Part 16
In 1844 Dickens conceived the idea of a second Christmas Book, "The Chimes," and what more natural than that he should desire to enlist the services, as illustrator, of so skilled a draughtsman as Clarkson Stanfield? It was decided to depart from the plan adopted in regard to the "Carol," by engaging more than one artist, thus imparting an agreeable variety to the designs. Stanfield, eager to gratify his friend, did not require much persuasion to co-operate in the pictorial embellishment of the little volume, for which he provided two choice drawings, viz., "The Old Church,"--a faithful representation of the "old London belfry" of St. Dunstan's in Fleet Street,--and "Will Fern's Cottage,"--a pretty bit of landscape scenery, such as the artist knew so well how to depict. With these Dickens was charmed, and in a letter to his wife he said: "Stanfield's readiness, delight, wonder at my being pleased with what he has done is delicious."
Stanfield, it appears, would not accept payment for these drawings, preferring that they should be considered as tokens of friendship. Dickens, however, could not pass over so generous an act without some acknowledgment, and this took the form of a silver claret-jug, which was presented (as the inscription records) "In Memory of 'The Chimes.'" Accompanying the gift was the following letter, dated October 2, 1845, where allusion is made to the succeeding Christmas Story:--
"MY DEAR STANNY,--I send you the claret-jug. But for a mistake, you would have received the little remembrance almost immediately after my return from abroad.
" ... I need not say how much I should value another little sketch from your extraordinary hand in this year's small volume, to which Mac again does the frontispiece. But I cannot hear of it, and will not have it (though the gratification of such aid to me is really beyond all expression), unless you will so far consent to make it a matter of business as to receive, without asking any questions, a cheque in return from the publishers. Do not misunderstand me--though I am not afraid there is much danger of your doing so, for between us misunderstanding is, I hope, not easy. I know perfectly well that no terms would induce you to go out of your way, in such a regard, for perhaps anybody else. I cannot, nor do I desire to, vanquish the friendly obligation which help from you imposes on me. But I am not the sole proprietor of these little books; and it would be monstrous in you if you were to dream of putting a scratch into a second one without some shadowy reference to the other partners, ten thousand times more monstrous in me if any consideration on earth could induce me to permit it, which nothing will or shall.
"So, see what it comes to. If you will do me a favour on my terms, it will be more acceptable to me, my dear Stanfield, than I can possibly tell you. If you will not be so generous, you deprive me of the satisfaction of receiving it at your hands, and shut me out from that possibility altogether. What a stony-hearted ruffian you must be in such a case!--Ever affectionately yours,
"CHARLES DICKENS."
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[Sidenote: =The Cricket on the Hearth, 1846.=]
The "small volume" here alluded to was "The Cricket on the Hearth," for which Stanfield prepared one illustration, viz., "The Carrier's Cart."
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[Sidenote: =The Battle of Life, 1846.=]
PLATE L
"WAR" AND "PEACE"
_Facsimile_ of the Original Sketches for "The Battle of Life" by
C. STANFIELD, R.A.
_Lent by Mr. Field Stanfield._
To the fourth Christmas Book, "The Battle of Life," Stanfield contributed three beautiful little designs, representing respectively "War," "Peace," and "The 'Nutmeg Grater' Inn." Happily, I am enabled to present _facsimiles_ of the original sketches (very slight in treatment) of the first two subjects, through the courtesy of the artist's son, Mr. Field Stanfield. The story was written at Lausanne, and, during Dickens's absence in Switzerland, Forster succeeded in enlisting Stanfield as one of the illustrators as a glad surprise for the author, who, on being informed of the fact, wrote to his biographer: "Your Christmas Book illustration-news makes me jump for joy." Forster intimates that these "three morsels of English landscape," delineated by Stanfield, had a singular charm for Dickens at the time, who referred to the illustrations altogether as by far the best that had been done for any of the Christmas Books. "It is a delight," he remarked concerning Stanfield's designs, "to look at these little landscapes of the dear old boy. How gentle and elegant, and yet how manly and vigorous they are! I have a perfect joy in them."
