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University of California • Berkeley
Gift of
THE HEARST CORPORATION
RANDOLPH CALDECOTT.
RANDOLPH CALDECOTT,
Born 1846 ; Died 1886.
RANDOLPH
CALDECOTT
3 }Jrrsonnl iilrmoir
OF HIS EARLY ART CAREER.
HENRY BLACKBURN,
EDITOR OF "ACADEMY NOTES," ETC.; AL-THOR OF "BRETON FOLK,
''ARTISTS AND ARABS," ETC.
WITH
ONE HUNDRED AND SEVENTY-TWO ILLUSTRATIONS
NEW YORK : GEORGE ROUTLEDGE & SONS,
9, LAFAYETTE PLACE.
LONDON :
SAMPSON LOW, MARSTON, SEARLE, & RIVINGTON,
CROWN BUILDINGS, 1 88, FLEET STREET.
1886.
In Affectionate Remembrance.
DECORATIVE DESIGN BY R. CALDECOTT.
PREFACE.
THE object of this memoir is to give some
information as to the early work of Randolph
Caldecott, an artist who is known to the world
chiefly by his Picture Books.
The extracts from letters have a personal charm
apart from any literary merit. The majority of
the letters, and the sketches which accompanied
them, were sent to the author's family ; others have
PREFACE.
been kindly lent for this memoir by Mr. William
Clough, Mr. Locker-Lampson, Mr. Whittenbury,
and other friends. Acknowledgments are also
due to the publishers who have lent engravings.
At the desire of Mr. Caldecott's representatives,
— to whom the author is indebted for extracts
from diaries and other material — the consideration
of his later work is reserved for a future time.
Although the text of this book is little more
than a setting for the illustrations, it is hoped that
the material collected may be found interesting.
H. B.
103, VICTORIA STREET, WESTMINSTER,
September 1886.
CONTENTS.
PAGE
CHAP. I. — His EARLY ART CAREER i
II. — DRAWING FOR "LONDON SOCIETY" 13
III. — IN LONDON, THE HARZ MOUNTAINS, ETC. . . 29
IV. — DRAWING FOR "THE DAILY GRAPHIC" ... 51
V. — DRAWING FOR "THE PICTORIAL WORLD" . . 67
VI.— AT FARNHAM ROYAL, BUCKS 90
VII. — "OLD CHRISTMAS" 100
VIII. — LETTERS, DIAGRAMS, ETC 117
IX. — ROYAL ACADEMY, " BRACEBRIEGE HALL," ETC. 134
X. — ON THE RIVIERA 148
XI.—" BRETON FOLK," ETC 165
XII.— AT MENTONE, ETC 19°
XIII.— CONCLUSION 203
APPENDIX . 2I1
LIST OF ILLUSTRATIONS.
The unpublished illustrations are marked with an asterisk *
PAGE
PORTRAIT Frontispiece
*DECORATIVE DESIGN BY R. CALHKCOTT
*TAILPIECE
*AiR — "I KNOW A BANK" i
*FIRST CLERK — SECOND Do 2
*COOM, THEN 3
*THREE FRIENDS ' 4
*GOING TO THE DOGS 5
*A SKETCH IN COURT 7
*FULL CRY 8
*!N THE HUNTING FIELD 9
* STREET SKETCH— POLICEMAN, ETC. 10
*SOCIETY IN MANCHESTER n
*A NEW CONTRIBUTOR (London Society) 13
EDUCATION UNDER DIFFICULTIES 14
YE MONTHE OF APRILE 15
SKETCH IN HYDE PARK 16
THE CHANCELLOR OF THE EXCHEQUER . 17
*THE TROMBONE 18
THE Two TROMBONES 19
CHRISTMAS DAY, 4.30 A.M 20
CLINCHING AN ARGUMENT 21
SNOWBALLS 22
HEIGH-HO, THE HOLLY ! 23
LIST OF ILLUSTRATIONS.
PAGE
GOING TO COVER 25
HYDE PARK — OUT OF THE SEASON 26
COMING OF AGE OF THE PRIDE OF THE FAMILY 27
*THE END OF ALL THINGS 28
*SKETCH ON A POST CARD 29
FIRST DRAWING IN "PUNCH," 22ND JUNE, 1872 31
*A COOL SEQUESTERED SPOT 32
A TOUR IN THE TOY COUNTRY (Harz Mountains} 33
A MOUNTAIN BEER GARDEN 34
A FRATJLEIN 35
A MOUNTAIN PATH 35
A WARRIOR OF SEDAN IN A BEER GARDEN AT GOSLAR, 1872 . . 36
THE ARK OF REFUGE 37
*THE DANCE OF WITCHES 38
SPECTRES OF THE BROCKEN 39
A SKETCH AT SUPPER ...,.» 40
BACK TO THE VIEW . . » ^ % 40
THE GUIDE AT GOSLAR . . . . . . -. « 41
PROCESSION OF THE SICK 42
DRINKING THE WATERS AT GOSLAR . » » » . . . . 43
A GENERAL IN THE PRUSSIAN ARMY 44
*A SCHOOL ON -THE MARCH— HARZ MOUNTAINS, 1872 45
SKETCH — HARZ MOUNTAINS, 1872 46
SKETCH — HARZ MOUNTAINS, 1872 48
AT CLAUSTHAL , » 49
* SKETCH 50
SKETCH IN "PUNCH," STH MARCH, 1873 5*
A CHECK 53
SKETCH (Published in Pall Matt Gazette] 55
LOOKING OUT FOR THE "GRAPHIC" BALLOON 57
OFF TO THE EXHIBITION — VIENNA, 1873 59
*A VIENNESE DOG 60
SKETCH (Published in Pall Mall Gazette] 62
*£ARLY DECORATIVE DESIGN 64
LIST OF ILL US TRA T1ONS. xiii
I'AGE
*Tms is NOT A FIRST-CLASS Cow 66
*STUDIES FOR A LARGE DECORATIVE DESIGN, 1874 67
THE POLLING BOOTH (Pictorial World) 70
*HOME RULE— MARCH 1874 71
ON THE STUMP t 72
THE SCOTCH ELECTIONS— GOING TO THE HUSTINGS 73
PAIRING TIME 74
COURSING 75
HER FIRST VALENTINE 76
A VALENTINE 76
SOMEBODY'S COMING ! 77
I WONDER WHO SENT ME THESE FLOWERS 78
THE YOUNG HAMLET 79
HOUSE OF COMMONS, MARCH 1874 — ARRIVAL OF NEW MEMBERS . 80
THE SPEAKER GOING UP TO THE LORDS 81
AT THE BAR OF THE HOUSE OF LORDS 82
THE NEW PRIME MINISTER 83
THE TICHBORNE TRIAL — BREAKING-UP DAY 84
THE MORNING WALK 86
*DECORATIVE PAINTING FOR A DINING-ROOM 89
*THE COTTAGE, FARNHAM ROYAL 90
*SKETCH FROM THE COTTAGE, FARNHAM ROYAL 91
'BRINGING HOME THE SULTANAS 92
*THE PADDOCK, FARNHAM ROYAL 93
*STUDYING FROM NATURE 95
SKETCH (Published in Pall Mall Gazette) 96
SKETCH (Published in Pall Mall Gazette) 97
*DRAWING FROM FAMILIAR OBJECTS 98
*COULD NOT -DRAW A LADY ! . . . 99
HEADPIECE (Old Christmas] 100
THE STAGE COACHMAN 103
IN THE STABLE YARD 104
THE TROUBADOUR 106
THE FAIR JULIA 107
LIST OF ILLUSTRATIONS.
PAGE
MASTER SIMON AND HIS DOGS 109
ON THE ROAD SIDE, BRITTANY in
*AT GUINGAMP, BRITTANY 113
*To M. H.— CHRISTMAS, 1874 114
*FACSIMILE OF LETTER 116
*ST. VALENTINE'S DAY 117
*AT FARNHAM ROYAL 118
*SUNRISE 119
*DIAGRAM. STUDY IN LINE 120
*DIAGRAM. STUDY IN LINE 120
*DIAGRAM. DESIGN FOR A PICTURE, 1875 I21
*DIAGRAM. A MAD DOG 122
*DIAGRAM. THE LECTURER 123
DIAGRAM. CHILD 124
DIAGRAM. MAD DOG 125
*SKETCH 127
*SHOWS HIS TERRA COTTAS 129
*THE FIRST YEAR OF ACADEMY NOTES 130
* THREE PELICANS AND TORTOISE 131
^INSPECTING EMBROIDERIES 132
*FRESH WATER, ISLE OF WIGHT 132
*A CHRISTMAS CARD TO K. E. B 133
OPINIONS OF THE PRESS (Manchester Quarterly^ 134
THERE WERE THREE RAVENS SAT ON A TREE 135
*PRIVATE VIEW OF MY FIRST R.A. PICTURE 136
*A HORSE FAIR IN BRITTANY 137
CAPTAIN BURTON 139
PREFACE I Bracebridge Hall 140
PREFACE 2 Bracebridge Hall 140
THE CHIVALRY OF THE HALL PREPARED TO TAKE THE FIELD . 141
THE FAIR JULIA AND HER LOVER 143
GENERAL HARBOTTLE AT DINNER 144
AN EXTINGUISHER 145
*AT WHITCHURCH 146
LIS T OF ILL US TKA T10NS. xv
*AT BUXTON 147
*A CHRISTMAS CARD 148
GAMING TABLES AT MONTE CARLO (Graphic] 151
PRIEST AND PLAYER (Graphic) 153
THE PRIEST'S SERVANT (North Italian Folk} 155
THE HUSBANDMAN . 157
GOSSIP 158
DIGNITY AND IMPUDENCE (National Gallery] 160
SPANIELS, KING CHARLES'S BREED 160
PORTRAIT OF A LAWYER BY MORONI 161
* WAITING FOR A BOAT 163
*TAILPIECE 164
*CLEOPATRA 165
THE THREE HUNTSMEN (L'Art] 167
A BOAR HUNT (Grosvenor Notes] 168
THE. TRAP (Breton Folk) 170
SKETCHING UNDER DIFFICULTIES 171
BRETON FARMER AND CATTLE 172
A WAYSIDE CROSS 173
AT THE HORSE FAIR, LE FOLGOET 174
TROTTING OUT HORSES AT CARHAIX 175
CATTLE FAIR AT CARHAIX 176
A TYPICAL BRETON 177
A BRETONNE 178
*SKETCH 179
A CAP OF FlNISTERRE l8o
RETURNING FROM LABOUR — PONT AVEN, 1878 181
A BRETON 183
*A FAMILY HORSE 184
*SKETCH IN WOBURN PARK 185
*A CARNATION 186
*HOTEL GRAY ET D'ALBION, CANNES 189
*AT MENTONE 190
*SKETCH 191
LIST OF ILLUSTRATIONS.
"SKETCH 192
NOT SUCH DISAGREEABLE WEATHER AFTER ALL — SOME PEOPLE
THINK (from Punch) 193
'A PIG OF BRITTANY 194
'A BOOKPLATE 195
'SKETCH 196
'SKETCH 197
'FACSIMILE OF LETTER 199
SKETCH 200
SKETCH OF WYBOURNES 201
'A NEW YEAR'S GREETING 203
APPENDIX.
'HEADPIECE. CALDECOTT'S PICTURE BOOKS 212
^Esop's FABLES 214
A SKETCH BOOK 215
BRETON FOLK . . ,216
nh
""^AW'V
uFORD
;
AIR— "I KNOW A BANK.'
CHAPTER I.
HIS EARLY ART CAREER.
RANDOLPH CALDECOTT, the son of an accountant
in Chester, was born in that city on the 22nd of
March, 1846, and educated at the King's School,
where he became the head boy. He was not
studious in the popular sense of the word, but spent
most of his leisure time in wandering in the country
round. Thus, his love of sport and fondness for
rural pursuits, which never forsook him, were
evidenced at an early age. His artistic instincts
were also early developed, and many treasured
RA ND OL PH CA L DE CO TT.
[CHAP. i.
sketches, models of animals, &c., cut out of wood,
were produced in Chester by the boy Caldecott.
Perhaps the best and most characteristic record of
his early life is, that he and his brother were " two of
the best boys in the school ; " the genius that con-
sists in " an infinite faculty for taking pains " having
much to do with his after career of success.
FIRST CLERK — " GOT JONES' LEDGER ? "
SECOND Do. (NEWLY MARRIED) — " YES, LOVE ! "
In 1 86 1 Caldecott was sent to a bank at Whit-
church in Shropshire, where, for six years, he seems
to have had considerable leisure and opportunity
for indulging in his favourite pursuits. Here, living
at an old farm-house about two miles from the
AT WHITCHURCH.
town, he used to go
fishing and shooting,
to the meets of
hounds, to markets
and cattle fairs,
gathering in a store
of knowledge useful
to him in after years.
•
The practical, if half-
unconscious, edu-
cation that he
thus obtained in his
" off-time," as he
termed it, whilst clerk at the Whitchurch and
Ellesmere Bank, was often referred to afterwards
with pleasure. Thus from the earliest time it will
be seen that he lived in an atmosphere favourable
to his after career. But the bank work was never
neglected ; from the day he left his school in Chester
in 1 86 1 to become a clerk in Whitchurch, until
the spring of 1872 when he left Manchester finally
for London, the record of his office work was that
he " did it well."
B 2
RANDOLPH CALDECOTT. [CHAP. I.
During the Whitchurch days he had, as we have
indicated, unusual advantages of leisure, and the
opportunity of visiting many an old house and farm,
driving sometimes on the business of the bank, in
his favourite vehicle, a country gig, and "very
eagerly," writes one
of his fellow clerks
and intimate friends,
" were those advan-
tages enjoyed. We
who knew him, can
THREE FRIENDS." 11 j 11
well understand how
welcome he must have been in many a cottage,
farm, and hall. The handsome lad carried his own
recommendation. With light brown hair falling
with a ripple over his brow, blue-grey eyes shaded
by long lashes, sweet and mobile mouth, tall and
well-made, he joined to these physical advantages
a gay good humour and a charming disposition.
No wonder that he was a general favourite."
But soon he was transferred to Manchester, where
a very different life awaited him — a life of more ardu-
ous duties — in the " Manchester and Salford Bank,"
i867.]
A T MANCHESTER.
but with opportunities for knowledge in other direc-
tions, of which he was not slow to avail himself.
If in his early years his father discouraged his artis-
tic leanings, he was now in a city which above all
others encouraged the study of art — " as far as it was
consistent with business." In the Brasenose Club,
and at the houses of hospitable and artistic friends
in Manchester, Caldecott had exceptional oppor-
tunities of seeing good work, and obtaining
information on art matters.
One who knew him well at this time, writing in
the Manchester Courier of
Feb. 1 6th, 1886, says :—
" Caldecott used to wander
about the bustling, murky
streets of Manchester, some-
times finding himself in
queer out-of-the-way quarters,
often coming across an odd
character, curious bits of anti-
quity and the like. Whenever
the chance came, he made short
excursions into the adjacent
country, and long walks which
were never purposeless. Then
6 RANDOLPH CALDECOTT. [CHAP. i.
he joined an artists' club and made innumerable
pen and ink sketches. Whilst in this city so
close was his application to the art that he loved
that on several occasions he spent the whole night
in drawing."
For five years, from 1867 to 1872, Caldecott
worked steadily at the desk in Manchester, studying
from nature whenever he had the chance in summer ;
and at the school of art in the long evenings, some-
times working long and late at some water colour
drawing. Caldecott owed much to Manchester, as
he often said, and he never forgot or undervalued
the good of his early training. The friends he made
then he kept always, and they were amongst his
dearest and best.
In Manchester on the 3rd of July, 1868 — his
first drawings were published in a serio comic paper
called Will o the Wisp ; and in 1869, in another
paper called The Sphinx, he had several pages of
drawings reproduced. He was painting a little at
the same time, making many hunting and other
studies ; they were chiefly for friends, but one
picture was exhibited at the Manchester Royal
Institution in 1869.
1 369.]
A T MANCHESTER.
There was no restraining Caldecott now, his
artistic bent and his delightful humour were finding
expression in sketches in odd hours and minutes, on
bits of note paper, on old envelopes, and on the
blotting paper before him at his desk, until every-
body about him must have been alive to his talent.
He might no doubt have eventually attained a good
"!N THE HUNTING FIELD."
position in the bank, for, as one of his friends writes
of him very truly,
" Caldecott's ability was general, not special. It
found its natural and most agreeable outlet in art and
humour, but everybody who knew him, and those
who received his letters, saw that there were perhaps
10
RANDOLPH CALDECOTT.
[CHAP. i.
a dozen ways in which he would have distinguished
himself had he been drawn to them."
The unpublished sketches dispersed through this
chapter indicate but slightly the originality and
fecundity of Caldecott's genius at this time.
There was clearly but one course to pursue — to
"Tins is NOT A CULPRIT GOING TO GAOL — IT is ONLY A GENTLEMAN
IN LOVE WHO HAPPENS TO HE WALKING BEFORE A POLICEMAN ! "
give up commercial pursuits and go to London — it
such sketches as these were to be found scattered
amongst bank papers !
