Part 17

Both the frontispiece and title-page were excellently rendered on wood by John Thompson, one of the foremost engravers of the day. Maclise, however, had hoped the work would have been entrusted to others, for he observed to Forster: "I am annoyed that neither Williams nor Dalziel are to do that little design. Some one called here and took it away on Monday, and he said that there was not time (the old excuse) to do it justice." Judging from the following trenchant remarks, the artist was anything but gratified by the engraved reproductions of these drawings when they appeared in print:--

"MY DEAR F.,--I can never hope to get you to understand how I am mortified and humiliated by the effect of these damnable cuts. It really is too much to be called upon to submit to, to be shown up in these little dirty scratches and to have one's name blazoned as if one was proud of them. I wish to Heaven you would have my name cut out from the corners, that at least I might have the benefit of the doubt as to which of the blots is mine. I would give anything that I had kept to my original notion and had nothing to do with the thing.... I wish you had left me that last one; I would have tried to beguile myself with a belief that it might be improved. My curses light upon the miserable dog that produced it--I don't mean myself.--Ever yours,

"D. MACLISE.

"And what is the good of employing Thom[p]son--if the demon printers are to ruin them with their diabolic press?"

Maclise, like other draughtsmen on wood, doubtless often experienced a sense of disappointment when their delicately-pencilled drawings were hurriedly engraved and submitted to the arbitrary treatment of printer's ink. In this way those subtle touches upon which the artist prided himself were lost for ever, so that the designs appear coarse and crude. Such was obviously the case with regard to the illustrations now under consideration, notwithstanding the fact that they bear the signatures of thoroughly experienced engravers. It is a fact worth recording here that Maclise did not draw from life the figures in his designs for the Christmas Books. Indeed, it was a matter of astonishment to his brother artists that, even when working upon his more important canvases, he very rarely resorted to the use of the living model, his singular facility in composition leading him, perhaps, too often to dispense with the study of the human form; yet his works, although possessing a mannered look, are distinctively marked by characteristics of individual as well as general nature.

As already intimated, the friendship subsisting between Dickens and Maclise was of a kind the most sincere, and it was naturally coupled with a true admiration which each entertained for the genius of the other. Dickens never tired of praising the talent of the artist, whom he thought "a tremendous creature, who might do anything," and recalled with delight those halcyon days when Maclise accompanied Clarkson Stanfield, Forster, and himself on that memorable Cornish trip in 1842, one result of which was a charming painting (now in the Forster Collection at South Kensington) of the Waterfall at St. Nighton's Keive, near Tintagel, into which the artist introduced as the principal feature a young girl carrying a pitcher, the model for whom was Dickens's sister-in-law, Miss Georgina Hogarth. It should be remembered that one of the finest of the early portraits of Dickens himself was painted by Maclise in 1839, at the instigation of Chapman & Hall, with a view to an engraving for "Nicholas Nickleby," the reproduction duly appearing as the frontispiece. The original picture was presented to Dickens by his publishers, and at the sale of the novelist's effects in 1870 this very interesting canvas was purchased for £693 by the Rev. Sir E. R. Jodrell, by whom it was bequeathed to the National Gallery, where it may now be seen. Maclise is responsible also for another excellent portrait of the novelist at the same youthful period--a slight pencil-drawing (executed in 1843) representing him with his wife and her sister.

The premature death of Dickens's raven, immortalised in "Barnaby Rudge," was formally notified to Maclise by the novelist in the form of a letter narrating the details of that domestic calamity. The artist forwarded the missive to Forster, together with a sketch purporting to represent "Grip's" apotheosis, while to Dickens himself he dispatched (March 13, 1841) the following letter, which does not appear in the published collection, and is one of a very few letters extant that were addressed by him to the novelist:[42]--

Footnote 42: Replying to Mr. W. J. O'Driscoll's application for the loan of any of the artist's correspondence, with a view to publishing them in his Memoir of Maclise, Dickens stated that a few years previously he destroyed an immense correspondence, expressly because he considered it had been held with him and not with the public. Thus we have been deprived of valuable records which would have thrown additional light upon the friendly intercourse subsisting between the novelist and many of his distinguished contemporaries.