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[Sidenote: =The Haunted Man, 1848.=]
The last of the Christmas Books, viz., "The Haunted Man," contains three illustrations by this artist, viz., "The Lighthouse," "The Exterior of the Old College," and "The Christmas Party in the Great Dinner Hall." In the first subject, which is decidedly the most successful, Stanfield found a most congenial theme, for here his knowledge of sailors and of the dangers of the sea proved serviceable. With regard to his designs for these little annuals, it appears that the artist could not be prevailed upon to accept payment for them, Dickens's protests notwithstanding. He consequently became the recipient of another gift--a pair of handsome silver salvers, bearing the simple inscription, "Clarkson Stanfield from Charles Dickens," in recognition of his friendly collaboration, and these are now in the possession of one of the artist's sons.
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[Sidenote: =American Notes, 1850.=]
There is another illustration by Stanfield to which some allusion must be made. This is an admirable water-colour drawing of the _Britannia_, the steamship that conveyed Dickens to America in 1842. The drawing was made with a view to reproduction as the frontispiece for the first cheap edition of "American Notes," and the following hitherto unpublished letter (dated May 11, 1850) to Edward Chapman (of Chapman & Hall), is of interest in this connection:--
"DEAR SIR,--Mr. Stanfield will draw the packet-ship for the frontispiece to the 'American Notes.' He says lithograph is better than wood for that kind of subject; please let me know immediately whether it will suit us to lithograph it.--Faithfully yours,
"CHARLES DICKENS."
The suggestion was found impracticable, so it was decided that the drawing should be made on wood. The block was therefore forwarded to the artist, who complained to Dickens of its imperfect surface, whereupon the novelist despatched to Edward Chapman this brief missive, dated May 22:--
"DEAR SIR,--Mr. Stanfield wonders you didn't send him a paving-stone to draw upon, as send a block in this unprepared state. I send you his drawing to do the best you can with. It costs nothing, and I wish it to be kept very clean and returned to me.--Faithfully yours,
"CHARLES DICKENS."
It may be inferred from this letter that the drawing was copied upon the wood-block by the engraver himself, whose name (T. Bolton) is appended to the frontispiece. The original picture was purchased at the sale of Dickens's effects in 1870 for the sum of £110, 5s., by the late Earl of Darnley, for many years the novelist's friend and neighbour.
Clarkson Stanfield, whose intimacy with the Dickens family was very close, used to take part in their Christmas sports and gambols, and in connection with the private theatricals at Tavistock House his services as scene-painter were invaluable. _Apropos_ of this, the novelist once wrote to Frank Stone, A.R.A.: "Stanfield bent on desperate effects, and all day long with his coat off, up to his eyes in distemper colours." Again: "If Stanfield don't astonish 'em [the audience], I'm a Dutchman. O Heaven, if you could hear the ideas he proposes to me, making even _my_ hair stand on end!" For Wilkie Collins's drama, "The Lighthouse," produced at Tavistock House, the artist painted a very remarkable act-drop representing the Eddystone Lighthouse, concerning which it may be observed that, although it occupied the great painter only one or two mornings, it realised at the novelist's death nearly a thousand guineas!
Dickens, when writing to Stanfield, frequently adopted nautical expressions, in allusion to the artist's experiences as a seaman. He sometimes addressed him as "Old Tarpaulin," "Old Salt," "Messmet," &c., and as an example of this I here reprint a letter, written on an occasion when Stanfield innocently demanded of Dickens to be informed of the amount due for a pair of candlesticks that the novelist had sent him:--
"MY DEAR STANNY,--In reference to the damage for the candlesticks, I beg to quote (from 'The Cricket on the Hearth,' by the highly popular and deservedly so Dick) this reply:
"'I'll damage you if you inquire.'
