Part 2
Before his introduction to Charles Dickens in 1836, the versatile artist had adorned several volumes, which, but for his striking illustrations, would probably have enjoyed but a brief popularity. His etchings and drawings on wood are invariably executed in an exceedingly delicate manner, at the same time preserving a breadth of effect unequalled by any _aquafortiste_ of his day. "Only those who know the difficulties of etching," observes Mr. P. G. Hamerton, "can appreciate the power that lies behind his unpretending skill; there is never, in his most admirable plates, the trace of a vain effort."
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[Sidenote: =Sketches by Boz, 1833-36.=]
Dickens's clever descriptions of "every-day life and every-day people" were originally printed in the _Monthly Magazine_, the _Evening Chronicle_ and the _Morning Chronicle_, _Bell's Life in London_, and "The Library of Fiction," and subsequently appeared in a collected form under the general title of "Sketches by Boz." Early in 1836 Dickens sold the entire copyright of the "Sketches" to John Macrone, of St. James's Square, who published a selection therefrom in two duodecimo volumes, with illustrations by George Cruikshank. It was at this time that Charles Dickens first met the artist, who was his senior by about a score of years, and already in the enjoyment of an established reputation as a book-illustrator. That the youthful author, as well as his publisher, realised the value of Cruikshank's co-operation is manifested in the Preface to the "Sketches," where Dickens, after appropriately comparing the issue of his first book to the launching of a pilot balloon, observes: "Unlike the generality of pilot balloons which carry no car, in this one it is very possible for a man to embark, not only himself, but all his hopes of future fame, and all his chances of future success. Entertaining no inconsiderable feeling of trepidation at the idea of making so perilous a voyage in so frail a machine, alone and unaccompanied, the author was naturally desirous to secure the assistance and companionship of some well-known individual, who had frequently contributed to the success, though his well-known reputation rendered it impossible for him ever to have shared the hazard, of similar undertakings. To whom, as possessing this requisite in an eminent degree, could he apply but to George Cruikshank? The application was readily heard and at once acceded to; this is their first voyage in company, but it may not be the last." Each of the two volumes contains eight illustrations, and it may justly be said of these little vignettes that they are among the artist's most successful efforts with the needle. Although highly popular from the beginning, the "Sketches" were now received with even greater fervour, and several editions were speedily called for. As the late Mr. G. A. Sala contended, the coadjutorship of so experienced a draughtsman as George Cruikshank, who knew London and London life "better than the majority of Sunday-school children know their Catechism," was of real importance to the young reporter of the _Morning Chronicle_, with whose baptismal name (be it remembered) his readers and admirers were as yet unacquainted.
During the following year (1837) Macrone published a Second Series of the "Sketches" in one volume, uniform in size and character with its predecessors, and containing ten etchings by Cruikshank; for the second edition of this extra volume two additional illustrations were done, viz., "The Last Cab-Driver" and "May-day in the Evening."[1] It was at this time that Dickens repurchased from Macrone the entire copyright of the "Sketches," and arranged with Chapman & Hall for a complete edition, to be issued in shilling monthly parts, octavo size, the first number appearing in November of that year. The completed work contained all the Cruikshank plates (except that entitled "The Free and Easy," which, for some unexplained reason, was cancelled) and the following new subjects: "The Parish Engine," "The Broker's Man," "Our Next-door Neighbours," "Early Coaches," "Public Dinners," "The Gin-Shop," "Making a Night of It," "The Boarding-House," "The Tuggses at Ramsgate," "The Steam Excursion," "Mrs. Joseph Porter," and "Mr. Watkins Tottle."
Footnote 1: A set of the twenty-eight etchings, proofs before letters (First and Second Series), realised £30 at Sotheby's in 1889. Lithographic _replicas_ of the plates in the Second Series were published in Calcutta in 1837.
Cruikshank also produced a design for the pink wrapper enclosing each of the twenty monthly parts; this was engraved on wood by John Jackson, the original drawing (adapted from one the artist had previously made for Macrone) being now in the possession of Mr. William Wright, of Paris. The subject of the frontispiece is the same as that of the title-page in the Second Series. The alteration in the size of the illustrations for this cheap edition necessitated larger plates, so that the artist was compelled to re-etch his designs. These reproductions, although on an extended scale, were executed with even a greater degree of finish, and contain more "colour" than those in the first issue; but the general treatment of the smaller etchings is more pleasing by reason of the superior freedom of line therein displayed. As might be anticipated, a comparison of the two sets of illustrations discloses certain slight variations, which are especially noticeable in the following plates: "Greenwich Fair;" musicians and male dancer added on left. "Election for Beadle;" three more children belonging to Mr. Bung's family on right, and two more of Mr. Spruggins's family on left, thus making up the full complement in each case. "The First of May" (originally entitled "May-day in the Evening"); the drummer on the left, in the first edition, looks straight before him, while in the octavo edition he turns his face towards the girl with the parasol. "London Recreations;" in the larger design the small child on the right is stooping to reach a ball, which is not shown in the earlier plate.
