Part 15
"MY DEAR FORSTER,--I really cannot say off-hand how many illustrations I can make within the week; indeed, I am so embarrassed by the conditions under which I am to make my share of the drawings that I hardly know what to do at all. _Conscientiously_, I could not make Clemency Newcome particularly beautiful. If you will read a little beyond the words 'plump and cheerful,' you will find the following: 'But the extraordinary homeliness of her gait and manner would have superseded any face in the world. To say that she had two left legs and somebody else's arms, and that all four limbs seemed to be out of joint, and to start from perfectly wrong places,' &c, &c. Again, she is described as having 'a prodigious pair of self-willed shoes,' and a gown of 'the most hideous pattern procurable for money.' The impression made upon me by such a description as I have quoted certainly is that the character so described is both awkward and comic. Of course I may be wrong in my conception of what Dickens intended, but _I_ imagine the lady in question a sort of clean 'Slowboy.' The blessed public (if they consider the matter at all) will hold me responsible for what appears with my name; they will know nothing about my being obliged to conform to Maclise's ideas. I cannot tell you how loath I should be to cause any delay or difficulty in the production of the book, or what pain it would give me to cause either Dickens or yourself any annoyance. I confess I am a little out of heart.--Believe me ever yours faithfully,
"JOHN LEECH."
"JOHN FORSTER, Esq."
Maclise, who also provided illustrations to "The Battle of Life," was anxious that his own type of character for Clemency Newcome should be reproduced in the designs by Leech; hence that artist's protest. Writing again two days later on the subject, Leech said:--
"MY DEAR FORSTER,--Perhaps I was wrong in using the word 'conditions' in my note to you--I should have said 'circumstances,' and by being 'embarrassed' by them I meant that I found it very harassing to do work (that I am for several reasons anxious to do well) under the constant feeling that I have too little time to do it in; and also I meant to convey to you that the necessity (which I certainly supposed to exist) of preserving a sort of resemblance to the characters as conceived by Mr. Maclise made it a rather nervous undertaking to me. It seems I expressed myself clumsily, as the tone of my note appeared to you anything but what I intended it to be. Any suggestion from you I should always consider most valuable. I send you one drawing, completed this morning at four o'clock, and I assure you I would spare neither time nor any personal comfort to show my personal regard for both yourself and Dickens.
"I should not like to promise more than two other drawings, if Saturday is positively the last day. I might be able to do more, but I should not like to promise, and fail. Pray overlook any glaring defects in the block I send, and believe me yours faithfully,
"JOHN LEECH.
"JOHN FORSTER, Esq., &c. &c.
"_P.S._ I should like, if there is no objection, that Linton should engrave for me."
PLATE XLVI
"CALEB AT WORK"
_Facsimile_ of the Original Drawing for "The Cricket on the Hearth" by
JOHN LEECH
_Lent by Mr. W. H. Lever._
It was natural that, remembering the excellent reproductions of his wood-drawings in the "Carol" and "The Chimes," Leech should express a wish that Linton[38] might also engrave those in "The Battle of Life;" but the signatures appended to the cuts show that, doubtless for some sufficient reason, the artist's wish was not respected.
Footnote 38: As I write, the decease of that admirable artist and engraver is reported from New Haven, U.S.A. W. J. Linton was born in London in 1812, and had therefore attained a venerable age, spending the latter portion of his life in America. During an extremely active career he produced, among other literary works, a valuable and comprehensive history of the art of which he was undoubtedly the most capable exponent. Mr. Linton, who may justly be termed the father of modern wood-engraving, carried on the tradition of Bewick, and was a thorough champion of the "white-line school." As a zealous Chartist he took an active and prominent part in politics, and, in addition to this, he was a voluminous writer both in poetry and prose, his works including "The English Republic," "Claribel, and other Poems," "A Life of Whittier," &c.