And so, in May, 1870, Caldecott, as his diary
12 RANDOLPH CALDECOTT. [CHAP. i.
records, went to London for a few days with a
letter of introduction to Mr. Thomas Armstrong
from Mr. W. Slagg; and in the same year, 1870,
some of his drawings were shown to Shirley Brooks,
and to Mark Lemon, then editor of Punch. Mr.
Clough thus records the event :—
" Bearing an introductory letter he went up to
London on a flying visit, carrying with him a
sketch on wood and a small book of drawings of
the * Fancies of a Wedding.' He was well re-
ceived. The sketch was accepted, and with many
compliments the book of drawings was detained.
' From that day to this,' said Mr. Caldecott, ' I
have not seen either sketch or book.' Some time
after, on meeting Mark Lemon, the incident was
recalled, when the burly, jovial editor replied, ' My
dear fellow, I am vagabondising to-day, not
Punching" I don't think Mr. Caldecott rightly
appreciated that joke."
From this date and all through the year 1871,
Caldecott was at work in Manchester and sending to
London drawings, some of which have hardly been
exceeded for humour and expression in a few lines.
A NEW CONTRIBUTOR,
CHAPTER II.
DRAWING FOR "LONDON SOCIETY."
IT was in February 1871, in the pages of London
Society — a magazine which at that time included
amongst its contributors J. R. Planche, Shirley
Brooks, Francis T. Palgrave, Frederick Locker,
G. A. Sala, Edmund Yates, Percy Fitzgerald, F.
C. Burnand, Arthur a Beckett, Tom Hood, Mortimer
RANDOLPH CALDECOTT. [CHAP. ir.
Collins, Joseph Hatton, &c. ; and amongst its artists
Sir John Gilbert, Charles Keene, Linley Sambourne,
G. Bowers, Mrs. Allingham, W. Small, F. Barnard,
F. W. Lawson, M.E.E., and many other notable
names — that Caldecott made his first appearance
before a London public.
" EDUCATION UNDER DIFFICULTIES."
On November 3rd, 1870, his diary says:—
" Some drawings which I left with A. in London
have been shown, accompanied by a letter from Du
Maurier, to a man on London Society. Must wait
a bit and go on working — especially studying
horses, A. said."
1870.] DRA WING FOR " LONDON SOCIETY.'*
From this parcel of Caldecott's drawings the pre-
sent writer, being the "man" referred to, selected
a few to be engraved ; the sketch of the Rt. Hon.
o\~
Robert Lowe on horseback in Hyde Park, on page
17, " Ye monthe of Aprile " and " Education under
Difficulties" being amongst the first published.
It was suggested to him early in 1870 that he
should come to London for a short time and make
i6
RANDOLPH CALDECOTT.
[CHAP. n.
sketches in Hyde Park, and it touched Caldecott's
fancy, (as he often mentioned afterwards,) that he
whose experiences were far removed from such
SKETCH IN HYDE PARK — "ROTTEN Row."
scenes should have been chosen as a chronicler of
" Society. " The sketches were made always from
his own point of view, and some were so grotesque,
and hit so hard at the aristocracy, that they were
1 870.] DRAWING FOR " LONDON SOCIETY." 17
found inappropriate to a fashionable magazine !—
one especially of Hyde Park in the afternoon,
called " Sons of Toil," had to be declined by
the Editor with real regret.
A PASSING GLIMPSE OF A GENTLEMAN WHOM I TOOK TO BE THE
CHANCELLOR OF THE EXCHEQUER."
The packet of original sketches lies before the
writer now ; the pen and ink drawing of ' The
Chancellor of the Exchequer" is dated June 3rd,
1 8
RANDOLPH CALDECOTT.
[CHAP. n.
1870. But the best and funniest of these early
works could not be published in a magazine.
For Christmas time, 1871, Caldecott made many
sketches. Two were to illustrate a short story called
"The Two Trombones," by V. Robson, the actor. It
"THE TROMBONE."
was a ridiculous story, bordering on broad farce, de-
picting the adventures of Mr. Adolphus Whiffles, a
young man from the country, who in order to get be-
hind the scenes of a theatre undertakes to act as
a substitute for a friend as " one of the trombones,"
unknown to the leader of the orchestra. His friend
i87i.J
DRAWING FOR "LONDON SOCIETY.''
assures him that in a crowded assembly " one trom-
bone would probably make as much noise as two, '
and that, if he took his place in the orchestra, he had
only to " pretend to play and all would be right."
"THE Two TROMBONES."
In the first sketch we see him in his bedroom
contemplating the unfamiliar instrument left by his
friend ; in the second he is at the theatre at the
crisis when the leader of the band calls upon him
to u play in " (as it is called) one of the performers
on to the stage ! Mr. Whiffles's instructions were
c 2
20
RANDOLPH CALDECOTT.
[CHAP. ii.
to keep his eyes on the other trombone and imi-
tate his movements exactly ; but unfortunately the
other trombone was a substitute also. The leader
looks round, and seeing the two trombones ap-
parently perfectly ready to begin, gives the signal,
and the curtain rises.
The ddnoument may be
imagined! Other stories
were illustrated by
Caldecott, about this
period, in London So-
ciety ; one of Indian life,
another called Crossed
in Love, &c.9 but the
artist wished that some
CHRISTMAS DAY, 4.30 A.M.
PLEASE, SIR, GIVE ME A CHRIST-
MAS-BOX."
illustrations should not
be reprinted. Several
drawings from London
Society are omitted, from the same cause.
The freshness of fancy, not to say recklessness
of style, in many of the drawings which came by
post at this time — the abundance of the flow from
a stream, the course of which was not yet clearly
22 RANDOLPH CALDECOTT. [CHAP. n.
marked — raised embarrassing thoughts in an editor's
mind. " What to do with all the material sent ? "
was the question in 1871 — a question which
Caldecott was soon able to answer for himself.
In 1871, many favourable notices appeared in the
press referring to the humorous illustrations in
London Society; but the sketch of all others
" SNOWBALLS "
which attracted attention to the work of the
unknown artist was " A Debating and Mutual
Improvement Society" on page 21, a recollection
probably of some meeting or actual scene in Man-
chester.1 Here the artist was on his own ground,
1 The drawing, A Debating Society^ \vas very well engraved on wood by
J. D. Cooper, and appeared in London Society in 1871, v. xx. p. 417 ; it is now
reproduced on a larger scale by a mechanical process of photo-engraving.
Experts in drawing for book illustration may be interested to compare results.
" HEIGII-IIO, THE HOLLY!"
That's not Rosalind : oh dear no —
That damsel under the misletoe,
Who seems to think life jolly :
And as to the gentleman there behind,
He wouldn't have pluck to kiss Rosalind,
Can't you fancy his ' Heigh-ho, the Holly ! ' ;|
MORTIMER COLLINS.
24 RANDOLPH CALDECOTT. [CHAP. 11.
and the result is one of the most rapid and spon-
taneous sketches in pen and ink ever achieved. It
had many of the characteristics of his later work,
a lively and searching analysis of character, without
one touch of grossness or ill-nature — fun and satire
of the subtlest and the kindliest. Here was the
touch of genius unmistakable, an example of
expression in line seldom equalled.
In an altogether different vein, drawing with pen,
and a brush for the tint, — the new artist tries his
hand at illustrating one of Mortimer Collins's
madrigals called " Heigh-ho, the Holly!"
Amongst the most ambitious and interesting of
Caldecott's drawings at this time were his " hunting
and shooting friezes," of which several examples will
be found in the pages of London Society for 1871
and 1872, drawn in outline with a pen ; showing,
thus early, much decorative feeling and a liking for
design in relief which never left him in after years.
Two of the best that he did were the hunting
subjects, entitled "Going to Cover" and " Full
Cry."
" The Coming of Age of the Pride of the Family "
26
RANDOLPH CALDECOTT.
[CHAP. ii.
is another example, in a different style, of Caldecott's
drawing in line at this period. It is reproduced
opposite, in exact facsimile from the pen and ink
drawing in possession of the writer.
HYDE PARK— "Our OF THE SEASON."
Trivial as these things may seem now, the arrival
in Manchester of the red covers of London Society
containing almost every month something new by
R. C, were among the events in the life of the
young banker's clerk which soon set the tide of his
affairs towards London.
28 RANDOLPH CALDECOTT. [CHAP. n.
Referring to drawings made for the magazine after
Midsummer 1872, when Mrs. Ross Church succeeded
to the editorship, Caldecott writes to a friend : —
" Florence Marryat wants me to illustrate a
novelette, very humorous, to run through five or
six numbers of London Society, beginning in
February. Engraved illustrations, no * process.' I
think I shall do them, I want coin ! "
But he had soon other work in hand as will be
seen in the next chapter.
THE END OF ALL THINGS.
SKETCH ON A POST CARD.
CHAPTER III.
IN LONDON, THE HARZ MOUNTAINS, ETC.
EARLY in the year 1872 Caldecott left Manchester
for London, " bearing with him the well wishes of
the Brazenose Club and of an extensive circle of
friends." This great change was not decided upon
without considerable hesitation ; but, to quote again
from a Manchester letter :—
" Caldecott was greatly encouraged to take this
step by the sale of some small oil and water colour
paintings at modest prices, and by the acceptance
of drawings by London periodicals. The clinking
of sovereigns and the rustling of bank-notes became
30 RANDOLPH CALDECOTT. [CHAP. in.
sounds of the past — the fainter the pleasanter, so at
least Caldecott thought at that time, with energy,
ardour, and the world before him."
In February and March, 1872, he was still drawing
for the magazines and illustrating short stories.
In March, 1872, he exhibited hunting sketches
in oil at the Royal Institution, Manchester.
On the 1 6th April he went to the Slacle School
to attend the Life Class under E. J. Poynter, R.A.,
until the 2Qth June.
As this was the turning point in Caldecott's
career, it should be recorded that at this time, and
ever afterwards, Mr. Armstrong, the present Art
Director at the South Kensington Museum, was
his best friend and counsellor.1 He had also the
advantage of the friendship of George du Maurier,
M. Dalou, the sculptor, Charles Keene, Albert
Moore, and others.
On the 8th June he records, " A. urged me to
prepare caricatures of people well known," probably
with the view of making drawings for periodicals.
1 In a private letter to the writer of this intmoir, dated 2nd November,
1876, Caldecott says : — "Pen can never put down how much I owe, in many
ways, to T. A."
1872.]
DRAWING FOR "PUNCH"
Several drawings of Caldecott's were under con-
sideration by the proprietors of Punch, and on the
22nd June, 1872, the first appeared.
In the same month he exhibited a frame of four
small sepia drawings at the Black and White
Exhibition, Egyptian Hall, London.
FIRST DRAWING i\ "Puxcn," 22ND JUNE, 1872.
On the 28th June his diary records, " in the
gallery of the House of Commons attending the
debate on the Ballot Bill ; " and again on the
8th July. On the 9th he is "engaged on chalk
caricatures all day."
32 RANDOLPH CALDECOTT. [CHAP. in.
A letter dated 2ist July, 1872, to one of his
Manchester friends is worth having for the ludicrous
sketch accompanying it. He writes : —
" London is of course the proper place for a
young man, for seeing the manners and customs
of society, and for getting a living in some of the
"A COOL SEQUESTERED SPOT."
less frequented grooves of human labour, but for
a residence give me a rural or marine retreat.
I sigh for some ' cool sequestered spot, the
world forgetting, by the world forgot.'
About this time it was suggested to him to
illustrate a book of summer travel, and on the
2Oth August 1872 he enters in his diary :—
" To Rotterdam, Harzburg, &c., to join Mr. and
Mrs. B. in the Harz Mountains"
This was the first book that Caldecott illustrated ; l
1 The Harz Mountains, a Tour in the Toy Country, by Henry Blackburn.
London: Sampson Low and Co., 1872.
34 RANDOLPH CALDECOTT. [CHAP. in.
the title suggested was "A Toiir in the Toy
Country" and before leaving London he made the
drawing on the preceding page.
Caldecott, being then twenty-six, started on this
journey with great readiness. The idea was
altogether delightful to him ; and here, as in every
country he visited in after years, his playful fancy
A MOUNTAIN "BEER GARDEN."
and facility for seizing the grotesque side of things
stood him in good stead.
In a strange land, amidst unfamiliar scenes
and faces, he roamed " fancy free " ; in a country
so compact in size that the whole could be
traversed in a month's walking tour.
With Baedeker s Guide (English edition) in his
pocket, and a dialogue book of sentences in
I872-]
IN THE HARZ MOUNTAINS.
35
German and English, he used
to delight to interrogate the
wondering natives ; the neces-
sary questions difficult to find,
and " the elaborate and quite
unnecessary " (as he expressed
it), always turning up. Such
little incidents gave opportunity to the observant
artist to study the faces of the listeners; the inter-
views conducted slowly and gravely, and ending in
a peal of laughter from the natives.
A " FKAULEIN."
A MOUNTAIN PATH.
D 2
RANDOLPH CALDECOTT.
[CHAP. in.
Life at a German watering-place, as seen on a
small scale in summer in the Harz mountains, was
Caldecott's first experience of scenes with which his
A WARRIOR OF SEDAN IN A BEER GARDEN AT GOSLAR, 1872.
name afterwards became familiar in the pages of the
Graphic newspaper. In looking at these early
sketches we must bear in mind that they were
made at a time when Caldecott, as an " artist," was
scarcely two years old ; that although his sense of
humour was overflowing, his hand was comparatively
untrained ; that with his keen eye for the grotesque
he turned his back upon much that was beautiful
about him, that his sense of the fitness of things,
of the requirements of composition and the like,
were in embryo, so to speak.
Nevertheless, as indicated in the next few pages
1872.]
IN THE HARZ MOUNTAINS.
37
he has left us work which, if ever a more complete
life of Caldecott should be written, would form
an important chapter in his art career.
Although little fitted for a mountaineer, he could
not resist excursions to the highest points, and with
a will which surmounted all difficulties, reached one
evening the summit of the famous " Brocken."
What he saw is recorded in the sketch below.
THE ARK OF REFUGE."
There is a legend that when the deluge blotted
out man from most parts of the earth, the waters of
the northern seas penetrated far into Germany, and
that the enormous rock which forms the top of
the Brocken formed a shelter and resting-place.
There was no need of a romantic legend to
suggest to the mind, at the first sight of the
primitive hostelry on the top of the Brocken, its
RANDOLPH CALDECOTT.
[CHAP. in.
similitude to the " ark of refuge." The situation
was delightful ; we were in the " toy country "
without doubt. There was the identical form of
packing-case which the religious world has with one
consent provided as a plaything for children ; there
were Noah and his family, people walking two and
two, and horses sheep, pigs, and goats stowed
away at the great side door.
The resemblance was irresistible, and more at-
tractive to Caldecott's mind than any of the legends
and mysteries with which German imagination has
peopled the district.
There is " no holding" Caldecott now; on the
1872.]
IN THE HARZ MOUNTAINS.
39
" Hexen Tanzplatz," the sacred ground of Goethe's
poetic fancy, within sound almost of the songs of
the spirit world that haunt this lonely summit, he
sets to work.
"SPECTRES OF THE BROCKEN."
The dance of witches, so weird and terrible, (as
lately seen on the Lyceum stage in Henry Irving' s
production of Faust}) took a different form in the
young artist's eyes, whose fancy sketch from the
Hexen Tanzplatz is reproduced opposite. He had
been properly " posted," as he expressed it, he had
RANDOLPH CALDECOTT
[CHAP, in
read all that should be read about ghosts, witches, and
spectres, and the result is before us. The last sketch
from the dreary sum-
mit, showing the
patient tourists wait-
ing to see the view,
was all we could get
from him of spectres
of the Brocken.
One or two sketches
A SKETCH AT SUPPER. of the interior of his
Noah's ark, when some sixty travellers had as-
sembled to supper, completed his subjects.
It may be noted that the feeling for landscape
which Caldecott possessed in after years in such a
BACK TO THE VIEW."
IN THE HARZ MOUNTAINS.
high degree, if it touched him here, was not re-
corded in pencil. The magnificent scenery eastward
through the valley of the
River Bode, the grim iron
foundries and ochre mines,
and the wonderful view
from the heights above
Blankenberg, familiar to
all travellers in the Harz,
was recorded in only two
sketches ; one of a roadside
inn, where we were invited
to stay, the other of two
tourists en route. THE GUIDE AT GOSLAR.
How, at the little wayside sheds and " drink
gardens " scattered on the mountain paths, the tourists
sat persistently back to the view which they had
toiled miles to see, were depicted by the artist in
pencil, and many little incidents on the road were
dotted down for future use.
In the old tenth-century city of Goslar, Caldecott's
pencil was never at rest. Taking a guide to save
time (whose portrait he gives us, with a note of a
RANDOLPH CALDECOTT.
[CHAP. in.
curious sixteenth-century street door) he explores
from morning to night, choosing as subjects always
" the life of the place."
" Drinking the waters
at Goslar " in 1872 was a
crude effort artistically,
which may be contrasted
with his sketches of the
same scenes at Buxton in
1876, but the humour is
irresistible. An extract
from our diaries is neces-
sary here to explain the
illustration.
PROCESSION OF THE SICK.
