_CHARLES KNIGHT, SIR WILLIAM ALLAN, R.A., P.R.S.A, JOHN FRANKLIN,
WILLIAM MULREADY, R.A., GEORGE ROUTLEDGE, SIR JOHN TENNIEL,
GEORGE CRUIKSHANK, W. E. FROST, R.A., F. R. PICKERSGILL, R.A.,
FRED WALKER, A.R.A., R.W.S., SIR JOHN GILBERT, R.A., P.R.W.S.,
RICHARD DOYLE, AND W. M. THACKERAY._
Very early in our career we were, through our friend William Harvey,
introduced to Charles Knight, the eminent publisher who did so much as
a pioneer in introducing cheap and good literature to the people, as
his "Penny Magazine," "Penny Cyclopædia," "Charles Knight's History
of England," and many other kindred works bear ample evidence. And
not only in literature but in art as well he took a bold and leading
part: see his elaborately illustrated edition of Shakespeare's
Works, the Bible, "The Land we Live in," and many highly interesting
and instructive books. Perhaps the most beautiful of all was the
illustrated edition of Lane's "Arabian Nights' Entertainments," a book
which must always hold a foremost place among the most tastefully
decorated volumes this country has produced.
It was only in association with Landells and Charles Gray that we were
at all connected with this work, not having, at that time, any personal
transaction with Mr. Knight, though we subsequently did a great deal of
work for him, notably in his "Shakespeare" and "The Land we Live in."
Mr. Ramsay, Mr. Knight's sub-editor and literary manager, used to
tell a curious story about one of the literary contributors to these
volumes, whose name, for obvious reasons, we will withhold.
In this gentleman's early connection with Mr. Knight, he called and
had a serious conversation with Ramsay, confessing his uncontrollable
weakness for strong drink, and that his only safeguard was an empty
pocket. He therefore begged of Ramsay never, under any circumstances,
to advance him one penny upon his work, no matter how hard he might
plead, or what story he might tell in urging the necessity for an
advance of cash. Ramsay was to be firm and refuse to listen to him, and
on no account to let him have money, and that all payment for work was
to be forwarded to his wife. Ramsay promised faithful observance, and
so matters went smoothly on for a considerable time. But one day M. N.
came with a sad, doleful face, begging for an advance of ten pounds.
Ramsay positively declined, reminding him of their compact.
"Yes, yes, that's all right, old fellow," he answered; "but this
business is quite away from everything else. I don't forget the
injunction I laid upon you, but this is altogether different; it is a
case of the most urgent necessity." Then he went on and told a sad,
touching tale of his boy having died suddenly, and the shock having
brought on a serious illness with his wife, while, unfortunately, he
was totally without funds to meet the unexpected demands upon his
purse, or procure a nurse to attend upon her, as well as the comforts
that were absolutely necessary under the circumstances.
For a time Ramsay stood firmly out, always reminding M. N. of his own
proposition, but the man was so impressively urgent, appealing again
and again on the score of his wife's critical condition, that at last
Ramsay's scruples gave way, and M. N., lavish in his thanks, left the
office with the ten pounds in his pocket.
It is, perhaps, needless to say that M. N. was not seen in Fleet Street
for many days, and when he did turn up, shaky and dilapidated in
appearance, it was only to load Ramsay with the most crushing abuse for
having broken faith with him, and when Ramsay tried to shelter himself
under the pathetic tale he had told about his sick wife and dead son,
he only replied:
"D---- the sick wife and dead son! Why didn't you stick to your
promise? I told you distinctly that it was possible I might come with
some trumped-up story of urgent necessity, and a lot of such rubbish,
and now see what a hole you have let me into. My son is perfectly
well, and as healthy a lad as ever lived, and as for my wife, well,
she was never better in her life, and is only suffering from the
misery brought about by your unaccountably bad behaviour to me. I tell
you, Ramsay, you are a traitor and a false friend, who has used me
shamefully--shamefully!"
With these words M. N. left the office, but returned within half an
hour seeking condonation, begging that Ramsay would overlook the
foolish words he had used in a moment of unjustifiable irritation,
and further show his good feeling by advancing him a trifle--say, a
sovereign? No? Well, then, let it be five shillings? Still no! Ramsay
was obdurate, and M. N., muttering, "Cruel man! Cruel, cruel man!" went
away.
[Illustration: MACKAY, AS THE BAILIE NICOL JARVIE.
FROM THE ABBOTSFORD EDITION' OF "ROB ROY."
FROM A PAINTING BY SIR WILLIAM ALLAN, R.A., F.R.S.A.
_By permission of Messrs. Adam & Charles Black._]
In the year 1842 or 1843, through the kindness of the late Clarkson
Stanfield, R.A., we were introduced to Mr. William Dicks, who
officiated as art agent for Mr. Cadell, the Edinburgh publisher, then
issuing a very elaborately illustrated edition of the Waverley Novels,
which he named "The Abbotsford Edition," and employing on the work many
of the very first artists of the day, both English and Scotch. We were
entrusted to engrave a large number of the drawings. Among the first
of these was a wonderfully life-like portrait of the Scotch actor,
Mackay, in the character of "Bailie Nicol Jarvie," painted by Sir
William Allan, R.A. and P.R.S.A.[2] The engraving of this portrait gave
such entire satisfaction both to Mr. Cadell and Mr. Dicks that we were
constantly employed upon the undertaking until its completion.
Among the artists whose drawings we had to engrave during the progress
of this edition of the great "Wizard of the North's" novels, we may
especially mention William Harvey, Clarkston Stanfield, R.A., Sir J.