"MY DEAR DICKENS,--I received the mournful intelligence of our friend's decease last night at eleven, and the shock was great indeed. I have just dispatched the announcement to poor Forster, who will, I am sure, sympathise with us in our bereavement. I know not what to think of the probable cause of his death,--I reject the idea of the Butcher Boy, for the orders he must have in his (the Raven's) life-time received on account of the Raven himself must have been considerable. I rather cling to the notion of _felo de se_--but this will no doubt come out upon the post-mortem. How blest we are to have such an intelligent coroner as Mr. Wakley. I think he was just of those melancholic habits which are the noticeable signs of your intended suicide, his solitary life, those gloomy tones,--when he did speak, which was always to the purpose. Witness his last dying speech, 'Hallo! old girl,' which breathes of cheerfulness and triumphant recognition,--his solemn suit of raven black, which never grew rusty. Altogether his character was the very prototype of a Byron hero--and even of a Scott--a Master of Ravenswood. He ought to be glad he had no family. I suppose he seems to have intended it, however, for his solicitude to deposit in those Banks in the garden his savings was always very touching. I suppose his obsequies will take place immediately.

"It is beautiful, the idea of his return, even after death, to the scene of his early youth and all his associations, and lie with kindred dusts amid his own ancestral graves after having made such a noise in the world, having clearly booked his place in that immortality-coach driven by Dickens. Yes, he committed suicide; he felt he had done it and done with life. The hundreds of years! what were they to him? There was nothing more to live for--and he committed the rash act.--Sympathisingly yours,

"DAN. MACLISE."

It is evident from the following epistle, addressed to Forster at the time when "Dombey and Son" was appearing in monthly numbers, that Maclise, while acknowledging his intense admiration of the novelist's powers, could not bring himself to appreciate certain of his youthful creations:--

"MY DEAR FORSTER,--I think it very great--the old nautical-instrument-seller novel, and most promising. I'm never up to his young girls--he is so very fond of the age of 'Nell,' when they are most insipid. I hope he is not going to make another 'Slowboy'--but I am only trying to say something, and to find fault when there is none to find. _He is absolutely alone._--Ever yours,

"D. M."

In 1870 Maclise's health began seriously to fail him; he appeared languid and depressed, and in April of that year he succumbed to an attack of acute pneumonia, predeceasing the novelist by only a few weeks.

Dickens experienced a severe shock on hearing of the death of this steadfast and genuine friend, and when, three days later, he returned thanks for "Literature" at the Royal Academy dinner (his final appearance in public), he offered a most affectionate, graceful, and eloquent tribute to the memory of him who had just passed away. "For many years," he said, "I was one of the two most intimate friends and most constant companions of the late Mr. Maclise. Of his genius in his chosen art I will venture to say nothing here, but of his prodigious fertility of mind and wonderful wealth of intellect, I may confidently assert that they would have made him, if he had been so minded, at least as great a writer as he was a painter. The gentlest and most modest of men, the freshest as to his generous appreciation of young aspirants, and the frankest and largest-hearted as to his peers, incapable of a sordid or ignoble thought, gallantly sustaining the true dignity of his vocation, without one grain of self-ambition, wholesomely natural at the last as at the first, 'in wit a man, simplicity a child,' no artist, of whatsoever denomination, I make bold to say, ever went to his rest leaving a golden memory more pure from dross, or having devoted himself with a truer chivalry to the art-goddess whom he worshipped." These were the last public words of Charles Dickens, and they were uttered when the speaker was far from well, and when, indeed, he was himself nearing the brink of the Great Unknown.

SIR JOHN TENNIEL

Cartoons for _Punch_--Book Illustrations--A Self-Taught Artist--Becomes Acquainted with Dickens--Designs for "The Haunted Man"--A Wonderful Memory of Observation--An Interview with Dickens--Knighthood.