In his third design for "The Battle of Life" Leech committed an extraordinary blunder, the result (it must be confessed) of carelessly studying his author. In this illustration, where the festivities to welcome the bridegroom at the top of the page contrast with the flight of the bride represented below, Leech gravely erred in supposing that Michael Warden had taken part in the elopement, and has introduced his figure with that of Marion. This curious mistake, which might have been avoided had the drawing been submitted to Dickens, was not discovered until too late for remedy, and it is highly characteristic of the novelist, of the true regard he felt for the artist, that he preferred to pass it silently. The most remarkable thing of all is (as Forster has pointed out), nobody seems to have noticed the unfortunate oversight, although it must be obvious to every attentive reader that it makes great havoc of one of the most delicate episodes in the story. The feelings of the author, on realising the seriousness of this terrible misconception on the part of the artist, may be readily imagined. Writing to his biographer, he said: "When I first saw it, it was with a horror and agony not to be expressed. Of course I need not tell _you_, my dear fellow, Warden has no business in the elopement scene. _He_ was never there! In the first hot sweat of this surprise and novelty, I was going to implore the printing of that sheet to be stopped, and the figure taken out of the block. But when I thought of the pain this might give to our kind-hearted Leech, and that what is such a monstrous enormity to me, as never having entered my brain, may not so present itself to others, I became more composed; though the fact is wonderful to me. No doubt a great number of copies will be printed by the time this reaches you, and therefore I shall take it for granted that it stands as it is. Leech otherwise is very good, and the illustrations altogether are by far the best that have been done for any of my Christmas Books...."
The Haunted Man, 1848.
"The Haunted Man and the Ghost's Bargain"--the last of the Christmas stories--contains five designs by Leech, and one of the original sketches is here reproduced, through the courtesy of the Museum authorities at Nottingham Castle. They are not among Leech's happiest efforts, and do not compare favourably with the vignettes in "A Christmas Carol." PLATE XLVII
"THE TETTERBYS"
_Facsimile_ of the Original Drawing for "The Haunted Man" by
JOHN LEECH
_By Permission of the Art Museum Committee of the Corporation of Nottingham._
Like Cruikshank, "Phiz," and other contemporary book-illustrators, John Leech never worked from models, relying chiefly upon his retentive memory; he seldom made sketches of any kind, but merely jotted down such useful memoranda of bits of scenery and character, details of particular costume, &c, as could be recorded in a little note-book which he invariably carried about with him. When developing an idea for a drawing, he would first make a slight outline of the subject upon paper of the size required, then trace it down upon the wood-block, and finally complete the picture with care and deliberation. The only lessons in etching he ever had he received from George Cruikshank; but it was as a draughtsman on wood that he excelled, his etchings (of which those in the "Carol" are among the best) not being technically equal to those of either Cruikshank or "Phiz," nor do they exhibit that sense of freedom and spontaneity visible in his published drawings. The late George du Maurier, his friend and colleague on _Punch_, tells us that Leech "drew straight on the wood block, with a lead-pencil; his delicate grey lines had to be translated into the uncompromising coarse black lines of printer's ink--a ruinous process; and what his work lost in this way is only to be estimated by those who know." In giving an account of Leech's work, Professor Ruskin points out a fact not generally known, viz., that from an artistic standpoint his first sketches for the woodcuts are much more valuable than the finished drawings, even before those drawings sustained any loss in engraving. "The first few lines in which he sets down his purpose are invariably, of all drawing that I know," says the eminent critic, "the most wonderful in their accurate and prosperous haste." Dickens remained a constant admirer of Leech's genius, and when, in 1848, there appeared a collection of lithographs, where the artist humorously depicted "The Rising Generation," the novelist indited for _The Examiner_ a glowing eulogium upon the work of his friend, in the course of which he declared that he was "the very first Englishman who had made beauty a part of his art." It was from Dickens that Leech occasionally accepted happy thoughts for _Punch_, and it will be remembered that he frequently availed himself (as did Sir John Tenniel subsequently) of "Phiz's" designs for Dickens, whenever he thought they could be appropriately converted into political cartoons.
