of Dickens, an important
„ _ , place must be conceded to Sol. Eytinge, who was born in New

York in 1833. He began to draw at a very early age, and for
forty years was a most industrious illustrator of books, papers, and magazines. For
a long time he was connected with Harper & Brothers, but subsequently became
the chief artist of Every Saturday, published by Fields, Osgood & Co., to which
he contributed many Dickensian subjects, notably a large picture entitled "Mr.
Pickwick's Reception," representing Sam Weller introducing to Pickwick the lead-
ing characters in the various novels. To the Diamond Edition of Dickens's works,
launched by Ticknor & Fields in 1867, Eytinge made several full-page drawings,
each of the principal stories containing sixteen illustrations, all of which were en-
graved on wood. He also made some drawings for a volume of " The Readings of
Mr. Charles Dickens," and subsequently prepared a series of character sketches,

* For many of these particulars I am indebted to Messrs. Houghton, Mifflin & Co.'s
Standard Library Edition of Dickens's Works. .

APPENDIX I 225

which were etched for the " Dickens Dictionary [of Characters]," published by
Houghton, Mifflin & Co. in their Standard Library Edition. Concerning Sol.
Eytinge's illustrations Dickens said : " They are remarkable alike for a delicate
perception of beauty, a lively eye for character, a most agreeable absence of
exaggeration, and a general modesty and propriety which I greatly like." On
the whole these pictures are well done, although it must be admitted that the
artist has not always succeeded in satisfactorily interpreting his author. When
the novelist last visited America (1867-68), his portrait was painted by Eytinge,
probably from sittings, and it is now in the possession of Mr. W. E. Benjamin of
New York. A lithographic reproduction of this painting, by the artist himself,
was published by Ticknor & Fields of Boston and New York in 1868, copies
of which are now seldom met with. I am enabled, through the kindness of
Mr. Stuart M. Samuel, to include in this volume a replica of a particularly
interesting impression of this rare print, on which Dickens has written the
concluding words of "A Christmas Carol:" "And so, as Tiny Tim observed,
God Bless Us, Every One." In the summer of 1869 Eytinge visited the
novelist at Gad's Hill, in company with Lowell and Fields, on which occasion
they together explored the slums of East London, including the opium-dens
so faithfully described in "Edwin Drood." The artist has now been dead for
some years ; during the latter part of his career he lived in retirement, on account
of ill-health.

I hav^ not attempted to enumerate all the illustrators who have executed
drawings for the innumerable editions of the works of Charles Dickens, pro-
duced by various publishing houses both at home and abroad, as their name
is Legion. There are, however, two or three artists, not already mentioned,
to whom a slight reference may fittingly be made. In 1871, Fields, Osgood
& Co. reprinted Dickens's beautiful and pathetic sketch entitled "A Child's
Dream of a Star," with ten full-page drawings by an American artist, Hammatt
Billings, which were engraved on wood by W. J. Linton. The imprint of
another Transatlantic publisher, S. E. Cassino, appears on the title-page of a
choice edition of "A Christmas Carol," 1887, quarto size, containing twenty-four
photogravure reproductions of new designs by J. M. Gaugengigl and T. V.
Chominski, which forms an attractive item for the collector of fine books.
This work was also on sale in England by G. Routledge & Sons, who, in
1894, brought out a diminutive edition of "The Cricket on the Hearth," very
tastefully printed by Guillaume of Paris, and containing several little woodcuts
designed by Marold and Mittis. The same story was included in the reprints
of Dickens's Christmas Books published by A. & F. Pears, having twenty-
five clever illustrations by Lucius Rossi, carried out in a style somewhat
similar to those by Charles Green. Particular interest attaches to certain
volumes published by Cassell & Co., entitled "Gleanings from Popular

226 APPENDIX I

Authors" (1882, &c.), as they contain several illustrations of Dickens scenes
by Joseph Nash, Fred. Barnard, T. Walter Wilson, J. E. Christie, and Gordon
Browne, the son of the famous "Phiz." To a booklet entitled "Tales from
Pickwick" (G. Routledge & Sons, 1888), Mr. E. J. Wheeler contributed seven
original and well-executed designs.

Messrs. Chapman & Hall's recently-pubHshed Gadshill Edition of "Hunted
Down " and " George Silverman's Explanation " contains three designs by Mr.
Maurice Greiflfenhagen, who, like Mr. Phil May, now figures as an illustrator
of Dickens for the first time. Mr. Greiffenhagen is also preparing six original
drawings for " American Notes " and " Pictures from Italy," which will be repro-
duced by photogravure for the same Edition, while another well-known artist,
Mr. Harry Fumiss, has been commissioned to provide four illustrations pf a like
character for " The Uncommercial Traveller."

As I write, another edition of " David Copperfield " is announced for early
publication by Mr. George Allen, the special feature of which will be the thirty-
six designs by a new Dickens illustrator, Mr. Phil May, whose admirable
draughtsmanship is familiar to us; there will also be issued a limited number
of sets of the illustrations, — full-size facsimiles of the drawings, signed by the
artist and accompanied by descriptive text. Messrs. J. M. Dent & Co. are
preparing an edition of Dickens's Works for their Temple Library, an interesting
feature of which will be a series of coloured frontispieces, from original drawings
by Miss L. M. Fisher, Mr. F. C. Tilney, and W. C. Cooke.

APPENDIX

CONCERNING "EXTRA ILLUSTRATIONS"

Independent Publications— Unauthorised Designs— List of Additional Illustrations— Diclceni'$
Calendars, Relief Scraps, &c— "Alfred Crowquill"— His Etchings in Beniltys
Miscellany — An Admirable Vocalist— His Illustrations for "Pickwick Abroad"— Kennv
Meadows- "The Nestor of Punch's Staff"— His Drawings in the Illustrated London
News — His Work Criticised — A Civil-List Pension — A Delightful Raconteur — T. Onwhyn
—His Signatures of "Sam Weller, Junr.," and "Peter Palette"— Illustrates Cockton's
Novels— Plates for "Pickwick" Recently Discovered— "Jacob Parallel"— A Punning
Advertisement — His Designs for " Charley Chalk"— F. W. Pailthorpe— The only Survivor
of the "Old School"— A Friend of George Cruikshank— Coloured Plates— C. D. GIBSON—
His Drawing of the Pickwick Club — His Individuality of Style.

SINCE the publication of "The Pickwick Papers" there have appeared, from
time to time, a number of designs illustrating the novels of Charles Dickens
which were issued independently of the particular stories that inspired
them, and generally without letterpress. Artists and publishers alike thus availed
themselves of the enormous popularity achieved by Dickens's writings, confident
in the belief that financial success would attend their efforts. Among those
responsible for the designing of what are usually termed " Extra Illustrations "
were many well-known draughtsmen of the day, including Habl6t K. Browne
(" Phiz "), Sir John Gilbert, R.A., Onwhyn, Kenny Meadows, Alfred Forrester
(" Crowquill "), and, more recently, Fred. Barnard and F. W. Pailthorpe. It must,
however, be admitted that, with regard to certain productions by artists less
skilled in the use of the pencil or etching-needle, such attempts to interpret
Dickens's conceptions conspicuously fail.

In particular instances the publication of supplementary plates was approved
by Dickens, but, for the most part, these independent illustrations were really
unauthorised, the booksellers merely trading on the popularity of the novels
(especially the earlier ones), which afforded unlimited scope for pictorial treatment.
That there must have been a fairly constant demand for them is proved by their
number and variety, nearly every form of reproductive art being made available
for these designs, including steel-engraving, etching, wood-engraving, lithography
chromo-Uthography, photogravure, &c. Some of the scarcer sets realise high

228 APPENDIX II

prices, and are naturally much in request. In the following list, which, I believe,
is practically complete, I have included a few Dickens illustrations that were
published in periodicals, in some cases with letterpress; although these cannot
strictly be regarded as " Extra Illustrations," they are not without interest to
the collector of such ephemeral productions. The names of the artists are
alphabetically arranged.

J. Absolon and F. Corbeaux.

Barnaby Rudge. — Four engravings on steel by Finden, from drawings by
Absolon and Corbeaux. Crown 8vo, green wrapper, price one shilling. To
accompany the first Cheap Edition, 1849. London: Chapman & Hall, 186
Strand, N.D.

These designs were portraits of the principal characters, viz., Dolly Varden
and Barnaby Rudge, by J. Absolon ; Emma Haredale and Miss Miggs, by
F. Corbeaux — the latter plate forming the frontispiece.

F. Barnard.

Character Sketches from Dickens.— Six lithographs, portraits of Mrs.
Gamp, Alfred Jingle, Bill Sikes and his Dog, Little Dorrit, Sidney
Carton, Pickwick. Elephant folio. London : Cassell, Petter & Galpin, N.D.
[1879]. Afterwards issued as photogravures (20 in. by 14J in.), price one
guinea. Reproductions on a reduced scale, etched by C. W. Walker, were
published by Estes & Lauriat, New York, N.D.

Character Sketches from Dickens.— Second Series. Six photbgravures.
Portraits of the two Wellers, Caleb Plummer and his Blind Daughter,
Rogue Riderhood, Mr. Peggotty, Little Nell and her Grandfather, Mr-
Pecksniff. Same publishers, 1884.

Character Sketches from Dickens. — Third Series. Six photogravures.
Bob Cratchit and Tiny Tim, Uriah Heep, Dick Swiveller and the
Marchioness, Betsy Trotwood, Captain Cuttle, Mr. Micawber. Same
publishers, 1885.

The entire series of eighteen plates were republished in Mr. Thomas
Archer's " Charles Dickens : Gossip about his Life, Works, and Characters,"
issued by the same firm. Sixteen of these Character Sketches were
subsequently reproduced in a cheap form, and presented to the readers
of CasselCs Family Magazine upon the occasion of its enlargement in
December 1896.
Two series of "Character Sketches," reproduced by photogravure, were

Plate LXVIII

ALFRED CROWQUILL (A. H. FORRESTER)

From a Phoiograph by
J. F. KNIGHTS

FREDERICK BARNARD, R.i.

From a Photograph by
J. W. ROLLER

I^tit by Mrs. P. Barnard.

]^cU^cy/<^ '^^^

APPENDIX II 229

included in "Gebbie's Select Portfolios of Literature and Art," Gebbie &
Husson Co. (Limited), Philadelphia, 1888-89. Eighteen of these were
executed from the above designs by F. Barnard, five from drawings by
other artists, and one from a photograph, the six additional subjects being
portraits of characters not comprised in Barnard's gallery, viz., Henry
Irving as Jingle, Mr. Toole as the Artful Dodger, Lotta as the Marchioness,
Jo the Crossing-Sweeper, Newman Noggs, Mr. Squeers and Mr. Snawley,
Montagu Tigg introduces himself to Martin Chuzzlewit and Tom Pinch.

The India-Proof Edition was issued in portfolios, green and buff, with
embossed design in gold and colour.
The Shakespeare-Dickens Combination Company.— Published in Lika
Joko, an Illustrated Weekly Conducted by Harry Fumiss, from November
17, 1894, to February 23, 1895.

W. G. Baxter.

Studies from Charles Dickens. Two series of portraits of the principal
characters, twenty-two in each series. Published in Momus, an illustrated
comic weekly periodical, Manchester, from September 25, 1879, to February
2, 1882. A selection from these portraits were reprinted in C. H. Ros^s
Variety Paper, February 1 888.

C. B. Bracewell.

Barnaby Rudge. — Etching of Barnaby, with a view of the " Boot " Inn. (The
only impression I have seen is in Mr. J. F. Dexter's Collection.)