PLATE III
"JEMIMA EVANS"
_Facsimile_ of Unused Designs for "Sketches by Boz" by
GEORGE CRUIKSHANK
Additional interest is imparted to some of the etchings in "Sketches by Boz" owing to the introduction by the artist of portraits of Charles Dickens and himself, there being no less than five delineations of the face and figure of the youthful "Boz" as he then appeared. In the title-page of the Second Series (as well as in the reproduction of it in the octavo edition), the identity of the two individuals waving flags in the car of the balloon has been pointed out by Cruikshank, who wrote on the original pencil-sketch, "The parties going up in the balloon are intended for the author and the artist,"--which may be considered a necessary explanation, as the likenesses are not very apparent.
In the plates entitled "Early Coaches," "A Pickpocket in Custody," and "Making a Night of It," Cruikshank has similarly attempted to portray his own lineaments and those of Dickens; he was more successful, however, in the illustration to "Public Dinners," where the presentments of himself and the novelist, as stewards carrying official wands, are more life-like. There exist, by the way, several seriously-attempted portraits of Dickens by Cruikshank, concerning the earliest of which it is related that author and artist were members of a club of literary men known during its brief existence as "The Hook and Eye Club," and that at one of their nightly meetings Dickens was seated in an arm-chair conversing, when Cruikshank exclaimed, "Sit still, Charley, while I take your portrait!" This impromptu sketch, now the property of Colonel Hamilton, has been etched by F. W. Pailthorpe, and a similar drawing is included in the Cruikshank Collection at South Kensington. Among other contemporary portrait-studies (executed in pencil and slightly tinted in colour) is one bearing the following inscription in the artist's autograph: "Charles Dickens, Author of Sketches by Boz, the Pickwick Papers, &c., &c., &c.,"--an admission that seems to dispose of Cruikshank's subsequent claim to the authorship of "Pickwick."
PLATE IV
"THE FOUR MISS WILLISES"
_Facsimile_ of an Unused Design for "Sketches by Boz" by
GEORGE CRUIKSHANK
It has been remarked that Cruikshank was so accurate in the rendering of details that future antiquaries will rely upon his plates as authoritative in matters of architecture, costume, &c. For example, in the etching of "The Last Cab-Driver," he has depicted an obsolete form of cabriolet, the driver being seated over the right wheel; and in that of "The Parish Engine" we may discover what kind of public fire-extinguisher was then in use--a very primitive implement in comparison with the modern "steamer." In the latter plate, by the way, we behold the typical beadle of the period, who afterwards figured as Bumble in "Oliver Twist." _Apropos_ of this etching, Mr. Frederick Wedmore points out (in _Temple Bar_, April 1878) that it is "an excellent example of Cruikshank's eye for picturesque line and texture in some of the commonest objects that met him in his walks: the brickwork of the house, for instance, prettily indicated, the woodwork of the outside shutters, and the window, on which various lights are pleasantly broken. I know no artist," he continues, "so alive as Cruikshank to the pretty sedateness of Georgian architecture. Then, too, there is the girl with basket on arm, a figure not quite ungraceful in line and gesture. She might have been much better if Cruikshank had ever made himself that accurate draughtsman of the figure which he hardly essayed to be, and she and all her fellows--it is only fair to remember--might have been better, again, had the artist who designed her done his finest work in a happier period of English dress." Mr. Wedmore alludes to another etching in "Sketches by Boz" as being "perhaps the best of all in Cruikshank as proof of that sensitive eye for what is picturesque and characteristic in every-day London. It is called 'The Streets, Morning,' the design somewhat empty of 'subject,' only a comfortable sweep who does not go up the chimney, and a wretched boy who does, are standing at a stall taking coffee, which a woman, with pattens striking on pavement and head tied up close in a handkerchief, serves to the scanty comers in the early morning light. A lamp-post rises behind her; the closed shutters of the baker are opposite; the public-house of the Rising Sun has not yet opened its doors; at some house-corner further off a solitary figure lounges homeless; beyond, pleasant light morning shadows cross the cool grey of the untrodden street; a church tower and spire rise in the delicate distance, where the turn of the road hides the further habitations of the sleeping town."