Noel Paton, P.R.S.A., John Franklin, Edward H. Corbould, Sir David
Wilkie, R.A., Alexander Christie, and Robert McIan.
[Illustration: CHILDREN IN THE WOOD. BY JOHN FRANKLIN.
FROM CUNDALL'S SERIES OF CHILDREN'S BOOKS.]
Through the friendship that sprung up with several of these gentlemen,
and our connection with the Institute of the Fine Arts,[3] we became
acquainted with many of the young artists who were introducing a new
and more realistic feeling into the black and white work of the day.
Among them were John Tenniel, at that time just returned from his
studies in Germany, and strongly impressed with German Art, and what
was termed "The Shaded Outline School"; Alfred Elmore, R.A.; Fred
Pickersgill, R.A.; F. W. Topham; Edward Duncan; George Dodgson; John
Absolon; all, except the Royal Academicians, members of the Old Water
Colour Society, and the New--now called the Royal Institute of Water
Colour Painters--besides many others who have since risen to great
eminence in their profession.
John Absolon being then engaged on a set of illustrations to Collins'
Poetical Works, to be published by David Bogue, he placed many of the
drawings in our hands to engrave, which was the commencement of a
long and intimate friendship--not only with the artist, for it also
opened up a connection with Bogue which enabled us to produce some very
creditable works together.
Early in 1851 John Franklin, many of whose illustrations to "The
Abbotsford Scott" and the "British Ballads" we had engraved, placed in
our hands some drawings he was making to illustrate a series of Fairy
Tales, edited by Sir Henry Cole, then known to the literary world as
"Felix Summerly," to be published by Mr. Joseph Cundall of Bond Street,
who was an enlightened publisher with strong artistic taste, his great
idea being a desire to raise the character of children's picture
books. This was about the time that Van Voorst published "The Vicar of
Wakefield," with Mulready's illustrations; one of the first high-class
books of the period, which was so highly thought of that Mulready said
he had commissions offered to him for pictures from these designs
sufficient to keep him at work for the remainder of his life. It was at
this time that Cundall induced Mulready to make a set of drawings for a
child's primer: and very beautiful they are.
This series of Fairy Tales was continued, with pictures by Frederick
Taylor, P.R.W.S., H. C. Horsley, R.A., and other artists of high repute.
[Illustration: SLEEPING CHILD AND LAMB. BY WILLIAM MULREADY, R.A.
FROM A BOOK OF POEMS BY THE REV. T. J. JUDKIN.]
Our connection with these two London publishing houses, added to the
work we were doing for Mr. Cadell of Edinburgh, tended considerably
to increase our responsibilities. And this may be the most convenient
place to state that it was at Mr. Cundall's we were first introduced to
Mr. George Routledge, who had called for the express purpose of asking
Mr. Cundall to recommend a "good man" to engrave a small drawing on
wood, a portrait of Sir Robert Peel, which he then had in his pocket.
The commission was entrusted to us, and thus commenced a connection and
a friendship which continued with unabated confidence and harmony for a
period extending over forty years.
George Routledge, a strong-minded, clear-headed man of business, in his
early days used to go personally to the larger north country towns, and
get orders from the booksellers. His capacity in this branch was said
to be something marvellous. An old Quaker bookseller, of Darlington,
told us that Routledge never said, "Will thee buy this book?" but that
it always was with him, "Thee must take it"; and as his wares were
always good, the results were said to be many times beyond those of any
other man "on the road." In the publishing business, he, in combination
with his partners, William and Frederick Warne--both clever, energetic
men,--made a force which developed their vast business so rapidly
that Henry G. Bohn, the big publisher of that day, felt so jealous of
their great success, that he used to say, "Well, it has taken three
strong men to do it." After having produced sets of pictures by various
artists, to many sorts of books, the most important of which was a
small octavo of Longfellow's Poems, with illustrations by John Gilbert,
they invited our co-operation, assistance, and direction in such
matters, and it was then determined to do another edition of the same
poems, more extensively illustrated by the same artist. They agreed
to give us one thousand pounds for the pictures, which was to include
Gilbert's charges as well as our own. The book proved a great success
from every point of view, and to this day holds its own as one of the
most beautiful examples of Sir John Gilbert's work as an illustrator.
After the first edition many other poems were added, including "Miles
Standish," all having Gilbert's illustrations to them.[4]
The book when first completed created a sensation. We remember asking
Routledge what he thought of it. He was a pure business man. His reply
was:
"We will wait and see what the trade has to say about it first--see
whether they will subscribe largely, and then I will tell you what I
think about it."
Edmondson, the binder, was so in love with his part of the work that,
holding the volume in his hands, he said, "It is a beautiful book! a
very beautiful book!" then added, in a slightly condescending tone,
"And a good book inside, too."
William Warne dying rather early in life, Frederick Warne, his younger
brother, separated from the Routledges, after the sons of George
entered the firm, and built up a large publishing house of his own. We
were on the very best of terms with all of them, and continued to work
for both houses for many, many years.
[Illustration: EVANGELINE.
FROM THE POETICAL WORKS OF LONGFELLOW.
ILLUSTRATED BY SIR JOHN GILBERT, R.A., P.R.W.S.
_By permission of Messrs. George Routledge & Sons._]
Frederick Warne, a really clever, many-sided man, has now retired, but
his three sons--all men worthy of their father--continue to conduct
their large business on the old lines.