H. K. Browne ("Phiz").

Pickwick. — " Illustrations to the Cheap Edition of the Works of Mr. Charles
Dickens." Six Illustrations to The Posthumous Papers of the Pickwick
Club, Engraved [on wood] from the Original Drawings by " Phiz." Green
wrapper, small 8vo, price one shilling, N.D. [ 1 847]. London : Darton &
Clark, Holborn Hill; Joseph Cundall, 12 Old Bond Street; John Menzies,
Edinburgh ; Cumming & Ferguson, Dublin ; James Macleod, Glasgow. And
sold by all Booksellers in Town and Country. The word "misletoe" is
misspelt in the title on one of the woodcuts. {Seep. 72.)

The Old Curiosity Shop. — "Four Plates, engraved [in stipple] under
the superintendence of Habldt K. Browne and Robert Young, to illustrate
the first Cheap Edition of ' The Old Curiosity Shop.' " Price one shilling.
Green wrapper. The subjects are: Little Nell and her Grandfather, the
Marchioness, Barbara, and The Death of Little Nell. " Published with the

230 APPENDIX II

Approbation of Mr. Charles Dickens." London: Chapman & Hall, 1848.
Also proofs on india-paper, one shilling each portrait. A few sets coloured,
now very scarce. {See p. 85.)

Barnaby Rudge. — "Four Plates, engraved [in stipple] under the superin-
tendence of Habldt K. Browne and Robert Young, to illustrate the Cheap
Edition of ' Barnaby Rudge.' " Portraits of Emma Haredale, Dolly Varden,
Barnaby and Hugh, Mrs. Varden and Miggs. " Published with the Approba-
tion of Mr. Charles Dickens." London: Chapman & Hall, 186 Strand, 1849.
Issued in green wrapper, price one shilling. A few sets coloured, now
very scarce. These and the preceding designs were re-engraved by E. Roffe
in 1889. {Seep. 85.)

"Little Nell" and "Dolly Varden." Engraved on steel by Edwin
Roffe, from hitherto unpublished drawings by Habldt K. Browne. On india-
paper, the impression limited to lOO proofs, with remarques printed in black,
and 100 with remarques in brown, after which the remarques were cancelled.
These plates were accompanied by explanatory text, and issued in a leatherette
case, price los. 6d. Published by Frank T. Sabin, 3 Garrick Street, W.C,
and John F. Dexter, 16 Minford Gardens, West Kensington, 1889.

DOMBEY AND SON.— " The Four Portraits of Edith, Florence, Alice, and Little
Paul. Engraved [on steel] under the superintendence of R. Young and
H. K. Browne. From Designs by Habldt K. Browne. And Published with
the Sanction of Mr. Charles Dickens." London: Chapman & Hall, 186 Strand,
1848. In green wrapper, price one shilling. These engravings were also
published as proofs on india-paper, 4to, price one shilling each portrait.
Some sets coloured.

DOMBEY AND SoN. — " Full-length Portraits of Dombey and Carker, Miss Tox,
Mrs. Skewton, Mrs. Pipchin, Old Sol and Captain Cuttle, Major Bagstock,
Miss Nipper, and Polly. In Eight Plates, Designed and Etched by Habldt
K. Browne, and published with the Sanction of Mr. Charles Dickens."
London: Chapman & Hall, 186 Strand, 1848. In green wrapper, price two
shillings. Some sets coloured. The series of twenty plates, viz., "The Old
Curiosity Shop," " Barnaby Rudge," and " Dombey and Son," were recently
reprinted on india-paper, and issued by F. T. Sabin in a portfolio, price
£2, 10s. {See pp. loo-ioi.)

"Brush."

Master Humphrey's Clock.— No. I. Portraits of Master Humphrey, Little
Nell, and the Old Man, with remarks on each character, and an address,
stating that "The following sketches are the commencement of a series
illustrating the principal characters in 'Master Humphrey's Clock,' to
appear at monthly intervals, in parts similar to the present." Etchings by

APPENDIX II 231

"Brush." London, printed for the proprietor by W. T. Davey, 16 Great
Sutton Street, Clcrkenwell; published by W. Britain, 1 1 Paternoster Row, 1840.
Price one shilling.

Alfred Bryan.

Characters from Dickens.— Full-length studies of the principal characters
Published m Jack and Jill, 1886.

Christopher Coveny.

Twenty Scenes from the Works of Dickens.— Designed and etched by
Christopher Coveny, with letterpress descriptions. Sydney: Printed for
Thos. H. Fielding by John Sands, 374 George Street, 1883. 4to.

The subjects of eleven of these plates are taken from " Pickwick." A
duplicate plate (No. 7), representing Mr. Pickwick and his friends on the
ice, is also included, the subject being re-etched and the design altered
because the first plate too much resembled "Phiz's" rendering of this
scene.

"Alfred CROWQUILL" (Alfred Henry Forrester).

Pictures Picked from the Pickwick Papers. — Forty lithographs (etchings
on stone) by Standidge & Co., from drawings by "Alfred Crowquill," com-
prising nearly two hundred subjects. Issued in ten parts (or sheets), bufl
illustrated wrappers, from May i to November 9, 1837. Price of each
part, one shilling plain, two shillings coloured. Published complete in
lavender-tinted wrapper, demy 8vo, and in cloth. London : Ackermann
& Co., 96 Strand [1837]. The plates in Part \. only are signed. Repro-
ductions have also been issued, etched on copper by F. W. Pailthorpe
and published by F. T. Sabin, 1880. Price, coloured, £2, 15s., uncoloured,
£\, 1 8s. Within the last few years sets of the "Crowquill" plates have
been catalogued at twenty guineas. {See also " Thomas Onwhyn.")

F. O. C. Darley.

Scenes from Dickens. — Eight photo-etchings, from original paintings — the
last productions of this American artist. Issued in a portfolio, and afterwards
printed in the Imperial Edition of the novelist's works by Estes & Lauriat,
Boston, U.S.A.

A. DULCKEN.

Scenes from the Pickwick Papers. — Designed and drawn on stone by
Augustus Dulcken. Four plates, oblong folio, illustrated wrapper. Under
each plate is a descriptive quotation. London : Bickers & Bush, i Leicester

232 APPENDIX II

Square, N.D. [1861]. Proofs, los. 66. Very scarce. The subjects of the
designs are : (i) Death of the Chancery Prisoner ; (2) Meeting of the Ebenezer
Temperance Association ; (3) The Leg of Mutton " Swarry ; " (4) The Old
Man's Tale about a Queer Client. On the wrapper are depicted portraits
of Pickwick, Sam Weller, and Alfred Jingle; and scenes representing the
Shooting Party at Wardle's, and Mrs. Weller entertaining Stiggins.

J. W. Ehninger.

Dickens Characters. — Photographic reproductions of drawings by J. W.
Ehninger. Cabinet size, price one shilling each portrait. Published by
W. A. Mansell & Co., 316, 317 (now 405), Oxford Street, London, 1876.
The series included the following : Mr. Pickwick, Sam Weller, The Fat Boy,
Rev. Stiggins, Mrs. Gamp, Mr. Pecksniff, Little Nell and her Grandfather,
Dolly Varden, Florence and Paul Dombey, Edith Dombey (two versions).
Little Em'ly, and Little Dorrit

C. D. Gibson.

The People of Dickens. — Six large photogravures from original drawings.
Issued in a portfolio, proofs, 20s. London : John Lane ; New York :
R. H. Russell, 1897. These drawings were originally made for an
American publication called The Ladies^ Home Journal, and were reprinted
in Black and White at intervals during 1 896-97.

Sir John Gilbert, R.A.

Pickwick. — "Appleyard's Edition. Price 2d. Plates to illustrate the Cheap
Edition of the Works of Mr. Charles Dickens. From original designs by
John Gilbert, Esq. Engraved [on wood] by Messrs. Greenaway & Wright."
Eight monthly parts, post 8vo, each containing four plates engraved on
wood. Buff illustrated wrappers. Part 4 was issued with Part 5 in one
wrapper, and the same condition was observed regarding Parts 7 and 8, the
price of these double numbers being fourpence. Some of the designs are
printed on the front of the wrappers, and on the inside of the back of the last
wrapper appears a list of the thirty-two plates, with pagination. A limited
number were printed on india-paper. London : E. Appleyard, 86 Farring-
don Street, N.D. [1847]. These excellent plates are extremely rare.

Nicholas Nickleby. — "Appleyard's Edition. Price 2d. Plates to illustrate
the Cheap Edition of the Works of Mr. Charles Dickens." Thirty-two
designs, engraved on wood by Greenaway & Wright, and published in
parts. Post 8vo. The first instalment (with portrait of Squeers on a buff
illustrated wrapper) contains four designs, which were all that Gilbert pro-

Plate LXIX

F. W. PAILTHORPE

From a Photograph by
F. W. CLARK

Lenliji Ihi Artist.

CHARLES GREEN, R.L

From a Photograph

Leat by Mr. TmenUy Green, A". /.

^\>r9uiL^

APPENDIX II 233

duced, the remainder (unsigned) being by inferior artists, the majority
engraved by C. M. Gorway. Published complete in a yellow illustrated
wrapper by E. Appleyard, 86 Farringdon Street, London. Price is. 6d.
"The Cricket on the Hearth."— Six woodcut Portraits of the Principal
Characters. Unsigned. The Pictorial Times, Dec. 27, 1845.

W. Heath.

" Pickwickian Illustrations."— Twenty etched designs, demy 8vo. Orna-
mental paper wrapper, having title printed in gold on a black label. Price 58.
London: T. McLean, Haymarket, 1837. All the plates bear the title,
" Pickwickian Illustrations " as a headline, and, with the exception of the last
four, are numbered ; the last four bear the publisher's imprint. A set of these
scarce etchings was recently catalogued at twenty guineas.

" Kyd " (J. Clayton Clarke).

The Characters of Charles Dickens.— A series of original water-colour
drawings, signed with monogram, J.C.C. A collection of these, 241 in
number, reaUsed ten guineas at the Cosens sale in 1890. Mr. Thomas
Wilson possesses 331 drawings by "Kyd," which probably include those
formerly owned by the late Mr. F. W. Cosens.

A series of twenty-four of these drawings were reproduced by chromo-
lithography, small 410, illustrated boards, and published by Raphael Tuck &
Sons, London, Paris, and New York, N.D.

The Characters of Dickens.— Studies of a few of the leading personages in
the novels. The Fleet Street Magazine, 1887.

•W. Maddox and H. Warren.

"Little Nell" and "Mrs. Quilp." — Engraved by Finden from drawings by
W. Maddox and H. Warren respectively, for the first Cheap Edition of " The
Old Curiosity Shop," 1848. London: Chapman & Hall. Kenny Meadows
designed a portrait of " Barbara " for the same work.

Kenny Meadows.

Dickens Characters.— " Gallery of Comicalities." — "London Particulars."
This series of portraits (some of which are signed with the artist's initials)
include Fagin, the Artful Dodger, Charley Bates, Sam Weller, Oliver Twist,
Mr. Bumble. Each portrait is accompanied by a poem of forty lines. Pub-
lished in Belts Life in London, 1838.

