Part 14
"When Hugh and a small body of the rioters cut off from the Warren beckoned to their pals, they forced into a very remarkable postchaise Dolly Varden and Emma Haredale, and bore them away with all possible rapidity; one of their company driving, and the rest running beside the chaise, climbing up behind, sitting on the top, lighting the way with their torches, &c., &c. If you can express the women inside without showing them--as by a fluttering veil, a delicate arm, or so forth, appearing at the half-closed window--so much the better. Mr. Tappertit stands on the steps, which are partly down, and, hanging on to the window with one hand and extending the other with great majesty, addresses a few words of encouragement to the driver and attendants. Hugh sits upon the bar in front; the driver sitting postilion-wise, and turns round to look through the window behind him at the little doves within. The gentlemen behind are also anxious to catch a glimpse of the ladies. One of those who are running at the side may be gently rebuked for his curiosity by the cudgel of Hugh. So they cut away, sir, as fast as they can.
"_P.S._--John Willet's bar is noble."
There were yet a few more illustrations required for the closing chapters of "Barnaby Rudge," concerning which the artist received very precise instructions from the author. For example, on September 14, 1841, Dickens forwarded to his illustrator the following "business letter, written in a scramble just before post-time," the directions having reference to incidents in chapters lxxiii., lxxxi., and lxxxii.:--
"_Firstly_, Will you design, upon a block of wood, Lord George Gordon, alone and very solitary, in his prison, and after your own fancy; the time, evening; the season, summer?
"_Secondly_, Will you ditto upon a ditto, a sword-duel between Mr. Haredale and Mr. Chester, in a grove of trees? No one close by. Mr. Haredale has just pierced his adversary, who has fallen, dying, on the grass. He (that is, Chester) tries to staunch the wound in his breast with his handkerchief; has his snuff-box on the earth beside him, and looks at Mr. Haredale (who stands with his sword in his hand looking down on him) with most supercilious hatred, but polite to the last. Mr. Haredale is more sorry than triumphant.
"_Thirdly_, Will you conceive and execute, after your own fashion, a frontispiece for 'Barnaby'?
"_Fourthly_, Will you also devise a subject representing 'Master Humphrey's Clock' as stopped; his chair by the fireside empty; his crutch against the wall; his slippers on the cold hearth; his hat upon the chair-back; the MSS. of 'Barnaby' and 'The Curiosity Shop' heaped upon the table; and the flowers you introduced in the first subject of all withered and dead? Master Humphrey being supposed to be no more.
"I have a fifthly, sixthly, seventhly, and eighthly; for I sorely want you, as I approach the close of the tale; but I won't frighten you, so we'll take breath.
"_P.S._--I have been waiting until I got to subjects of this nature, thinking you would like them best."
Owing to an illness from which Cattermole was then suffering, the frontispiece here referred to was designed by Hablôt Browne. A few days later, the author bethought him of an incident earlier in the story (chapter lxix.), which required an illustration, and anent this he despatched the following note:--
"Will you, before you go on with the other subjects I gave you, do one of Hugh, bareheaded, bound, tied on a horse, and escorted by horse-soldiers to jail? If you can add an indication of old Fleet Market, and bodies of foot-soldiers firing at people who have taken refuge on the tops of stalls, bulk-heads, etc., it will be all the better."
PLATE XLII
THE MURDER AT THE WARREN
_Facsimile_ of the Original Sketch for "Barnaby Rudge" by
GEORGE CATTERMOLE
_Lent by Mr. Augustin Daly._
This letter is the last (of those which have been preserved) having reference to George Cattermole's artistic association with "Master Humphrey's Clock." Of the one hundred and ninety-four illustrations contained in this work, thirty-nine were designed by him, these comprising fourteen for "The Old Curiosity Shop," fifteen for "Barnaby Rudge," and ten for the "Clock" chapters; his signature, "G.C.," appended thereto has occasionally been mistaken for the initials of George Cruikshank, to whom some of these designs have been incorrectly attributed. There can be no doubt that George Cattermole's drawings greatly enhanced the popularity of the work, for nothing could be happier than his facile treatment of such subjects as the "Maypole" Inn, the interior of the Old Curiosity Shop, and Quilp's Wharf; while especially effective are his representations of the old church in the village where Little Nell died. This picturesque little structure really exists at Tong, in Shropshire, and, with its splendid carving and magnificent monuments, presents the same attractive appearance which inspired both Dickens and his illustrator. The novelist was so much charmed with Cattermole's designs in "The Old Curiosity Shop" that he could not refrain from expressing to the artist his warm appreciation of them. "I have so deeply felt," he wrote, "your hearty and most invaluable co-operation in the beautiful illustrations you have made for the last story, that I look at them with a pleasure I cannot describe to you in words, and that it is impossible for me to say how sensible I am of your earnest and friendly aid. Believe me that this is the very first time that any designs for what I have written have touched and moved me, and caused me to feel that they expressed the idea I had in my mind. I am most sincerely and affectionately grateful to you, and am full of pleasure and delight."