Of the many illustrated books which it has been our lot to superintend
and issue to the world, there are two for which we are to a great
extent exclusively responsible: these are "The Spirit of Praise," a
collection of hymns, and "Golden Thoughts from Golden Fountains," a
collection of such literary extracts from favourite authors as the
title of the book will fully explain--one of us having spent much of
his leisure hours in collecting and arranging their contents. The
first of these volumes was originally published in the usual quarto
form, with decorative borders and initial letters, printed in gold and
colours, and subsequently much enlarged by the addition of many hymns
as an octavo volume. The other, "Golden Thoughts," was in its main
lines uniform with the first edition of "The Spirit of Praise." In
both of these books are many of our own contributions, both in pen and
pencil, in addition to several very fine examples of A. B. Houghton.
"The Abbotsford Edition" of the Waverley Novels did not prove a marked
financial success, and when the property was acquired by Messrs. Adam
and Charles Black, Edward H. Corbould, R.I., was commissioned to do a
large number of illustrations for their new edition of these books,
nearly all of which were entrusted to us to engrave.
In the early part of Queen Victoria's reign Corbould held a high
position as a painter in water colour, and was one of the original
members of the "Royal Institute of Water Colour Painters"--then called
the "New Water Colour Society"--and so highly was his artistic ability
appreciated by the Prince Consort that he was selected as art tutor
to the Royal children. Perhaps no better selection could at that time
have been made; for, though somewhat severe in style, he was a good
draughtsman, painstaking, and of a kindly, genial disposition. He was
ever full of amusing anecdotes of the sayings and doings of the Queen,
Prince Albert, and his pupils.
Corbould did not appear to think it possible for any of those young
people to commit a fault. In his eyes they were all sweetness and
the perfection of goodness, "being," as he said, "without the least
appearance of affectation." When asked if any of the young Princes or
Princesses were clever, he invariably evaded a direct answer by saying:
"Er--well, you see, the Princess Royal makes up for the shortcomings of
all the others, she is so very clever. Er--er--they are all clever and
very nice."
During Corbould's connection with the Royal Family, on one occasion he
wrote to us saying the Prince of Wales had got a scrapbook, and he was
commissioned by the Prince to say how pleased he would be if we would
give him some proofs of our engravings to put into it. We sent a large
parcel, and in return Corbould wrote that the Prince was delighted with
our contribution and wished him to express his "Warmest thanks to
Messrs. Dalziel for their great kindness and liberality."
"_26 July, 1863_,
"21 RUTLAND GATE,
"HYDE PARK.
"DEAR SIRS,--I have received the impression, as well as my own,
as also the proof for the Prince of Wales. I shall be at Osborne
either on Thursday or Friday next, and I will give it to him. That
which you engraved for the 'Keepsake, 1854,' is very beautiful,
and so I shall keep the proof. Mr. Heath will be quite content and
so shall I. You can tell him that I require nothing done to it. I
thank you for the proof, but where are those from Spencer?[5]
"Yours very truly,
"EDWARD HENRY CORBOULD."
During the early part of our career we became associated with Mr.
Samuel Carter Hall, who was originator, editor and at that time
proprietor of the _Art Journal_, and in a somewhat desultory fashion
did a considerable amount of work together. Among other matters, we
engraved many of the illustrations for "A Book of British Ballads,"
which was edited by Hall and published by Messrs. How and Parsons
of Fleet Street. The drawings by Sir J. Noel Paton, P.R.S.A., John
Franklin, W. B. Scott, E. H. Corbould, Henry Warren, and other artists,
passed through our hands. When the great International Exhibition
of 1851 was in preparation, and during the time it was open to the
public, Hall published a series of profusely illustrated supplements to
the _Art Journal_, showing the various classes of objects exhibited.
On this work we were very liberally employed. These supplements
were subsequently put together and published in one large, handsome
quarto volume as an Illustrated Catalogue of that great and important
Exhibition.
Many other catalogues, official and non-official, were published
of the Exhibition, which contained a marvellous amount of every
conceivable class of handicraft and ingenious device, but certainly,
for comprehensive completeness, none of them at all approached the very
beautiful volume which Mr. Hall gave to the world.
When we had finished our portion of the engravings, he was so grateful
for the help we had given that he volunteered the promise that no other
wood engravers should ever be employed upon his works. But perhaps it
is only characteristic of the man to say that this promise was never
carried out.
As already stated, we engraved a very large number of drawings for
Mr. Hall with undeviating approval, and we were much gratified by the
following passage in a letter addressed to him by E. M. Ward, the Royal
Academician, on our submitting a proof of an engraving we had executed:
"The cut is admirable in every way. I have nearly finished
the drawing of 'The Royal Family of France,' and will send it
immediately it is done. I hope you will have the 'Royal Family'
done by Dalziels', as you said it should be; they would manage the
faces much better than----
"Yours ever truly,
"E. M. WARD."
Almost as a matter of course we became associated with Kenny Meadows,
a clever, erratic genius, and an artist of great ability. He had a
wonderful and strangely fanciful imagination, and perhaps will be
best known in time to come by his "Illustrated Shakespeare" and his
"Heads of the People"; there is one other work which is not likely
to be forgotten, "A Head of 'Old Father Christmas,'" which did good
service for a Christmas number of the _Illustrated London News_. He
was intimately connected with Orrin Smith, the distinguished wood
engraver; their earliest work being character sketches and heads of the
people done for _Bell's Life in London_, which was somewhat a pioneer
in illustrated journalism. Meadows at that time was generally known as
"Iron Jack," from the fact of his robust health, which he attributed
entirely to a simple style of living in his early life, much of which
was spent in a lighthouse, where, he declared, they never had enough to
eat. He said, "I used to devour my food like a ravening wolf."
No amount of alcohol ever appeared to hurt him, and to those who
suffered from excess of indulgence he attributed it entirely to
over-eating in their early days, before the constitution was fairly and
properly formed.