Heads from "Nicholas Nickleby." — Portraits of twenty-four of the prin-
cipal characters, "from drawings by Miss La Creevy." Six parts, demy Svo,

234 APPENDIX II

price 6d. each. London: Robert Tyas, Cheapside, N.D. [1839]. The separate
parts were enclosed in a buff illustrated wrapper, having at each corner a
portrait of a member of the Nickleby family, and in the centre a representa-
tion of Miss La Creevy, seated before a portrait of " Boz " (after S. Laurence).
Included among the advertisements in the first number is an announcement
of this production, with an engraving depicting Miss La Creevy at work.
The illustrations are here said to be "etched by A. Drypoint," but they are
really woodcuts. The following explanatory statement, which forms part of
the announcement, is not without interest : " These ' Heads ' will comprise
Portraits of tlie most interesting individuals that appear in 'The Life and
Adventures of Nicholas Nickleby,' selected at the period when their very
actions define their true character, and exhibit the inward mind by its out-
ward manifestations. Each Portrait will be a literal transcript from the
accurate and vividly minute descriptions of this able and graphic author, and
will present to the eye an equally faithful version of the maiden simplicity of
Kate Nickleby — the depravity of Sir Mulberry Hawk — the imbecility of his
dupe — the heartless villainy of the calculating Ralph — the generosity of the
noble-minded Nicholas — the broken spirit of poor Smike — and the brutality
of Squeers. These and many others furnish subjects for the display of the
Artist's genius, and will form an interesting and most desirable addition to
the work." The " Heads " were also issued in a collected form, in a green
wrapper and in cloth, and were republished in " The Scrap Book of Literary
Varieties," the names of the characters being changed into brief descriptive
titles, such as " Miniature Painter" instead of " Miss La Creevy." Cloth, 8vo.
London : Edward Lacy, 74 St. Paul's Churchyard, N.D.
" Barbara." — Engraved by Finden, and published with two plates by W.
Maddox and H. Warren to illustrate the first Cheap Edition of "The Old
Curiosity Shop," 1848. Price 7d. London: Chapman & Hall.

Thomas Onwhyn ("Sam Weller," "Peter Palette").

Illustrations to the Pickwick Club.— Thirty-two plates by "Samuel
Weller." "The local scenery sketched on the spot." The majority are
signed "Samuel Weller, delt. ;" a few bear the artist's initials, "T.O.," while
others have no signature appended. Issued in eight monthly parts, green
wrappers, demy 8vo, one shilling each, and published complete in one
volume, boards, price 9s. London: E. Grattan, 51 Paternoster Row,
1837. According to the announcement on the cover of Part I., there were
to have been ten parts, and india-proof impressions, 4to, price 2s. Some of
the unsigned plates are much inferior to those bearing Onwhyn's signature.
A set of these " Pickwick " plates, in the original parts, have been catalogued at
fifteen guineas. Lithographic replicas were issued in small 8vo by J. Newman,

APPENDIX II 235

48 Watling Street, 1848, for insertion in the first Cheap Edition of "Pickwick."
Twelve of these plates (etched by J. Yeagcr) were included in a "new
edition " of " Pickwick " published by Carey, Lea, & Blanchard, Philadelphia,
1838, and reprinted in 1850. {See also "Alfred CrowquiU.")

Illustrations to the Pickwick Club. — Twelve etchings on steel, 1847.
Published in green wrapper by A. Jackson, 224 Great Portland Street, in 1894.
Prices, per set, india-proofs 30s. ; coloured by Pailthorpe, 25s. ; plain, 188.

Illustrations to "Nicholas Nickleby." — "Edited by 'Boz.' By Peter
Palette, Esq." Forty etchings, comprising ten portraits and thirty scenes.
Issued in nine parts, demy 8vo, price one shilling each, green and buff
wrappers, having a design representing an easel with a palette affixed.
Published at intervals from June 30, 1838, to October 31, 1839, and subse-
quently as a volume. London : E. Grattan, Paternoster Row, 1839. The
publisher, when launching these designs, seemed unable to determine the
exact number of parts in which they should appear. On the wrappers of
Parts I to 5 it is stated that they would be completed in eight parts ; on the
wrappers of Parts 6 and 7, in ten parts ; and on that of Part 8, in nine parts.
Parts I to 5 contain four plates each, 6 to 8 contain five plates each, and 9
contains five plates, thus making the full complement of forty designs. The
work was afterwards republished by Grattan & Gilbert, 5 1 Paternoster Row,
and again reprinted {circa 1847) — thirty-two plates only, which were styled
" proofs " — in small 4to, on buff paper. About the same time a similar
number of these designs were issued as lithographs, in eight parts, small 4to.
Newman, N.D.

In 1897, Mr. George Allen, of 156 Charing Cross Road, issued india-proof
impressions from the thirty-two original steel plates for " Pickwick," and
from thirty-eight for " Nickleby," the edition being strictly limited to 250
sets for each work. Price £S, 5s. per set. Cloth portfolio, 12 by 9 inches,
with title-page and list of subjects. The plates have been well preserved.

H. M. Paget.

Pickwick Pictures. — Six character sketches, printed in colours, with letter-
press. Crown 8vo. Illustrated wrapper. London : Ernest Nister, 24 St.
Bride Street, E.G. New York: E. P. Dutton & Co., 31 West Twenty-Third
Street, N.D.

F. W. Pailthorpe.

Pickwick. — Twenty-four etchings, from original drawings, of scenes not pre-
viously illustrated. Impl. 8vo. Illustrated wrapper. London : Robson &
Kerslake, 1882. Price two guineas the set, proofs on india-paper (before
letters), three guineas.

236 APPENDIX II

Pickwick. — Three vignette titles, etched in 1892 for an extended version of the
Victoria Edition. An original tinted drawing (unpublished) of " Gabriel Grub
and the Goblin " is included in Mr. Thomas Wilson's Collection.

Oliver Twist. — Twenty-one etchings. London : Robson & Kerslake, 23
Coventry Street, Haymarket, 1886. Only fifty sets printed, a few of which
were coloured by the artist, also proofs on india-paper, in portfolio.

Great Expectations. — Twenty-one etchings. London : Robson & Kerslake,
23 Coventry Street, Haymarket, 1885. Only fifty sets printed, a few of
which were coloured by the artist ; also proofs on india-paper, in portfolio.

Mr. Pailthorpe has designed and etched frontispieces (some coloured) for
reprints of the following : " The Strange Gentleman " and " The Village
Coquettes," 1880 (C. Hindley); "Is She His Wife?" "Mr. Nightingale's
Diary," and "The Lamplighter," 1887 (Robson & Kerslake). The first
set of impressions of the frontispiece for "The Village Coquettes" was
coloured, after which the plate disappeared, so that no plain impressions
could be issued. The only uncoloured print, taken before the completion
of the etching, is included in Mr. Thomas Wilson's Collection. This plate
was the artist's second attempt at designing.

Mr. Pailthorpe has etched a portrait of Samuel Weller writing his love-
letter, for "The Origin of Sam Weller" (Jarvis & Son), 1883; the frontis-
piece and vignette-title for "A New Piljian's Projiss, written by Mrs. Gamp,
edited by Charles Dickens," 1890 (unpublished); etched borders containing
characters and scenes from Dickens, for Mr. William Wright, of Paris. The
artist also designed six new plates for the " Memoirs of Grimaldi," which,
however, were only edited by Dickens.

"Jacob Parallel."

"Jacob Parallel's Hands to Humphrey's Clock; or. Sketches from the
Clock Case." — Twelve etchings on steel, illustrating "The Old Curiosity Shop "
and "Barnaby Rudge." Two parts, Impl. 8vo, green illustrated wrappers,
price two shillings each. London : G. Berger, Holywell Street, Strand,
N.D [1840-41]. A series of illustrations of the principal scenes and portraits
of the characters, ten for the first story and two for the second. The design
on the wrapper represents Master Humphrey standing on a chair winding
up the clock, against which rests a framed portrait of " Boz."

E. Richardson.

Barnaby Rudge's Portrait Gallery. — During the serial issue of " Barnaby
Rudge," Mr. W. Britain, 11 Paternoster Row, advertised on one of the
weekly wrappers (August 28, 1 841) a series of twenty "splendid engrav-
ings " by this artist, price twopence, but I have never seen them.

APPENDIX II 237

Thomas Sibson.

"SiBSON's Racy Sketches of Expeditions, from the Pickwick Club."—
Ten etchings, with letterpress, demy 8vo, green illustrated wrappers,
price 2s. 6d. London: Sherwood, Gilbert & Piper, 1838. The design on
the wrapper depicts Dickens standing on Mr. Pickwick's head, holding aloft
an enormous quill pen, the pseudonym " Boz " appearing on his coat-sleevea.*
The above title is printed on the wrapper, but on the title-page it runs thus :
" Sketches of Expeditions, from the Pickwick Club." The Preface reads as
follows: "Originally the Pickwick Club appeared with four Illustrations:
but since Death chilled the life-depicting hand of poor Seymour, two Em-
bellishments have disappeared, while eight pages of letterpress have been
added. These papers, thus arranged, bursting as they do with incident, and
intoxicated as they are with wit, must have come before the public without
Illustrations for many of their most striking scenes. Reader, were it not so,
these Sketches had never seen the light of your eyes. The artist's hope is
(may you find it not a vain one) that these humble efforts may afford some of
the pleasure he enjoyed when imagining them. — 11 Buckingham St., Portland
Place, London. January ist, 1838." A copy of this scarce work realised
;{ri8 at Sotheby's in 1895.

"Illustrations of Master Humphrey's Clock." — Seventy-two etchings,
issued during the publication of this work, 1840-41. Eighteen parts, each
containing four plates, some with remarques. Impl. 8vo, green wrappers,
price one shilling each part. Afterwards issued in two volumes. London :
Robert Tyas, Paternoster Row, 1842. Only seventy plates are mentioned
on the title-page and in the index. On some of the wrappers is a vignette
of a clock, and on others we find a representation of Master Humphrey
sitting on a chair. These plates are exceedingly scarce in the original parts
as issued, sets having been catalogued at twenty-five guineas. Copies of
some of the Sibson designs were etched by J. Yeager for contemporary pub-
lication in a Philadelphia edition of " Barnaby Rudge," together with similar
replicas of a few of " Phiz's " woodcuts which appeared in the authorised
English edition.

F. Stone, A.R.A.

Nicholas Nickleby. — "Three Portraits of Kate Nickleby, 'Tilda Price, and
Madeline Bray, from original paintings by Frank Stone, engraved [on steel]
by Edward Finden, and published with the approbation of Mr. Charles
Dickens." For the first Cheap Edition of " Nicholas Nickleby." Crown 8vo,
green wrappers, price one shilling. Proofs on india-paper, 4to, one shilling

238 APPENDIX II

each portrait. London: Chapman & Hall, i86 Strand, 1848. The engraved
titles are as follow : " Kate Nickleby sitting for her Portrait," " 'Tilda Price
dressing for the Tea Party," and "Madeline Bray pausing in her Work."
{See pp. 178-9).

" Stylus."

"The Dickens Aquarelles. First Series."— " Twelve Original Character
Illustrations of the Pickwick Papers." Portfolio, illustrated boards. New
York. J. W. Bouton, 1152 and 706 Broadway, 1888.

"The Dickens Aquarelles. Second Series." — "Twelve Original Char-
acter Illustrations of ' The Old Curiosity Shop.' " Portfolio, illustrated
boards. Same publisher and date. These inferior drawings are crudely
coloured by hand, the name of each Character being written in the margin.

Weld Taylor.

Nicholas Nickleby.— " The Baron von Grogzwig." Lithograph, Impl. 8vo.
"Sketches by Weld Taylor, No. i." London: J. Mitchell, 33 Old Bond
Street, N.D. In 1838 Weld Taylor reproduced by lithography the beautiful
portrait of " Boz " by S. Laurence.

C. H. Wall.

Martin Chuzzlewit. — Four woodcuts, 8vo, green illustrated wrapper, price
sixpence. London : Hezall & Wall, 1 1 3 Strand.

Nelson P. Whitlock.

Dickens Illustrations.—" Twenty-four Original Sketches from the Writings
of Charles Dickens." 4to. No publisher's imprint, N.D.

T. C. W.

"Illustrations to Master Humphrey's Clock."— Four lithographs,
illustrating the first portion of the story. Impl. 8vo. No publisher's im-
print, N.D. Issued without a wrapp>er. Only two of these plates are
signed (T. C. W.), and under each appears a descriptive quotation.