" The figures are pilgrims, that have come from far
and wide to combine the attractions of a summer
holiday with the benefits of a wonderful * cure ' for
which the city is celebrated. The promenades and
walks on the ramparts lined with trees, are going
through the routine of getting up early, taking regu-
lar exercise and drinking daily several pints of a
dark mixture having the appearance, taste, and effect
of taraxacum or senna. The bottles are supplied at
the public gardens and cafes situated at convenient
distances in the suburbs of Goslar/'
44
RANDOLPH CALDECOTT.
[CHAP. in.
On another day he encounters a school starting
for two or three days on the mountains, the band
making hideous noises as the procession passes out
of Goslar. Everything is characteristic here and full
of local colour ; the order of march, the costumes
and the boots of the
boys, and the general
gravity of the com-
pany are given ex-
actly — making the
usual allowance for
exaggeration. In the
A GENERAL IN THE PRUSSIAN ARMY, background is seen
one of the iron fac-
tories and an indication of a bit of Harz scenery ;
the sketch recalling the incident with wonderful
vraisemblance. The " School on the March " in
its humour and exaggeration may remind the
reader of some drawings by Thackeray.
Here, as in Belgium, the harnessing of dogs to
carts, drawing sometimes two people over the rough
cobble stones of Goslar, excited Caldecott's pity and
anger ; he made several sketches of the animals and
RANDOLPH CALDECOTT.
[CHAP. in.
one portrait of their master who had just got down
to enjoy a pipe at the corner of a street.
Sketches at
various table
cChbtes'm hotels,
public gardens
and the like,
were plentiful
and perpetual.
But the ma-
jority were de-
stroyed or put
away ; out of
fifty only one
such
as
A
General in the Prussian Army " (see page 44)
being selected for reproduction.1
At Clausthal we joined a party to explore one of
the iron mines, and Caldecott gives a sketch of the
1 This, and other similar sketches, caused amusement in some circles and
offence in others, at Berlin, where it was stated erroneously that the artist had
caricatured some well-known personages who came annually to Goslar to drink
the waters, and an arrangement to publish a translation of the Harz Mountains
into German fell through in consequence.
I S;2.] IN THE HARZ MOUNTAINS. 47
preparations. A note from our diary will best
explain the situation.
" In order to descend the mines at Clausthal,
visitors have to divest themselves of their ordinary
costumes and put on some cast-off suits of ill-fitting
garments left at the entrance to the mine for the
purpose. As we approach the mouth of the shaft
where the miners are waiting with lanterns to com-
mence the descent, our party, — consisting of four
Englishmen — a professor of geology, a director of
mines, an editor and an artist — present the some-
what undignified aspect in the sketch. This change
of costume is necessary on account of the wet state of
the mines, the thick caps being a protection against
loose pieces of ore and the wet earth that falls from
time to time in the galleries."
Caldecott gives the generally dismal and dis-
reputable appearance of the party with great verve ;
his own portrait is presented in a few touches in
the background, hurrying into garments much too
big for him.
On one occasion the artist takes a solitary walk
between Thale and Clausthal, a pathway lined in
RANDOLPH CALDECOTT.
[CHAP. HI.
some parts by rows of
trees with forbidden fruit,
a novel and tempting ex-
perience. There being no
mention of this route in
the guide books, he writes
as he says his " own
Baedeker" in the familiar
practical manner : —
" I start at 3.40 P.M. from the ' Tenpounds Hotel '
at Thale to walk up the valley of the Bode, over a
wooden bridge, then through a beer garden, round a
rocky corner," &c. " The way next through woods
of beech, birch and oak ; a stream can be heard but
not seen. Treseburg is reached at 5.40 ; a prettily
situated village by the water side ; homely inn, damp
beds."
" Leave Treseburg at 9.40 A.M. over a bridge on
the right bank of the Bode. Altenbrack at 10.50,
Wendefurth at 1 1.50. Rubeland reached at 2.30 P.M.,
and so on to Elbingerode, where a halt is made for
the night at the ' Blauer Engel,' a tolerable inn.
Women of burden and foresters are the only
wayfarers met with.
" The route hence south-west over high open
1872.]
IN THE HARZ MOUNTAINS.
land with fine views to the iron works of Rothehiitte
in an hour. Thence up a hill for half an hour and
through dense fir woods, then out on the high road
again, resting at the ' Brauner Hirsch' at Braunlage.
From thence over hills commanding a vast extent
of country with the familiar form of the Brocken
continually in view. The road descends by easy
stages through a district full of small reservoirs and
leads the traveller in about two hours into the wide,
clean, empty streets of Clausthal."
On the 1 9th September,
1872, Caldecott is at work
again in his rooms at 46,
Great Russell Street (opposite
the British Museum) arranging
with the writer for some of his
Harz Mountain drawings to
accompany an article in the
London Graphic newspaper.
These appeared in the autumn
of 1872.
On the 1 8th October, the following entry appears
in Caldecott's diary: "Called at Graphic office,
saw Mr. W. L. Thomas, who took my address."
E
AT CLAUSTHAL.
50 RANDOLPH CALDECOTT. [CHAP. in.
This entry is interesting as the beginning of a
long connection with the Graphic newspaper which
proved mutually advantageous.
In November, 1872, the present writer went to
America, taking a scrap-book of proofs of the best
of Caldecott's early drawings, a few of which were
published in an article on the Harz Mountains in
Harper s Monthly Magazine in the spring of I873.1
His drawings were also shown to the conductors of
the Daily Graphic, of New York, which led to an
engagement referred to in the next chapter.
During the latter part of 1872 numerous small
illustrations were produced for London Society.
1 Amongst the young artists in the art department of Harper's Magazine
in 1873, was E. A. Abbey, the well-known illustrator of old English subjects ;
in later years a great friend and ally of Caldecott.
SKETCH IN " PUNCH," STH MARCH, 1873.
CHAPTER IV.
DRAWING FOR " THE DAILY GRAPHIC."
SOME idea of the work on which Caldecott was
engaged in 1873 and 1874, may be gathered from
extracts from his diary in those years. They
are interesting if only to show that at that early
period his art studies were varied, and that his
experience was not confined to book illustration
as has generally been supposed.
E 2
52 RANDOLPH CALDECOTT. [CHAP. iv.
In January, 1873, he made six illustrations for
Frank Mildmay by " Florence Marryatt," and on
January 22nd, an " Initial for Punch'"
In February—
" Began wax-modelling for practice, hearing
that my hunting frieze (white on brown paper)
had been successful in Manchester, and that I
should perhaps be asked to model some animals
for a chimney-piece."
24th April. — "A. came to see my wax models;
liked them, said I must do something further."
Several hunting subjects were also in progress at
this time. Next are two letters to a friend in
Manchester.
"46, GREAT RUSSELL STREET, LONDON', W.C.,
"March 28, 1873.
" MY DEAR— — , — The ancient Romans said, or
ought to have said, that ingratitude was the greatest
of human crimes. But, my dear fellow, I am not
an ingrate. I have not forgotten you — unless, as
the poet sings, ' if to think of thee by day and
dream of thee by night, be forgetting thee, thou
art indeed forgot.' I did receive your last col-
lected joke, and a very good joke it was — for a
Manchester joke. I'm sorry that I have not power
to use it, but it will keep, although it will tread
on some people's feelings when used. The fact
54 RANDOLPH CALDECOTT. [CHAP. iv.
is that this same joke nearly brought me to an
untimely end. I went out hunting on the day I
received it, and at one fence and ditch I had quite
enough to do to avoid a rabbit-hole on the taking-
off side and some barked boughs of fallen timber
on the landing side — not to mention some low-
hanging oak trees. Well, just when I was in the
air I thought of your joke and smiled all down one
side ; my hunter — by King Tom, out of Blazeaway's
dam, by Boanerges -- took the opportunity of
stumbling, and, before an adult with all his teeth
could get as far as the third syllable in 'Jack
Robinson,' my nose was engaged in cutting a
furrow all across a fine grass field, some eight acres
and a half in extent, laid down after fine crops of
seeds and roots, and well boned last winter. How-
ever, in less than half a minute (having retained
possession of the reins), I was again chasing the
flying hounds.
"About the middle of February I went down into
the country to make some studies and sketches,
and remained more than a month. Had several
smart attacks on my heart, a little wounded once,
causing that machine to go up and down like a
lamb's tail when its owner is partaking of the
nourishment provided by a bounteous Nature.
Further particulars in our next — no more paper
now. I hope you and - - are well, and with kind
regards, remain yours faithfully,
"R. C."
I873-]
LETTERS.
55
"46, GREAT RUSSELL STREET, LONDON, W.C.,
"April 27, 1873.
" MY DEAR— — ,— I was delighted to receive your
letter — quite a long one for you. I hope that you
had a fine time of it at the ball. Dancing is not
absolutely necessary to a man's welfare temporally
or spiritually; so if you be a 'Wobbler,' wobble
away and fear not, but see that thou wobblest
with all thy might, then shall thy zeal compensate
for lack of skill. I've nearly given up gymnastics.
I only danced twenty-one times at the last ball.
* * #
" I now find that during quadrilles my mind
wanders away from the subject before it, and I am
56 RANDOLPH CALDECOTT. [CHAP. iv.
continually reminded that I ought to be idiotically
squaring away at some one instead of cogitating
with my noble back leaning against the wall. ' Sed
tempora new potater,' &c. I hope you are all well,
and with kind regards, remain yours faithfully,
"R. C"
In May he is " working in clay in low relief."
6th June. — " Began modelling mare and foal
in round."
In the latter part of June, and in July, he is " at
Vienna with Mr. Blackburn," engaged on various
illustrations for the Daily Graphic.
It was in the summer of 1873 that it occurred
to the proprietors of the Daily Graphic (the
American illustrated newspaper referred to) that
the Gulf Stream, and the strong prevailing
current of wind easterly from the continent of
America in that latitude, might be turned to
profitable account for advertising purposes. They
constructed a large balloon which hung high
above the houses in Broadway for some weeks,
and announced that on a certain day the Daily
Graphic balloon would sail for Europe. The
start was telegraphed to London and gravely an-
I873-]
"DAILY GRAPHIC."
57
nounced in the Times and other London papers,
and every one was on the qui vive for this new
arrival in the air.
The humour and absurdity of the situation was
"LOOKING OUT FOR THE 'GRAPHIC' BALLOON."
seized at once by the comic journals, but probably
nothing that appeared at the time was more telling
than the drawing made by Caldecott at Farnham
58 RANDOLPH CALDECOTT. [CHAP. iv.
Royal for the Daily Graphic, and published in New
York as a page of that newspaper.
Other drawings followed, descriptive of various
scenes in London and England, such as a special
service by Cardinal Manning at the Pro-Cathedral
in Kensington ; an address by Bradlaugh at the
east end of London ; a London picture exhibition ;
hunting in a northern county, &c., and Caldecott,
to whom all this was a new experience, was
pleased to work for the American newspaper as
" London artistic correspondent."
•
In this capacity Caldecott went with the writer
to Vienna to the International Exhibition of 1873,
and there were sent to America various satirical
sketches, accompanying letters, notably one of the
banquet held on the 4th of July, with portraits
of some well-known American citizens. One of
the most successful and life-like of the smaller
sketches was a Vienna horse-car entitled — " Off to
the Exhibition," reproduced here.
The experience gained in various excursions
during Caldecott's engagement with the Daily
Graphic, was most valuable to him in after years ;
60 RANDOLPH CALDECOTT. [CHAP. iv.
although as we have elsewhere said, illustrated
journalism properly so-called, was never sympathetic
to him, nor would his health have been equal to the
strain of so trying an occupation. As occasional
contributor to an illustrated newspaper he was
destined to be without a rival, as the columns of the
London Graphic for many years have testified.
The humour and vivacity, the abandon, so to
speak, exhibited in some of these early drawings,
form a delightful episode in his early art career,
A VIENNESE DOG.
and many will wonder, looking at the variety of
movement and expression (in the drawing of the
overloaded car, for instance), that the artist should
have been amongst us so long without more
recognition. It is true that his drawings were
1 87 3.] LETTERS. 6 1
uncertain, and that the results of want of train-
ing were sometimes too palpable ; that the accusa-
tion made in 1872 that the editor of London Society
had chosen " an artist who could not draw a lady,"
could hardly be gainsaid in 1873.
The artistic interest in these drawings is great,
if only from the fact that they are amongst
the few of his works drawn in pen and ink for
direct reproduction without the intervention of the
wood-engraver. Caldecott was one of the first
to try, and to avail himself of, the various
methods of reproduction for the newspaper press ;
and in the pages of the Daily Graphic, his facile
touch and play of line was made to appear
with startling emphasis on the printed page.1
But after all, the humour and drollery of
Caldecott's nature appears with more unrestrained
effect in the sketches on his letters to friends, such
as are scattered through this volume ; the natural
awe of publication in any form having a restraining
effect.
1 The drawings in the Daily Graphic in New York were all reproduced by
photo-lithography, and printed at the lithographic press.
62 RANDOLPH CALDECOTT. [CHAP. iv.
In July and August he is working "in the loose
box at Farnham Royal," the country cottage sketched
on page 90 and referred to in the following and
other letters.
" HOGARTH CLUB, 84, CHARLOTTE STREET, FITZROY SQUARE, W.
" DEAR— — , — The poet sings, ' Oh ! have you
seen her lately ? ' to which 1 answer, ' Yes/ But,
whether or no, I returned to-day from a fortnight's
sojourn in Buckinghamshire, and the first thing I
was going to do was to write to you and say that
I have no acquaintance with the happy medium
who resides in my very old rooms in Great Russell
Street. I have left those rooms, and am a wanderer
and an Ishmaelite. I dare not take those rooms
when she leaves. I called at the house just now
and found another note from you. I had a good
look at Europe during my Vienna expedition. I
1873] LETTERS. 63
was away a month and saw many towns, and con-
versed with many peoples and tongues. I could
say much, but will defer till we meet over the
flowing bowl. Since I came back I have been
staying with a friend at Holborn Circus, and also
with some friends at Farnham Royal, near Slough,
a lovely country place. There I have been working
off some sketches of Vienna and England for the
use of the neighbouring country of America. But
I could not help being interrupted. Fancy a being
like this bobbing about ! Howsomedever, I am
again in town at Bank Chambers, Holborn Circus,
E.C., where I may be consulted daily. Please
observe signature on the box, without which none
others are genuine, post free for thirteen stamps.
So you see that I have had a seven weeks' delightful
mixture of toil and pleasure, and ought now to have
a bout of toil only. There is a book waiting to be
illustrated.
" R. C."
In the same month (August 1873), he went with
a letter of introduction to Dalou, the French sculptor,
then living in Chelsea. Of this interview he writes,
" M. Dalou very kind in hints, showing me clay,
&c." A friendship followed, cemented in the first
64
RANDOLPH CALDECOTT.
[CHAP. iv.
instance by a bargain that Caldecott should come
and work at the studio and teach the sculptor
to talk English, whilst Dalou helped him in his
modelling ! Caldecott profited by the arrangement,
and often spoke in after years of the value of
EARLY DECORATIVE DESIGN, THE PROPERTY OF G. AITCHISON, A.R.A.
Dalou's practical teaching. Many visits were paid
to the sculptor's studio in the year 1873.
In the intervals of work Caldecott also made
life studies at the Zoological Gardens in London,
and anatomical studies of birds.
1873] LETTERS. 65
In September he made a drawing of Mark Twain
lecturing in London, for the Daily Graphic, and in
October records the purchase by Mr. G. Aitchison,
the architect, of a cast of his "first bas relief," a
hunting subject ; also of " two brown paper pelican
drawings," one reproduced on the last page.
In November he writes the following to a friend
in Manchester :—
"46, GREAT RUSSELL STREET, W.C.,
' ' Novem ber 1 6, 1873.
" DEAR , — I have nothing to say to you —
nothing at all. Therefore I write. I don't like
writing when I have aught to say, because I never
feel quite eloquent enough to put the business in
the proper light for all parties. Having a love
and yearning for Bowdon and Dunham, and the
' publics' which there adjacent lie, I think of you on
these calm Sunday evenings about the hour when
my errant legs used to repose beneath the deal of
the sequestered inn at Bollington. How are you ?
I was pleased to see that the Athenaum gave a
long space to your book, although I presume you
did not care for the way they reviewed it. That
is nothing. I have been very busy — not coining
money, oh no ! — but occupied, or I should say have
descended into the country, during last month.
F
66
RANDOLPH CALDECOTT.
[CHAP. iv.
6 Graced with some merit, and with more effrontery ;
his country's pride, he went down to the country.'
My summer rambles shall be talked of, and the
wonderful works in the regions of art shall be
described when next I see you. Till then, farewell !
This short letter is like a call. — Yours, R. C."
The last entry of interest in his diary in 1873, *s
on December 3rd.
" To Graphic office, saw Mr. Thomas. Fixed
that I should go down to Leicestershire next week
for hunting subjects."
V
THIS is NOT A FIRST-CLASS Cow.
STUDIES FOR A LARGE DECORATIVE DESIGN, 1874.
CHAPTER V.
DRAWING FOR " THE PICTORIAL WORLD," ETC.
LET us now glance at Caldecott's diary for 1874,
which, with his letters to friends and the sketches
which so often accompanied them, give an insight
into the character of his work at this time. It
is altogether an extraordinary record.
On the 1 4th of January, 1874, he is "working in
the afternoons, sketching swans at Armstrong's."