John Leech occasionally associated himself with the amateur theatrical performances organised by Dickens, but it must be admitted that, owing to his naturally modest and retiring disposition, he did not achieve great distinction as an actor. In 1849, while on a visit to the novelist at Bonchurch, he was stunned by a huge wave when bathing, and was put to bed with "twenty of his namesakes on his temples." Congestion of the brain ensued, and Dickens, who proved one of the most attentive of nurses during this anxious time, proposed to Mrs. Leech to try magnetism. "Accordingly," he wrote to Forster, "in the middle of the night I fell to, and after a very fatiguing bout of it, put him to sleep for an hour and thirty-five minutes. A change came on in the sleep, and he is decidedly better. I talked to the astonished Mrs. Leech across him, when he was asleep, as if he had been a truss of hay."
Incessant brain-work induced in John Leech a peculiar irritability, and he was so much affected by street noises, even such as would escape ordinary attention, that he was compelled at length to resort to the device of double windows. Eventually this abnormal sensitiveness told so seriously upon his health that he was ordered to Homburg for change of scene; but, on returning to his London home in the autumn of 1864, he was still strangely susceptible to noise of all kinds. In addition to this, the artist suffered acutely from _angina pectoris_, and on October 29, 1864, he was seized with an attack of that terrible disease, which, alas! proved fatal. Dickens was sadly overcome by the death of this kindly man, and attributed, thereto his inability to make progress with "Our Mutual Friend," upon which he was then engaged. Around the artist's grave there assembled, on a bright autumn day, many who were distinguished in Art and Literature, in honour of him they sincerely mourned, grieving for the loss of a spirit, so gentle and graceful, that had just passed away.
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The portrait of John Leech reproduced for this work is from a beautiful water-colour drawing by his friend, the late Sir John E. Millais, P.R.A., representing the artist in the prime of life. This interesting and valuable presentment of the great pictorial humorist was purchased in 1892 by the Trustees of the National Portrait Gallery, and during the previous year a reproduction of it was given, at my suggestion, as the frontispiece to the biography of John Leech by Mr. W. P. Frith, R.A. Another intimate friend of Leech, Mr. Holman Hunt, informs me that he considers this drawing by Millais as undoubtedly the best portrait of the artist.
PLATE XLVIII
RICHARD DOYLE
From a Photograph by G. JERRARD
_Lent by Mrs. Henry Doyle._
D. MACLISE, R.A.
From the Painting by E. M. WARD. R.A., 1846
RICHARD DOYLE
Inherits a Talent for Drawing--Not Permitted to Study from Models--No Regular Training in Art--A Skilful Amateur--Precocious Sense of Humour--Fanciful Designs--Doyle Joins the _Punch_ Staff--Instructed in Drawing on Wood--His Sign-manual--Retirement from _Punch_--Not Acquainted with Dickens--His Illustrations for "THE CHIMES"--Elves and Goblins--An Oversight by the Artist--"THE CRICKET ON THE HEARTH" and "THE BATTLE OF LIFE"--Doyle's Original Sketches for the Christmas Books Dispersed.
With the single exception of John Leech, Richard Doyle contributed the greatest number of illustrations to the Christmas Books, three of these little volumes containing, in the aggregate, ten designs by him. He was born in London in 1824, his father, John Doyle, being the famous caricaturist, "H.B.," whose political cartoons created much sensation in their day. At an early age Richard Doyle proved that he inherited a talent for drawing, and was encouraged in this direction by his father, who (strange to say) would not allow him to study from the living model, preferring that the boy should be taught "to observe with watchful eye the leading features of the object before him, and then some little time after to reproduce them from memory as nearly as he could." He had no regular training in art, except such as he was privileged to enjoy in his father's studio, the result being that (as Mr. M. H. Spielmann reminds us in his "History of _Punch_") he never attained a higher position than that of an extremely skilful amateur, "whose shortcomings were concealed in his charming illustrations and imaginative designs, but were startlingly revealed in his larger work and in his figure-drawing.... He was saved by his charm and sweetness, his inexhaustible fun and humour, his delightful though superficial realisation of character, and his keen sense of the grotesque."