APPENDIX II 239

w. c. w.

Pickwick. — Twelve woodcut portraits of " Pickwick " characters, first published
in "Sam Weller's Jest Book," issued in penny numbers, and afterwards
in Nos. 48, 51, 52 of a weekly paper called Tlu Casket (Dec. 2, 23, 30, 1837)
in twopenny numbers. London: Berger & Co., Holywell Street, and
Piggott & Co., Fleet Street, 1837.

Anonymous.

"Original Illustrations to the Pickwick Papers." — Four parts, each
containing four designs. Price 2d. each part. Small 8vo. Green illustrated
wrapper, depicting portraits of fourteen Pickwickian characters. London :
W. Strange, Paternoster Row, N.D. [1847]. These woodcuts were intended
for binding in the first Cheap Edition. On the wrapper of Part I. it is announced
that the work would be completed in eight parts, and that four engravings
would be issued monthly; but it is believed that the fourth part was the
final one.

In 1838, a number of woodcut portraits of Dickens Characters were
published in The Penny Satirist and in Cleave' s Penny Gazette of Variety
(Late the London Satirist), afterwards called Cleaves Gazette of Varieties.
These woodcuts consist of a series of twelve " Portraits of Oliver Twist " and
twelve "Characters from 'Nicholas Nickleby,'" with descriptive quotations,
&c., and were enlarged copies of the figures in the original etchings by Cruik-
shank and "Phiz." They were afterwards re-issued on a broad sheet,
with the title, " Cleave's Twelfth-Night Characters," and sold by J. Cleave, i
Shoe Lane, Fleet Street.

In 1 84 1, Cleave issued a work called " Parley's Penny Library," in which
were introduced selections (in the form of dialogues) from "The Old
Curiosity Shop" and "Bamaby Rudge," then in course of pubhcation.
They were illustrated by means of wood-engravings, the majority of those
in " Barnaby Rudge " being enlarged copies from " Phiz's " original designs.
These woodcuts (twelve in number) were also reprinted, with the title,
" Cleave's Gallery of Comicalities — Recollections of Barnaby Rudge."

On the wrapper of the fourth weekly number of " Master Humphrey's
Clock" (April 25, 1840) appears the following announcement: "Cheap
illustrations of Boz. Now publishing, on a broad-sheet, nearly as large as
The Times, price 2d. * The Twist and Nickleby Scrap Sheet,' with twenty-
four engraved portraits. Also, price 2d., ' Sam Weller's Scrap Sheet,' con-
taining forty portraits of all the Pickwick characters. The above sheets are

240 APPENDIX II

enriched with poetic effusions by A. Snodgrass, Esq., M.P.C., and will be
found worthy the attention of all who desire ' to laugh and grow fat ; ' they
are alike fit for the scrap-book of the mansion or the walls of the cottage."
These scarce sheets were issued by Cleave, having doubtless first been
published in his Gazette.

Certain dramatised versions of Dickens's stories, by E. Stirling and
others (published by John Buncombe & Co., lo Middle Row, Holborn),
contain frontispieces etched by Findlay, which are worthy of the Collector's
attention. Besides these, innumerable Dickens illustrations have appeared
from time to time, embracing every form of reproductive art. Calendars,
relief scraps, booklets, &c., &c., both in colour and in black-and-white, are
brought out by enterprising firms year by year, and merely to catalogue
them would now be practically impossible.

NOTES ON SOME OF THE ARTISTS. >

"Alfred CrowqUILL." — The actual name of the artist who favoured this
pseudonym was Alfred Henry Forrester. Born in 1804, he began his career
as a draughtsman when eighteen years of age, distinguishing himself rather
by his correctness than by serious forms of illustration. At the death of
Seymour in 1836, he competed with "Phiz," Thackeray, Leech, and others
for the vacant post as illustrator of " Pickwick," but without success. For a
time he belonged to the staff of Bentley's Miscellany, and many of his etchings
appeared in that journal during 1840-43. He was able to use his pen and
pencil with equal facility and ability ; in addition to this he was an admirable
vocalist, and we are told that most of the Christmas pantomimes of his day
were indebted to him for clever designs, devices, and effects. Forrester was
also a member of the Punch staff, where, owing to his happy and genial
disposition, he was highly popular. Besides his " Pickwick Pictures," there
are other designs by him possessing a Dickensian interest, viz., the illus-
trations which he supplied to a curious production entitled " Pickwick
Abroad; or, The Tour in France," which was launched by G.,W. M. Reynolds
in 1839. "Alfred Crowquill" died in 1872, aged sixty-eight.

Kenny Meadows. — This clever draughtsman (who abandoned the use of his
first Christian name, Joseph), was the son of a retired naval officer, and was
bom at Cardigan in 1790. He has been described as "the Nestor oi Punch's
staff," and not only did he contribute many humorous designs to the pages
of the Fleet Street journal during the 'forties, but he frequently prepared
elaborate drawings for the Illustrated London News, in the early volumes
of which may be found his most successful delineations. His representations
of fairy subjects, although marked by mannerisms, were in great request.

APPENDIX II 241

His work is hardly remembered in this generation, but to speak of Kenny
Meadows " is to recall the typical art of the illustrator and (such as it was)
of the comic draughtsman of the first half of the century."

During his last years Kenny Mcadows's services as an illustrator of books
were rewarded by a pension from the Civil List of ;{^8o per annum. He
was a boon companion, a delightful raconteur when at the club, and a jovial,
roystering Bohemian when he left it. This generous and kind-hearted man
died in 1874, when he had almost completed his eighty-fifth year.

It is worth recording that a highly-finished drawing, in pen and ink
and sepia, of Ralph Nickleby, designed by Kenny Meadows as an illustra-
tion for his series of " Heads from ' Nicholas Nickleby,' " realised £j, los.
at Sotheby's in 1893, the drawing being about twice the size of the
engraving.

T. OnwhyN. — This artist, best known perhaps by his Extra Illustrations to
" Pickwick " and " Nicholas Nickleby," was the son of a bookseller in
Catherine Street, Strand. He signed his Dickens etchings with a pseudonym,
adopting in the one instance that of "Sam Weller, Junr.," and in the
other that of " Peter Palette." Onwhyn also prepared several plates for
"Valentine Vox" and other novels by Cockton. He occasionally contri-
buted to Punch, but was more accustomed to the etching-needle than the
pencil, his drawing on wood being hard and unsympathetic. This popular
book-illustrator died in 1886, having then relinquished drawing for a period
of sixteen years.

The twelve plates etched by Onwhyn in 1847 to illustrate the first Cheap
Edition of " Pickwick " were intended for independent publication, to com-
pete with the series of extra engravings by Gilbert; but before there was
time to complete the necessary arrangements the set of etchings produced
by him in 1837 were re-issued. This took the artist by surprise, and he
therefore abandoned the idea of circulating the new designs. The plates
were put aside, and their existence forgotten until 1893, when they were
unearthed by the Onwhyn family, and subsequently purchased by Mr.
Albert Jackson, of Great Portland Street, who published them in 1894.

"Jacob Parallel." — The etched illustrations by this artist for "Master
Humphrey's Clock " are decidedly crude, contemporary criticisms notwith-
standing. Their publication was announced in a somewhat original manner
on the wrappers of Dickens's work, when the latter was launched in weekly
numbers. One of these advertisements begins thus: "A clock is of no
use without hands! Then, buy 'Hands to Master Humphrey's Clock.'"
Concerning these curious illustrations a contemporary critic punningly ob-
served : " These ' Hands ' are, upon the face of them, a very striking matter,
and no clock ought to be wound up without them. . . . They give the finish

242 APPENDIX II

that was wanted to the ' Clock,' and the public will, we have no doubt, keep
them going."

In 1840, a book was published in parts (by G. Berger, Holywell Street),
entitled "Charley Chalk; or, The Career of an Artist," with illustrations
by " Parallel." These designs were declared to be " superior to many in
* Nickleby,' " while the volume itself was described by reviewers as " another
' Pickwick,' " and as " the only work fit to stand by the side of ' Boz.' "
F. W. PailTHORPE. — This essentially humorous artist and etcher, who is still
living, may be correctly designated the only survivor of the "old school" of
book-illustrators, as represented by Cruikshank and " Phiz." Mr. Pailthorpe
was a personal friend of the former, to whom he sometimes alludes as
"dear old George Cruikshank," and doubtless this association with the
famous designer considerably influenced the style and manner of Mr. Pail-
thorpe's work. Indeed, this seems obvious to any one who compares the
many Dickens plates drawn and etched by him with similar designs by the
illustrator of " Sketches by Boz " and " Oliver Twist." A noteworthy feature
of Mr. Pailthorpe's illustrations for Dickens's works is that a limited
number of impressions have been coloured by his own hand, and the
designs so treated are, in that respect, reminiscent of John Leech's plates
for " A Christmas Carol."

Mr. Pailthorpe, by reason of his unique position as the sole represen-
tative of the "old school" of book-illustrators, has received commissions
from publishers to copy the etched designs by other artists, in cases where
the original plates have been lost or are otherwise inaccessible. He has
thus reproduced " Crowquill's " " Pickwick " illustrations, the two cancelled
designs by Buss for the same work, two of Onwhyn's illustrations for
"Nickleby," and, quite recently, the two etchings by Cruikshank for the
Mudfog Papers ; these replicas have just appeared in the Gadshill Edition
now being issued by Chapman & Hall.
Charles Dana Gibson. — This young American artist, who has frequently con-
tributed to a New York journal called Life, recently essayed to illustrate
Dickens by means of a series of cleverly-executed drawings representing
some of the principal characters and incidents. The most satisfactory is
his picture of the Pickwick Club, the portrait of Mr. Pickwick himself being
capitally depicted. There is a distinct individuality of style in Mr. Gibson's
work, rendered for the most part in pen-and-ink, and marked by a simplicity
of treatment which is eminently attractive and effective. Although great
ability in draughtsmanship distinguishes all his drawings, it may be con-
tended that he is not invariably fortunate in realising the novelist's con-
ceptions. Mr. Gibson's drawings of Dickens subjects have been excellently
reproduced on both sides of the Atlantic.

APPENDIX
III

DICKENS IN ART

Paintings of Scenes and Characters in Dickens's Novels— Portraits of Dolly Varden and
Kate Nickleby Painted for the Novelist by Mr. W. P. Frith, R.A.— A Humorous Adver
tisement— Sale of the Two Pictures— Mr. Frith's Recollections— Mr. James Hamilton
Presents to Dickens his Sketch of "What are the Wild Waves Saying?"— The Artist
Rewarded for his Generosity — Water-Colour Drawings by Charles Green — How they
Originated — An Interesting Series.

THE novels of Charles Dickens are an interminable storehouse of subjects
for pictures, so it is not surprising that they have always exercised a
fascination over painters. The following is a list merely of those pictures
that have come under my notice, — a collection which, doubtless, could be much
amplified by reference to the catalogues of the Royal Academy and other im-
portant Art galleries.

\y. A. Atkinson. — " Little Nell and the two Gravediggers " ("The Old Curiosity

Shop"). Royal Academy, 1856.
Fred. Barnard.—" Sidney Carton " ("A Tale of Two Cities ")• Exhibited at
the Royal Academy, 1882.
" Horatio Sparkins " (" Sketches by B02 "). Institute of Painters in Water-
Colours, 1885.
W. H. Bartlett.— " ' The sea, Floy, what is it always Saying ? ' " (" Dombey

and Son ").
Edgar Bundy, R.I. — " Bamaby Rudge at the Country Justice's." Institute of

Painters in Oil-Colours, 1896.
R. W. Buss.—" Peerybingle, Dot, and Tilly Slowboy " (" The Cricket on the
Hearth").
"Joe Willet taking leave of Dolly Varden" ("Bamaby Rudge").
"Trotty Veck and his Dinner" ("The Chimes"). {Seep. 55.)
G. Cattermole.—" Little Nell's Home" ("The Old Curiosity Shop"), 1842.