It may be hypercritical to resent, on the score of inaccuracy, an occasional oversight on the part of Cruikshank; but it is nevertheless interesting to note that in the plate entitled "Election for Beadle," Cruikshank has omitted from the inscription on Spruggins's placard a reference to "the twins," the introduction of which caused that candidate to become temporarily a favourite with the electors; in "Horatio Sparkins," the "dropsical" figure of seven (see label on right) is followed by a little "1/2d." instead of the diminutive "3/4d." mentioned in the text; in "The Pawnbroker's Shop" it will be observed that the words "Money Lent" on the glass door should appear reversed, so as to be read from the outside; while in the etching illustrating "Private Theatres," the artist has forgotten to include the "two dirty men with the corked countenances," who are specially referred to in the "Sketch."
The first cheap edition of "Sketches by Boz," issued by Chapman & Hall in 1850, contained a new frontispiece, drawn on wood by Cruikshank, representing Mr. Gabriel Parsons being released from the kitchen chimney,--an incident in "Passage in the Life of Mr. Watkins Tottle."
George Cruikshank not unfrequently essayed several "trial" designs before he succeeded in realising to his satisfaction the subject he aimed at portraying. Some of these are extremely slight pencil notes--"first ideas," hastily made as soon as conceived--while others were subjected to greater elaboration, and differing but slightly, perhaps, from the etchings; on certain drawings are marginal memoranda--such as studies of heads, expressions, and attitudes--which are valuable as showing how the finished pictures were evolved. The majority of the designs are executed in pencil, while a few are drawn with pen-and-ink; occasionally one may meet with a sketch in which the effect is broadly washed in with sepia or indian-ink, and, more rarely still, with a drawing charmingly and delicately wrought in water-colours. Besides original sketches, the collection at the South Kensington Museum contains a series of working tracings, by means of which the artist transferred his subjects to the plates. There are no less than three different suggestions for the frontispiece of the first cheap edition of "Sketches by Boz," together with various renderings of the design for the wrapper of the first complete edition, in which the word "Boz" in the title constitutes a conspicuous feature, being formed of the three letters superimposed, while disposed about them are several of the prominent characters. Probably the most interesting in this collection is a sheet of slight sketches signed by the artist, although they are merely tentative jottings for his etchings. One of these pencillings (an unused subject) represents a man proposing a toast at a dinner-table, doubtless intended as an illustration for "Public Dinners"; and here, too, are marginal studies of heads--including one of a Bill Sikes type--together with a significant note (apparently of a later date) in the autograph of Cruikshank, which reads thus: "Some of these suggestions to Chas. Dickens, and which he wrote to in the second part of 'Sketches by Boz'!"
PLATE V
"THOUGHTS ABOUT PEOPLE"
_Facsimile_ of an Unused Design for "Sketches by Boz" by
GEORGE CRUIKSHANK
A large number of studies for "Sketches by Boz" may also be seen in the Print Room of the British Museum, many of which are very slight. In some instances we find the same subject rendered in different ways, and it is worthy of note that a few of these designs were never etched; among the most remarkable of the unused sketches is a rough drawing for the wrapper of the monthly parts (octavo edition), with ostensible portraits of author and artist introduced. This collection includes "first ideas" for "Thoughts about People," "Hackney Coaches," "The Broker's Man," &c., and a careful examination shows that the sketches for the plates illustrating "Seven Dials" and "The Pickpocket in Custody" are entitled by the artist "Fight of the Amazons" and "The Hospital Patient" respectively. In one of the trial sketches for "The Last Cabman," the horse is represented as having fallen to the ground, the passenger being violently ejected from the vehicle.
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[Sidenote: =Oliver Twist, 1837-39.=]
On August 22, 1836, Charles Dickens entered into an agreement with Richard Bentley to edit a new monthly magazine called _Bentley's Miscellany_, and to furnish that periodical with a serial tale. George Cruikshank's services as illustrator were also retained, and his design for the wrapper inspired Maginn to indite, for "The Bentley Ballads," the "Song of the Cover," whence this characteristic verse is quoted:--
"Bentley, Boz, and Cruikshank stand Like expectant reelers; 'Music!' 'Play up!' pipe in hand Beside the _fluted_ pillars
"Boz and Cruikshank want to dance,-- None for frolic riper; But Bentley makes the first advance, Because he pays the piper."
The first number of the _Miscellany_ was issued in January 1837, and in February appeared the initial chapter of the editor's story, entitled "Oliver Twist, or, the Parish Boy's Progress," which was continued in succeeding numbers until its completion in March 1839, with etchings by Cruikshank.