In concluding this account of George Cattermole's illustrations for the writings of Dickens, it only remains to add that he prepared a special design as the frontispiece for the first cheap edition of "The Old Curiosity Shop" (1848), an admirable drawing on wood, excellently engraved by Thomas Williams, depicting "Little Nell in the Church."
On the completion of "Master Humphrey's Clock," the author commissioned Cattermole to make two water-colour drawings of scenes in "The Old Curiosity Shop," one representing "Little Nell's Home," while the other (now in the Forster Collection at South Kensington) portrays "Little Nell's Grave" in the old church, this being an enlarged version of the woodcut. These drawings are excellent examples of Cattermole's work, and were highly valued by the novelist, who, in a letter to the artist (dated December 20, 1842), expressed his sincere approval of them. "It is impossible," he said, "for me to tell you how greatly I am charmed with those beautiful pictures, in which the whole feeling, and thought, and expression of the little story is rendered, to the gratification of my inmost heart; and on which you have lavished those amazing resources of yours with power at which I fairly wondered when I sat down yesterday before them. I took them to Mac [Maclise] straightway in a cab, and it would have done you good if you could have seen and heard him. You can't think how moved he was by the old man in the church, or how pleased I was to have chosen it before he saw the drawings. You are such a queer fellow, and hold yourself so much aloof, that I am afraid to say half I would say touching my grateful admiration; so you shall imagine the rest...."
After two years of failing health and much acute suffering, George Cattermole closed an anxious and laborious life on the 24th of July, 1868, the end being undoubtedly hastened by the almost simultaneous deaths, in 1862, of a much-loved son and daughter. Dickens, who sincerely lamented the loss of this cherished friend, actively interested himself on behalf of his widow and young children (who were left in a very distressed condition) by starting a fund for their relief.
It needs but an examination of the correspondence that passed between Charles Dickens and George Cattermole (in which, during later years, the novelist playfully addressed his friend as "My dear Kittenmoles") to prove how deep was their mutual affection. The artist's natural vivacity and good-fellowship caused him to be a great favourite, and those of his family who survive recall with delight the "red-letter" days when Dickens, Thackeray, Landseer, and other kindred spirits foregathered at the Cattermole residence in Clapham Rise, on which occasions the genial company retired after dinner to brew punch in the studio--a picturesque apartment adorned with armour and tapestry and carved furniture, indicative of the artist's tastes, and strongly reminiscent of his most characteristic pictures.
ILLUSTRATORS
OF THE CHRISTMAS BOOKS
JOHN LEECH. RICHARD DOYLE. CLARKSON STANFIELD, R.A. D. MACLISE, R.A. SIR JOHN TENNIEL. FRANK STONE, A.R.A. SIR E. LANDSEER, R.A.
It was nothing less than an inspiration when, in 1843, Dickens conceived the idea of "A Christmas Carol," the composition of which induced in him such mental excitement, that when it was completed he "broke out like a madman." Its extraordinary popularity encouraged him to prepare a similar story for publication at the end of the following year, this being succeeded by three others, all of them appearing during the festive season, in a binding of crimson cloth embellished with gold designs.[35] Not the least interesting feature of these handsome little volumes is the illustrations, mainly owing to the fact that they were designed by the leading black-and-white artists of the day, including three Royal Academicians and one Associate of the Royal Academy. Of this talented company only one member survives,--Sir John Tenniel, whose pencil is still actively employed in the pages of _Punch_. The following table denotes the number of designs supplied by each artist to the Christmas Books.