" Little Nell's Grave" (companion picture), 1842. {Seep. 134.)
Horace H. CauTY. — "Bebelle looking out for the Corporal" ("Somebody's
Luggage"). Society of British Artists, 1880.

•43

244 APPENDIX III

Herbert Dicksee. "The Grandfather at the Grave of Little Nell." Royal
Academy, 1887.

W. Maw Egley. — "The Marchioness Playing Cribbage in Dick Swiveller's
Sick-Room " ("The Old Curiosity Shop "). Royal Academy, 1898.

F. Edwin Elwell. — " Charles Dickens and Little Nell." A bronze group, pur-
chased by the Fairmount Park Art Association for the Fairmount Park,
Philadelphia, U.S.A. The figure of Little Nell was exhibited at the Art Club,
Philadelphia, and awarded the Gold Medal, while the entire group obtained
a prize at the Columbian Exhibition. When exhibited in England, this
work of Art met with warm approval, and the sculptor offered it to the
London County Council, but the emphatic wish of Dickens (as expressed in
his Will) prohibited their acceptance of this interesting memorial.

W. P. Frith, R.A. — " Dolly Varden," 1843. Also replicas and other portraits,
including one representing her with Emma Haredale. {See pp. 246-7.)
"Kate Nickleby at Madame Mantalini's." Royal Academy, 1843.
" The Jailer's Little Daughter Feeding ' the Birds in the Cage.' " (" Little

Dorrit ").
" Little Dorrit Visits Arthur Clennam at the Marshalsea."
The first portrait of Dolly Varden was engraved by C E. Wagstaffe in
1843; the third (now in South Kensington Museum) was reproduced in
mezzotint by S. W. Reynolds; the fourth, "Dolly Varden and Emma
Haredale," was engraved by S. W. Reynolds and G. S. Shury in 1845.
The second portrait of Dolly, which was painted for Dickens, has never
■ been engraved; there are in existence, however, a few impressions of a
chromo-lithographic reproduction (now very scarce) of Mr. Frith's original
sketch for the picture, the publication of which was unauthorised. The
portrait of Kate Nickleby was engraved by W. HoU, A.R.A., and published
in 1848 exclusively for the members of the National Art Union for Ireland.

The "Dorrit" pictures were painted in 1859, and engraved on steel by
Lumb Stocks, R.A., as vignettes for the Library Edition, then in course of
publication.

W. Gale.—" Mr. F.'s Aunt " (" Little Dorrit "). Royal Academy, 1857.

When Wilkie Collins saw this clever picture at the Academy, he was so
much impressed that he wrote at once concerning it to Dickens, who replied
(May 22, 1857): "I am very much excited by what you tell me of Mr. F.'s
Aunt. I already look upon her as mine. Will you bring her with you ? "
The painting was purchased by Dickens through Collins, and realised at the
sale of the novelist's effects the sum of sixty guineas.

Florence Graham. — "Little Nell seated in the Old Curiosity Shop." En-
graved in mezzotint by Edward Slocombe, and published by Buck & Reid,
179 New Bond Street, 1888.

APPENDIX III 245

Largt Drawings in Water-Coloun.

Charles Green, R.I.—" Gabriel Varden Preparing to go on Parade " ('• Bamaby
Rudge").
"Tom Pinch and Ruth" ("Martin Chuzzlewit ").

" Nell and her Grandfather at the Races " ("The Old Curiosity Shop").
" Captain Cuttle and Florence Dombey."
" Little Dorrit's Visit to her Sister at the Theatre."
" Mr. Turveydrop's Dancing Academy " (" Bleak House ").
"Mr. Mantalini and the Brokers" ("Nicholas Nickleby").
"The Pickwick Club."

Small Drawings in Water-Colours.

" Barnaby Rudge with the Rioters."

"Simon Tappertit addressing the Rioters at the 'Boot' Tavern" ("Bar-
naby Rudge ").

"Dolly Varden's Visit to Miss Haredale" ("Barnaby Rudge").

"Dick Swiveller and the Marchioness" ("The Old Curiosity Shop").

" Dick Swiveller and Fred. Trent in the Old Curiosity Shop."

"Sam Weller's Valentine."
James Hamilton.— "What are the Wild Waves Saying?" ("Dombey and Son").
Edgar Hanley. — " Dolly Varden." Royal Academy, 1883.
E. Hunter.— " Little Charlotte's Writing- Lesson " ("Bleak House"). Royal

Academy, 1858.
C. R. Leslie, R.A.— " Mr. Pickwick and Mrs. Bardell." Painted for Dickens and

engraved for the first Cheap Edition of the "Pickwick Papers." {Seep. 220.)
Eleanor E. Manly. — " ' It's Cobbs ! It's Cobbs ! ' cries Master Harry. ' We

are going to be married, Cobbs, at Gretna Green. We have run away on

purpose ' " (" Boots at the Holly Tree Inn "). Royal Institute of Painters in

Water-Colours, 1893.
Mrs. M^Ian. — "Little Nell Reading Inscription on the Tombstone." Presented

to Dickens by the artist.
Fred. Morgan. — "Little Nell and her Grandfather." Royal Academy, 1883.
R. H. NiBBS.— " Peggotty's Hut " (" David Copperfield "). Royal Academy, 1852.
Charles W. NichoLLS. — "What are the Wild Waves Saying?" ("Dombey

and Son "). Engraved by G. H. Every, and published by A. Lucas, 37 Duke

Street, Piccadilly, 188 1.
Kate PeruGINI. — " Brother and Sister. — ' Oh, Floy ! ' cried her brother, ' how

I love you ! how I love you, Floy ! ' ' And I you, dear.' ' Oh, I am sure

of that, Floy ' " (" Dombey and Son "). Royal Academy, 1893.

"Little Nell." Institute of Painters in Water-Colours, 1885.
Mary S. Pickett.—" Little Nell in the Old Church." Royal Academy, 1898.

246 APPENDIX III

A. J. RaemaKER. — " What are the Wild Waves Saying ? " Sculpture.

J. HalfORD Ross. — "Our Mutual Friend." Eight Original Drawings in Water-

Colour, illustrating incidents in the story.
H. R. Steer, R.I.— "The Ball at Dr. Blimber's Establishment" ("Dombey
and Son ").
"Little Nell and her Pet Bird." Royal Institute of Painters in Water-

Colours, 1888.
"Nicholas Nickleby Interposes on Smike's Behalf." Royal Institute of
Painters in Water-Colours, 1897.
Lawson Stewart. — " ' A Quiet Happy Place — A Place to Live and Learn to Die
In.' " The Graveyard in " The Old Curiosity Shop." Institute of Painters
in Water-Colours, 1885.
Frank Stone, A.R.A,— " 'Tilda Price ," " Madeline Bray," and " Kate Nickleby."

These three pictures were painted for Dickens. {See pp. 178-9.)
F. W. TOPHAM. — " Barnaby Rudge and his Mother." Presented to Dickens
by the artist. (5«/>. 190.)
"Little Nell and her Grandfather in the Tent, making Bouquets for the
Racecourse." Presented to Dickens by the artist. {See p. 190.)
H. Wallis.— " The Devotion of Sydney Carton " (" A Tale of Two Cities ").
T. Webster, R.A. — "Dotheboy's Hall: The Brimstone and Treacle Scene."
Painted for Dickens, and engraved for the first Cheap Edition of " Nicholas
Nickleby." {See p. 220.)

In the above list the most interesting picture, in many respects, is Mr. Frith's
" Dolly Varden." The artist was quite a young man, just rising into fame, when
(in 1843) he made great success with several charming presentments of the
locksmith's bewitching daughter, and on seeing one of these (described by DickenS
as "Dolly with the bracelet"), the novelist so much admired it that he com-
missioned Mr. Frith to paint another portrait of her, together with a companion
picture of Kate Nickleby. Writing shortly afterwards to the artist, whose
acquaintance Dickens then made, he said, in reference to an engraving of the
subject by C. E. Wagstaffe : " I saw an unfinished proof of Dolly at Mitchell's
some two or three months ago : I thought it was proceeding excellently well then.
It will give me great pleasure to see her when completed." The two pictures,
when finished, were hung in the dining-room of the novelist's house. At the
expiration of a few years, the portrait of Kate Nickleby was sent to Ireland
(by Mr. Frith's desire) for the purpose of being engraved, and was delayed there
so long that Dickens began to feel impatient. Accordingly, one morning he
forwarded to the artist the following document, indited by himself: —

"Advertisement. — To K — e N — y.— The Young Lady in Black, K.N.— If
you will return to your disconsolate friends in Devonshire Terrace your absence
in Ireland will be forgotten and forgiven, and you will be received with open arms.

APPENDIX III 247

Think of your dear sister Dolly, and how altered her appearance and character
are without you. She is not the same girl. Think, too, of the author of your
being, and what he must feel, when he sees your place empty every day I
" October Tenth, 1848."

For each of these remarkable canvases Mr. Frith received the by no means
extravagant sum of twenty pounds, that being the price demanded by him. At
the sale of Dickens's effects, however, the portrait of Dolly Varden realised
a thousand guineas, while that of Kate Nickleby found a purchaser, on the
same eventful occasion, for two hundred guineas — a tribute alike to author and
artist. Mr. Frith has favoured me with some interesting information respecting
his presentments of Dolly Varden : —

"The picture of 'Dolly Varden' which I painted for Dickens was never
engraved. Before I began it I made a study of the figure, but only the half-
length, down to below the waist. This study was bought by Sir R. Rawlinson,
who allowed (without asking my. permission) a most villainous chromo-lithograph
to be made from it, and one day to my horror I saw it in a shop-window. For
anything I know to the contrary, many of these things may have been sold.*
The original completed picture never left Dickens's possession from the time it
was finished till he died, nor was it ever exhibited. The portrsiit of Dolly (the
'laughing' Dolly) now in the South Kensington Museum, was bequeathed by
Forster, who had it from Frank Stone, for whom I painted it. I painted two
copies of the 'laughing' Dolly, but I don't know what became of them. I also
painted two pictures in which Dolly figures in company with Emma Haredale —
in one she .is feeling in her pocket for a letter addressed to Miss Haredale, and
in the other she is disdainfully treating Miss Haredale's hints about Joe Willet —
she throws up her head and ' hopes she can do better than that, indeed ! ' I have
just remembered another — a small half-length — in which she is looking at herself
in a mirror and giving her curls a ' killing twist.' I have no idea where these
pictures are. I may add that when Dickens came to see (on completion) my
portraits of Dolly Varden and Kate Nickleby, which I painted expressly for him,
he told me they were ' exactly what he meant.' This, of course, delighted me.
They led to a friendship which lasted till his death." It will be remembered that
in 1859 the novelist gave sittings for his portrait by Mr. Frith, which was
painted as a commission from Forster, by whom it was bequeathed to the
Nation. This portrait, now at South Kensington, occupies the most important
place between the earlier portraits of Dickens by Samuel Laurence, Maclise, and
R. J. Lane, and the later presentments of him by photography.

It is not generally known that Mr. Frith once had the privilege of illustrating

' That Mr. Frith did not always entertain such an absolute objection to this reproduction is
testified by the following memorandum written by him on a copy of the print now in the collec-
tion of Mr. W. R. Hughes : — " This is a very good chromo-lithograph from the first study for the
picture painted by me for the late Charles Dickens. (Signed) W. P. FRITH, December 22, 1884.''