This was part of a large decorative design which
F 2
68 RANDOLPH CALDECOTT. [CHAP. v.
he afterwards assisted in painting (see illustration
on page 89).
On the 23rd January, 1874, is an interesting note.
" J. Cooper, engraver, came and proposed to
illustrate, with seventy or eighty sketches,
Washington Irving's Sketch Bcok. Went all
through it and left me to consider. I like the
idea."
In February he completed a drawing of the
Ouorn Hunt for the Graphic newspaper.
On the 1 2th March, he enters in his diary,
" Preparing sketch of choir for W. Irving's Srwtch
Book ; " showing that he was already at work on the
book which was to make his reputation.
At the same time he was preparing illustrations
and trying new processes of drawing for repro-
duction, to aid in founding a new newspaper.
How far Mr. Caldecott was ready to conquer
difficulties in his art, and how heartily he aided
his friends in any project with which he was
connected, are matters of history closely connected
with his engagement on the Pictorial World,
which had a bright promise for the future in 1874.
1874] THE PICTORIAL WORLD. 69
Some of the large illustrations were produced by
Dawson's " Typographic Etching" process. The
drawings were made with a point on plates covered
with a thin coating of wax, the artist's needle,
as in etching, removing the wax and exposing the
surface of the plate wherever a line was required
in relief — "a fiendish process!" as Caldecott
described it, but with which he succeeded in
obtaining excellent results — better than any artist
previously.
On the /th of March, 1874, a new illustrated
newspaper called the Pictorial World was started
in London, of which the present writer was the art
editor.
It was the time of the general election of 1874,
when the defeat of Mr. Gladstone, the question of
" Home Rule," and many exciting events were being
recorded in the newspapers. Caldecott was asked to
make a cartoon of the elections, and at once sat
down and made the pencil sketch overleaf.
For some reason this drawing was not completed ;
but instead, a group of various election scenes was
drawn by him and appeared in the Pictorial World.
;o
RANDOLPH CALDECOTT.
[CHAP. v.
There were numerous sketches combined on one
page, three of which are reproduced here. The
illustrations on pages 70, 72, 80, 81, 82, and 84
were drawn (generally under great pressure of
THE POLLING BOOTH.
time) with an etching needle on Dawson's plates.
This was the beginning of what are now familiarly
known as " process " drawings in newspapers, but
the system of photographic engraving, now largely
used, was not then perfected. In 1874 it would
I8/4-]
THE PICTORIAL WORLD.
have been impossible to reproduce rapidly in a
newspaper, either the delicate lines of a pen and
HOME RULE— MARCH 1874.
Facsimile of pencil sketch for the Pictorial World.
ink sketch, or such a pencil drawing as that given
above.
Caldecott rendered valuable assistance at this
time, and the early numbers of the paper are
72
RANDOLPH CALDECOTT.
[CHAP. v.
worth having if only for the reproduction of his
work. It is not generally known how many of the
large illustrations in the Pictorial World were by
" ON THE STUMP."
his hand, or how much he was identified with the
publication in the first days of its career.
Amongst the best illustrations by Caldecott for
the newspaper at that period were sketches and
.874.]
THE PICTORIAL WORLD.
73
studies that he had made for pictures, selected
from his studio ; such for instance as " Coursing,"
" Somebody's Coming," and the " Morning Walk,"
on pp. 75, 77, and 86. The latter design was
THE SCOTCH ELECTIONS — "GOING TO THE HUSTINGS."
not drawn specially for the Pictorial World, but
Caldecott made a drawing of it for the paper, which
appeared in the number for i8th July, 1874.
From a bundle of sketches (some very pretty)
of subjects connected with Saint Valentine, he
74
RANDOLPH CALDECOTT.
[CHAP. v.
made a page for the same paper. These again, may
seem small matters to record, but they are facts
in the history of a life teeming with interest,
and show that Caldecott's talent as an illustrator
was revealed in 1874; that he was ''invented/' as
the saying is, long before the publication of
Washington Irving's Sketch Book.
76
RANDOLPH CALDECOTT.
[CHAP. v.
On the 3 ist of October, 1874,
Mr. Henry Irving made his
first appearance in London
as Hamlet, one of those oc-
casions on which the theatre
was crowded with critics and
well-known personages. Caldecott, altogether in-
experienced in such work, made several rough
sketches, seizing the grotesque side " as far as he
dared" as he said.
The trying nature of that performance, and the
flitting about on the stage of the nervous anxious
A VALENTINE.
RANDOLPH CALDECOTT.
[CHAP. v.
figure, with the ever-present white pocket-handker-
chief in his belt — will be remembered by many.
Caldecott made the best sketch that he could
Wff-o
x-
from the left side of the dress-circle, the only
position in the house that could be obtained for him.
In company with the writer, Caldecott made
various sketches in the House of Commons, the
Law Courts, the theatres, and the like. The first
three sketches of the House of Commons — one
showing " The Arrival of the New Members,"
1874-1
THE PICTORIAL WORLD.
79
another, " The Speaker going up to the Lords,"
and a third, " At the Bar of the House of Lords"
—were amongst the funniest of the series. Others
followed from week to week, such as " The new
"THE YOUNG HAMLET."
Prime Minister," on page 83. On one occasion he
went down to Westminster Hall to see the Rt. Hon.
Benjamin D' Israeli enter the House of Commons
HOUSE OF COMMONS, MARCH 1874— ARRIVAL OF NEW MEMBERS.
1 874-]
THE PICTORIAL WORLD.
81
as the new prime minister, and to a large illustra-
tion showing the north door of Westminster Hall
(the architecture drawn by Mr. Jellicoe), he added the
"THE SPEAKER GOING ur TO THE LORDS."
figures, a grotesque group of bystanders, presum-
ably Conservatives, welcoming their new representa-
tive. (See the Pictorial World, March, ;th, 1874.)
G
RANDOLPH CALDECOTT.
[CHAP, v
It was an exciting time politically and socially,
and many events of interest had to be recorded.
"AT THE BAR OF THE HOUSE OF LORDS."
Amongst them the conclusion, amidst general re-
joicing, of the great Tichborne Trial on March
2nd, 1874, a trial which had lasted 188 days.
1 874]
THE PICTORIAL WORLD.
This was an opportunity for the artist. Caldecott's
original sketch of this subject, if it is in existence,
should be treasured ; some idea of the humour of it
may be gathered from the drawing overleaf which
" THE NEW PRIME MINISTER."
was crowded into the corner of the newspaper. He
also made a highly grotesque and artistic model
in terra-cotta of the Tichborne Trial, now in the
possession of Mr. Stanley Baldwin of Manchester.
G 2
RANDOLPH CALDECOTT.
[CHAP. v.
About this time, Caldecott went to the " farewell
benefit " of the late Benjamin Webster and sketched
the actor — surrounded by members of his company
— making his final bow to the public.
THE TICHBORNE TRIAL — "BREAKING-UP DAY."
On the eighteenth birthday, the "coming of age,"
of the late Prince Imperial of France, Caldecott
went to Chislehurst. The drawing of the crowd on
the lawn of Camden House in a state of general
1 874] THE PICTORIAL WORLD. 85
congratulation, the ceremony of presentation of
enormous bouquets of violets and the like ; of
Frenchmen and their wives, of diplomatists, and
others, will be found in the Pictorial World for
March 2ist, 1874.
Here was a comparatively unknown artist at
work, revealing talent which in after years would
delight the world.
But fortunately for his health and peace of mind,
and also for his future career, the young artist, who
two years before had given up a clerkship in a
Manchester bank (a "certainty" of more than ^"100
a year), was advised to refuse an engagement on
the Pictorial World of ^10 ictf. a week, which,
had it been carried out, would have done much
to raise the fortunes of that newspaper.
But the rush and hurry of journalistic work was
distasteful to him ; he had many commissions at
this time, work of a better kind, requiring quiet
and study. He was willing, and wishing always,
to aid his friends, and so for some time he kept up
a connection with the paper and made sketches on
special occasions.
THE MORNING WALK.
1 874.] DECORA TIVE PAINTING. 87
His health was delicate, but he was not suffer-
ing as in later years ; his spirits were overflowing,
and his kindliness and personal charm had made
him friends everywhere.
On the roth of April he enters in his diary —
" At Armstrong's all day. Began to paint pigeons
on canvas panel. Looking at pigeons in British
Museum quadrangle;" and on the nth again,
" painting pigeons."
On the 1 5th of April he is " making a drawing of
storks, &c.," and on the i/th, 2ist, and 22nd,
" painting swans at Armstrong's all day."
On the 23rd of April he enters : " Bas-relief
hunting scene going on," and on 24th, " painting
storks and pigeons," and on 28th, "swans."
The painting of swans, storks, and pigeons, re-
ferred to above, was very important work for
Caldecott. In conjunction with his friend Mr.
Armstrong, he painted the birds in two panels, one
of swans (reproduced overleaf), and one of a stork
and magpie. These panels were about six feet
high, and form part of a series of decorations in
88 RANDOLPH CALDECOTT. [CHAP. v.
the dining-room of Mr. Henry Renshawe's house
at Bank Hall, near Buxton, Derbyshire.
The series of decorative paintings (by Thomas
Armstrong) which included these panels, was ex-
hibited at Mr. Deschamps' Gallery in New Bond
Street in 1874, and attracted much attention at
the time. The birds showed to great advantage,
and will remain in the memory of many as amongst
the most vigorous and effective of Caldecott's
paintings in oils. They showed, thus early, a
mastery of bird form and a power in reserve of
an unusual kind.
" I have paid a little attention to decorative art,"
he writes to a friend at this time ; besides being "at
work on the Sketch Book" the results of which will
be seen in the next chapter.
:!. .HIM f r^lM / . ^
DECORATIVE PAINTING FOR A DINING-ROOM.
THE COTTAGE," FARNHAM ROYAL.
CHAPTER VI.
FARNHAM ROYAL, BUCKS.
DURING the summers of 1872, 1873, and 1874,
Caldecott stayed often at a cottage belonging to the
writer, three miles north of Slough, in Buckingham-
shire, in the picturesque neighbourhood of Stoke
Pogis and Burnham Beeches.
A " loose box " adjoining the stable — a few yards
to the right of the little verandah in the above
sketch — had been fitted up for him by friendly
hands ; and it was here in this temporary studio,
1 874.]
A T FARM HAM ROYAL.
in the quiet of the country, looking out on woods
and fields, that he made many of the drawings for
Old Christmas.
Several entries in Caldecott's diary in 1874
mention that in June and July he was " working
in the Moose box' at Farnham Royal, on the
Sketch Book?
Those were happy, irresponsible days, before
great success had tempered his style, or brought
with it many cares. Take the following letter
(one of many) written in the full enjoyment of the
change from lodgings in London :—
" We are passing a calm and peaceful existence
here and were therefore somewhat startled the
other day, when Sharp asked for the cart and
92
RANDOLPH CALDECOTT.
[CHAP. vi.
donkey to take to the common for the purpose of
bringing us a few Sultanas. We stroked our
beards, but as Sharp seemed bent upon the affair
reluctantly consented."
[The boy Sharp attended to the wants of Caldecott
and his friend L., and wanted to make a pudding.
The end of the letter is reproduced in facsimile.]
94 RANDOLPH CALDECOTT. [CHAP. vi.
The illustration on the last page is a copy of a
water-colour sketch made from " the loose box" at
Farnham Royal. It depicts the arrival of a pony
at the cottage and consequent disgust of the donkey
at the intrusion. The old man — who combined
the various offices of gardener, groom, and parish
clerk — stood unconsciously as a model for several
drawings in Old Christmas.
o
From Farnham Royal he writes at another time
to a friend : —
" We are fast drifting into a vortex of dissipation
—eddying round a whirlpool of gaiety ; but I hope
that through all, our heads will keep clear enough
to guide the helms of our hearts."
About this time it was suggested to Caldecott to
make studies of animals and birds, with a view to
an illustrated edition of SEsop's Fables, a work for
which his talents seemed eminently fitted. The
idea was put aside from press of work, and when
finally brought out in 1883 was not the success
that had been anticipated. This was principally
owing to the plan of the book.
1874-]
A T FARNHAM ROYAL.
95
As Caldecott's jEsop was often talked over with
the writer in early days, a few words may be
appropriate here. Caldecott yielded to a sugges-
tion of Mr. J. D. Cooper, the engraver, to attach
to each fable what were to be styled " Modern
Instances," consisting of scenes, social or political,
as an "application." Humorous as these were, in
the artist's best vein of satire, the combination was
"STUDYING FROM NATURE."
felt to be an artistic mistake. That Caldecott was
aware of this, almost from the first, is evident from
a few words in a letter to an intimate friend where
he says : —
96
RANDOLPH CALDECOTT.
[CHAP. vi.
" Do not expect much from this book. When
I see proofs of it I wonder and regret that I did
not approach the subject more seriously."
Circumstances of health also in later years in-
terfered with the completion of what might have
been his chef d'ceuvre.
In the following letter to a friend in Manchester
(headed with the above sketch) he refers modestly
to his drawings for Old Christmas, on which he was
now busily engaged.
I874-]
A T FARNHAM RO YAL.
97
" MY DEAR— — , — It is so long since I have heard
from you that I have concluded that you must be
very flourishing in every way. No news being
good news, and no news lasting for so long a time,
you must have a quiver full of good things. How
is ? The woods of Dunham ? The gaol of
Knutsford ? — the vale of Knutsford, I mean. A
fortnight ago, when all the
ability were leaving town, I
returned from a six weeks'
pleasant sojourn in Bucks,
at Farnham Royal. I was
hard at work all the time,
for I have been very much
occupied of late, you will
be glad to hear, I know.
In process of time, and
if successful, I will tell
you upon what. I wish I
had had a severe training
for my present profession.
Eating my dinners, SO to ART is LONG, LIFE is SHORT.
speak. I have now got a workshop, and I some-
times wish that I was a workman. Art is long :
life isn't. Perhaps you are now careering round
Schleswig or some other-where for a summer
holiday. I shall probably go to France next month
for a business and pleasure excursion. Let me
hear from you about things in general or in par-
H
98
RANDOLPH CALDECOTT.
[CHAP. vi.
ticular — a line, a word will be welcome. I hope
you are all well ; and with kind regards remain
" Yours faithfully,
"R. C."
It is clear from the above letter that Caldecott was
conscious of the great change that was coming in his
work in 1874. The suggestions of his friends that
he should draw continually from familiar objects,
"DRAWING FROM FAMILIAR OBJECTS."
and the hints he received from time to time that he
" could not draw a lady," are ludicrously illustrated
in two sketches to a Manchester friend who watched
the progress of the artist with lively interest.
But in spite of his moving laughter, the period
referred to in this chapter was the most serious and
1 3?4-]
ART STUDIES.
99
eventful in Caldecott's career ; when a sense of
beauty and fitness in design seemed to have
been revealed to him, as it were, in a vision, and
when his serious studies seemed to be bearing
fruit for the first time ; when he felt, as he never
felt before, the responsibilities of his art and the
" COULD NOT DRAW A LADY ! "
want of severe training for his profession. Then—
but not till then — did the lines of Punch " On the
late Randolph Caldecott," written in February 1886,
apply exactly :—
11 Sure never pencil steeped in mirth
So closely kept to grace and beauty/'
II 2
CHAPTER VII.
" OLD CHRISTMAS."
THE " new departure " which Caldecott made in
the summer of 1874 w'1^ be seen clearly marked in
the next few pages, where, with the permission of
the publishers, we have reproduced some character-
istic drawings from Old Christmas.
" There was issued in 1876 by the Messrs.
Macmillan" (writes Mr. William Clough, an old
and intimate friend of Caldecott) " a book with
1 874] OLD CHRISTMAS. 101
illustrations that forcibly drew attention to the
advent of a new exponent of the pictorial art.
These pictures were of so entirely new a nature,
and gave such a meaning and emphasis to the text,
as to stir even callous bosoms by the graceful and
pure creations of the artist's genius. Washington
Irving's Old Christmas was made alive for us by
a new interpreter, who brought grace of drawing
with a dainty inventive genius to the delineation
of English life in the last century."
It is not generally known that the drawings for
Old Christmas, one hundred and twelve in number,
were all made in 1874; and there is a marked
alteration in style during the progress of this book,
such as, for example, between the drawing of
" The Village Choir" (commenced in March 1874),
and the portrait of " Master Simon," placed opposite
to each other on pages 96 and 97 of the first
edition of Old Christmas.
The humour is more robust, but never in after-
work was more delightful, than in his rendering of
the typical stage coachman. Until these illustra-
tions came it had been said that Washington Irving's
coachman stood out as a unique and matchless
description of a character that has passed away.
102 RANDOLPH CALDECOTT. [CHAP, vn
"In the course of a December tour in Yorkshire,"
writes Washington Irving, " I rode for a long
distance on one of the public coaches on the day
preceding Christmas."
Three schoolboys were amongst his fellow-
passengers. " They were under the particular
guardianship of the coachman to whom, whenever
an opportunity presented, they addressed a host of
questions, and pronounced him one of the best
fellows in the world. Indeed I could not but
notice the more than ordinary air of bustle and
importance of the coachman, who wore his hat a
little on one side and had a large bunch of
Christmas green stuck in the button-hole of his coat.