"Ever yours,
"My block-reeving, Main-brace splicing, Lead-heaving, Ship-conning, Stun'sail-bending, Deck-swabbing, Son of a sea-cook,
"HENRY BLUFF, "H.M.S. _Timber_."[39]
Footnote 39: From "The Letters of Charles Dickens." Mr. Field Stanfield informs me that it is quite certain the candlesticks were not a gift from Dickens to his father. It would seem most probable that there may have been some accident during theatrical preparations, for which the artist considered himself responsible, and that Dickens undertook to repair the misfortune himself.
During the last ten years of his life Stanfield's health became less strong, and he was obliged in some measure to retire from the congenial circle of his artistic and literary associates, continuing, however, to take great delight in his art. Stanfield breathed his last on May 18, 1867. His death proved a great blow to Dickens, who, in a note of sympathy to Mr. George Stanfield, observed: "No one of your father's friends can ever have loved him more dearly than I always did, or can have better known the worth of his noble character." To the famous painter, for whom he ever entertained a strong affection, the novelist had dedicated "Little Dorrit," and, as a tribute to his memory, wrote (in _All the Year Round_) a sympathetic eulogium upon his departed friend of thirty years, where, after alluding to the artist as "the National historian of the Sea," he says: "He was a charitable, religious, gentle, truly good man. A genuine man, incapable of pretence or of concealment. He was the soul of frankness, generosity, and simplicity. The most genial, the most affectionate, the most loving, and the most lovable of men."
DANIEL MACLISE, R.A.
His Precocious Talent--Studies Anatomy--Enters the Royal Academy Schools--Gains a "Travelling Studentship"--Elected a Royal Academician--Declines the Presidency--Introduced to Dickens--A Lifelong Friendship--"MASTER HUMPHREY'S CLOCK"--Maclise Essays an Illustration--"THE CHIMES"--A Reading by Dickens and a Sketch by Maclise--His Original Drawings--"THE CRICKET ON THE HEARTH"--An Unpublished Letter from Maclise--"THE BATTLE OF LIFE"--Dickens's Appreciation of Maclise's Illustrations--The Artist's Correspondence with Forster Respecting his Designs--His Anxiety Concerning the Engraving--An Indignant Letter--"Little Dirty Scratches"--Maclise Dispenses with the Living Model--Dickens's Relations with the Artist--A Memorable Trip--Picture of the Waterfall at St. Nighton's Cave--A Portrait of Dickens--An Interesting Pencil-Drawing--Death of "Grip"--The Raven Immortalised by Maclise--A Letter of Sympathy--The Artist's Declining Health--His Death a Severe Shock to Dickens--The Novelist's Tribute to his Memory.
Among a host of intimate friends, none was more beloved by Dickens than the warm-hearted Irish artist, Daniel Maclise, whose fine genius and handsome person charmed all who knew him. Maclise was the son of a Scotch soldier quartered at Cork, and was born in that city on January 25, 1811, being thus the novelist's senior by about a year. As a child he exhibited great facility in executing caricatures, and was soon enabled to support himself by the sale of his sketches. It was at first intended that he should adopt the surgical profession, with which object he studied anatomy under Dr. Woodroffe, but, like John Leech, he did not take kindly to the science of healing, preferring (as did Leech) the more congenial pursuit of Art. Accordingly, in 1827, Maclise entered the Royal Academy Schools, where he made such rapid progress, that two years later his work was admitted to the Exhibition of the Royal Academy. Although, in 1831, the fortunate young painter received the gold medal entitling him to the "Travelling Studentship," he elected to remain in England, having already visited Paris and studied at the Louvre and the Luxembourg. Achieving success after success as a painter of Shakesperian scenes, portraits, &c., he became an Associate of the Royal Academy in 1836, and attained full honours in 1840. In 1866 he was offered the Presidency, but, as did Sir Edwin Landseer during the previous year, he declined that distinction.
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[Sidenote: =Master Humphrey's Clock, 1840-41=.]