[Illustration:
"_Or sweetest Shakespeare, Fancy's child,
Warble his native wood-notes wild._"
"L'Allegro" and "Il Penseroso."--MILTON.
BY KENNY MEADOWS.
_By permission of the Council of the Art Union of London._]
We were so closely connected with him that when he was first asked to
work for _Punch_, he stipulated that we should have all his drawings
to engrave. This arrangement did not last long, for he was of a very
uncertain nature, and changeable in his moods. His friendship was not
of the kind that would stand much, if any, strain, and after he had
"imbibed" a little, he not infrequently became "nasty." Once at a
public dinner, on the name of _Punch_ being mentioned, he started from
his chair, saying, "Gentlemen, I am _Punch_!" which really was more
than insulting to several _Punch_ men who were present.
At one of the early _Illustrated News_ dinners, Herbert Ingram,
speaking of the great success of the journal, said, "And, gentlemen,
we all share in the credit of producing this wonderful paper." Meadows
was immediately on his legs, saying, "Yes, but have we all shared and
shared alike in the recompense?" "Yes, Mr. Meadows," said Ingram, "we
have all shared alike, according to what we put into the venture."
While Meadows worked for the _Illustrated London News_ we engraved
many of his drawings and saw much of Herbert Ingram and his partners,
Nathaniel Cook and William Little. Ingram was the founder and principal
proprietor of the paper; a man of strong character, self-willed,
but both generous and just. We were in the habit of suggesting and
procuring subjects for them.
We had induced Richard Doyle to make twelve drawings of the months for
the _Illustrated London Almanack_. Nathaniel Cook disputed our charge,
but we stood out. Ingram sat quiet whilst the talk went on. At last
he said, "Have Messrs. Dalziel done the work well?" "Oh! there is no
dispute about that; the work is well done." "Then," said Ingram, "pay
the money and let there be no dispute about it."
That is a single, but a true, illustration of the sort of man Herbert
Ingram was.
Meadows used to say that Nature put him out, and so it did. Looking at
his raised hand with pointed finger, he would say, "I cannot see a hand
as I would draw it."
The first time Meadows met John Leech after he began to draw on
_Punch_, he raved about the drawings, said Leech was the greatest man
who had ever drawn on wood, that he, Meadows, ought to retire from art
altogether and seek some other occupation, that his light was out,
and much more to the same purpose. But as the bottle went round, the
feeling gradually changed, and it ended in Meadows praising his own
work and telling Leech that he must alter his style altogether if he
ever hoped to take a position as an artist--that his work was mere
commonplace drivel, and that he must put imagination into his work
"such as I do in mine, sir."
But judged by his time, Meadows was a very clever man with much
quaint fancy. Many of his initials are singularly pretty, and his
"Shakespeare" will always have a place in the history of black and
white work.
In Kenny Meadows' days, the artist in black and white had not thought
of the advantages of drawing from the living model; neither William
Harvey nor Sir John Gilbert ever drew from Nature, and George Thomas
was one of the first, if not indeed the very first, to draw on wood
direct from life. This was about the early part of the Crimean War,
and his subjects were chiefly of sailors and their doings, and very
clever they were. It created something of a sensation at the time, for
the idea of an illustration being drawn from the life had not before
been heard of except in special cases. No doubt Mulready had life
models for his "Vicar of Wakefield" drawings, and later on Millais
never drew without the life, nor did any of the pre-Raphaelite School,
but this was the gradual and natural development of a new method, and
innumerable drawings by the younger artists which passed through our
hands were all drawn direct on wood from the life.
After spending much time and labour in experimenting, as well as
spoiling a great many blocks, we succeeded in getting fairly good
photographs for the engraver's purpose on other pieces of wood, and
so the valuable original drawings were preserved. This success was
obtained about the beginning, though not at the very beginning, of our
operation on the Bible illustrations. Then followed, as a matter of
course, the constant practice of making drawings upon paper which were
photographed on wood. By this means nearly all the exquisite drawings
in black and white made by Leighton, Poynter, Houghton, and many other
of the artists who worked in association with us have been preserved,
and now adorn some of the public permanent galleries.
* * * * *
[Illustration: A BALL-ROOM. BY FREDERICK WALKER, A.R.A., R.W.S.
FROM "LONDON SOCIETY."
_By permission of Mr. James Hogg._]
Among the early drawings by John Leech that passed through our hands
were those he made for Thackeray's "Irish Sketch Book," which were
probably copied from Thackeray's own pencil work, for he was not above
having help on his drawings, the result not always being such as he
expected. One day he said to Joseph Swain, "Why don't you engrave
my drawings to come out like John Gilbert's--his work always looks
so strong and mine so weak and scratchy?" Swain tried other helping
hands, but seldom with satisfactory results. It was in this way that
Fred Walker's connection with Thackeray began, Swain having induced
him to work on the author's drawings, which he did on one or two, but
very soon declined to go on with them. Walker asked that he might
make original drawings direct from the story in his own manner, to
which Thackeray agreed; and the result was a fine set of drawings for
"Philip" and for other stories, as well as a close friendship between
author and artist, only broken by the death of the great novelist.
We engraved many of Leech's drawings, notably the first he did for
_Punch_--"Foreign Affairs" (as before mentioned). It was a full page,
and had to be worked at from the moment it came into our hands till it
was given to the printer.
John Leech, speaking of Frith's picture of "The Derby Day," could
not understand how it was that Frith, in this carefully thought out
and elaborate work, had missed one of the most notable facts at such
places--inasmuch as he had not depicted anyone of the crowd smoking a
pipe or cigar.