The dramatic character of this stirring romance of low London life afforded the artist unusual scope for the display of his talent; indeed, his powerful pencil was far more suited to the theme than that of any of his contemporaries. The principal scenes in the novel proved most attractive to him, and he fairly revelled in delineating the tragic episodes associated with the career of Fagin and Sikes. These twenty-four etchings are on the same scale as those in the first collected edition of the "Sketches," but they are broader and more effective in treatment. In October 1838,--that is, about five months before completion in the _Miscellany_,--the entire story was issued by Chapman & Hall in three volumes post octavo, and there can be no doubt that its remarkable success was brought about in no small measure by Cruikshank's inimitable pictures. Nearly eight years later (in January 1846) a cheaper edition, containing all the illustrations, was commenced in ten monthly parts, demy octavo, and subsequently published in one volume by Bradbury & Evans. On the cover for the monthly numbers Cruikshank has portrayed eleven of the leading incidents in the story, some of the subjects being entirely new, while others are practically a repetition of the etched designs. The plates in this edition, having suffered from previous wear-and-tear, were subjected to a general touching-up, as a comparison with the earlier issue clearly indicates, such reparation (carried out by an engraver named Findlay, much to Cruikshank's annoyance) being especially noticeable in cases where "tones" have been added to wall-backgrounds and other parts of the designs. Apart from actual proof impressions, the "Oliver Twist" etchings are naturally to be found in their best state in _Bentley's Miscellany_, where they are seen in their pristine beauty. In some of the plates it will be observed that Cruikshank has introduced "roulette" (or dotted) work with excellent effect, although, of course, this disqualifies them as examples of pure etching. The first cheap edition of "Oliver Twist," issued in 1850 by Chapman & Hall, contains a frontispiece only by George Cruikshank, representing Mr. Bumble and Oliver in Mrs. Mann's parlour, as described in the second chapter.
PLATE VI
"THE PARISH ENGINE"
_Facsimile_ of the Original Drawing for the First Octavo Edition of "Sketches by Boz" by
GEORGE CRUIKSHANK
It has been said that Cruikshank could not draw a pretty woman. At any rate, he neglected his opportunity in "Oliver Twist," for he fails in so depicting Rose Maylie, while his portrayal of Nancy is particularly ugly and repelling, whereas she certainly possessed physical charms not unfrequently found in women of her class. Although the artist has imparted too venerable an appearance to the Artful Dodger, he has seized in a wonderful manner the characteristics of criminal types in his rendering of Fagin and Bill Sikes. In many of Cruikshank's etchings the accessories are very _àpropos_, and sometimes not without a touch of quiet humour. For example, in the plate representing Oliver recovering from the fever, there is seen over the chimney-piece a picture of the Good Samaritan, in allusion to Mr. Brownlow's benevolent intentions with respect to the invalid orphan; while in that depicting Mr. Bumble and Mrs. Corney taking tea, may be noticed the significant figure of Paul Pry on the mantelshelf. Some of the designs are marked by slight incongruities, which, however, do not detract from their interest. In the etching "Oliver Plucks up a Spirit," it will be observed that the small round table which the persecuted lad overthrows during his desperate attack upon Noah Claypole could not possibly assume, by such accidental means, the inverted position as here shown. In the plate entitled "The Evidence Destroyed," the lantern (according to the text) should have been lowered into the dark well, but doubtless the error was intentional on the part of the artist, in order to secure effect; in "Mr. Fagin and his Pupil Recovering Nancy," the girl is represented as being exceedingly robust, whereas she was really "so reduced with watching and privation as hardly to be recognised as the same Nancy." Again, in the illustration depicting Sikes attempting to destroy his dog, we see in the distance the dome of St. Paul's, while, as a matter of fact, the desperate ruffian had not reached a point so near the metropolis when he thought of drowning the faithful animal.[2] In "The Last Chance," where the robber contemplates dropping from the roof of Fagin's house to escape his pursuers, the rope (described in the letterpress as being thirty-four feet long) is barely half that length, and could never have extended to the ground; while the dog, who lay concealed until his master had tumbled off the parapet, must have been distinctly visible to all observers if he stood so prominently on the ridge-tiles as here indicated. The latter etching is one of the most fascinating of the series, for here Cruikshank has realised every feature of the dramatic scene,--the harassed expression on the evil face of the hunted criminal, the squalid tenements half shrouded by approaching darkness, the excitement of the people crowding the windows of the opposite houses; indeed, the tragic and repulsive element in the picture constitutes a remarkable effort on the part of the artist.
Footnote 2: In a large water-colour _replica_ of this subject, signed "George Cruikshank, Octr. 14th, 1873, in my 82nd year," the artist stated that the landscape represented the old Pentonville fields, north of London.
PLATE VII
STUDIES FOR
SCENES AND CHARACTERS IN "SKETCHES BY BOZ"
_Facsimile_ of the Original Sketches by GEORGE CRUIKSHANK
In the centre of the sheet the Artist has written: "Some of these suggestions to Chas. Dickens, and which he wrote to in the second part of 'Sketches by Boz.'"