It was in the year of his election as Associate that Maclise was introduced by Forster to Charles Dickens, and we learn that the tastes and pursuits of the three friends were so congenial that thenceforth they were inseparable,--this affectionate intercourse being maintained without interruption for nearly thirty years. When, in 1840, Dickens contemplated the publication of "Master Humphrey's Clock," it was his intention to endeavour to secure the valuable co-operation of Maclise as an illustrator of that work, in conjunction with George Cattermole. Forster states that there seems to have been a desire on Maclise's part to try his hand at an illustration, but he did not remember that it bore other fruit than "a very pleasant day at Jack Straw's Castle, where Dickens read one of the later numbers to us." That Maclise's wish was actually realised, however, is proved by the fact that in the fifty-fifth chapter of "The Old Curiosity Shop" there is a design by him representing Little Nell and the Sexton. Why this should have been his only contribution to the pages of "Master Humphrey's Clock" has never been explained, but it is not improbable that the artist was too busily occupied with his paintings just at this time, and therefore unable to devote serious attention to black-and-white work.
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[Sidenote: =The Chimes, 1845.=]
PLATE LI
"THE TOWER OF THE CHIMES"
AND
"THE SPIRIT OF THE CHIMES"
_Facsimiles_ of the Original Drawings for "The Chimes" by
D. MACLISE, R. A.
Maclise had been much engaged in book-illustration (sometimes signing himself "Alfred Croquis") when, in 1844, it was proposed that he should provide designs for Dickens's second Christmas Book, "The Chimes." This little story was written in Italy, and, during Dickens's absence, the necessary arrangements respecting the illustrations were made by Forster. It may be incidentally mentioned that, eager to try the effect of the story, the novelist journeyed to England for the express purpose of reading it aloud to his friends at Forster's residence in Lincoln's Inn Fields, the memorable incident being depicted by Maclise in an amusing pencil-sketch, afterwards reproduced for Forster's biography. Maclise became responsible for the frontispiece and decorative title-page of "The Chimes," both of these fanciful designs gracefully portraying elves and fairies, spirits of the bells, and allegorical figures typifying Love, Life, and Death. The original drawings, now in South Kensington Museum, were delicately executed in pencil, and engraved on steel by F. P. Becker. With reference to these illustrations, the artist wrote:--
"MY DEAR FORSTER,--I wonder if it would be possible to make the paper of the book an inch bigger, that is, to increase the width of margin around the letterpress, without much additional expense. I wish you to put the question. I do not think my design too large, but it would marvellously increase the elegance of the look of the book. I must say the 'Carol' book is the very climax of vulgarity in its _mise en planches_.--_Au revoir._.
"D. M."[40]
Footnote 40: This and the succeeding letters from Maclise to Forster are now printed for the first time.
It was, of course, considered inadvisable to depart from precedent by acting upon the above suggestion. Dickens was highly pleased with the artist's designs, and, writing to his wife on December 2, 1844, he said: "Mac's frontispiece is charming."
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[Sidenote: =The Cricket on the Hearth, 1846.=]
To the third Christmas Book, "The Cricket on the Hearth," Maclise also contributed the frontispiece and decorative title-page, which were engraved on wood instead of steel. These designs are replete with quaint fancy, the frontispiece being especially worthy of attention, comprising, as it does, no less than ten miniature _tableaux_, the chief of these representing a homely scene, where the Carrier and his wife are seated by the fireside, their babe being rocked in its cradle by the fairies, while above the steaming kettle is perched that good spirit, the Cricket. The following undated letter is interesting on account of its connection with this Christmas story:--
"MY DEAR FORSTER,-- ... I write to ask if you have a moment to see B[radbury] and E[vans] about these blocks for my little designs. I wrote to D[ickens] Saturday, and there came to me such a small pair that I instantly sent them back. Then on Saturday evening two more came; _one of them will do_--but as you understand the matter, and last year even got the book enlarged a little,[41] I want you to say that I _must have a block_ for the _frontispiece_ the exact size of the leaf on which the frontispiece of the 'Chimes' is. I have made a little sketch to be placed on the wood, and some of the little shapes come as close to the edge of the page as this line I make--[Symbol: long vertical line]. I want the wood as high and as wide as that page--but oh! my I--on, if it could but be--the _page_ I mean, not the _wood_,--a little--_so_ much larger, ah! I should be happy for life. Tell B. and E. this and ask D. to insist on it. Mind, I am not exceeding the present paper of the 'Chimes,' but for the look of the book it would be very important--and they have sent me a block much smaller than that page, whereas I cannot afford one-hundredth part of a pin's point. I know 'tis vain to write to them--so trouble you, and I want the blocks--in an hour!!!--Ever most faithfully,
"D. M."