248 APPENDIX III

a Dickens novel, Apropos of which the artist writes : " I told Dickens one day
when he was sitting for his likeness that I should like to be allowed to illustrate
one of his books. He seemed pleased, and proposed ' Little Dorrit' I forget to
whom I sold the pictures, and where they are now I know not." The two
paintings were beautifully engraved on steel by Lumb Stocks, R.A., as vignettes
for the Library Edition, 1858-59.

The sketch by an American artist, Mr. James Hamilton, of "What are the
Wild Waves Saying ? " has a little history attached to it. While Dickens was in
Philadelphia, during his last visit to America, he expressed a wish to purchase a
painting of this subject, — one of the artist's most successful productions, — but,
much to the novelist's regret, it had already been sold. The original sketch was
still available, however, and with this Dickens was so greatly pleased that he
immediately offered to buy it ; whereupon the artist insisted on presenting it to
the famous author of " Dombey and Son." Soon afterwards, Mr. Hamilton was
agreeably surprised to receive a set of Dickens's novels, containing a pleasant
inscription in the novelist's autograph.

The titles of Mr. Charles Green's admirable series of Dickens pictures were
supplied to me by the artist himself, who favoured me with a complete list shortly
before his death. In reference to these remarkable drawings I have received
the following communication from Mr. William Lockwood, of Apsley Hall,
Nottingham, for whom they were painted on commission : " The first work of Mr.
Green's that really attracted my attention was his famous water-colour Race
drawing, entitled, I believe, ' Here they come ! ' I saw that at a friend's house, and
was so struck with admiration of Mr. Green's delicate sense of humour, subtle
rendering of character, and fine drawing, that I at once told my friend of my
great appreciation of Charles Dickens, and saw that, in my opinion, Mr. Charles
Green would make the very best illustrator of his day of that great man's work.
I then sought an introduction to Mr. Green, which resulted not only in my
beautiful series of drawings, but in a warm friendship with the artist. In the
execution of these pictures Mr. Green found most congenial work, and I think
fully justified my judgment of his special power. When the series was exhibited
at our local museum, it attracted universal admiration and the delighted apprecia-
tion of all classes." Mr. Lockwood has generously lent these pictures to many
London galleries, including the English Humorists' Exhibition, held at the Royal
Institute of Painters in Water-Colours in 1889.

INDEX

Abbey, E. A., R.A., 322.

Absolon, J., 228

Ainsworth, H., 21, 23, 24, 54, 65, 1 13.

All the Year Round, 111, 160, 215.

"American Notes," designs for, 157-158, 202,

219, 221, 222, 226.
" Artist and the Author, The," 22.
Athenaum, The, 33, 43, 44, 60, 76.
Atkinson, W. A., 243.

Barnard, Fred, 221, 222, 226, 227 ; character
sketches, 228-229 ; pictures, 243.

Bartlett, W. H., 243.

"Battle of Life, The," designs for, 142-145,
151, 156-157, 164-168, 221.

Baxter, W. G., 229.

Becker, F. P., 137, 163.

Bell, Mackenzie, 33.

Belts Life in London, 3, 30, 139, 233.

Benjamin, W. E., 225.

Bentley, Richard, 9, 61.

BentUys Miscellany, ()-\o, 11, 17, 19,21,25-26,
61, 340 ; designs by G. Cruikshank, 25, 242.

Bicknell, E., 114.

Billings, H., 225.

Bolton, T., 158.

Bonchurch, 118, 147.

Bracewell, C. M., 229.

Browne, Dr. E. A., 99, loi.

Browne, Gordon, 226.

Browne, Habldt K. ("Phiz"), 25, 52, 54, 59-
120, 122, 123, 124, 132, 146, 147, 192, 193,
•95. 197. 204, 209, 217, 221, 226, 227, 229-
230, 239, 240, 242 ; biographical sketch,
113-118; remuneration, 116; illness, 116;
applies for pension, 117; death, 117;
pers0n.1l characteristics, 117-118; water-
colour replicas of Dickens illustrations,
118 ; " extra illustrations," 229-230.

" Browne, Habl6t K., " Life and Labours of,"
96, III, Ii9-I2a

Browne, W. G. R., in.

Brune, Morton, 61.

"Brush," 330-231.

Bryan, Alfred, 231.

Bull and Mouth Street, St. Martin's le
Grand, 48.

Bundy, E., 243.

Burnett, H., 47.

Buss, Frances Mary, 49, 57.

Buss, Rev. A. J., 51, 56, 57.

Buss, Robert W., 47-57, 58, 60, 62, 63, 64 ;
remuneration for the "Pickwick" designs,
51 ; his pictures, 55-56, 243; his illustra-
tions, 56 ; death, 57.

Calvert, E., 183.

Cambridge, 59.

Camden Street, Camden Town, 57.

Cancelled designs — by G. Cruikshank, 16-17,

23; by R. W. Buss, 50-51, 242; by J.

Leech, 141.
Canonbury Tower, 30.
Canterbury Cathedral, 105.
Casket, The, 239.
Caswell, E., 74.
Cattermole, G., 80, 82, 83, 121-135, 162 ;

pictures, 134, 843 ; illness and death, 134.
Cauty, H. H., 343.
Century, The, 3 10.
Chapman, E., 33, 37, 38, 43, 44, 45, 47, 61, 83,

128, 139, 158.
Chapman, F., 139, 212.
Character Studies — by F. Barnard, 238-339 ;

by W. G. Baxter, 229 ; by A. Bryan, 231 ;

by J. W. Ehninger, 232 ; by C. D. Gibson,

232, 239, 242 ; by " Kyd," 233 ; by " Stylus,"

238 (and see 343-348.)
" Charles Dickens by Pen and Pencil," 308.
" Charles Dickens : Gossip about his Life,

Works, and Characters," 228.
" Charley Chalk : or the Career of an Artist,"

242.
Charterhouse, The, 138.
Cheap editions, illustrators ol, 219-226.
Cheltnam (engraver), 137.

250

INDEX

"Children from Dickens's Novels," designs

by F. O. C. Darley, 223.
"Child's Dream of a Star, A," designs by

H. Billings, 225.
" Child's History of England, A," designs for,

189, 193, 202, 221.

Chominski, T. V., 225.

"Chimes, The," designs for, 141, 144, 150-151,
155-156, 162-163, 221 ; picture by Buss, 55,

243-

Christie, J. E., 226.

Christmas Books, designs for, 119, 322.

"Christmas Carol, A," designs for, 140, 144,
146, 221, 225, 242.

Christmas Stories, designs for, 221, 222.

Clarke, J. Clayton. See " Kyd."

Clint, G., A.R.A., 48.

Colbom, Henry, 25.

Collins, C. Alston, 204, 205, 209.

Collins, Wilkie, 159, 203, 204, 244.

Cooke, W. C, 226

Corbeaux, F., 228.

Corbould (engraver), 137, 173.

Cornwall, Logan Stone in, 154 ; St. Nighton's
Keive in, 168.

Cosens, F. W., 13, 77, 86, 118, 201, 233.

Coveny, C, 231.

" Cricket on the Hearth, TTie," designs for,
141-142, 151, 156, 163-164, 180, 225, 233;
picture by R. W. Buss, 55, 243.

"Crowquill, Alfred," see ''A. H. Forrester."

Cruikshank, George, 1-28, 33, 47, 54i 55. 60,
68, 91, 114, 133, 146, 214, 217, 239, 242 ;
portraits of, 5-6 ; Fairy Tales, 26-27 ; de-
scribed by Mrs. Gamp, 27-28 ; as an actor,
28 ; remuneration, 28 ; death, 28 ; bust by
Adams, 28.

Daily News, 99, 182.

Daly, Augustin, 37, 38.

Dalziel Brothers, 137, 167, 198, 201, 212.

Dalziel, E. G., 221.

Dariey, F. O. C, 223-224, 231 ; pictures by,

223.
Devonshire Terrace, Regeiit's Park, 246.
Dexter, J. F., 85, 86, 89, 93, 98, 100, io8, 1 11,

112, 141, 229.
" Dickens and Punch," 174.
Dickens, Charles, portraits of, 5-6, 56, 74,

168, 220, 221, 225, 236, 237, 238, 247.

Dickens, Frederick, 44, 45.

Dickens, Kate, 205 (and see "Kate Peru-

gini").
Dickens, Lieut. Sydney, 178.
Dickens, Mrs. Charles, 44, 45, 191.
Dickleburgh, 121.
Dicksee, H., 244.
Dobson, Austin, 15.
Dolly Varden, notes on portraits by W. P.

Frith, R.A., 246-247.

Doyle,J. ("H. B."), 149.

Doyle, R., 137, 141, 142, 149-152, 165, 172.

Drury Lane, Theatre Royal, 154.

Duchess of St. Albans, The, 85, 98, 104, 107.

Duke Street, Grosvenor Square, 56.

Dulcken, A., 231-232.

Du Manner, G., 146.

Eastlake, Sir C, 181.
East London Theatre, 1 53.
Eddystone Lighthouse, C. Stanfield's act-
drop, 159.
Edinburgh, 153; theatre, 154.
Edwards (engraver), 85, loa
Egley, W. M., 244-
Ehninger, J. W., 232.
Elderton, Miss, 121.
Elwell, F. E., 244.
"Empty Chair, The" 215.
" English Graphic Satire," 57.
" Etchings and Sketchings," by John Leech,

139-
Etty, William, R.A., 63.
Everitt, Graham, 26.
Eytinge, Sol., 224-225.

"Fagin in the Condemned Cell," 15-1O, 21-

22, 23, 214.
" Fairy Library, The," 27.
Fennell, J. G., 62, 117.
Field Lane, 21.
Fields, J. T., 209, 225.
Fildes, Luke, R.A., 117, 204-217 ; recollections

of Dickens, 208, 216 ; his drawing of " The

Empty Chair," 215.
Finden, E. & W., 60, 62, 63, 64, 74, 114, 119,

120, 179, 228, 233.
Findlay (engraver), 10, 240.
Fisher, Miss L. M., 226.
Flaxman, 138.
Fleet Market, 132.

INDEX

25»

Forrester, A. H. ("Alfred Crowquill"), 59,

337, 231, 240.
Forster, John, i8, 19, 32, 24, 51, 92, 93, 94,

107, 118, 127, 134, 143, 1 44, "45. 147, «5o,

154, 156, 157, 163, 163, 164, 165, 168, 169,

170,200,215,247.
" Fortunio," 203.
Fraser, F. A., 221.
" Frauds on the Fairies," 26.
French, 222.
French, H., 221.

Frith, W. P., R.A., 148, 205, 213 ; pictures, 244.
Frost, A. B., 221, 222, 223.
" Frozen Deep, The," 203.
Furniss, H., 226.
Fumival's Inn, 36, 39, 45, S9i 9". "9-

" Gabriel Grub," (" Pickwick"), designs by

T. Nast, 223.
Gad's Hill, 205, 214, 225.
Gale, W., 344.
Gaugengigl, J. M., 225.
"George Silverman's Explanation," designs

by F. Barnard, 222 ; by M. Greiffenhagen,

336.
Gibson, C. D., 232, 242.
Gilbert, Sir John., R.A., 223, 224, 227, 232-

333. 241-
" Gleanings from Popular Authors," Dickens

illustrations by J. Nash, F. Barnard, T. W.

Wilson, J. E. Christie, and G. Browne, 326.
Gorway, C. M., 233.
Graham, Florence, 244.
Graphic, The, 206, 207, 2 1 5.
Gray, C., 61, 80, 137.
"Great Expectations," designs for, 201, 221,

222, 223, 236.
Greenaway (engraver), 232.
Green, Charies, 221-222, 225 ; pictures, 245,

248.
Green, Townley, 221
Green, W. T., 85, 137, 198.
Greiffenhagen, M., 226.
Groves (engraver), 137.

Habl6t, Colonel, 114.