Footnote 35: The first issue of the "Carol" was bound in cloth of a brownish colour, the subsequent issues appearing in crimson.
ANALYSIS OF ILLUSTRATIONS.
____________________________________________________________________ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦A Christmas¦ The ¦ The ¦The Battle¦ The ¦ ¦ ¦ Artist ¦ Carol, ¦ Chimes¦ Cricket¦ of Life ¦Haunted ¦Total ¦ ¦ ¦ 1843. ¦ 1845 ¦ on the ¦ 1846 ¦Man, 1848¦ ¦ ¦ ¦ ¦ ¦ Hearth ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ 1846 ¦ ¦ ¦ ¦ ¦___________¦___________¦_______¦________¦__________¦_________¦______¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ Leech ¦ 8 ¦ 5 ¦ 7 ¦ 3 ¦ 5 ¦ 28 ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ Doyle ¦ ... ¦ 4 ¦ 3 ¦ 3 ¦ ... ¦ 10 ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ Stanfield ¦ ... ¦ 2 ¦ 1 ¦ 3 ¦ 3 ¦ 9 ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ Maclise ¦ ... ¦ 2 ¦ 2 ¦ 4 ¦ ... ¦ 8 ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ Tenniel ¦ ... ¦ ... ¦ ... ¦ ... ¦ 6 ¦ 6 ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ Stone ¦ ... ¦ ... ¦ ... ¦ ... ¦ 3 ¦ 3 ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ Landseer ¦ ... ¦ ... ¦ 1 ¦ ... ¦ ... ¦ 1 ¦ ¦ ¦___________¦_______¦________¦__________¦_________¦______¦ ¦ ¦ 8 ¦ 13 ¦ 14 ¦ 13 ¦ 17 ¦ 65 ¦ ¦___________¦___________¦_______¦________¦__________¦_________¦______¦
The engravers were the Dalziel Brothers (14 subjects), T. Williams (11), W. J. Linton (10), Martin and Corbould (8), Smith and Cheltnam (5), Groves (3), Thompson (3), F. P. Becker (2), Gray (2), Swain (2), Green (1). Four designs were etched on steel by John Leech, thus making up the full complement of illustrations.
JOHN LEECH
Leech's Early Attempts at Drawing--Medical Studies--First Published Work--Desires to Illustrate "Pickwick"--Becomes Acquainted with Dickens--"A CHRISTMAS CAROL"--Sale of the Original Drawings--"THE CHIMES"--Leech Misinterprets his Author--"THE CRICKET ON THE HEARTH"--An Altered Design--The Artist's Humour Exemplified--"THE BATTLE OF LIFE"--Sale of Original Drawings--Unpublished Letters by Leech--A Grave Error--"THE HAUNTED MAN"--Leech's Method of Work--Artistic Value of his Sketches--Ruskin's Criticism--Leech as an Actor--A Serious Accident--Dickens as Nurse--Ill-health--A Fatal Seizure--Sir John Millais' Portrait of Leech.
John Leech, the leading spirit of _Punch_ for more than twenty years, was born in London in 1817, his father (an Irishman of culture) being a vintner, and at one time the proprietor of the London Coffee-House on Ludgate Hill, then the most important of the large City hotels. As the elder Leech showed some skill as a draughtsman, we may reasonably assume that from him the son inherited a talent for drawing, by means of which he was destined, before many years had passed, to astonish the world by his humour and originality. When a mere lad, he exhibited such aptitude and dexterity with the pencil, that Flaxman, the famous sculptor, pronounced these precocious efforts to be wonderful, and exclaimed: "That boy must be an artist; he will be nothing else or less." Notwithstanding this recommendation, young Leech (after a course of schooling at the Charterhouse, where he had William Makepeace Thackeray as a fellow-pupil) was entered by his father at St. Bartholomew's Hospital, with a view to his adopting the medical profession; but his _penchant_ for drawing and sketching proved irresistible, and he gained more repute among the students by means of his life-like (but good-natured) caricatures, than for any ability he may have displayed in hospital work. On leaving St. Bartholomew's, he was placed under an eccentric practitioner named Whittle (whom Albert Smith has immortalised as Mr. Rawkins), and subsequently under Dr. John Cockle, afterwards Physician to the Royal Free Hospital.