[Illustration: A LAY OF ST. DUNSTAN. BY GEORGE CRUIKSHANK.
FROM THE "INGOLDSBY LEGENDS."
_By permission of Messrs. Macmillan & Co._]
The vain, versatile George Cruikshank believed himself another
"Admirable Crichton." He really thought he could do anything, and that
most of his time having been spent as an illustrator was the result of
circumstance and not of choice. He was impressionable in the highest
degree, and depending on the subject under notice, immediately realised
and expressed his ideas of what "should be done, and what he would
have done if things had favoured him for a career in that direction."
Once, the question being of a naval character, he said, "It was by the
merest chance that I did not go into the Navy; and with my knowledge of
such matters, no doubt I would have been a Rear-Admiral." He was great,
also, on the Army, and no doubt felt that had circumstances drifted him
in that direction, he would have become another Duke of Wellington. No
man ever had greater faith in self than the clever, excitable George
Cruikshank.
On the occasion of his exhibiting a small oil picture at the British
Institution, called "The Dropped Penny," the fact that it was purchased
by Prince Albert no doubt called extra special attention to it, to the
extent that it might have been sold many times over. One gentleman was
most anxious to have it; or, if this was impossible, would he make a
replica? This George declined to do, but undertook a commission, only
on the understanding that choice of subject and of size were to be left
to him. This was readily agreed to. "The Dropped Penny" was a little
thing about 18 by 24 inches. It was a comic picture--two urchins in
church, one of whom having dropped a penny on the stone floor is about
to pick it up, but they are observed by the Beadle.
When the new work was completed, the gentleman was invited to see it.
He found, to his amazement, a picture 16 feet by 20 feet; subject, "The
Raising of Lazarus."
[Illustration: THE LORD OF TOULOUSE. BY SIR JOHN TENNIEL.
FROM THE "INGOLDSBY LEGENDS."
_By permission of Messrs. Macmillan & Co._]
George always thought his true forte was the Grand Historical, and with
much cause, when we think of his wonderful illustrations to Harrison
Ainsworth's "Tower of London," "Windsor Castle," and other romantic
histories.
In the illustrated edition of the "Ingoldsby Legends," published by
Messrs. R. Bentley & Son, we had the good fortune to engrave nearly
all the drawings contributed by John Tenniel and George Cruikshank.
During the progress of the work we saw much of the latter gentleman,
who was an exceedingly entertaining companion, being always ready with
some anecdotes or reminiscences of his experience. Amongst his many
grievances (and George Cruikshank's stock was an assorted one) he
complained bitterly of the treatment he had received at the hands of
Charles Dickens, with reference to the authorship of "Oliver Twist."
Cruikshank maintained "that he had not only suggested the subject to
Dickens, but that he had also given him the entire plot, sketched the
characters, arranged all the incidents, and, in fact, constructed the
entire story; so much so, indeed, that the book was, to all intents
and purposes, HIS; for all that Dickens had to do with it was TO WRITE
IT OUT, and any man who could hold a pen might have done it better";
concluding with, "I am only sorry now I didn't do it myself." Those
were the old man's identical words, as spoken to us.
On one of his visits he related the following interesting circumstances
in connection with his famous publication of "The Bottle."[6] This
was a series of pictures, the first showing a young, well-conditioned
mechanic, sitting in his small, comfortably furnished room surrounded
by his wife and three or four children; then followed in order how, in
consequence of a constantly increasing habit of intemperance, they sink
gradually down in the scale of life, until they go entirely to ruin;
his sons to penal servitude, and his daughter to degradation, while
both his wife and himself die in the greatest misery and want.
[Illustration: THE WEDDING DAY. BY GEORGE CRUIKSHANK.
FROM THE "INGOLDSBY LEGENDS."
_By permission of Messrs. Macmillan & Co._]
When on the eve of publication, Cruikshank obtained permission to
submit the etchings to Dr. Blomfield, the then Bishop of London. The
Bishop took great interest in looking at the pictures, and asked
many questions as the series was turned over, expressing his great
admiration in the warmest terms. Then turning and looking Cruikshank
full in the face, he said:
"And am I right in coming to the conclusion, Mr. Cruikshank, that you
are a staunch total abstainer?"
Cruikshank, in relating this incident to us, said he never in all his
life felt himself in such an awkward position, for he was obliged to
confess that he did indulge in a little alcohol--occasionally--and that
in great moderation.
"You astonish me, Mr. Cruikshank!--you very greatly astonish me!" said
the Bishop. "For how a man who is able to depict so forcibly all the
misery, the horrors and degradation arising from the indulgence in
strong drink as you have done, and himself indulge, even in a moderate
degree, is a mystery which I cannot understand."
"On my way home," continued Cruikshank, "I felt so inexpressibly
ashamed of myself, and how true the Bishop's remarks were, that I
resolved at once to begin the change which I had long contemplated, and
I subsequently succeeded in bringing about the desired effect.
"It so happened that a few days after my interview with the Bishop,
I received an invitation to dine with a gentleman who was famous in
Society for the _recherché_ character of his frequent dinner parties,
where the wines were of the choicest brands and most tempting quality,
and everything was served in the most dainty and perfect fashion.
"Now is the time, I said to myself, to prove my strength of purpose. I
was successful in resisting all temptation, and left the house after
spending a delightful evening without having tasted a single drop of
any other liquid than water.
"The next morning when I went into my study," continued Cruikshank,
"I patted my head and said, 'George, old boy, you have done well! You
have succeeded, George. You have gained a gigantic triumph, and now
you must go on, unflinchingly, and conquer!'--and I did. From that day
no alcohol of any description ever crossed my lips, and never shall!