" Wherever an English stage coachman may be
seen he cannot be mistaken for one of any other
craft or mystery. He has commonly a broad full
face, curiously mottled with red, as if the blood had
been forced by hard feeding into every vessel of
the skin ; he is swelled into jolly dimensions by
frequent potations of malt liquors, and his bulk
is still further increased by a multiplicity of coats
in which he is buried like a cauliflower, the upper
one reaching to his heels. He wears a broad-
brimmed low-crowned hat ; a huge jroll of coloured
handkerchief about his neck, knowingly knotted and
tucked in at the bosom, and has in summer-time a
large bouquet of flowers in his button-hole, the
present most probably of some enamoured country
1 874.]
OLD CHRISTMAS.
103
lass. His waistcoat is commonly of some bright
colour, striped ; and his small clothes extend far
below the knees to meet a pair of jockey-boots which
reach about halfway up his legs.
THE STAGE COACHMAN.
" All this costume is maintained with much pre-
cision ; he has a pride in having his clothes of
excellent materials ; and notwithstanding the seem-
ing grossness of his appearance, there is still
discernible that neatness and propriety of person
which is almost inherent in an Englishman. He
104
RANDOLPH CALDECOTT. [CHAP. vn.
enjoys great consequence and consideration along
the road ; has frequent conferences with the village
housewives, who look upon him as a man of great
IN THE STABLE YARD.
trust and dependence ; and he seems to have a
good understanding with every bright-eyed lass.
The moment he arrives he throws down the reins
with something of an air, and abandons the cattle to
1 874.] OLD CHRISTMAS. 105
the care of the ostler ; his duty being merely to
drive from one stage to another. When oft* the
box his hands are thrust in the pockets of his
greatcoat, and he rolls about the inn yard with
an air of the most absolute lordliness. Here he
is generally surrounded by an admiring throng
of ostlers, stable-boys, shoe-blacks, and those name-
less hangers-on that infest inns and taverns and
run errands. Every ragamuffin that has a coat to
his back thrusts his hands in his pockets, rolls in
his gait, talks slang, and is an embryo ' coachey.' '
Surely it has seldom happened in the history of
illustration that an author should be so very closely
followed — if not overtaken — by his illustrator. No
literary touch seemed to be wanting from the author
to convey a picture of English life and character
passed away ; but Caldecott's coachman helps to
elucidate the text ; and whilst it carried to many
a reader of Old Christmas in the New World a
living portrait of a past age, it revealed also the
presence of a new illustrator.
Here was a reproachful lesson. The art of illus-
tration— an art untaught in England and uncon-
sidered by too many — was shown in all its strength
and usefulness by a comparatively new hand.
io6
RANDOLPH CALDECOTT.
[CHAP. vn.
Of the numerous illustrations drawn by Caldecott
in 1874 for Old Christmas, we may select as ex-
amples the young Oxonian leading out one of his
maiden aunts at a
dance on Christmas
Eve ; and " the fair
Julia" in the in-
tervals of dancincr
&
listening with ap-
parent indifference
to a song from her
admirer ; amusing
herself the while by
plucking to pieces
a choice bouquet of
hothouse flowers.
The style and
treatment of the draw-
THE TROUBADOUR. ing, on the Opposite
page, differs from anything previously done by
Caldecott, and would hardly have been recognised
as his work ; the handling is less firm, and colour
and quality have been more considered in deference
THE FAIR JULIA.
io8 RANDOLPH CALDECOTT. [CHAP. vn.
to what was considered the public taste in such
matters. But in a few pages he emancipates him-
self again, and gives us some brilliant character
sketches. In the last example from Old Christmas
he is in his element. Nothing could be more
characteristic, or in touch with the period illustrated,
than the picture of Frank Bracebridge, Master
Simon, and the author of Old Christmas, walking
about the grounds of the family mansion " escorted
by a number of gentleman-like dogs, from the
frisking spaniel to the steady old staghound.
The dogs were all obedient to a dog-whistle which
hung to Master Simon's button-hole, and in the
midst of the gambols would glance an eye oc-
casionally upon a small switch he carried in his
hand."1 Thus the minute observation of the writer
is closely followed by the illustrator, who here from
his own habit of close observation of the ways
of animals, was enabled to give additional com-
pleteness to the picture ; and the effect was greatly
heightened by a wise determination on the part
1 It was more than once suggested to Caldecott to paint this scene. It
would probably have been attempted had circumstances permitted.
1 874.]
OLD CHRISTMAS.
109
of Mr. Cooper the engraver, that the illustrations
should be " so mingled with the text that both
united should form one picture." This book was
engraved at leisure, and not published until the
end of 1875, by Messrs. Macmillan & Co., bearing
date 1876.
It is interesting to note that Old Christmas
was offered to, and declined by, one of the
leading publishers in London ; principally on the
MASTER SIMON AND HIS DOGS.
i io RANDOLPH CALDECOTT. [CHAP. vn.
ground that the illustrations were considered " in-
artistic, flippant and vulgar, and unworthy of the
author of Old Christmas" \ It was not until 1876
that the world discovered a new genius.
During the progress of the drawings for Old
Christmas in 1874, Caldecott went with the writer
to Brittany to make sketches for a new book ;
but the publication was postponed until after a
more extended tour in 1878.
These summer wanderings of Caldecott in
Brittany were prolific of work ; his pencil and note-
book were never at rest, as the pages of Breton
Folk testify (see Chapter xi.). The drawings,
both in 1874 and in 1878, mark a strong artistic
advance upon similar work in the Harz Moun-
tains. His feeling for the sentiment and beauty
of landscape, especially the open land, — generally
absent from the sketches in the Harz Mountains,
—is noticeable here. The statuesque grace of
the younger women, the picturesqueness of cos-
tume, operations of husbandry, outdoor fetes
and the like, and the open air effect of nearly
every group of figures seen in these summer
1 8/4]
IN BRITTANY.
in
journeys — all came as delightful material for his
pencil.
Caldecott's studies with M. Dalou, the sculptor,
ON THE ROAD SIDE, BRITTANY.
in 1874, and the great proficiency he had already
obtained in modelling in clay, enabled him to
make several successful groups from his Brittany
subjects.
The bright-eyed stolid child in sabots at the
roadside (one of the first of the quaint little figures
that attracted his attention in Brittany) stands on
H2 RANDOLPH CALDECOTT. [CHAP. vu.
the writer's table in concrete presentment in clay ;
the model is not much larger than the sketch—
the front, the profile, and the back view, each
forming a separate and faithful study from life.
The young mother and child in the cathedral
at Guingamp (reproduced opposite) was another
successful effort in modelling, but Caldecott was not
satisfied with it excepting as a rough sketch—
" a recollection in clay."
It is interesting here to note the handling of
the artist in his favourite material, French clay-
The model stands but six inches high, but it was
intended to have reproduced it larger. Another
sketch in the round was of "a pig of Brittany,"
reproduced on page 194.
" Save up," he writes about this time to a
friend in Manchester, " and be an art patron ; you
will soon be able to buy some interesting terra
cottas by R. C. ! "
This was a heavy year, for many illustrations
were produced not mentioned in these pages ; and
in October he was busy on the wax bas-relief of
a " Brittany horse fair," afterwards cast in metal
AT GUINGAMP, BRITTANY.
Facsimile of Model in Terra Cotta, 1874.
ii4 RANDOLPH CALDECOTT. [CHAP. vn.
and exhibited in the Royal Academy in 1876 (see
page 137).
On the 1 9th of November and following days
To M. H. — CHRISTMAS, 1874.
Caldecott was " working at Dalou's on a cat crouch-
ing for a spring." He had a skeleton of a cat, a
dead cat, and a live cat to work from. This model
in clay was finished on the 8th December, 1874.
1 874.] CHRISTMAS GREETINGS. 115
Christmas Eve was spent " in the caverns
of the British Museum making a drawing, and
measuring skeleton of a white stork." This was
a most elaborate and careful record of measure-
ments. On the 28th of December he was " engaged
on brown paper cartoon of storks at Armstrong's,"
and on the 3Oth is the entry, — " at British Museum ;
had storks out of cases to examine insertion of
wing feathers."
Thus, all through the year 1874 Caldecott,
working without much recognition excepting from
a few intimates, got through an immense amount
of work ; not forgetting his friends the children,
to whom he sent many Christmas greetings with
letters and coloured sketches. The drawing on the
opposite page accompanied a kindly letter to a
child of six years.
" I thank you," he says, " very much for
your grand sheet of drawings, which I think are
very nice indeed. I hope you will go on trying
and learning to draw. There are many beautiful
things waiting to be drawn. Animals and flowers
oh ! such a many — and a few people."
I 2
n6
RANDOLPH CALDECOTT. [CHAP. VH.
The last sketch in 1874 — a postscript to a private
letter — tells its own story.
J? S.
^-*-^c-*
CHAPTER VIII.
LETTERS, DIAGRAMS, ETC.
IN a letter to a friend in Manchester, on the
1 7th January, 1875, Caldecott writes:—
" I stick pretty close to business, pretty much
in that admirable and attentive manner which
was the delight, the pride, the exultation of
the great chiefs who strode it through the
Manchester banking halls. Yes, I have not
forsaken those gay — though perhaps, to the heart
yearning to be fetterless, irksome — scenes
without finding that the world ever requires
toil from those sons of labour who would be
successful.
RANDOLPH CALDECOTT.
[CHAP. viii.
" However, during- the last year I managed to
do a lot of work away from town, and enjoyed
it. Sometimes it was expensive, because when
at the cottage in Bucks, we of course mixed
with the county families and had to ' keep a
carriage' to return calls, return from dinner, and
so forth."
AT FARNHAM ROYAL — RETURNING VISITS.
Here is "a meditation for the New Year "
"You will excuse me/' he says, "talking of
myself when I tell you that amongst the resolutions
for the New Year was one only to talk of matters
about which there was a reasonable probability
that I knew something. Now human beings
are a mystery to me, and taking them all
round I think we may consider them a
failure. If I do not understand anything that
belongs to myself, how can I understand
what belongeth to another ? This, my dear W.,
with your clear intellect, you will see is sound.
I875-]
LETTERS.
119
" I often think of the scenes and faces and
jokes of banking days, and have amongst them
many pleasant reminis-
cences. Perhaps we
shall all meet again in
that land which lies
round the corner ! "
[Here follows a gro-
tesque sketch of a man
on a winter's day, with
an umbrella, hurrying
off to the "Nag and
Nosebag/']
At the beginning of
1875, m tne intervals of
book illustration, Calde-
cott was busy " working
on a cartoon of storks,"
This was a design for a
picture in oils, painted
in March and afterwards
bought by Mr. F. Pen-
i T% /r T-» r c^ i SUNRISE.
nington, late M.P. for Stockport.
On the 7th of January he enters in his diary,
" Painted some storks on the wing for a panel for a
120
RANDOLPH CALDECOTT.
[CHAP. vin.
wardrobe." The rendering of dawn
on the upmost clouds, the storks
rising from the dark earth to greet
the sun, can hardly be indicated
without colour, but the design is
given accurately. It was a poetic
fancy which he had had in his
STUDY IN LINE. mind for some time ; one of many
half developed designs which, if his health had
permitted, the world might have seen more of.
On the 25th of January he "made a dry point
sketch of a Quimperle Brittany woman," and in
February he was busy modelling as usual.
On the 5th of February, " took to Lucchesi
(moulder) wax bas-relief of horse fair, and small
' sketch of brewers' waggon."
The advance of the art of reproducing drawings
in facsimile in a cheap form, suit-
able for printing at the type press
like wood engravings, was attracting
much attention in England in 1875,
and at the writer's request Caldecott
made a series of diagrams sugges- STUDY IN LINE.
,875.]
DIAGRAMS.
121
DIAGRAM. DESIGN FOR A PICTURE, 1875.
tive of the power of line and of effects to be
obtained by simple methods, to illustrate a paper
read before the Society of Arts in London in
March, 1875, on "The Art of Illustration."
With his usual kindness and enthusiasm he put
aside his work — some modelling in clay which he
had been studying under his friend M. Dalou, the
French sculptor — and at once began a diagram,
about seven feet by five feet, to suggest a picture in
122
RANDOLPH CALDECOTT. [CHAP, vin
A MAD DOC
DIAGRAM.
the simplest way. Without much consideration, with-
out models, and in the limited area of his little
studio in Great Russell Street, Bloomsbury, he set
to work with a brush on the broad white sheet,
and in about an hour produced the drawing in
line of " Youth and Age " on the last page.
The horses were not quite satisfactory to him-
self; but the sentiment of the picture, the open
I875-]
DIAGRAMS.
123
air effect of early spring, the crisp grass, the birds'
nests forming in the almost leafless trees, the
effect of distance indicated in a few lines — and
above all, the feeling of sky produced by the un-
DIAGRAM. "THE LECTURER."
touched background — were skilfully suggested in the
large diagram.
On other occasions, and for the same lecture, he
made several other diagrams, including one of the
124 RANDOLPH CALDECOTT. [CHAP. vin.
pursuit of a dog in a
village, another of a
lecturer and various
heads in an audience.
The reproductions are
interesting to examine
together as early work
in a style in which he
afterwards was famous
"a st^le' which was noi
DIAGRAM. outline in the strict sense
of the word, and which
to a great extent was his own. It had little in
common with Flaxman, it was not in the manner
of Gillray, Cruikshank, Doyle, or Leech ; nor in
the more academic manner of his friend — and pre-
decessor in children's books — Walter Crane.
To these somewhat tentative drawings he after-
wards added to the series a diagram, six feet high,
of the famous mad dog from one of his Picture
Books, and another of the figure of a child running,
reproduced above.
The discovery of a process by which a drawing
I875-] DIAGRAMS. 125
on paper in line, could be photographed and brought
into relief, like a wood-block for printing at the
type press, was not perfected in England until
1875, and did not come into general use until 1876 ;
had it come a year or two earlier it would have
had an important influence upon Caldecott's work.
DIAGRAM.
Without going too far into technicalities, it may
be interesting to illustrators to mention here that
all Caldecott's best drawings in his Picture Books,
John Gilpin, The House that Jack Built, &c. ; in
the Graphic newspaper, and in Washington Irving's
126 RANDOLPH CALDECOTT. [CHAP. vin.
Old Christmas, &c., were photographed on to
wood-blocks and have passed through the hands
of the engraver.
The system of photographic engraving (by which
the drawings are reproduced on pp. 124 and 125) bids
fair to supersede wood-engraving for rapid journ-
alistic purposes. It naturally attracted Caldecott
in the first instance ; but with increased knowledge
and perception of " values," and of the quality
to be obtained in a good wood-engraving above
any mechanical reproduction in relief, Caldecott
was glad to avail himself of the help of the
engraver. He drew with greater freedom, as he
expressed it, preferring, as so many illustrators do,
to put in tints with a brush, to be rendered in
line by skilful engravers. But at the same time
he delighted in shewing the power of line in
drawing, studying " the art of leaving out as a
science" ; doing nothing hastily but thinking long
and seriously before putting pen to paper, remem-
bering, as he always said, " the fewer the lines, the
less error committed."
In the spring of 1875 he sends this lively picture
1875.]
IN THE COUNTRY.
127
of himself from Dodington, near Whitchurch, in
Shropshire, where he had been working, staying
with friends, in the full enjoyment of country life.
Writing on the 27th of April, 1875, he says :—
" I feel I owe somebody an apology for staying
in the country so long, but don't quite see to whom
it is due, so I shall stay two or three days longer,
and then I shall indeed hang my harp on a willow
128 RANDOLPH CALDECOTT [CHAP. vui.
tree. It is difficult to screw up the proper amount
of courage for leaving the lambkins, the piglets, the
foals, the goslings, the calves, and the puppies.
We want rain, and then things will grow with ex-
ceeding speed ; as it is, the earth is dry and the buds
are slow to ^display their hidden beauties. A little
of 'something to drink' will cheer them, and then,
like some human beings, they will look pleasant
and cheerful and 'come out.' '
Next, from a letter to an intimate friend, dated
5th March, 1875, on being asked to become a
trustee : —
" The event is of a pleasing nature because
it shows that somebody still believes in the
continuance of that uprightness of principle,
rectitude of conduct, and general respectability
of mind and heart which for so many years
endeared me to the nobility, clergy, gentry,
gasmen, and fowl stealers of W- — ."
Life in the country with Caldecott was " worth
living," and he chafed much at this period if he had
to be with his " nose to the grindstone,'' as he ex-
pressed it, in Bloomsbury. Whilst in the country
18750
TERRA COTTA MODELS.
129
his letters to town were full of sketches, but in letters
from London he hardly ever pictured life out of
doors.
ARTS! CLUB
HANOVER SQUARE
" SHOWS HIS TERRA COTTAS."
In June 1875, he shows the bas-relief of "A
Boar Hunt," and some small groups in terra cotta,
to his friends.1
Before the favourable verdict of the press was
pronounced on Old Christmas, Caldecott was com-
missioned to illustrate a second volume ; and, in
May 1875, he was already at work making studies
and drawings for Bracebridge //#//, which did not
appear until the end of 1876.
1 The medallion at the head of this letter was designed by Sir Frederick
Burton and afterwards redrawn for the Arts Club by E. J. Poynter, R. A.
K
130
RANDOLPH CALDECOTT.
[CHAP. vni.