PLATE XLIII
JOHN LEECH
From the Water-colour Drawing by
SIR JOHN E. MILLAIS, P.R.A., 1854
Leech, however, gradually relinquished his medical studies, and resolved to live by his pencil. He was only eighteen years of age when he published his first venture, "Etchings and Sketchings, by A. Penn, Esq.," comprising a collection of slightly caricatured sketches of various odd characters to be met with on the streets of London. Shortly after this maiden effort there appeared upon the scene the initial number of the celebrated "Pickwick Papers," and when, in the second number, the sad death was announced of Robert Seymour, the illustrator, Leech immediately conceived the idea of seeking election as his successor. "Boz" at this time was absolutely unknown to him except by that strange pseudonym, so the ambitious young artist communicated his desire to the publishers, Chapman & Hall, to whom he sent as a specimen of his powers a clever drawing, delicately tinted in colour, of that familiar scene in "Pickwick" where Tom Smart sits up in bed and converses with the animated chair.[36] Thackeray (it will be remembered) also aspired to the position coveted by Leech, but neither possessed the necessary qualifications.
Footnote 36: Concerning this design, of which a _facsimile_ is given in the Victoria edition of "The Pickwick Papers," 1887, a correspondent received the following interesting communication from a representative of Dickens's publishing firm:--
"_May 2nd, 1888._
"DEAR SIR,--The history of the drawing by Leech of 'Tom Smart and the Arm-chair' is, that at the time there was a difficulty about the artist for illustrating 'Pickwick,' Mr. Leech sent it in as a specimen of his ability to illustrate the work. This was in the year 1836, and it was in the possession of my predecessor, Mr. Edward Chapman, until twenty-five years ago, when it came into my possession.--Faithfully yours,
"FRED CHAPMAN."
In those early years Leech designed numerous illustrations for _Bells Life in London_, and concocted schemes of drollery with his literary friends which resulted in the publication of such humorous productions as the "Comic Latin Grammar," "Comic English Grammar," &c. In August, 1841, he contributed his first drawing to _Punch_ (the fourth number), this being the forerunner of many hundreds of pictures, chiefly of "life and character," bearing the familiar sign-manual of a leech wriggling in a bottle. The artist's connection with _Punch_ gave him a great opportunity, for he was thus enabled to come before the public, week after week, with an endless succession of scenes in high life and low life, now of the hunting-field and now of the river,--always with something that could not fail to delight the eye and to excite good-natured laughter. His deftness and versatility naturally brought many commissions from publishers anxious to secure the aid of his prolific pencil, so that besides his weekly contribution to _Punch_ he was occupied in preparing designs for other works, notably _Douglas Jerrold's Shilling Magazine_, _Hood's Comic Annual_, and "The Ingoldsby Legends."
* * * * *
[Sidenote: =A Christmas Carol, 1843.=]
The year 1843 was memorable to John Leech, for then he first became acquainted with the author of "Pickwick." By whom the introduction was brought about is not quite clear; perhaps the credit of it may be awarded to Douglas Jerrold or Thomas Hood. In the above-mentioned year Leech's services were obtained for the illustration of "A Christmas Carol," for which he prepared eight designs; four of these were etched on steel, the impressions being afterwards coloured by hand, while the remaining four were drawn on wood, and beautifully engraved by W. J. Linton. The popularity of the "Carol" (the pioneer of all Dickens's Christmas Books, and, indeed, of Christmas literature generally) proved enormous, and much of its success was undoubtedly due to the attractive designs of John Leech, who entered so thoroughly into the spirit of this charming little allegory. In 1893 the original drawings, with the exception of that entitled "Scrooge's Third Visitor," were sold at Sotheby's for 155 guineas, and afterwards catalogued by a London bookseller at £240--a considerable advance on the price paid to the artist and engraver, which was just under £50. This interesting series of drawings (two of them tinted in colours) had hitherto remained in the possession of a daughter of the artist.