NEVER! I'd rather die first!"--here the gallant old fellow posed
himself in a dramatic attitude, and throwing out his left arm, and
striking his right hand sharply upon his breast, cried in his ringing
voice, "FIRE!"
During the latter half of his active life he gave much of his time to
the cause of temperance, and no doubt his influence had very great
effect. At one of his lectures on the subject at Exeter Hall he held up
a brand new "pot" hat of shiniest kind and said, "Ladies and gentlemen,
this hat as you see it represents George Cruikshank, the temperance
advocate, as he now is." Then throwing the hat to the ground, the brim
being undermost, he jumped on the crown, crushing it flat, then holding
it up to the audience, shouted, "And this represents George Cruikshank,
the drunkard, as he was!"
The old man stuck to his resolution for the remainder of his life,
and even on his death-bed, when his medical attendant, the late Sir
W. B. Richardson, himself a staunch total abstainer, prescribed that
small quantities of brandy should be taken--of course medicinally--he
persistently refused to drink it, and so died at an advanced age, firm
in the determination which he had formed many years before that not a
drop of alcohol of any description should ever pass his lips again.
The first drawings by F. R. Pickersgill that came into our hands to
engrave were for "Poems and Pictures," an early "fine art" book,
published by J. Burns, of Orchard Street, which contained designs by
many of the leading artists of the time, including several by W. Dice,
R.A., Cope, R.A., Creswick, R.A., and others. Our connection with
Pickersgill--one of the kindest and best of men--soon ripened into a
close friendship, and it was to him that we gave the first commission
at our own cost for a set of drawings to illustrate "The Life of
Christ," desiring to follow the example of Rethel's "Dance of Death,"
which had just been published in Germany at a very small price.
Our first Part contained six large pictures, printed with a flat tint,
the price being one shilling. The second Part, "The Miracles of our
Lord," contained the same number of pictures, and at the same price.
Our attempt to produce high class art at what was then thought to be
a nominal price was not responded to. Other interests were too strong
for us; and although we tried the aid of some first-class publishers
the scheme would not take. We well remember calling on a well-known
publisher of Scripture work, who, admitting the excellence as well as
the cheapness of the publication, summed up his refusal to purchase
copies with the remark, "I really cannot afford to set your cask of
wine alongside my barrel of beer."
[Illustration: THE ADORATION OF THE MAJI. BY F. R. PICKERSGILL, R.A.
REDUCED COPY FROM ONE OF HIS PICTURES FOR "THE LIFE OF CHRIST."
_Published for the Brothers Dalziel by Messrs. Chapman & Hall._]
Pickersgill made drawings for many of the fine art books produced under
our care. He also made a series of large drawings on the subject of
"The Lord's Prayer," the text of which was paraphrased in verse by
Dean Alford; the book being published by Messrs. Longman & Co. He also
contributed many beautiful drawings for our Bible Series.
A friend of Pickersgill, the Rev. T. J. Judkin, an eloquent preacher
and clever amateur artist, and a pupil of Constable's, produced a
Volume of Poems to which many of his artist friends contributed
drawings, amongst whom were F. R. Pickersgill, R.A., W. Mulready, R.A.,
Clarkson Stanfield, R.A., E. M. Ward, R.A., and W. E. Frost, R.A., all
of which we engraved for him.
F. R. Pickersgill, R.A., J. C. Hook, R.A., and W. E. Frost, R.A.,
formed a trio in their student days, working much together, and all
illustrating the same subjects--chiefly passages from Spencer's "Fairy
Queen," and Italian or Venetian History, basing their style very much
upon the Early Italian School. Later in life a closer tie existed
between two of these artists, Pickersgill marrying Hook's eldest sister.
Pickersgill told us a somewhat comical experience Hook had with the
Council of "The Art Union of London," who were then procuring a set of
drawings on wood by various artists. One subject having been entrusted
to Hook, he sent his drawing in, and was asked to call at a stated
time, which he did. He saw at once there was something wrong, as the
gentlemen sat looking at each other. At last one mustered courage to
speak, saying:
[Illustration: FAIRY DANCE. BY W. E. FROST, R.A.
FROM A BOOK OF POEMS BY THE REV. T. J. JUDKIN.]
"We like your drawing very much, Mr. Hook, but--er--doesn't it want
colour?--er--where--er--where is your bit of black?"
"I don't want a bit of black," said Hook.
"Oh, but we must have a bit of black. There's Mr. B----, now, he always
gives a bit of black."
Hook, feeling fearfully annoyed, took up the drawing, and dipping his
finger in a glass of water, smeared it over, saying:
"There, gentlemen, there is your 'bit of black,'" and throwing down the
drawing, left the room.
The following short letter from Mr. Hook, which bears upon this
subject, will be of interest:
"TOR VILLA, KENSINGTON,
"_8th April_.
"DEAR SIRS,--I do not manage wood-drawing well at all--not well
enough even to do _me_ credit, or I would have done you a drawing
with pleasure. I failed some time back in doing one for the Art
Union, and recollecting that the blocks they sent me had your name
on them, I return them also.
"Believe me, dear Sirs,
"Yours truly,
"J. C. HOOK.
"MESSRS. DALZIEL."
In a conversation with Richard Doyle he told us that his father (who
was the celebrated "H.B.," a political caricaturist during the thirties
and forties) always urged his sons to practise drawing from memory,
taking all sorts of subjects; that in their walks they should always
try to remember one or more figures they had seen, and immediately
on their return home, make the best drawing they could in pen and
ink; also to frequent the National Gallery or other important picture
exhibitions, remaining in front of any one picture that might attract
their attention until they had fairly mastered the subject, and then
to make the best recollection of it in pencil or colour as they felt
inclined. He highly approved of this method, and felt he had derived
great benefit from the process himself.