About this time the first number of Academy
Notes was published, and in a postscript to a letter
to the writer (of too private a nature to be printed)
Caldecott pictures its " first appearance in a family
circle."
THE FIRST YEAR OF ACADEMY NOTES.
In June 1875, Caldecott had "three drawings
in sepia, badly hung, in the 'black and white'
exhibition at the Dudley Gallery."
On the 4th of August he was " making designs
for pelican picture ; " and afterwards studying this
subject at the Zoological Gardens. Two pictures
of pelicans were eventually painted ; the second,
1875.]
PAINTINGS.
in the possession of Mr. W. Phipson Beale, is
sketched below.
THREE PELICANS AND TORTOISE (OiL PAINTING).
Writing on the loth August, 1875, respecting
some Cretan embroideries just arrived in England,
he sends the sketch overleaf.
" In accordance with your letter about the em-
broideries," he says, u I have placed the address of the
importer in the hands of Mr. N., a man well-skilled
in detecting that which is good in a crowd of works
K 2
132
RANDOLPH CALDECOTT. [CHAP. vm.
of art. He is great in pottery, embroidery and
INSPECTING EMBROIDERIES.
decoration ; but he has a mind great in forgetting,
and a fine talent for losing addresses."
r.
In October, whilst at the seaside, he "made six
PAINTINGS.
133
drawings ; " and, later in the year, was " modelling-
panels for Lord Monteagle's chimney-piece."
In November 1875 he received the first copy
of Old Christmas from the publishers, and already
favourable notices of the illustrations had begun to
appear in the newspapers.
A CHRISTMAS CARD TO K. E. B.
READING "OPINIONS OF THE PRESS" ON "OLD CHRISTMAS.''
CHAPTER IX.
ROYAL ACADEMY, " BRACEBRIDGE HALL," ETC.
THE "opinions of the press" on Washington
Irving's Old Christmas, which Mr. J. D. Cooper, the
wood engraver, is depicted reading to the artist with
so much glee, were all that could be desired ; and
they fully justified the second venture (Bracebridge
Hall], on which Caldecott was already engaged.
In February he was " painting a frieze for Mr.
Pennington's drawing room " at Broome Hall,
Holmwood, Sussex; and, later on, was " carving
panels for a chimneypiece."
i876.]
OIL PAINTINGS.
135
In this year, 1876, Caldecott exhibited his first
painting in the Royal Academy, entitled, " There
were Three Ravens sat on a Tree." The humour
and vigour of the composition are well indicated in
the sketch. It was hung rather out of sight, above
(and in somewhat grim proximity with) a picture
of "At Death's Door," by Hubert Herkomer.
Both artists were then thirty years of age.
Cat. No. 415. 49 X 32.
"THERE WERE THREE RAVENS SAT ON A TREE."
(Oil Painting) Royal Academy, 1876.
In the same room (Gallery V.) were collected that
year, the works of painters whose names are familiar
— W. B. Richmond, A. Gow, H. R. Robertson,
1 36
RANDOLPH CALDECOTT.
[CHAP. ix.
E. H. Fahey, W. W. Ouless, Val C. Prinsep,
Henry Moore, and others.
Besides " The Three Ravens " he exhibited in
1876 the metal bas-relief of a " Horse Fair in
Brittany, " reproduced opposite. This was a more
masterful production than the picture, and attracted
"PRIVATE VIEW OF MY FIRST R.A. PICTURE," APRIL 1876.
great attention in the Royal Academy Exhibition.
It was mentioned in the Times of that year, and in
the Saturday Review, June loth, 1876, we read : —
" Of low relief — taking the Elgin frieze as the standard — one
of the purest examples we have seen for many a day is Mr.
Caldecott's bas-relief, "A Horse Fair in Brittany." Here a
simple and almost rude incident in nature has been brought
within the laws and symmetry of art."
2 .g
138 RANDOLPH CALDECOTT. [CHAP, ix
In 1876 Caldecott also produced a relief in metal
of " A Boar Hunt," which was exhibited in the
Grosvenor Gallery in 1878.
To the world at large and in the opinion of
many critics, there was, in his Academy work of
1876, promise of an exceptionally successful career.
Decorative design and modelling in relief were
Caldecott's especial forte, and it is to be regretted
that so few of these works remain to us. " The
Horse Fair in Brittany," in the possession of the
writer, is one of the few completed works of this
character. He was not destined to be a prolific
painter, although strongly urged at this time by
members of the Royal Academy to devote his
energies to painting. Neither his health nor his
previous training justified his leaving a branch
of art in which he was already becoming famous,
that of book illustration.
In 1876 the system of reproducing sketches in
pen and ink by photo- engraving became general
in England, and in the pages of Academy Notes of
that year there appeared, for the first time, sketches
by the painters of their exhibited works.
i876.]
ACADEMY NOTES.
139
Amongst well-known artists — who powerfully
aided in founding a system of illustration which
was destined to spread over the world — were Sir
John Gilbert, R.A., H. Stacy Marks, R.A., Marcus
Stone, A.R.A., and, the comparatively young,
Randolph Caldecott. The three first-named are
masters in line each in his own style, and their
methods were studied and imitated by many other
painters in England to whom line drawing was then
a sealed book. Several
sketches of pictures
in the Academy Notes,
1876, were drawn by
Caldecott, including
the portrait of Captain
Burton, painted by
Sir Frederick Leigh- .
ton, P. R A.
In June he made a
series of illustrations,
entitled " Christmas CA1>TA1N BuRTON' R'A ' l876'
Visitors," for the Graphic newspaper ; and about this
time the drawings for Bracebridge Hall were finished.
BRACEBRIDGE HALL.
" THE success of Old Christmas has suggested
the re-publication of its sequel, Bracebridge Hall,
illustrated by the same able pencil, but condensed,
so as to bring it within reasonable size and price."
FACSIMILE OF FIRST PAGE OF "BRACEBRIDGE HALL.'
THE CHIVALRY OF THE HALL PREPARED TO TAKE THE FIELD "
142 RANDOLPH CALDECOTT. [CHAR ix.
Iii Bracebndge Hall we meet the fair Julia again
in one of the most graceful illustrations Caldecott
ever drew. An extract from the text is necessary to
show the subtle touch of the illustrator.
" I have derived much pleasure," says Washington
Irving, "from observing the fair Julia and her lover
... I observed them yesterday in the garden ad-
vancing alonof one of the retired walks. The sun
o o
was shining with delicious warmth, making great
masses of bright verdure and deep blue shade.
The cuckoo, that harbinger of spring, was faintly
heard from a distance ; the thrush piped from the
hawthorn, and the yellow butterflies sported, and
toyed and coquetted in the air.
" The fair Julia was leaning on her lover's arm,
listening to his conversation with her eyes cast
down, a soft blush on her cheek and a quiet
smile on her lips, while in the hand which hung
negligently by her side was a bunch of flowers.
In this way they were sauntering slowly along,
and when I considered them, and the scenery in
which they were moving, I could not but think
it a thousand pities that the season should ever
change or that young people should ever grow
older, or that blossoms should give way to fruit
or that lovers should ever get married." The
harmony here between author and illustrator needs
no comment.
^^•••^j^^mm
THE FAIR JULIA AND HER LOVER
144
RANDOLPH CALDECOTT.
[CHAP. ix.
There were 120 drawings made for Bracebridge
Hall, remarkable for artistic qualities and fully
sustaining the reputation of the artist.
The originals were drawn about one third larger,
in pen and ink, photographed on wood and engraved
GENERAL HARBOTTLE AT DINNER.
in facsimile. The effect of many of the drawings
in the first editions was injured by the want of
margin on the printed page ; but an Edition de luxe
is now printed with Old Christinas and Bracebridge
Hall in one volume.
As it is the object of this memoir to record facts
— and as the originator of good ideas is seldom
1876.] BRACEBRIDGE HALL. 145
recognised — it should be stated here that it is
owing to Mr. Cooper, the engraver, that Washington
Irving's books were ever illustrated by Caldecott.
The idea, he says in the preface, " has been
delayed in execution for many years, mainly from
the difficulty of finding an artist capable of identify-
ing himself with the author ; " modestly adding
— " whether this result has now been attained or
no, must be left to the verdict of the lovers of the
gifted writer in both hemispheres/'
AN EXTINGUISHER."
146
RANDOLPH CALDECOTT.
[CHAP. ix.
The two next sketches mark with touching em-
phasis the serious change in Caldecott's health which
took place in the autumn of this year.
/ASH
S7\Lo?
2 Lf.
AT WHITCHURCH.
In August he is writing from the country in high
spirits as usual, and planning out much work for the
future. Bracebridge Hall was finished, and the
success of Old Christmas had brought him many
commissions. His illustrations on wood had turned
out well, being fortunate in his engravers, especially
Mr. J. D. Cooper and Mr. Edmund Evans, who
always rendered his work with sympathetic care.
He may also be said to have been fortunate in
his connection with the Graphic newspaper under
the direction of Mr. W. L. Thomas, the artist and
wood engraver.
1876.]
AT BUXTON.
But alas ! in the autumn of this year his health
failed him, and in October he was advised to go
to Buxton in Derbyshire.
On the 2nd November, 1876, he writes: —
AT BUXTON
•" I am as above. Walking solemnly in the
gardens, or sitting limply in the almost deserted
saloon listening to an enfeebled band."
The result of that visit was a series of delightful
sketches, which appeared in the Graphic newspaper,
the originals of which are in the possession of
Mr. Samuel Pope, Q.C.
L 2
A CHRISTMAS CARP.
CHAPTER X.
ON THE RIVIERA.
THE journey to the Riviera and North Italy,
which Caldecott was compelled to make for his
health, before Christmas 1876, was as usual prolific
of work. Writing from Monaco in January, 1877,
he says : —
" This is a beautiful place, and for the benefit
of you stay-at-home bodies I will describe it — in
my way ; " and in four original letters published in
the Graphic newspaper in March and April, 1877,
there appeared about sixty illustrations containing
1 877.] DRAWING FOR THE "GRAPHIC." 149
upwards of three hundred figures, different studies
of life and character; and these drawings do not
represent probably, one half of the sketches made.
No such pictures of Monte Carlo and its neigh-
bourhood had been sent home before ; they were
the ideal newspaper correspondent's letters — the
sketches abounding in humour and accurate detail ;
the letters accompanying them being written from
personal observation.
It would have been strange indeed if these
letters had not attracted general attention and
amusement in a newspaper ; but they did more
than this, they revealed an amount of artistic
insight, and suggested possibilities in Caldecott's
future career as an artist which his health never
permitted him to put to the test.
At Monaco and at Monte Carlo, Caldecott found
so much that suited his pencil that it is a wonder
that he found time for any more serious work.
With touches of satire that remind us of Thackeray,
and a gaiety all his own, these spontaneous and
delightful letters form the best picture of Caldecott
that can be given in 1877.
150 RANDOLPH CALDECOTT. [CHAP. x.
" Round the tables," he writes, " from noon to
nearly midnight — seven days a week — the monde
Mgant congregates, from the Yorkshireman to the
Japanese." Then follow sketches of an English-
man in Scotch tweed, and a young man from Japan.
Next is a general sketch of the crowd at the round
table, the artist's own figure, admirably given,
standing back to us, hat in hand. It was a marvel-
lous gathering presented on the printed page, " all
intent on gambling — editors of journals, English
justices of the peace, venerable matrons and inno-
cent girls, beloved sons who are 'travelling,' artistes,
chevaliers of the legion of honour, dames who are
not of that legion." "Such costumes and toilettes
sweep the polished floor, such delicately-gloved
fingers clutch the glittering coins — when they hap-
pen to win, and sometimes when they don't — such a
clinking of money, as the croupiers mass the
rakings."
From the fashionable crowd and the heated
atmosphere of the Casino the artist takes us along
the cool shores of the Mediterranean, where, in one
of the best sketches in these letters, full of air and
152 RANDOLPH CALDECOTT. [CHAP. x.
light, he brings two figures into unexpected con-
trast. " Walking one afternoon along the Mentone
road, we reached a point commanding a fine view of
sea, hills, and olive trees. There was a stone seat,
and on it an aged round-backed man. On the
wall and bench before him were spread out many
cards dotted with the results of numerous twirls of
the roulette ball. He was studying his chances for
the future. As we turned away we met a priest
reading in a little book as he passed."
As the landscapes suffered in reproduction in the
newspaper, and were the least successful part in
these letters, it may be well to mention that some
of Caldecott's landscape studies in oils and water
colours, on the shores of the Mediterranean, were
the best he ever did, attracting much attention at
the sale of his works in 1886.
That he did not put a high estimate on his
powers as a landscape painter at that time may
be gathered from a few words in a private letter
declining some commissions.
" The drawings that G. so kindly enquires about
are not in my line. I would rather not attempt to
154 RANDOLPH CALDECOTT. [CHAP. x.
paint what I imagine he wants — proper professional
water-colour landscape painter's work.
<( Please say that my line is to make to smile
the lunatic who has shown no sign of mirth for
o
many months (see the Graphic of Saturday last, 6th
January, p. 7, right-hand column — I tumbled upon
it in the reading room of the Casino), and not
to portray the beauties of this southern clime —
not but what I would if I could ! "
NORTH ITALIAN FOLK.
It was in the same winter, during his journey in
North Italy, that Caldecott made twenty-eight illus-
trations for a book on North Italian Folk* Here
Caldecott's studies, and his habit of sketching the
peasantry wherever he went, served him well.
Take the picture of the priest and his faithful
servant Caterina ; the latter, reproaching her
master for bringing home a neighbour, Maddalena,
" to eat two lasagne with us ! " Caterina is "a gaunt
threadbare-looking woman of some five-and-thirty
1 North Italian Folk, by Mrs. Comyns Carr. London: Chatto and Windus,
1878.
I877-]
NORTH ITALIAN FOLK.
'55
years, and the prevosto is gaunt too, and sallow ;
the two match well together. Caterina's hair is
smooth though scant, and her faded print dress is
L
THE PRIEST'S SERVANT ADMINISTERS A REPROOF.
neat, but the bright yellow kerchief round her
shoulders is soiled, and the cunning plaits of her
grey hair are not as well ordered as the wromen's
are wront to be on mass days.
" Presently Caterina bustles into the darkened
parlour, where sits the prevosto lazily smoking his
156 RANDOLPH CALDECOTT. [CHAP. x.
pipe and reading the country newspaper. He has
put aside even the least of his clerical garments
now, and lounges at ease in an old coat and slippers,
his tonsured head covered by a battered straw hat.
" * Listen to me,' breaks forth the faithful woman,
and she is not careful to modulate her voice even
to a semblance of secrecy, ' you don't bring another
mouth for me to feed here when it is baking day
again. Per Bacco, no indeed ! . . It sha'n't happen
again, do you hear ? And I have the holy wafers to
bake besides. For shame of you ! Come now to
your dinner in the kitchen ! ' And Caterina, the better
for this free expression, hastens to dish up the
mines tr a.
" ' Poor old priest ! What a shrew he has got in
in his house,' says some pitying reader. Yet he
would not part with her for worlds ! She is his solace
and his right hand, and loves him none the less
because of her sharp tongue and uncurbed speech.
In many a lone and cheerless home of Italian priest
can I call to mind such a woman as this — such a
fond and faithful drudge, with harsh ways and a
soft heart."
Another picture in North Italian Folk seems to
give the character of the peasantry and the scenery
exactly. " The sun glitters on the pale sea that is
I877-]
NORTH ITALIAN FOLK.
157
down and away a mile or more beyond the sloping
fields and gardens, and the dipping valley. Giovanni
THE HUSBANDMAN.
pauses to rest his burthen upon the wall just where
the way turns to the right again, leaving the moun-
tains and chestnut-clad hills behind it."
1 877.] NORTH ITALIAN FOLK. 159
Here in the sketch we are made to feel the sun-
light and the glare from the sea on the southern
slope ; every detail of the pathway, to the stones
in the old wall, being accurately given.
Never, perhaps, in any book since Washington
Irving's Old Christmas and Bracebridge Hall
was the illustrator more in touch with the author
than in North Italian Folk ; but for some reason
—probably because Caldecott's work and style had
become identified with English people and their
ways, both abroad and at home — the illustrations
made little impression. The completeness of the
pictures, and the local colour infused into them by
the author, left little to be done ; moreover, Cal-
decott was not on his own ground, and to draw
buildings and landscape in black and white, with
the finish, and what is technically called the "colour,"
considered necessary for a book of this kind, was
always irksome to him.
Less characteristic, but charming as a drawing,
is the group of country girls under the cherry trees,
reproduced on the opposite page. It is a picture
worth" having for its own sake, whether it aid the
i6o
RANDOLPH CALDECOTT.
[CHAP. x.
text or not, and one with
which we may fitly leave
this volume.
Early in the year 1877
Caldecott made several
drawings for an illustrated
catalogue of the National
Gallery. Amongst the
best in the English sec-
" DIGNITY AND IMPUDENCE." tion were the two sketches
from Sir Edwin Landseer's pictures, reproduced
here. The grave portrait of an old bloodhound ia
" Dignity and Impudence," and the animation and
movement in the diminutive poodle by his side,
SPANIELS, KING CHARLES'S BREED." SIR E. LANDSEER, R.A.
1 877.]
NATIONAL GALLERY.