Sir John Tenniel, the _doyen_ of the _Punch_ staff, is undoubtedly best known as the designer and draughtsman of the cartoon published weekly in that journal. This famous pictorial satirist succeeded Richard Doyle on _Punch_ in 1850, and since 1861 (with the exception of a few brief intervals) he has supplied the subject of the principal engraving with unfailing regularity. Confining himself almost entirely to black-and-white drawing, Sir John has produced, during a long and active career, a large number of book-illustrations, such as those embellishing certain editions of "Æsop's Fables," "The Ingoldsby Legends," "Lalla Rookh," and "The Arabian Nights," while those charming designs in the late "Lewis Carroll's" "Alice in Wonderland," with its sequel, "Through the Looking-Glass," will be readily remembered. In _Once a Week_ may also be found many of his illustrations.

Sir John Tenniel was born in London in 1820. Although for a time he attended the Royal Academy Schools, he is practically a self-taught artist, and exhibited his first picture when sixteen years of age. After this initial success he continued to paint and exhibit pictures both in oil and water-colours, but soon realised that he could exercise his facile pencil with greater advantage, his designs possessing a refinement and good taste, coupled with a sense of humour--characteristics suggesting the thought that to him may be attributed the establishment of the connection between "High" Art and what may be termed "Grotesque" Art.

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[Sidenote: =The Haunted Man, 1848.=]

Prior to joining the _Punch_ staff--that is to say, in 1847--Sir (then Mr.) John Tenniel became acquainted with Charles Dickens, who invited the young artist to contribute (in conjunction with Clarkson Stanfield, R.A., John Leech, and Frank Stone, A.R.A.) some designs to "The Haunted Man," published in 1848. Accordingly, in this Christmas Book we find him represented by six illustrations, consisting of the frontispiece, engraved title-page, and four other designs, the latter appearing at the opening of the chapters. The frontispiece is a remarkable achievement in respect to the decorative border surrounding the central picture,--a beautifully-fanciful treatment of elf-like and other figures, typifying Good and Evil, the drawing being admirably engraved on wood by Martin and Corbould. In the second chapter the artist has represented the Tetterby family, which it is interesting to compare with a similar group of the Tetterbys by John Leech in the same chapter. Sir John Tenniel's final drawing is a successful attempt to portray, in the form of allegory, Night receding before Dawn.

Except in painting, Sir John Tenniel never resorts to the use of the living model for his figures, but depends entirely upon a wonderful memory of observation. _Apropos_ of his collaboration with the novelist, he has favoured me with the following note:--

"My 'artistic association' with Charles Dickens began and ended simply with my poor little contributions towards the illustration of 'The Haunted Man.' There was no written correspondence between us that I can remember, and I believe I had but one interview with Dickens on the subject, when he gave me certain hints as to treatment, &c. &c. &c. Only that, and nothing more!

"As to what became of the original sketches I have not the remotest idea; probably I gave them away--or, more probably still, they were one day consigned to the waste-paper basket. At all events, and after an interval of about forty-five years, it is perhaps scarcely surprising that I should have long since forgotten all about them."

It should be mentioned that, as in the case of Leech, many of Sir John Tenniel's _Punch_ cartoons are adapted from illustrations in the works of Dickens, these happily suggesting the political situation of the moment. This subject is fully treated in my paper on "Dickens and _Punch_" in the _English Illustrated Magazine_, August 1891.

Sir John is one of the oldest members of the Royal Institute of Painters in Water-Colours. In June 1893 the distinction of knighthood was conferred upon the veteran artist, his name having been included in the list of Royal birthday honours, at the recommendation of Mr. Gladstone, whose face and figure he has so frequently delineated; thus for the first time were the claims of black-and-white draughtsmen deservedly recognised. Sir John Tenniel's busy pencil continues to be effectively employed in the pages of _Punch_; but he remains, alas! the sole survivor of the band of clever artists whose designs adorn the Christmas Books of Charles Dickens.