Footnote 41: There was practically no enlargement.
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[Sidenote: =The Battle of Life, 1846.=]
The artist prepared for "The Battle of Life" not only the customary frontispiece and title-page, but two additional designs for the later portion of the story. Dickens, who was in Paris at the time, was delighted when he heard of this, and in a letter to a friend observed: "Forster writes me that Mac has come out with tremendous vigour in the Christmas Book, and took off his coat at it with a burst of such alarming energy that he has done four subjects!" Of these, the principal is the frontispiece, representing the Dance round the Appletree, but the most successful design is that depicting "The Sisters,"--a graceful composition, and the last drawing produced by the artist for Dickens.
Remembering the novelist's keen appreciation of Maclise's illustrations in the preceding Christmas Books, it seems somewhat strange that the artist should have thus emphatically expressed himself to Forster in the following letter, evidently indited in a moment of pique:--
"MY DEAR F.,--It is clear to me that Dickens does not care one damn whether I make a little sketch for the book or not. However, if _you_ think that the appearance of the volume should be as like the former ones as possible, I will with even pleasure gulp down my jealousy and draw on the wood that apple-tree, &c, for a frontispiece. In which case you must _shut up that_ same subject to Doyle--as I saw in his sketch last night. But I do this at your bidding, and not at all for D., and on the whole would much prefer not engaging in the matter at all.--Yours truly,
"D. M."
Apparently some little misunderstanding had hurt the susceptibilities of the artist, but, happily, it was speedily removed, for he presently wrote in a more conciliatory spirit:--
"MY DEAR FORSTER,--I have received the blocks and will make the design of the apple-tree and the girls dancing--so keep that subject sacred to me. B[radbury] and E[vans] have sent the block as large as the last, but as I do not approve the look of the design without margin, I intend to keep this one within bounds. They have sent me a smaller one for title-page. Now I propose, and I know it will improve the appearance of the little book, not to cram in another design there with the title--a printed title in type has always still been necessary--but if you like I will make another design for the body of the book. That one, perhaps, the lover of Marion's interview with her--and Clemency. I hope very much you will see no good objection to this proposition--or will _you_ propose a second subject?--Ever yours truly
"D. M."
Again, a few days later:--
"MY DEAR FORSTER,-- ... I write to say that you will find me at the Athenæum to-morrow at five o'clock. Do not be later. I hope _then_ to bring with me the drawing on the block for the frontispiece--the girls dancing; for the other, I will do what you like, the girls and the Doctor, Marion reading, &c, or the lover of Marion's interview with her, and Clemency outside the door, &c. We will agree to-morrow.--Very truly yours,
"D. MACLISE.
"I hope there may be time enough then not to hurry it."
The following letter probably refers to the allegorical design on the title-page, depicting the triumph of Virtue over Vice, in which the figures (with one exception) are nude: although, from an allusion to "that tree," it might be suggested that it was the frontispiece:--
"MY DEAR FORSTER,--I suppose the stern moralist, Thackeray, would have described the last design I made lecherous, libidinous, lustful, lewd, and loose; but I meant it to be pure and 'mi-ld as the moo-n-beams.'
"... I only write to tell you, if you can exercise any control over its fate, that it may be placed in the hands of as good a wood-man as possible, and that he be recommended to spare _that_ tree-e-.
"I fear that my character is gone abroad, and that I am a dog with a bad name....--Ever yours,
"DANIEL MACLISE."