PLATE XLIV
"RICHARD AND MARGARET"
_Facsimile_ of the Original Sketch for "The Chimes" by
JOHN LEECH
The figure of Richard was altered in the published design.
_By Permission of the Art Museum Committee of the Corporation of Nottingham._ * * * * *
[Sidenote: =The Chimes, 1845.=]
To "The Chimes" Leech contributed five illustrations, the original drawings for which realised 66 guineas at Sotheby's in 1893. Some of these slight pencillings now form part of the Leech Collection at Nottingham Castle, including the first sketch for the illustration referred to by Dickens (in a letter to his wife) as being, together with a sketch by Doyle for the same story, so unlike his ideas that he invited both artists to breakfast with him one morning, and, "with that winning manner which you know of, got them, with the highest good-humour, to do both afresh." The design in question appears in the "Third Quarter," in which two scenes are represented, the upper one depicting Margaret in her garret, while in the lower compartment appears Richard, with "matted hair and unshorn beard," as he enters Trotty Veck's cottage. The artist misunderstood his author, and delineated, instead of Richard as described in the text, an extremely ragged and dissipated-looking character, with a battered hat upon his head. When the novelist saw it, the drawing had already been engraved, but the woodcut was promptly suppressed; there still exists, however, an impression of the cancelled engraving, which is bound up with what is evidently a unique copy of "The Chimes" (now the property of Mr. J. F. Dexter), where blank spaces are left for some of the woodcuts; this particular copy is probably the publishers' "make up," and had accidentally left their hands.
* * * * *
[Sidenote: =The Cricket on the Hearth, 1846.=]
"The Cricket on the Hearth" is embellished with seven designs by Leech. The original sketch for one of these illustrations, representing John and Dot seated by the fire, indicates that it was Leech's intention at first to introduce Tilly Slowboy nursing the baby; but it was apparently considered that her presence in the picture destroyed the domestic harmony of the scene, so the figure was omitted, and a separate woodcut made of the subject for a subsequent chapter. It is interesting to compare Leech's illustration of Caleb Plummer and his blind daughter at work with a similar design by Doyle in the same chapter, the vigorous character of the former happily contrasting with the more restrained treatment of the latter. In the final woodcut of "The Dance," Leech's sense of humour (not always devoid of exaggeration) has free play, for here not only do we see the human characters in the story indulging in the pleasant exercise, but observe that, in one corner, the carrier's pets, Boxer and the cat, are similarly disporting themselves, while even the artist's signature (in the opposite corner) of a leech in a bottle is placed upon a couple of lively legs, and is kicking away with an _abandon_ worthy of the occasion.
* * * * *
[Sidenote: =The Battle of Life, 1846.=]
In Dickens's fourth Christmas Book, "The Battle of Life," John Leech is represented by three illustrations, all of which are designed in the manner characteristic of these little volumes, in having one scene superimposed upon another. The original sketches for two of these woodcuts, viz., "The Parting Breakfast" and "The Night of the Return," are in the South Kensington Museum,[37] while the third drawing has found its way to America, whither so many Dickens relics have departed. When, in June 1893, some highly-finished _replicas_ of these designs were disposed of at Sotheby's, they realised the extraordinary sums of £35, 10s., £17, 10s., and £20, 10s. respectively. In the Forster Collection at South Kensington there are two very interesting letters, addressed by Leech to the biographer of Dickens, having special connection with these illustrations. The first (dated November 16, 1846) refers to the breakfast scene, and from it we gather that there was a very limited time for preparing the designs:--
Footnote 37: _Facsimiles_ of these have already appeared in my Memoir of John Leech. A duplicate sketch (more completely carried out) of "The Parting Breakfast" will be found in the Print Room of the British Museum, but there is, I believe, some doubt as to its authenticity. The late Mr. G. A. Sala pointed out that the engraving of this subject contains an astonishingly good likeness of that admired comedian, Robert Keeley, as the old servant Britain.
PLATE XLV
"JOHN, DOT, AND TILLY SLOWBOY"
_Facsimile_ of the Original Drawing for "The Cricket on the Hearth" by
JOHN LEECH
The figure of Tilly Slowboy was omitted in the published Drawing, a separate Illustration being made of that portion of the Design.
_Lent by Mr. W. H. Lever._