[Illustration:
"_O breaking heart that will not break,
Oriana!
O pale, pale face so sweet and meek,
Oriana!
Thou smilest but thou dost not speak,
And then the tears run down my cheek,
Oriana!_"
--TENNYSON.
BY F. R. PICKERSGILL, R.A.
_By permission of Messrs. George Routledge & Sons._]
Doyle had a facile pencil when once fairly at work, but he was
singularly deficient as to the value of time, which appears strange in
one who produced so many elaborate drawings; but little reliance could
be placed upon him even when working for periodical publications. On
one occasion when illustrating a story by Thackeray, the number had
to be issued short of certain pictures that had been arranged for.
Thackeray was a good deal annoyed and asked Doyle if he could give
any reason why he had not done the drawings. He replied in his cool,
deliberate manner: "Eh--er--the fact is, I had not got any pencils."
The matter of pencils was always one of some trouble and difficulty
with Doyle. The following letter is a fair example of what was a not
infrequent occurrence:
"17 CAMBRIDGE TERRACE, HYDE PARK.
"MY DEAR SIRS,--For the reason that _if_ I see my way in anything
about the realities of the Exhibition, I feel bound to do it for
you and Chapman, I must decline Mr. Bogue's proposal.
"I intended to have spoken to you the first time I saw you about
pencils for drawing upon wood; do you know a good maker? It is
impossible to get anything of the kind at this end of town. If it
would not be troubling you too much I would be very much obliged to
your getting me half a dozen of the _hardest_, and sending them the
next time your messenger comes to me?
"You probably know the best makers, which I do not, having always
got my pencils through the _Punch_ engravers.
"Yours very truly,
"RICHARD DOYLE."
[Illustration:
My dear Sir
I send two large drawings for Jack, and on Tuesday I expect two
more, which will make seven.
On Thursday I leave town for 12 or 14 days, and when I return I
hope it will not be too late to send the remainder.
Ten, I think was the original number of large drawings we agreed
upon, but you said you would rather have less of them and more
small ones, and consequently I determined on having eight large
and twenty or thirty small. I shall not however, be strict as to
number, but will do as many as you can give me time to do.
As I may safely say that more than half are now done it would be
agreeable to me if you will let me have half of the L.S.D. at your
earliest convenience.
I remain
Very Truly Yours
Richard Doyle
As I have worked two of the blocks, I have got into a mess with
rubbing out. I shall be glad if you will send one me or two more.]
We gave Doyle a commission to do a Panorama of an Overland Journey to
the Great Exhibition of 1851, which it was intended should be published
before, or immediately after, the opening day. We need hardly say the
drawings were not done to time; in fact, the last of them was not
finished until just on the closing of the Exhibition, consequently the
publication was a dead failure.
[Illustration: "SCOTLAND."
FROM "AN OVERLAND JOURNEY TO THE GREAT EXHIBITION OF 1851."
BY RICHARD DOYLE.
_Published for the Brothers Dalziel by Messrs. Chapman & Hall._]
It is greatly to be regretted that Doyle did not see his way
to complete this work at the date agreed upon, and while the
great excitement about the Exhibition was at fever heat, for the
characteristic humour which is so peculiarly his own, and so cleverly
depicted in the various Nationalities forming the Panorama, must have
secured for the work a very extensive circulation, and thereby have
added greatly to his reputation.
"DEAR SIR,--With regard to the Exhibition procession, I would like
to have your opinion as to whether, now the 'Glass House' being
open and the public so much seriously occupied with the Exhibition,
my drawings will be relished. I don't express any decided opinion
now myself, but I put it to you and would like you to ask Mr.
Chapman his opinion. I saw the 'procession' that came out a long
time ago for the first time the other day to look over, and I
really did not know before that the idea was so much the same as
mine, and I greatly fear that mine will be thought stale, however
original I can make it. It is, in fact, next to impossible to
represent any of the countries by other types than those already
done in publications already out.
"As far as I myself am concerned--much time as I have lost over
this, to me, unfortunate subject--I would rather sacrifice it as
lost time than bring out a failure. I cannot expect you, who have
also spent some time upon the work, to feel the same.
"What occurred to me, however, was that perhaps the drawings of
the 'procession' might be engrafted upon something else, of which
it might form a part. I don't see my way, but I throw it out, and
would like to have your notion on the subject.
"Very truly yours,
"RICHARD DOYLE."
When Doyle retired from contributing to _Punch_, we gave him a
commission to illustrate all the popular Children's Nursery Tales. He
expressed himself delighted to undertake the work, and "Jack the Giant
Killer" was to be the first. This was done, and published by Cundall
and Addy of Bond Street. "The Sleeping Beauty" was the second, but the
drawings for this book came so lingeringly to hand that the idea of
a series was abandoned, and the blocks were put aside for some time.
Those we had, however, were considered so beautiful, and so full
of quaint fancy that we decided to enlist the co-operation of J. R.
Planche to set new words to them, which he did very charmingly, and
the book was published for us by Messrs. G. Routledge and Sons, under
the title of "An Old Fairy Tale Told Anew." Those two stories were
all Doyle ever did for the series; and their production extended over
several years instead of a few months, as would have been the case in
the hands of a more business-like artist.
"MY DEAR SIRS,--I send the drawing, which has occupied me almost
all the week, and you will see that there is plenty of work in
it. The subject is taken from these words in Jack's history: 'He
delighted in reading stories about wizards, giants and fairies,
and listened eagerly when anybody related the brave deeds of the
Knights of the Round Table.'