FRANK STONE, A.R.A.

Early Career--Intimacy with Dickens--Illustrations for "THE HAUNTED MAN"--Selects his Own Subjects--A Letter from Dickens--His Approbation of the Drawing of "Milly and the Old Man"--Hints from the Novelist to the Artist--Amateur Theatricals--Frank Stone's Portrait of Lieutenant Sydney Dickens--His Election as Associate of the Royal Academy--His Portraits of 'Tilda Price, Kate Nickleby, and Madeline Bray--His Frontispiece for the First Cheap Edition of "Martin Chuzzlewit"--Sudden Death.

Frank Stone, A.R.A., father of Mr. Marcus Stone, R.A., was privileged to join the ranks of Dickens Illustrators. This distinguished artist, born in 1800, was the son of a Manchester cotton-spinner, which business he also followed until twenty-four years of age, when he abandoned mercantile pursuits in favour of Art. During the early portion of his professional career, which was begun in London under very modest and unassuming conditions, he made pencil-drawings for Heath's "Book of Beauty," and presently became successful as a painter in water-colours. His engaging personality and innate abilities caused him to be welcomed in both literary and artistic circles, and in this way he secured the warm friendship of Dickens, Thackeray, and other celebrities of the day.

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[Sidenote: =The Haunted Man, 1848.=]

Frank Stone's intimacy with Charles Dickens was especially close. In 1845 the artist, with his family, went to reside in Tavistock House, Tavistock Square, remaining there until 1851, when it became the home of Dickens. In the interval the novelist's fourth Christmas Book, "The Haunted Man," was published, for which Frank Stone prepared three designs, representing respectively "Milly and the Old Man," "Milly and the Student," and "Milly and the Children." As indicated by the following letter (dated November 21, 1848), the novelist dispatched proofs of the letterpress to the artist, in order that he might select his own subjects:--

"MY DEAR STONE,--I send herewith the second part of the book, which I hope may interest you. If you should prefer to have it read to you by the Inimitable rather than to read it, I shall be at home this evening (loin of mutton at half-past five), and happy to do it. The proofs are full of printer's errors, but, with the few corrections I have scrawled upon it, you will be able to make out what they mean.

"I send you on the opposite side a list of the subjects already in hand from the second part. If you should see no other in it that you like (I think it important that you should keep Milly, as you have begun with her), I will in a day or two describe you an unwritten subject for the third part of the book."

"_Subjects in hand for the Second Part._

"1. Illuminated page. Tenniel. Representing Redlaw going upstairs, and the Tetterby family below.

"2. The Tetterby Supper. Leech.

"3. The boy in Redlaw's room, munching his food and staring at the fire."

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A preliminary sketch (in pencil and indian-ink) for the first subject was immediately submitted to the novelist for approval, and elicited the following reply:--

"We are unanimous.

"The drawing of Milly on the chair is CHARMING. I cannot tell you how much the little composition and expression please me. Do that, by all means.

PLATE LII

"MILLY AND THE OLD MAN"

_Facsimile_ of the Original Drawing for "The Haunted Man" by

FRANK STONE, A.R.A.

_Lent by Mr. Marcus Stone. R.A._

"I fear she must have a little cap on. There is something coming in the last part about her having had a dead child, which makes it yet more desirable than the existing text does that she should have that little matronly sign about her. Unless the artist is obdurate indeed, and then he'll do as he likes.

"I am delighted to hear that you have your eye on her in the students' room. You will really, pictorially, make the little woman whom I love...."