Richard Doyle's precocious sense of humour is exemplified in his illustrations for the Comic Histories, executed by him when fifteen years of age, but which were posthumously published. An extraordinary power of fanciful draughtsmanship distinguishes the majority of his designs, so that his pencil was in frequent request for works which demanded the display of this special faculty, such as Leigh Hunt's "Jar of Honey," Ruskin's "King of the Golden River," "Pictures from the Elf World," Planché's "Old Fairy Tales," &c. In 1843, when the artist was only nineteen, he was installed as a member of the regular pictorial staff of _Punch_, and received instruction in drawing on wood from Joseph Swain, the engraver for that journal. Richard Doyle was familiarly known to his intimate friends as "Dicky Doyle," which probably suggested his sign-manual of a little dicky-bird perched upon his initials, R.D.,--a signature that may be found appended to a very considerable number of cuts designed for _Punch_ during a period of seven years--that is, until his retirement therefrom in 1850.
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[Sidenote: =The Chimes, 1845.=]
Although Doyle furnished illustrations to three of Dickens's Christmas Books, there is no evidence that he was ever personally acquainted with the novelist. No reference is made to the artist by Forster, nor does it appear that any correspondence passed between him and Dickens, the necessary instructions being apparently transmitted through the publishers. The earliest Christmas story with which we find him associated is "The Chimes," to which he supplied four illustrations, viz., "The Dinner on the Steps," "Trotty at Home," "Trotty Veck among the Bells," and "Margaret and her Child." His designs embellish the initial pages of each chapter, and are treated in a decorative and fanciful manner. In the first of these it will be noticed that the upper portion consists of a representation of the tower of St. Dunstan's Church in Fleet Street,--a subject repeated by Clarkson Stanfield, R.A., in a subsequent illustration. In the other woodcuts the artist exhibits his acknowledged skill in delineating elves and goblins, that depicting Trotty among the Spirits of the Bells affording a delightful example of his wonderful power in portraying goblin-like creatures, with their weird expressions and varied postures. _Apropos_ of this engraving, a curious oversight has been discovered by the Rev. H. R. Haweis, for Doyle has introduced only three bells, thus seeming to have forgotten that four are required to ring a quarter! The subject of the remaining design, where Margaret, with her babe, kneels at the river's brink, is replete with pathos, the impression of desolation and despair being admirably rendered by means of a few simple lines.
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[Sidenote: =The Cricket on the Hearth, 1846.=]
The next Christmas story, "The Cricket on the Hearth," contains three illustrations by Doyle, one for each chapter, as before. The first really comprises two distinct subjects, separated by a quaintly-designed initial letter; in the upper drawing is seen John Peerybingle's cart on its journey, preceded by Boxer, while below we are presented with an ideal scene of domestic happiness, where John and Dot are seated before the fire in their humble home. The first page of "Chirp the Second" contains a capital picture of Caleb Plummer and his blind daughter Bertha, busily at work among the toys; in the last design, illustrating the opening lines of "Chirp the Third," the honest carrier is observed reclining his head upon his hand in silent grief, while comforting spirits hover around him.
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[Sidenote: =The Battle of Life, 1846.=]
Dickens's fourth Christmas Book, "The Battle of Life," includes three designs by Doyle, which are also introduced as embellishments of the initial pages of the different chapters. They are much bolder in treatment, however, than the artist's earlier drawings, and do not possess the artistic charm appertaining to his illustrations in "The Cricket on the Hearth." The most successful are the vignette subjects at the top of each page, which are charming little studies.
It is unfortunate that no original sketches for these illustrations are available for reproduction. A member of the artist's family declares that they were dispersed, principally as gifts to friends, and that their present destination is unknown.
On December 10, 1883, Richard Doyle was struck down by apoplexy as he was quitting the Athenæum Club, and died on the following day. Thus passed away not only one of the most graceful limners of Fairyland that England has produced, but one who will long be remembered for his many noble qualities of heart and mind.