161
are indicated in a few expressive lines. The
bright eyes of the two little spaniels of King
PORTRAIT OF A LAWYER BY MORONI.
Charles's breed glitter under his hand in the
original pen and ink sketch.
For the foreign section of the book on the
M
i62 RANDOLPH CALDECOTT. [CHAP, x
National Gallery he made many sketches, notably
one of the " Portrait of a Lawyer " by Moroni.
Here the touch and method of line are different ;
quality was more considered, and an attempt
made to give something of the effect of the picture.
But neither he, nor those with whom he worked
in those days, had mastered the best methods of
drawing for mechanical reproduction, as they are
understood now ; fascinating as it seemed to
him, and to many other illustrators also, to learn
that the time had come when, by mechanical—
or more properly chemical — engraving, the touch
of the pen could be printed on the page.
It may be said generally in 1877, tnat Caldecott
disliked drawing for " process," and that after years
of experience, and having achieved most successful
results by photographic engraving, he remained
faithful to the wood engraver. The delicate little
drawings in brown ink, which were dispersed in
hundreds under the auctioneer's hammer in June,
1886, had nearly all been photographed on to wood
blocks.
In June, 1877, Caldecott — staying at Shaldon,
i877.]
AT SHALDON, SOUTH DEVON.
163
Teignmouth, South Devon, for the benefit of his
health, chafing under enforced idleness and
''debarred by the doctors from all sport," as he
says — writes a letter with the following little sketch
of " Waiting for a Boat."
"WAITING FOR A BOAT."
"The weather has been unwell for many of
the days, and has much interfered with the
intellectual occupation of enticing ' dabs ' on to
hooks let down into the sea by pieces of string
and concealed by shreds of mussels.
" On only one occasion have I been engaged
in this exciting pursuit — all chases and pursuits
are more or less exciting — but this one on that
account can hardly be considered ' detrimental ' to
M 2
1 64 RANDOLPH CALDECOTT.' [CHAP. x.
my health. There were three of us in the boat
when I engaged in the sport. We had a large can
of fine mussels. We threw out the lines and hauled
them in every now and then, for three good hours,
being about a mile out to sea. Two whole dabs
were the result. I was quite calm as we rowed
home.
"I do not boast of this exploit, although the
larger dab was at least seven inches long by four
and a half wide, and fully f of an inch thick. Still
I glow a little as I recount his measurements."
Many illustrations were made in the autumn of
1877 for the Graphic and other publications which
need not be detailed. A painting of one of his
favourite hunting scenes was also in progress, in
spite of dark days and delicate health.
" CLEOPATRA."
CHAPTER XI.
" BRETON FOLK," ETC.
FOR Mr. Frederick Locker-Lampson, the poet,
Caldecott made in the years 1877-8, twelve drawings
to illustrate Bramble Rise, A Winter Phantasy, My
Neighbour Rose, and other verses. These illustra-
tions, most delicately drawn in pen and ink, have not
yet been published. One was used in 1881 in a
privately printed edition of the London Lyrics, and
three in 1883, in a little volume of the Lyrics
1 66 RANDOLPH CALDECOTT. [CHAP. XT.
printed by the " Book Fellows Club " in New
York. Caldecott afterwards made four illustrations
for Mrs. Locker- Lampson's child's book, What the
Blackbird Said, and two years afterwards, in 1882,
an illustration to her Greystoke Hall. These two
books are published by Messrs. Routledge.
In 1878 he exhibited his picture of "The
Three Huntsmen " riding home in evening light.
It was hung rather high in Gallery VII. at the
Royal Academy Exhibition, and technically could
hardly be pronounced a success ; but it was a distinct
advance on previous exhibited work, and drew
the serious attention of critics to Caldecott as a
painter. The sketch appeared in an article on
the Academy in UArt, vol. xx. p. 211. Of
this oil painting, Mr. Mundella, the late President
of the Board of Trade writes :—
"The picture was bought by me of poor Caldecott in 1878.
1 think it was exhibited at the Royal Academy in that year, but I
bought it from his easel. It is an oil painting, 3 ft. 6 in. by
2 ft. 9 in., and the subject is the ' Three Huntsmen.' I remember
his bringing the song to my house after the purchase, and reading
the song with great enjoyment, pointing out to us how he had
illustrated the verse, ' We hunted and we holloed till the setting
of the sun.' My little granddaughter (Millais' ' Dorothy Thorpe ')
was his model for several of his Christmas books. She is the
o -
2
1 68
RANDOLPH CALDECOTT.
[CHAP. xi.
little girl in Sing a Song of Sixpence and several others, and
possesses copies sent by him with little sketches and dedications.
He is indeed a national loss."
In the Grosvenor Gallery of the same year
Caldecott exhibited a small metal bas-relief of "A
Boar Hunt," of which he made the following sketch
in Grosvenor Notes.
No. 232. 8 in. X 18 in.
''A BOAR HUNT" (BAS-RELIEF). Grosvenor Gallery. 1878.
Special interest attaches to this design, also to
' The Horse Fair in Brittany," reproduced on
page 137, for the insight it gives of Caldecott's
varied artistic powers, which, by force of circum-
stances, were always held in reserve. If, as a writer
remarks, " The treatment of reliefs is a test of the
state of a school of sculpture," these examples may
1878.] IN BRITTANY. 169
help to " place" Caldecott amongst contemporary
artists.
Early in 1878, Mr. Edmund Evans, the wood
engraver, came to him with a proposal that he
should illustrate some books for children to be
printed in colours. The plan was soon decided
upon, and the first of the Picture Books was begun.
In the summer of the same year, Caldecott went
with the writer for a second time to Brittany.
It was at first intended to take a gig and
drive through and through, the country, giving an
account of adventures from day to day, and
Caldecott (who was more at home perhaps, in a
gig than in any other position of life) favoured the
idea ; but time and other circumstances prevented.
The next proposal was to give a general
description of the country and its people, its
churches and ruined castles, as they exist to-day.
But Caldecott did not take to this idea ; he never
in his lifetime drew buildings with the same
facility as figures, and, at that time, to attempt to
make drawings of chateaux, cathedrals and the
like, would have been unsuccessful. So the book,
RANDOLPH CALDECOTT.
[CHAP. xi.
Brittany Picturesque, which had already been
partly written, was laid aside to give space for
sketches of Breton
THE TRAP."
"We obtained a trap in a few days"-— not the
gig, independent of a driver, which Caldecott always
sighed for. His delight and high spirits on the
first journey, in 1874, are seen in the sketch where
he is waving farewell to some astonished peasantry.
To be "on the road" was always a pleasure to
Caldecott, from the "old Whitchurch days," which
1 Breton Folk, by Henry Blackburn, with 170 illustrations by R. Caldecott.
London : Sampson Low and Co., 1880.
1878.]
IN BRITTANY.
171
he often described to his friends — driving home in
the dark at reckless speed after a late supper, in a
dog-cart full of rather uproarious company — down
to 1885 at Frensham, when as host, he would drive
his friends in the lanes of Surrey.
At least 200 sketches must have been made in
SKETCHING UNDER DIFFICULTIES.
these journeys ; besides jottings of heads, figures
and the like, and several drawings in water colours.
The summer fetes and " pardons," all through the
172
RANDOLPH CALDECOTT.
[CHAP. xi.
country, furnished capital material for his pencil, the
women's caps of different districts were each recorded,
and here and there a solemn suggestive landscape
noted for a picture which was never to be completed.
BRETON FARMER AND CATTLE.
The circumstances under which some of the
sketches were made is indicated on page 171.
One of the first drawings made in Brittany, both
in colour and black and white (a scene of which
Caldecott was always desirous of making a finished
picture), was the buckwheat harvest, with the
women at work in the fields. Many similar scenes
were put down in note-books, many were the studies
IN BRITTANY.
*73
of clouds careering over the wind-blown land,
which were never engraved or published.
Two of the principal events in these journeys
were visits to a horse fair at Le Folgoet, and to a
A WAYSIDE CROSS.
cattle fair at Carhaix, where Caldecott made the
followino; sketches : —
^5
" Le Folgoet is in the north of Finisterre, in the
north-west corner of Brittany. The country is for
174
RANDOLPH CALDECOTT.
[CHAP. xi.
the most part flat and dreary in aspect; a few fields
of buckwheat, corn, and rye are passed on the road,
protected by banked-up hedges, and skirted by
pollard trees.
AT THE HORSE FAIR, LE FOLGOET.
" On the road as we approach the fair, a mile and
a half from the town, is a characteristic figure, a
barefooted gamin with red cap and grey jersey
trotting out an old chestnut mare." As he stops
i878.]
IN BRITTANY.
175
and turns to look back, he is thus rapidly recorded
in a sketch.
Apart from the artistic material so abundant
everywhere, Caldecott's love for animals and know-
ledge of them, his interest in everything connected
>
<*- c
TROTTING OUT HORSES AT CARHAIX.
with farming, markets, country life and surroundings,
roused him to exertions at Carhaix which none but the
most hardy " special artist " would have attempted.
It was an exciting time for Caldecott, both on the
road and at the fair ; materials for his pencil were
everywhere, and for three days there was little rest.
If:
i878.]
IN BRITTANY.
177
Carhaix being in the centre of Brittany, far
remote from railways, had special attractions in
the variety of character and costume. Here, weak
in health as Caldecott then was, he stood and
worked all day, being especially interested in the
trotting out and sale of horses. Turning to our
diary :—
" The horse
fair was held in
a large square
or place. Under
the trees was a
crowd of men
and women in
the dust and
heat ; horses,
cattle, pigs and
dogs, in con-
fused move-
ment ; with
much drinking
and shouting
at the booths
which lined one
side of the en-
closure/'
A TYPICAL BRETON.
N
i;8 RANDOLPH CALDECOTT. [CHAP. xi.
It was in this year (1878)
that he made some extra-
ordinarily rapid sketches in
colour with the brush direct,
without a touch of the pencil
or anything to guide him on
the paper. Few sketches of
this kind exist, excepting rough notes in books not
intended for publication. In the evening the figures
in the streets and at the inns had to be noted
down.
The next day, which Caldecott called "a rest,"
was devoted to visiting two farms in the neigh-
bourhood, seeing as much as possible of the in-
teriors of the old houses near Carhaix, with their
carved bedsteads, cabinets and clocks, old brass-
work and embroideries. It was a rather anxious
time for his travelling companion, for there was no
restraining Caldecott with such material before him,
and he was overworked.
It was in this district that he made one of
his most successful sketches ; a typical Breton
(p. 177), in ancient costume with long hair and
1878] IN BRITTANY. 179
knee breeches ; a figure rarely met with in these
days.
In the south-west corner of Brittany, a few miles
south of Quimperle, at a point where the river
spreads out into a narrow estuary four miles
from the sea, is the primitive little village called
appropriately Pont Aven.
Caldecott was much amused, and scandalised at
the aspect of the village on our arrival one after-
noon ; a scene which he thus records on a letter,
and afterwards drew for Breton Folk.
Writing from Pont Aven and recounting " the
places which we have visited, done, sketched,
interviewed and memorandumed " — he adds :—
N 2
i8o
RANDOLPH CALDECOTT.
[CHAP. xi.
" On this journey I
have seen more pleas-
ing types of Bretons
(and Bretonnes, espe-
cially) than in my
former rambles in the
Cotes du Nord ; but
there is generally some-
thing wrong about each
hotel. This particular
inn is comfortable.
A CAP OF FINISTERRE. Seven Americans, two
or three of them ladies, and about four French
people dined with us, mostly of the artist persuasion.
"The village and the river sides, the meadows
and the valleys reek with artists. A large gang
pensions at another inn here.
" On approaching Pont Aven the traveller notices
a curious noise rising from the ground and from
the woods around him. It is the flicking of the
paint brushes on the canvasses of the hardworking
painters who come into view seated in leafy nooks
and shady corners. These artists go not far from
the town where is cider, billiards and tobacco."
-Si^^^ni^I^fe^^n^-- ' i1 v1
1 82 RANDOLPH CALDECOTT. [CHAP, xi
One of the best of Caldecott's sketches here
was " Returning from Labour," a quiet spot on the
banks of the Aven where he made several studies.
" Here we feel inclined for the first time to stay
and sketch, wandering along the coast to the fishing
villages, and visiting farms and homesteads."
From another inn, in an " out of the way " part
of Finisterre, he writes :—
" The Hotel du Midi where we put up is con-
ducted in a simple manner ; ladies would not like
its arrangements. Several inhabitants, and a visitor
or two, dine at the table d'hote, but all are unable
to carve a duck excepting the English visitor, who
is accordingly put down as a cook."
Many works, such as the frieze of a horse fair
(p. 137), models in terra cotta and paintings, were
the outcome of the Brittany journeys in 1874
and 1878; but Caldecott did not give himself a
chance to do what he wished in France ; other
work crowded upon him in 1878, and before he
had time to finish the sketches for Breton Folk,
he had to return to London to complete drawings
for his Picture Books, and other work in hand for
the Graphic newspaper.
i878.]
IN BRITTANY.
183
In a letter from London, received at the Abbey
of St. Jacut in Brittany on the 29th August, 1878,
he says : —
A BRETON.
" I have not been able to settle well down
to work yet. Sitting about on hotel benches for
a month with Mr. Blackburn is unhinging. *
" I fancied somehow that, after the wild career of
dissipation in other parts of Brittany, he might
find the calm of a cloister insufficiently exciting,
and consequently might drag you round to more
lively places. I am glad that I am wrong."
RA NDOLPH CA LDECO TT.
[CHAP. xi.
The drawings of the " Family Horse," (of
"Cleopatra" on page 165,) the sketch in Woburn
Park, and several others, were made when on a visit
in the neighbourhood in October 1878. A letter
referring to his visit to Woburn says : — " On the
last evening of Mr. Caldecott's visit here, he was
sitting at the dining-room table with the two little
A FAMILY HORSE."
boys on his knees, and the rest of the family
standing round him. We asked him to draw us
each something, and he made us choose our own
subjects. The sketch of himself riding in the
park is one of them ; it amused him very much
to see the deer standing gazing at us."
At another time there comes a coloured birthday
V
1 86
RANDOLPH CALDECOTT.
[CHAP. XL
card to a child in London who was fond of flowers ;
a dark red carnation the size of life, presented by
A CARNATION.
a Lilliputian figure in old-fashioned green coat, with
white frill and periwig.
Side by side with Caldecott's missives to little
children might be printed many a kindly letter to a
1878.] AT CANNES. 187
young author who had sent him manuscripts to
read. These letters had to be read and answered
always in the evenings. A long letter of this
kind was written to a lady at Didsbury, near
Manchester, in 1878, from which the following
extracts are taken l :—
"DEAR Miss M., — Your packet reached me safely, and as I call
to mind very readily my feelings in times gone by, after I had
posted a piece of literary or artistic composition to some friend
acquainted with the dread editor of some magazine, or even to the
dread editor himself, I think it only your due that I should write
to you without delay about the sketches of country life which you
have kindly allowed me to read, and my opinion of which you
flatter me by desiring to know. You asked me for my candid
opinion ; in these cases I always try to be candid. ... I think
that your papers are, as they stand, hardly interesting enough for
the mass of readers, though to me they draw out pictures which
please, and also revive old associations. . . .
Their fault, however, if I may speak of faults, is not so much in
subject as in style. You have chosen simple subjects, in which is
no harm of course ; but simple subjects in all kinds of art require
a masterly hand to delineate them. The slightest awkwardness of
execution is noticed, and mars the simplicity of the whole. When
a thrilling story is told, or a very interesting and novel operation
described, faults of style are overlooked during the excitement of
hearing or reading. Is it not so? ... " R. C."
In another letter some remarks on the misuse of
This letter was printed in the Manchester City NI.WS, 20 February, 1886.
i88 RANDOLPH CALDECOTT. [CHAP. XL
old English words (a subject on which he says, " I
am very ignorant ") are worth recording.
" As regards the misuse of certain words, I
consult the authorities when a doubt crosses my
mind, and I find with sorrow, in which I am joined
by other anxious spirits, that the English language
is being ruined, chiefly by journalists, English and
American. Words of good old nervous meaning,
because common, are discarded for words of less
force but finer sound, borrowed from other tongues.
The use of these new words is often a difficulty to
all but classical scholars, for the pronunciation, the
accent, the quantities, are varied even amongst
equally educated people.
" On the introduction of a new word there is
always a halo of pedantry about it. Some admire
the halo and adopt the word. The journalists
cuddle it. The readers ask what it means, think it
sounds rather fine — perhaps genteel — throw over
the humble friend who has done them and their
conservative forefathers such good service.
" The poor ill-used old fellow of a word then only
finds friends amongst the lowly and the loyal ; and
if in course of time the usurping word, as he rolls
by in his carriage and footmen, hears the former
wearer of his honours come out from the passing
pedestrians, he curls his proud lip, pulls up his
haughty collar, distends his Grecian nose, and
18/3] AT CANNES. 189
wonders where vulgar people will go to — albeit
this vulgar word is better born, and has a higher
instep than the carriage word."
In the late Autumn of 1878 Caldecott is again in
the south of France, sending home letters — one with
a portrait of himself (back view), seated next to a
young lady, " whose father is rather deaf."