The original sketch of Milly on the chair has fortunately been preserved, and has been kindly lent for reproduction by Mr. Marcus Stone, R.A. The drawing of the old man in the published engraving is hardly so satisfactory as the delineation of him in the sketch. The second illustration, "Milly and the Student," was duly executed; it is a very graceful design, the pose of the male figure being excellently rendered. Respecting the third illustration, the novelist communicated to the artist the following facts, to assist him in realising the principal theme:--

"There is a subject I have written to-day for the third part, that I think and hope will just suit you. Scene--Tetterby's. Time--morning. The power of bringing back people's memories of sorrow, wrong, and trouble has been given by the ghost to Milly, though she don't know it herself. As she comes along the street, Mr. and Mrs. Tetterby recover themselves and are mutually affectionate again, and embrace, closing _rather_ a good scene of quarrel and discontent. The moment they do so, Johnny (who has seen her in the distance and announced her before, from which moment they begin to recover) cries 'Here she is!'and she comes in, surrounded by the little Tetterbys, the very spirit of morning, gladness, innocence, hope, love, domesticity, &c. &c. &c. &c.

"I would limit the illustration to her and the children, which will make a fitness between it and your other illustrations, and give them all a character of their own. The exact words of the passage I enclose on another slip of paper. Note: There are six boy Tetterbys present (young 'Dolphus is not there), including Johnny; and in Johnny's arms is Mulock, the baby, who is a girl.... Don't wait to send me the drawing of this. I know how pretty she will be with the children in your hands, and should be a stupendous jackass if I had any distrust of it...."

(_Slip of paper enclosed._)

"'Hurrah! here's Mrs. Williams!' cried Johnny.

"So she was, and all the Tetterby children with her; and as she came in, they kissed her and kissed one another, and kissed the baby, and kissed their father and mother, and then ran back and flocked and danced about her, trooping on with her in triumph.

"(After which she is going to say, 'What, are _you_ all glad to see me too! Oh, how happy it makes me to find every one so glad to see me this bright morning!')"

* * * * *

The amateur theatricals brought author and artist constantly together, Frank Stone being an actor of some ability. The immortal Mrs. Gamp, in describing the members of that famous company of players, alludes to Frank Stone as "a fine-looking portly gentleman, with a face like an amiable full moon." He became the recipient of many nicknames, that of "Pump" (or "Pumpion") being one by which Dickens sometimes addressed him, and it was both pleasantly intended and jocularly received. In 1849 the artist painted the portrait of the novelist's fifth son, Lieutenant Sydney Dickens, who was buried at sea in 1872, his death being due to a sharp attack of bronchitis when on his way home.

Frank Stone exhibited at the Society of Painters in Water-Colours from 1833 to 1846, and was elected a member of that Society in 1842. He first exhibited at the Royal Academy in 1838, his election as an Associate taking place in 1851. The artist, on receiving a commission from Dickens for a picture, painted a presentment of "'Tilda Price," the _fiancée_ of the genial John Browdie in "Nicholas Nickleby," the picture realising the sum of £42 at the sale of the novelist's effects in 1870. This and two other paintings by Stone (portraits of Kate Nickleby and Madeline Bray) were engraved on steel by Finden, and published ("with the approbation of Charles Dickens") by Chapman & Hall in 1848; the plates were intended for insertion in the first cheap edition of "Nicholas Nickleby." Besides his illustrations for "The Haunted Man," he also designed the frontispiece for the first cheap edition of "Martin Chuzzlewit" (1849), which depicts Mark Tapley on the sick-bed; this drawing was engraved on wood by T. Bolton.

The sudden death of Frank Stone in 1859 caused Dickens heartfelt sorrow. "You will be grieved," he wrote to Forster on November 19, "to hear of poor Stone. On Sunday he was not well. On Monday went to Dr. Todd, who told him he had aneurism of the heart. On Tuesday went to Dr. Walsh, who told him he hadn't. On Wednesday I met him in a cab in the Square here [Tavistock Square], and he got out to talk to me. I walked about with him a little while at a snail's pace, cheering him up; but when I came home, I told them that I thought him much changed, and in danger. Yesterday at two o'clock he died of spasm of the heart. I am going up to Highgate to look for a grave for him."

SIR EDWIN LANDSEER, R.A.