PLATE XLIX
CLARKSON STANFIELD, R.A.
From a Photograph
_Lent by Mr. Field Stanfield._
FRANK STONE, A.R.A.
From a Photograph
_Lent by Mrs. Kate Perugini._
CLARKSON STANFIELD, R.A.
Apprenticed to a Heraldic Painter--Goes to Sea--Meets Douglas Jerrold--Scene-painting--Exhibits at the Royal Academy--Becomes Acquainted with Dickens--A Memorable Trip to Cornwall--The Logan Stone--Illustrations for "The Chimes"--A Labour of Love--A Present and a Letter from Dickens--Illustration for "The Cricket on the Hearth"--A Quaint Epistle, signed "Henry Bluff"--Illustrations for "The Battle of Life"--Dickens's Opinion of Stanfield's Designs--Illustration for "The Haunted Man"--Another Gift from Dickens to the Artist--A Drawing of the "Britannia" Steam-ship--Private Theatricals--A Remarkable Act-Drop--Declining Health--Death of the Artist--Dickens's Eulogium--"The Most Lovable of Men."
First a sailor, then an artist and a Royal Academician, William Clarkson Stanfield acquired the reputation of being the greatest marine-painter of his time. Born in 1793, he was brought up to the sea, and at sea (curiously enough) was thrown into the companionship of Douglas Jerrold, who, like himself, was ordained to make his mark in a very different profession.
When about twelve years old Clarkson Stanfield was apprenticed to a heraldic painter in Edinburgh, but an intense longing for the career of a sailor resulted in his entering the merchant service in 1808. Four years later he was pressed into the Royal Navy, and while on board the King's ship _Namur_ in 1814 (where he first met Jerrold, then a midshipman), his talent for drawing was discovered, whereupon he was sent ashore at Sheerness to assist in the painting and decoration of the Admiral's ball-room, his work giving so much satisfaction that he was promised his discharge from the Navy--a promise, however, that was not fulfilled. After another interval of three or four years he finally left the sea, having been temporarily disabled by a fall, and procured an engagement as scene-painter at the East London Theatre, for he had already essayed this branch of Art on board ship. So eminently satisfactory were his pictorial achievements in East London that he obtained a similar position at the Edinburgh Theatre, and thence, in 1822, in conjunction with his friends David Roberts and Nasmyth, he was employed in a like capacity at the Theatre Royal, Drury Lane. From that time his success in Art was assured.
Stanfield had already exhibited in the Royal Academy, and year by year his work in this and other Institutions continued to excite interest and admiration, by reason of the simple truthfulness of all his representations. Usually, but not invariably, he preferred to depict scenes in which his nautical experience could be made available, and his natural gifts permitted him to combine with the genuine sailor-like feeling displayed in the treatment of his subjects a poetical sentiment which considerably enhanced the charm of his productions. In 1832 Stanfield was elected an Associate of the Royal Academy, and three years later he attained full honours. It will thus be seen that he had gained a very dignified position in the world of Art before even the name of Charles Dickens became known to the reading public,--as a matter of fact, the future novelist was at that date writing the earliest of those wonderful sketches which appeared under the _nom de guerre_ of "Boz."
Clarkson Stanfield, who was Charles Dickens's senior by about nineteen years, made the acquaintance of the novelist late in the "Thirties," when began those affectionate relations subsisting between the two distinguished men. "I love you so truly," observed Dickens to the artist, in a letter dated August 24, 1844, "and have such pride and joy of heart in your friendship, that I don't know how to begin writing to you." Two years previously Stanfield joined Dickens and his friends Forster and Maclise in their famous trip to Cornwall,--three memorable weeks, overflowing with enjoyment and fun; the artists made sketches of the most romantic of the halting-places, one of these being a drawing of the Logan Stone by Stanfield (now in the Forster Collection at South Kensington), where are seen the figures of himself and his three fellow-travellers.
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[Sidenote: =The Chimes, 1845.=]