" I have come here," he says, " in order that
rheumatism may forget me and not recognise me
on return to Albion's shores.
u I open my bag and take out your letter
of 2oth November, 1877, which has been ready
at hand for reply ever since I received it
with a welcome. Letters ought always to be
replied to within the twelve months."
AT MENTONE.
CHAPTER XII.
AT MENTONE, ETC.
FROM the Riviera in 1879 came the following
pictures in letters to friends.
" This hotel is indeed a calm spot, but the food
is good, and I have a pleasant little room or two,
where I can work comfortably. I know the inhabi-
tant of one villa here, an American ; and I think
there are two people whom I know in an hotel, so
when I feel very lonely I shall hunt them up.
There is much snow on the rocky hills near the
1 879-]
A 7 MENTONE.
191
town, and the weather is rather cold, but the aspect
of everything around (nearly) is very fine and
worth coming to see."
In another letter he sends the following sketch of
himself at table in the vast salle a manger of the
hotel.1
DEAR
" SPLENDIDE HOTEL, MENTON,
" nth January, 1879.
-The above view will give you a
more correct idea of the splendour of this hotel than
a page of writing, I think, could possibly do. It
represents our table d'hote last night. I fled yester-
day from Cannes, which — although called a very
1 The portrait of Caldecott at the beginning of this volume, is from a
photograph taken at Cannes in January, 1879.
192
RANDOLPH CALDECOTT.
[CHAP. xn.
quiet place by most visitors — I found to be too lively
for one who has much work to do and a desire
to do it."
Much drawing was accomplished in the spring of
this year, both abroad, and on return to London.
The success of his first Picture Books (on which he
writes, " I get a small, small royalty ") was beyond all
expectation, and the Elegy of a Mad Dog was now
in progress.
^\.
Writing on the 2oth June, in the wet summer of
1879, from 5, Langham Chambers, Portland Place (a
studio that he had taken temporarily from an artist
friend, Mr. W. J. Hennessy), he heads the letter
O
194 RANDOLPH CALDECOTT. [CHAP. xn.
with the sketch on page 192, which is interesting as
the first idea for the drawing which appeared in
Punch on the 2nd August, 1879, reproduced on the
preceding page by permission of the proprietors.
A PIG OF BRITTANY (TERRA-COTTA).
The Property of Mr. Armstrong.
The illustration on the opposite page is an
example of Caldecott in a style which will be new
to most readers. The book plate was drawn for
an old and intimate friend in Manchester, and it
i88o.]
A BOOK PLATE.
'95
is curious to note how closely the style of the
family crest is followed in its various details. If
it were not for certain satirical touches this
ingenious design might easily pass for the work of
2
[96
RANDOLPH CALDECOTT.
[CHAP. xii.
other hands ; the touch and treatment have little
in common with Caldecott as he is known ; but
v'fr
the artistic completeness of the little book plate
is another evidence of his power as a designer.
In September Caldecott modelled some birds,
forming part of the capitals of pillars for Sir Frederick
Leigh ton's ' Arab Hall ' in his house at Kensington.
They were done for the architect, Mr. G. Aitchison,
A.R.A. Besides these he was at work on other
modelling ; one subject (the outcome of his Brittany
travels) is given on page 194.
1879.]
AT K EM SING.
197
In 1879 he took a small house, with an old-
fashioned garden, at Kemsing, near Sevenoaks.
This was his first country home, " an out-of-the-
way place," as he expressed it, " but exactly
right for me." Here, surrounded by his four-footed
friends, he could indulge his liking and love
for the country.
\A/\BOORfVF$
KPMS/NQ
m
5Gi
Writing to a young friend on the i3th October,
he sends the following :—
198 RANDOLPH CALDECOTT. [CHAP. XL
" I am just now obliged to decline invitations
to go and be merry with friends at a distance,
because I am now living in this quiet, out-of-
the-way village in order to make some studies
of animals — to wit, horses, dogs, and other
human beings — which I wish to use for the
works that I shall be busy with during the
coming winter.
" I have a mare — dark chestnut — who goes very
well in harness, and is very pleasant to ride ;
and a little puppy — a comical young dachshund.
My man calls the mare ' Peri,' so I call the
puppy Lalla Rookh."
In a letter to his friend Mr. Locker- Lampson,
written about this time, in 1880, he expresses
surprise at not hearing from America respecting
certain drawings by Miss Kate Greenaway and
himself, which had been sent across the Atlantic to
be engraved on wood. " I wonder why ? " he says
— [The rest is reproduced opposite].
Caldecott was soon found out in his country home,
his wide reputation as an illustrator bringing him
ever-increasing work, some " not very profitable."
200
RANDOLPH CALDECOTT,
["CHAP. xii.
At this time he was taxing his energies to the
utmost, working a long morning always indoors, and
afterwards making studies in the garden or in
the country ; the evening occupied by reading and
correspondence.
But he found time always — and until the end — to
remember and to write to his old and dear friends.
One more extract (the last in this book) from a
letter from Venice, to an invalid friend in
Manchester in 1880 :—
" I am sorry to hear that you are so lame," he
says. " I wish you had been with us in Venice—
the going to and fro in gondolas would have suited
88o.l
A T KEMSING.
201
you well. Easy, smooth, and soul-subduing — es-
pecially by moonlight and when the ear is filled with
the rich notes of a very uncommon gondolier's voice
and the twanging of a sentimental traveller's lute.
"On the 1 8th of March we were married at a
small church in Kent — my best man drove me in
a dog-cart. I sold him my mare on the way, and
she came to sad grief with him ! "
SKETCH OF " WYBOURNES," KEMSING, NEAR SEVENOAKS.
The letters after this date refer to a period in
Caldecott's art which must be considered at a future
time. Only two remembrances of his later years
shall be recorded now ; one of him at Kemsing,
202 RANDOLPH CALDECOTT. [CHAP. xn.
seated in his old-fashioned garden on a fine
summer's afternoon (after hard work from nine
till two) surrounded by his friends and four-footed
playmates — a garden where the birds, and even
the flowers, lived unrestrained.
" Where woodbines wander, and the wallflower pushes
Its way alone ;
And where, in wafts of fragrance, sweetbriar-bushes
Make themselves known.
With banks of violets for southern breezes
To seek and find,
And trellis'd jessamine that trembles in
The summer wind.
Where clove-carnations overgrow the places
Where they were set,
And, mist-like, in the intervening spaces
Creeps mignonette."
The other and a later remembrance of Caldecott
is at a gathering of friends in Victoria Street,
Westminster, in January, 1885, when — to a good
old English tune — the "lasses and lads," out of
his Picture Book, danced before him, and the
fiddler, in the costume of the time, " played it
wrong."
A NEW YEAR'S GREETING TO A FRIEND.
CHAPTER XIII.
CONCLUSION.
IT will be seen in the preceding pages that it
was the privilege of the writer to know Caldecott
intimately before he had made a name, when his
heart and hands were free, so to speak ; when he
was untrammelled by much sense of responsibility,
or by the necessity of keeping up a reputation,
and when every day, almost, recorded some new
experiment or achievement in his art. Let it
be stated here that not at that time, nor ever
204 RANDOLPH CALDECOTT. [CHAP.
afterwards in the writer's hearing, was a word said
against Caldecott. With a somewhat wide and
exceptional experience of the personality of artists,
it can be said with truth that Caldecott was " a
man of whom all spoke well." His presence then,
as in later years, seemed to dispel all jealousies,
if they ever existed, and to scatter evil spirits if
they ever approached him. No wonder — for was
he not the very embodiment of sweetness, simple-
mindedness, generosity, and honour ?
From the sketch on page i of this book, made
in the smoke of Manchester, to the " New Year's
Greeting" on p. 203, the same happy, joyous
spirit is evident ; and so, to those who knew him,
he remained to the end.
As this memoir has to do with Caldecott's earlier
career, and particularly with his work in black
and white, the artistic value of his illustrations in
colour, especially in his Pi^ire Books, can only
be hinted at here.
Caldecott s Picture Books are known all over the
world ; they have been widely discussed and
criticised, and they form undoubtedly the best
xiii. J CONCLUSION. 205
monument to his memory. But it may be found
that some of the best work he ever did (the
work least open to criticism) was in 1874 anc^
1875, before these books were begun ; and that the
material here collected will aid in forming a better
estimate of Caldecott as an artist.
In March, 1883 there appeared a little oblong
SketcJi Book with canvas cover, full of original and
delightful illustrations, many in colour, engraved and
printed by Edmund Evans. This book is not
very widely known, but there are drawings in it of
great personal interest, now that the artist's hand
is still. The Sketch Book suggests many thoughts
and calls up many associations to those who knew
him.
In 1883 he illustrated ^Eso/s Fables with "Mo-
dern Instances" (referred to on page 94).
The kind of work that Caldecott liked best,
and of which he would have been an artistic and
delightful exponent had circumstances permitted, is
indicated in the design at the head of the preface
to this volume ; it was drawn on brown paper,
probably for a wood carving in relief, for the central
205 RANDOLPH CALDECOTT. [CHAP.
panel of a mantelpiece. This sketch is selected
from several designs of a similar kind.
In purely journalistic work, for which his powers
seemed eminently fitted, he was never at home, his
heart was not in it. Neither on Punch nor on the
Graphic newspaper, would he have engaged to work
regularly. He would do anything on an emergency
to aid a friend — or a foe, if he had known one — but
neither health nor inclination led him in that
direction. And yet Caldecott, of all contemporary
artists, owed his wide popularity to the wood
engraver, to the maker of colour blocks, and to the
printing press. No artist before him had such
chances of dispersing facsimiles of daintily coloured
illustrations over the world. All this must be con-
sidered when his place in the century of artists is
written.
Mr. Clough touches a true note in the following
(from the Manchester Quarterly) :—
" If the art, tender and true as it is, be not of the highest, yet
the artist is expressed in his work as perhaps few others have
been. Nothing to be regretted — all of the clearest — an open-air,
pure life — a clean soul. Wholesome as the England he loved so
well. Manly, tolerant, and patient under suffering. None of the
XIIL] CONCLUSION. 207
friends he made did he let go. No envy, malice, or uncharitable-
ness spoiled him ; no social flattery or fashionable success, made
him forget those he had known in the early years."
Speaking generally of his friend Caldecott, whom
he had known intimately in later years, Mr. Locker-
Lampson (to whom we are indebted for the letters
and sketches on pages 191, 192, and 199), writes :—
" It seems to me that Caldecott's art was of a quality that
appears about once in a century. It had delightful characteristics
most happily blended. He had a delicate fancy, and his humour
was as racy as it was refined. He had a keen sense of beauty,
and, to sum up all, he had charm. His old-world youths and
maidens are perfect. The men are so simple and so manly, the
maidens are so modest and so trustful : The latter remind one of
the country girl in that quaint old ballad,
" ' He stopt and gave my cheek a pat,
He told a tender tale,
Then stole a kiss, but what of that ?
'Twas Willie of the Dale ! '
" Poor Caldecott ! His friends were much attached to him.
He had feelings, and ideas, and manners, which made him
welcome in any society ; but alas, all was trammelled, not obscured,
by deplorably bad health."
These two criticisms — both coming from friends
of the artist, but from different points of view — are
worth setting side by side in a memoir.
A correspondent, writing from Manchester, sends
the following interesting letter respecting places
2oS RANDOLPH CALDECOTT. [CHAP.
sketched by Caldecott in Cheshire and Shropshire
and afterwards used in the illustrations in his books.
" During occasional rambles in this and the neighbouring
county of Chester, more especially in the neighbourhood of
Whitchurch, I have been interested in the identification of some
few of the original scenes pictured by Mr. Caldecott in his several
published drawings. Thus : —
" Malpas Church, which occupies the summit of a gentle hill
some six miles from Whitchurch, occurs frequently — as in a full
page drawing in the Graphic newspaper for Christmas, 1883 ; in
Babes in the Wood, p. 19; in Baby Bunting, p. 20; and in
The Fox Jumps over the Parson's Gate, p. 5.
" The main street of Whitchurch is fairly pictured in the Great
Panjandrum, p. 6, whilst the old porch of the Blue Bell portrayed
on p. 28 of Old Christmas is identical with that of the Bell Inn
at Lushingham, situated some two miles from Whitchurch on the
way to Malpas.
" Besides these I recognise in the ' Old Stone-house, Ling-
borough Hall,' in Lob Lie-by-the- Fire, p. 5, an accurate line-for-
line sketch of Barton Hall, an ancient moated mansion which
until quite recently stood within the parish of Eccles, four miles
from Manchester.
" Lastly, a comparison of the illustration on p. 95 of Old
Christmas, with one in last year's volume of the English Illus-
trated Magazine, p. 466, shows that the picturesque nooks of
Sussex, equally with those of Kent and Chester, yielded their quota
to the busy pencil we know so well."
About the year 1879 Caldecott became acquainted
with Mrs. Ewing, which led to his making many
illustrations for her, such as the design for the
cover of Azmt Judy's Magazine, and notably the
XIIL] CONCLUSION. 209
illustrations to that "book of books" for boys,
"Jackanapes!' and to "Daddy Darwin s Dovecot"
and others.
Miss Gatty, in her memoir of Mrs. Ewing, says :—
"My sister was in London in June, 1879, and then made the
acquaintance of Mr. Caldecott, for whose illustrations she had
unbounded admiration. This introduction led us to ask him
(when Jackanapes was still simmering in Julie's brain) if he would
supply a coloured illustration for it. But as the tale was only
written a very short time before it appeared, and as the illustration
was wanted early and colours take long to print, Julie could not
send the story to be read, but asked Caldecott to draw her a
picture to fit one of the scenes in it. The one she suggested was
a fair-haired boy on a red-haired pony, thinking of one of her own
nephews, a skilful seven-year-old rider who was accustomed to
follow the hounds."
Looking back, but a few months only, at the
passing away of two such lives — the author of
"Jackanapes" and the illustrator of the "Picture
Books" (of whom it was well said lately, u they
have gone to Heaven together") — the loss seems
incalculable.
In the history of the century, the best and purest
books and the brightest pages ever placed before
children will be recorded between 1878 and 1885;
and no words would seem more in touch with the
210 RANDOLPH CALDECOTT. [CHAP. xin.
lives and aims of these lamented artists than a
concluding sentence in Jackanapes, that — their
works are "a heritage of heroic example and
noble obligation."
The grace and beauty, and wealth of imagination
in Caldecott's work, — conspicuous to the end, —
form a monument which few men in the history
of illustrative art have raised for themselves.
Here may end fittingly the memoir of his
earlier work. At a future time more may be
written, and many delightful reminiscences re-
corded, of the years from the time of his marriage
on the 1 8th March, 1880, to his lamented death at
St. Augustine, in Florida, on the I2th February,
1886; when — in the sympathetic lines which
appeared in Punch on the 27th February, 1886: —
" All that flow of fan, and all
That fount of charm found in his fancy,
Are stopped ! Yet will he hold us thrall
By his fine art's sweet necromancy,
Children and seniors many a year ;
For long 'twill be ere a new-comer,
Fireside or nursery holdeth dear
As him whose life ceased in its summer.'
APPENDIX.
TRY CALDECOTT'S PICTURE BOOKS."
THE following is a list of Caldecott's Picture
Books with the dates of publication. Besides the
ordinary shilling books, several collected volumes
of his Pictures and Songs, also Pictures collected
from the Graphic newspaper, have been issued
by the same publishers.
APPENDIX. 213
Caldecott's Picture Books,
THE HOUSE THAT JACK^
BUILT I,g7g
JOHN GILPIN J
ELEGY ON A MAD DOG .
1879
THE BABES IN THE WOOD
THREE JOVIAL HUNTSMEN |
SING A SONG OF SIXPENCE) 1
THE QUEEN OF HEARTS .
THE FARMER'S BOY
THE MILKMAID
HEY-DIDDLE-DIDDLE, THE I ^
CAT AND THE FIDDLE- — J c
BABY BUNTING
THE FOX JUMPS OVER
PARSON'S GATE
A FROG HE wnTTir* A_ f l883
WOOING Go
COME, LASSKS AND LADS . >.
RIDE A COCK HORSE TO (
BANBURY CROSS; and A FARMER >i884
WENT TKOTTING UPON HIS I
GREY MARE /
MRS. MARY BLAIZE. . . .\
THE GREAT PANJANDRUM [ 1885
HIMSELF ....... J
E, THE I
>LE ; and j
^IPS OVER THE^
IE
E WOULD A- j
PUBLISHED BY
GEORGE ROUTLEDGE AND SONS,
LONDON AND NEW YORK.
214
APPENDIX.
Some of
's Fables,
With " Modern Instances."
Shown in designs by R. CALDECOTT.
o
LONDON :
MACMILLAN AND CO.
1883.
Price Seven Shillings and Sixpence.
APPENDIX.
A Sketch- Book,
by R. CALDECOTT.
Reproduced by EDMUND EVANS the Engraver and Printer.
LONDON :
GEORGE ROUTLEDGE AND SONS,
LONDON AND NEW YORK.
188.3.
Price Three Shillings and Sixpence.
216
APPENDIX.
Breton Folk.
With One Hundred and Seventy Illustrations
bv R. CALDECOTT.
LONDON :
SAMPSON LOW, MARSTON, SEARLE, & RIVINGTON,
CROWN BUILDINGS, 1 88, FLEET STREET.
l88o.
Price Ten Shillings and Sixpence.
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