Hall, Mr. (Chapman & Hall), 44i 49. "6.

Hamerton, P. G., 2, 183.

Hamilton, Colonel, 6.

Hamilton, J., 245, 248.

Hampstead Road, 199.

Hanley, E., 245.

" Hard Times," designs for, 22o, 321, 323.

Harley, J. P.. 73.

Harrison, F., Ho, 83.

"Haunted Man, The," designs for, 146, i$7,

'73. »75-'78, 331.
Haweis, Rev. H. R., 151.
Heath, W., 233.
" Heiress, The," 32, 38.
Highgate Cemetery, 116, 179.
" History of Punchy' 149.
Hodder, G., 1 5.

Hogarth, Miss G., 100, 168, 216.
" Holiday Romance," designs by F. Barnard,

222 ; by Sir J. Gilbert and G. G. White,

224.
"Holly Tree Inn, The," picture by Eleanor

E. Manly, 245.
Hood, Tom, 113, 14a
" Hook and Eye" Club, The, 6.
Hook, Theodore, 32.
Houghton, A. Boyd, 220.
Household Words, 23, 26, 189.
Hove, 117.
Hughes, W. R., 347.
Hunted Down," designs by F. Barnard, 333 ;

by M. Greiffenhagen, 236.
Hunter, E., 24;.
Hunt, Holman, 148.
Hunt, Leigh, 32, 107, 150.
Hyde Park Place, 206, 208, 21 1, 216.

Illustrated London News, 224, 240.

Irving, Washington, 22a

Ishngton, 3'. 35. 38-

"Is She His Wife?" design by F. W.

Pailthorpe, 236.
Italy, 162, 182.

" Jack Ketch," 33.

Jackson, John, 4, 36, 41, 48, 54, 56.

Jackson, Mason, 6a

"Jacob Parallel," 236, 241-242.

"Jack Straw's Castle," Hampstead, 162.

Jerrold, Blanchard, 24.

Jerrold, Douglas, 140, 153.

Jodrell, Rev. Sir E. R., 168.

Kate Nickleby, notes on the portraits by

W. P. Frith, R.A., 246-347.
Keeley, Robert, 143.

252

INDEX

Kennington, 113.

Kensal Green, 28.

" Ketch Papers, The," 33.

Knight (engraver), 85, icxj.

Knight, Admiral Sir John, 114.

Knight, Charles, 56.

" Kyd" (pseudonym of J. Clayton Clarke), 233.

" Lamplighter, The," 25 ; design by F. W.

Pailthorpe, 236.
" Lamplighter's Story, The," 25-26.
Landells, E., 46, 80.

Landseer, Sir E., R.A., 135, 137, 162, 180-181.
Lane, R. J., A.R.A., 247.
Lang, A., 92.
Laurence, S., 238, 247.
Leamington, 96.
Lee, 59.

Leech, John, 59, 60, 114, 138-148, 161, 173,
176, 240; extraordinary blunder in "The
Battle of Life" by, 145; "The Rising
Generation," 147 ; as an actor, 147 ; acci-
dent to, 147 ; death, 148 ; portrait by Sir J.
E. Millais, P.R.A., 148.
Leighton, Lord, P.R.A., 195, 206.
Leslie, C. R., R.A., 219-220, 245.
Letters : —

Browne (H. K.) to W. G. R. Browne, 1 1 1-
112 ; to Morton Brune, 61 ; to Dickens,
83, 84, 115 ; to R. Young, 113, 120.
Cattermole (G.) to Dickens, 13a
Chapman (E.) to Dickens, 43.
Chapman (F.) to Anon., 139.
Cosens (F. W.) to author, 118.
Cruikshank (G.) to Dickens, 14 ; to The

Times, 19-22.
Dickens (C.) to Anon., re "Pickwick,"
36-37 ; to The Athenaum, 43-44 ; to
H. K. Browne, 88-89, 93. 94> 96-97, 99,
100, in, 1 1 5-1 16; to G. Cattennole,
122-134; to Chapman & Hall, 205;
to E. Chapman, 83-84, 158; to F.
Chapman, 212 ; to G. Cruikshank, 16-
17 ; to C. Dickens the younger, 44-45 ;
to Mrs. C. Dickens, 191 ; to J. T.
Fields, 209 ; to L. Fildes, R.A., 207 ;
to J. Forster, 24, 92, 94, 103, 145, 147,
'57) 179) 200; to T. Longman, 194;
to S. Palmer, 184 ; to R. Seymour, 39-
40 ; to C. Stanfield, R.A., 154, 155-156,
159 ; to F. Stone, A.R.A., 158-159, 176-

178 i to M. Stone, R.A., 193, 196, 197-
198 ; to Wilkie Collins, 244.
Fennell (J. G.) to author, 62.
Leech (J.) to J. Forster, 143-144.
Lockwood (W.) to author, 248.
Maclise (D., R.A.) to C. Dickens, 169-
170; to J. Forster, 163, 164, 165, 166,
167, 170.
Young (R.) to author, 64.
" Letters of Charles Dickens, The," 159.
Lever, Charles, 65, 113.
" Library of Fiction, The," 3, 33, 45-46, 54-55,

61-62.
" Lighthouse, The," 1 59.
Lincoln's Inn Fields, 163.
Linnell, J., 182.
Linton, W. J., 137, 140, 144 (and see note

144), 225.
" Little Talk about Spring and the Sweeps, A,"

designs by Buss and Cruikshank, 54-55.
Liverpool Road, Islington, 35.
Lockwood, W., 248.

Mackenzie, Dr. S., 17-18, 19.

Maclise, D., R.A., 74, 122, 134, 137, 143, I44.
I54i 161-171, 247 ; amusing sketch by,
163 ; portrait of Dickens by, 168 ; letter
re "Grip," 169-170; death, 170; Dickens's
tribute, 1 70-171.

Macready, W., 127.

Macrone, J., 3, 4, 25, 115.

Maddox, W., 233.

Maguire, T. H., 220.

Mahoney, J., 221.

Manly, Eleanor E., 245.

Marold, 225.

Marshalsea, The, in.

Martin (engraver), 137, 173.

" Maxims and Hints for an Angler," 31, 38.

Mayhew, Horace, 15, 32.

M«Ian, Mrs., 245.

McLean, 32.

M^Lenan, J., 223.

Meadows, Kenny, 227, 233-234, 240-241.

" Memoirs of Grimaldi," designs by G.
Cruikshank, 24 ; by F. W. Pailthorpe, 236.

Meynell, Mrs., 210.

Millais, Sir J. E., P.R.A., 148, 195, 205, 206.

Minories, The, 97.

Mittis, 225.

Monthly Magazine, The, 3, 116.

INDEX

253

Morgan, F., 34$.

Morning Chronicle, The, 3. 4, 33.

" Mr. Nightingale's Diary," design by F. W.

Pailthorpe, 336.
Mudfog Papers, The, designs by G. Cruik-

shank, 35, 343.

Nash, J., 336.

Nasmyth, 154.

Nast, T., 323, 333.

" Nemo " (pseudonym of H. K. Browne), 65.

Newman Street, 62.

" New Piljian's Projiss, A," 37 ; designs by

F. W. Pailthorpe, 336.
Nibbs, R. H., 345.
Nicholls, C. W., 345.
Nickleby, Kate, Notes on the Portraits by W.

P. Frith, R.A., 346-347.

Onwhyn, T., 237, 234-235, 241.

"Origin of Sam Weller, The," design by

F. W. Pailthorpe, 336.
Our Young Folks, 334.

Paget, H. M., 335.

Pailthorpe, F. W., 6, 73. 227. 231, 235-236,
242.

Palmer, A. H., 184, 185, 188.

Palmer, Samuel, 182-188: his water-colour
drawings, 183, 184 ; etchings, 183.

" Parallel, Jacob," 236, 241-242.

Payn, James, 108.

Peggotty's Boat, 103.

Perugini, Kate, 345 (and see " Kate Dickens").

" Peter Palette " (pseudonym of Thomas
Onwh>Ti), 227, 234-235.

Phillips, Watts, ni.

" Phiz," 65 (and see " Habl6t K. Browne")-

Pickett, Mary S., 245.

Pickwick, Mr., prototype of, 38-39 ; Sketches
by H. K. Browne, 72 ; by C. U. Gibson, 343.

" Pickwick Papers, The, An Account of the
Origin of," 42.

"Pickwick, Tales from," designs by E. J.
Wheeler, 236.

" Pic Nic Papers, The," 35, 115.

Pictures of Dickens subjects, 243-248.

" Pictures from Italy," 182 ; designs by H. K.
Browne, 1 19 ; by S. Palmer, 183-187 ; by M.
Stone, R.A., 202 ; by G. Thomson (House-
hold Edition), 321 ; by M. Greiffenhagen, 326.

Phiwell, G. J., 880.

Pl.inchrf, I $0,303.

Portraits :—

Cruikshank (G.), 5-6, 38 ; Dickens (CX
K-d, $6, 74, i6«, 330, 231, 225, 336, 337,
338, 347; Dickens (Lieut. Sydney), 178 ;
Leech (J.), 148 ; Seymour (R-X 37.

Punch, 75, 136, 138, 139, 140, 147, 150, 173,
'73. «74, 240. 241.

"Punch's Valentines," 75.

Putney Bridge, 31 1 ; church, 43, 211.

" Quiz" (pseudonym of Dickens), 74.

Raemaker, a. J., 346.

Ralston, J. M=L., 331.

"Readings of Mr. Charles Dickens, The,"

designs by S. Eytinge, 334.
Regent's Canal, 199.
Reinhart, C. S., 333.
" Reprinted Pieces," designs by F. Walker,

A.R.A., 321 ; by E. G. Dalziel (Household

Edition), 331.
Richardson, E., 236.
"Rising Generation, The," by John Leech,

147-
Roberts, C, 313.
Roberts, D., R.A., 154.
Rochester, 314 ; Castle, 3i6 ; Cathedral, 3ii,

316; Eastgate House, 211, 216; High

Street, 211.
Roe (engraver), 59.
Roffe, E., 330.
Ross, J. Halford, 346.
Rotherhithe, 198.
Ruskin, Prof John, i, 16, 83, I3i, 146, 15a

Sala, G. a., 4, 28, 67, 143.

" Sam Weller " (pseudonym of Thomas On-

whyn), 327, 234-235 ; " The origin oi;" 336.
"Sam Weller's Jest Book," 239.
Sands (engraver), 63.
Sandys, F., 195.
Scenes (various) from Dickens, depicted by

C. Coveny, 231 ; by F. O. C. Darley, 331 ;

by N. P. Whitlock, 338 ; by C. D. Gibson,

332, 342 ; miscellaneous, 340 ; pictures,

343-248-
" Scrap Book of Literary Varieties, The," 234.
Seymour, Mrs., 42, 44 ; her " Pickwick "

pamphlet, 42-45.

254

INDEX

Seymour, R., 29-46, 47, 5«. 54. 60. 64, 66,211,
240 ; death of, 35, 36-37. >39 ; tribute to,
35 ; final drawing, 36 ; remuneration, 40 ;
portrait of, 46.

Seymour, R., jun., 43.

Shaw, William, prototype of Squeers, 75-76.

Sheppard, W. L., 222.

Shury, G. S., 244.

Sibson, T., 237.

" Sketches of Young Couples," designs by
H. K. Browne, 74.

" Sketches of Young Gentlemen," designs by
H. K. Browne, 74.

" Sketches of Young Ladies," designs by H.
K. Browne, 74.

Smith (engraver), 137.

Smith, Orrin, 61.

"Somebody's Luggage," picture by H. H.
Cauty, 243.

Spielmann, M. H., 60, 77. "49. 210. 222.

" Squib Annual, The," 43-

St. Andrew's Street, Seven Dials, 199.

St. Bartholomew's Hospital, 138.

St. Dunstan's Church, Fleet Street, 150, 155.

St. James's Theatre, 73, 191.

St. James's, Westminster, 20, 21.

St. Martin's Lane, 63.

St. Nighton's Keive, near Tintagel, 168.

St. Paul's Cathedral, 28, 181.

Stanfield, C, R.A., 137. 150, 153-160, 168,
173. 2'9 ; presents from Dickens, 155, 157,
159 ; drawing of S.S. Britannia, 15S ; Eddy-
stone Lighthouse, act drop, 159; nick-
names, 159; death, 160 ; Dickens's tribute,
160.

Stanfield, F., 156, 159.

Stanfield, G., 160.

Staple Inn, 212.

Steer, H. R., 246.

Stewart, Lawson, 246.

Stone, F., A.R.A., 137, 158, i73. 175-179, 192,
'94. 195. 203, 237-238, 247 ; as an actor,
178 ; Mrs. Gamp's description of, 178 ;
nicknames, 178 ; his portrait of Lieut. Syd-
ney Dickens, 178 ; death, 179 ; pictures, 246.

Stone, Marcus, R.A., 113, 175, 177,192-203,
204, 215 ; his first design for Dickens, 195 ;
his drawings for" Our Mutual Friend," 195-
201 ; the prototype of Mr. Venus, 199-200 ;
private theatricals, 203.

" Strange Gentleman, The," 73 ; designs by

H. K. Browne, 73 ; by F. W. Pailthorpe,

236.
"Stroller's Tale, The" ("Pickwick"), 36, 39-

40.
"Stylus," 238.

" Sunday Under Three Heads," 61-62.
Swain, Joseph, 106, 137, 15a

Talfourd, Sergeant, 84.

Tavistock House, 158, 159, 175, 203 ; Square,

179-
Taylor, Weld, 238.
Tenniel, Sir John, 136, 137, 147. 172-174, 176,

191.
Thackeray, W. M., 12-13, '5. 28, 59, 62, 135,

138, 139, 166, 175, 180, 195, 219, 240.
Theatrical entertainments, 27, 158-159, 178,

190, 191, 203.
Thomas, W. L., 206.
Thomson, D. C, 96, iii, 119.
Thomson, Gordon, 221.
Thompson, J., 137, 166.
Tilney, F. C, 226.

" Timothy Sparks" (Dickens's pseudonym), 61.
Topham, F. W., 189-191 ; pictures of scenes

in "Master Humphrey's Clock," 190, 246;

love of acting, 190-191 ; ability as a

juggler, 191.
Topham, F. W. W., 190.
"Travelling Sketches" ("Pictures from

Italy"), 182.
Trollope, Anthony, 113, 201.
" Tuggses at Ramsgate, The," 33, 54 ; designs

by Seymour and Cruikshank, 46.

"Uncommercial Traveller, The," designs
for, 320, 221, 222, 226.

Varden, Dolly, notes on portraits by W. P.

Frith, R.A., 246-247.
Vasey (engraver), 80.
"Village Coquettes, The," design by F. W.

Pailthorpe, 236.

Walker, C. W., 228.

Walker, F., A.R.A., 195, 221 ; pictures by,

221.
Wall, C. H., 238.
Wallis, H., 246.
Warren, H., 233.

INDEX

255

Weatherhead (engraver), 64.

Webster, T., R.A., 219, 220, 146.

Wedmore, F., 6, 7.

" Weller, Sam " (pseudonym of Thomas

Onwhyn), 227, 234-235 ; " The Origin of,'

236.
Wheeler, E. J., 226.
White, G. G., 224.
Whitehead, C, 33, 45.
" Whole Hogs," 23.
Williams, S., 80, 123.
Williams, T., 133, 137, 167, 220.
Willis (prototype of Mr. Venus), 199-200.

Wilson, Thomas, 233, 336.
Wilson, T. Walter, 3j6.
Worth, T., 222.
Wright (engraver), 232.
Wright, W., 4, 105, 220, 236.
W., T. C, 238.
W., W. C, 239.

Yarmoitth Dbnks, 103, 106.
Yates, Edmund, 60.
Yeagcr, J., 235, 237.

Young, Robert, 63, 64, 85, 87, loo, 113, 117,
119-120, 329.

REFERENCES TO THE PRINCIPAL WORKS

" Barnaby Rudge," 81-86, 127-133, 169, 202.
Designs by Habl6t K. Browne, 85-86,
230 ; by George Cattermole, 127-133 ; by
Frederick Barnard, 222; by Absolon and
Corbeaux, 228 ; by C. B. Bracewell, 229 ;
by E. Richardson, 236 ; by T. Sibson,
237 ; Anon., 239. Pictures by E. Bundy,
243; by R. W. Buss, 55, 243 ; by W.
F. Frith, R.A. 244, 246-247 ; by C. Green,
245 ; by E. Hanley, 245 ; by F. W. Topham,
igo, 246 (and see " Master Humphrey's
Clock ").

"Bleak House," 106-109, 193. Designs by
H. K. Browne, 106-109 ; by F. Barnard,
222. Pictures by C. Green, 245 ; by E.
Hunter, 245.

"David Copperfield," 102-106, 207, 208.
Designs by H. K. Browne, 102-106 ; by F.
Barnard, 222 ; by Phil May, 226. Picture
by R. H. Nibbs, 245.

"Dombcy and Son," 90-101, 170. Unpub-
lished designs by R. W. Buss, 55 ; designs
by H. K. Browne, 90-101, 230; by F.
Barnard, 222 ; by W. L. Sheppard, 222.
Pictures by H. K. Browne, 99 ; by W. H.
Bartlett, 243 ; by C. Green, 245 ; by J.
Hamilton, 245, 248 ; by C. W. Nicholls,
245 ; by K. Perugini, 245 ; by A. J. Rae-
maker (sculpture), 246 ; by H. R. Steer, 246.

" Little Donrit," 109-111, 160. Designs by H,
K. Browne, 109-111 ; by M. Stone, R.A.
195, 201 ; by J. Mahoney (Household
edition), 221 ; by W. P. Frith, R.A., 244,
247. Pictures by W. P. Frith, R.A., 244 ;
by W. Gale, 244 ; by C. Green, 245.

"Martin Chuizlewit," 86-90. Designs by
H. K. Browne, 86-90 ; by F. Stone, A.R.A.,
179 ; by F. Barnard, 222 ; by C. H. Wall,
238. Picture by C. Green, 245.

" Master Humphrey's Clock," 79-86, 239-240.
Designs by H. K. Browne, 79-86 ; by G.
Cattermole, 122-134, 162; by D. Maclisc,
R.A., 162 ; by F. Barnard, 222 ; by "Brush,"
230-231 ; by "Jacob Parallel," 236, 241-242 ;
by T. Sibson, 237 ; by T. C. W., 238 (and
see "The Old Curiosity Shop" and "Bar-
naby Rudge ").

" Mystery of Edwin Drood, The," 202, 204,
205, 206, 207, 208, 209-216, 225. C. A.
CoUins's design for wrapper, 205 ; designs
by L. Fildes, R.A., 208-217.

"Nicholas Nickleby," 74-78, 168, 180. De-
signs by H. K. Browne, 76-78 ; by F. Stone,
A.R.A., 178-179, 237-238 ; by T. Webster,
R.A., 220 ; by F. Barnard, 222 ; by C. S.
Reinhart, 222 ; by Sir John Gilbert, R.A.,
232 ; by K. Meadows, 233-234, 241 ; by T.
Onwhyn, 235, 042 j by W. Taylor, 338;

256

INDEX

Anon., 239. Pictures by W. P. Frith, R.A.,
244, 246-247 ; by C. Green, 245 ; by H. R.
Steer, 246 ; by F. Stone, A.R.A., 178-179,
246 ; by T. Webster, R.A., 220, 246.

"Old Curiosity Shop, The," 80-81, 123-127 ;
Designs by H. K. Browne, 80-81, 85, 221, {
229-230; by G. Cattermole, 123-127, 133; 1
by D. Maclise, R.A., 162 ; by C. Green, 221 ; ,
by T. Worth, 222 ; by W. Maddox and H.
Warren, 233 ; by K. Meadows, 234 ; by
" Stylus," 238 ; Anon., 239 ; Water-colour
drawings by H. K. Browne, 86. Pictures '
by G. Cattermole, 134, 243 ; by W. A.
Atkinson, 243 ; by H. Dicksee, 244 ; by W.
M. Egley, 244 ; by F. E. Elwell (sculpture),
244 ; by F. Graham, 244 ; by C. Green, 245 ;
by Mrs. M'lan, 245 ; by F. Morgan, 245 ;
by M. S. Pickett, 245 ; by K. Perugini, 245 ;
by H. R. Steer, 246 ; by L. Stewart, 246 ; by
F. W. Topham, 190, 246 (and see " Master
Humphrey's Clock ").

"Oliver Twist," 9-24, 60. Designs by G.
Cruikshank, 9-24 ; sale of original drawings,
13 ; water-colour replicas, 13 ; Edition <U
luxe, 13; The Cancelled Plate, 16-17, 22:
Cruikshank's Account of the Origin of the
Story, 17-24. Designs by H. K. Browne,
119; by J. Mahoney (Household edition),
221 ; by F. W. failthorpe, 236; Anon.,
2.39-

" Our Mutual Friend," 148, 192, 195-201, 204.
Designs by A. B. Houghton, 220 ; by J.
Mahoney (Household edition), 221. Pic-
tures by J. H. Ross, 246.

"Pickwick Papers, The," 29, 32-45, 47, 48,
49-54, 58-61, 139, 182, 211, 213, 240.
Designs by R. Seymour, 36-37, 41, 50, 64 ;
by R. W. Buss, 50-54, 62, 64, 242 ; by J.
Leech, 60, 139; by H. K. Browne, 62-73,
229 ; by C. R. Leslie, R.A., 219, 220 ; by T.
Nast, 222 ; by A. B. Frost, 223 ; by E. J.
Wheeler, 226 ; by C. Coveny, 231 ; by
"Crowquill,"23l, 242 ; by A. Dulcken, 231-
232 ; by Sir John Gilbert, R.A., 232, 241 ;
by W. Heath, 233 ; by T. Onwhyn, 234-
235 ; by H. M. Paget, 235 ; by F. W.
Pailthorpe, 235-236 ; by T. Sibson, 237 ; by
"Stylus," 238; by W. C. W., 239; Anon.,
239. Pictures by C. Green, 245 j by C. R. .
Leslie, R.A., 200, 245. J^—

" Sketches by Boz," 3-9, 23, 24, 32, 46, 60,
73. Designs by G. Cruikshank, 3-9, 54 ; by
H. K. Browne, 118-119; by F. Barnard,
222 ; by A. B. Frost, 222. Picture by F.
Barnard, 243.

"Tale of Two Cities, A," 111-113, 192.
Designs by H. K. Browne, 112-113 ; by M.
Stone, R.A., 202 ; by F. Barnard, 222 ; by
J. M'Lenan, 223. Pictures by F. Barnard,
243 ; by H. Wallis, 246.

THE END

y Printed by Ballantyne, Hanson cSr* Co.

Edinburgh Is" Ix)ndon

BIND;r;c CC3T. FEB5 8197f

Internet Archive Audio

Featured

Top

Images

Featured

Top

Software

Featured

Top

Books

Featured

Top

Video

Featured

Top

Mobile Apps

Browser Extensions

Archive-It Subscription

Save Page Now

See other formats