"It is intended to be the first page of the book (not the title
page), and type is to go into the space left in the centre.
"I feel a little anxious about the engraving of the upper half of
this drawing, which represents the legend told by the old woman,
as I have never yet had that etching style of drawing engraved
perfectly to my satisfaction; perhaps that is impossible, but, at
all events, as there is plenty of time I shall expect this to be a
_chef d'ouvre_ of wood engraving, as I certainly look for more than
ordinary care in this drawing.
"I have begun another large drawing, which I expect will be ready
for you on Monday at six o'clock.
"Very truly yours,
"RICHARD DOYLE."
We cannot help feeling that much excellent work has been lost by Doyle
not carrying out this scheme, and fancy what exquisite things he would
have made of "Cinderella," "Jack and the Bean Stalk," etc., etc.
[Illustration: FROM "JACK THE GIANT KILLER."
BY RICHARD DOYLE.
_Published for the Brothers Dalziel by Cundall and Addy._]
"17 CAMBRIDGE TERRACE, HYDE PARK.
"_Monday._
"MY DEAR SIR,--I hear from my brother that you called some days ago
wishing to see me. I have settled in town again, after an absence
of near three months, and shall be happy to see you at any time.
You probably wished to see how the 'Sleeping Beauty' was going on,
and I have to relate a misfortune connected therewith; I am sorry
to say, several drawings which I had packed in my portmanteau got
so rubbed during my journey, that while some were only injured,
some were quite spoiled. I have doctored two or three of these,
which will be ready for your messenger whenever you will be good
enough to send. I shall certainly let you have all the drawings in
time to be out for Easter.
"If you could let me have the half of the sum agreed upon for the
illustrations, thirty pounds, as early as convenient to you, I
should feel much obliged. I think something was said about paying
half when half the drawings were done, and therefore I am not
strictly entitled to it yet, but forestall the time as it will be a
convenience to me to have the money now.
"Yours very truly,
"RICHARD DOYLE."
[Illustration]
Notwithstanding his tardiness, so long as Doyle continued to draw
upon wood we were in constant communication with him, engraving his
productions.
[Illustration: THE ARRIVAL AT COLOGNE. "THE PASSENGERS PASSING THEIR
EXAMINATION."
FROM "BROWN, JONES AND ROBINSON," BY RICHARD DOYLE.
_By permission of Messrs. Bradbury & Agnew._] Among these may be
mentioned many of the illustrations he did for Charles Dickens'
Christmas Stories, as well as those he made for Ruskin's charming fairy
tale, "The King of the Golden River," Leigh Hunt's "A Jar of Honey from
Mount Hylba," and the entire set for "Bird's-Eye Views of Society,"
published in the _Cornhill Magazine_. We also engraved a large number
of his "Brown, Jones and Robinson" pictures. He proposed to us a
scheme for doing a companion volume: "Brown, Jones and Robinson in
the Highlands of Scotland," but through his dilatory disposition, and
the many and varied engagements we had at that time on our hands, the
project was not carried out.
* * * * *
Although we had been accustomed for several years, through our
connection with Ebenezer Landells and the _Illustrated London News_,
to work upon Sir John Gilbert's drawings--perhaps among the very first
was a small drawing of "Cupid Delivering a Love Letter," published in
an early number of _Punch_--it was not until 1851 that we came into
active communication with him. Our first personal interview was to ask
him to make two drawings, a title page and frontispiece to "Praise and
Principle." He took a small foot rule out of his pocket, measured the
size of the two wood blocks, and said, "The price will be thirty-five
shillings each, but I could not possibly give them to you tomorrow; but
the next morning you may rely on having them." The drawings were duly
sent, and with them an account for the sum named; also a letter to say
he had made a mistake in the price, and that all future drawings of the
same size and character would be two guineas each. This promptitude,
it is worthy of remark, was a striking characteristic of the man, for
during the many years that we were in constant intercourse with him,
and engraved many hundreds of his drawings, we have no remembrance of
him ever being a day behind the time he promised to send in his work.
[Illustration: EVENING ON THE LAGO-MAGGIORE.
FROM "BROWN, JONES AND ROBINSON" BY RICHARD DOYLE.
_By permission of Messrs. Bradbury & Agnew._]
The drawings for "Praise and Principle" were followed by many sets
of illustrations, generally eight in number, for books issued by the
Messrs. Routledge.
As an example of his peculiar method of book keeping in those early
days the following letter will be interesting:
"VANBURGH PARK,
"BLACKHEATH, _June 2nd_.
"DEAR SIRS,--I am now going out to send the drawings by the Parcels
Delivery Company. Will you kindly let me know that you have
received them safely?
"My charge for the four is twelve guineas. As I have no account
with any one now, and therefore no book wherein to enter such a
transaction, only a pencil mem. stuck into a frame on the wall, I
will ask you at your convenience to let me have a cheque for the
amount.
"Very truly yours,
"JOHN GILBERT.
"MESSRS. DALZIEL."
[Illustration:
"_His mother she prepared a feast--
Great stores of venison and wine._"
"The Salamandrine."--DR. CHARLES MACKAY.
BY SIR JOHN GILBERT, R.A., P.R.W.S.
_By permission of Messrs. George Routledge & Sons._]
Early in 1852 we were commissioned by Messrs. Ingram and Cook, who had
then added a book publishing business to their other operations, to
engrave the pictures for an édition de luxe of Dr. Charles Mackay's
beautiful and fantastical poem "The Salamandrine," which Sir John
Gilbert had undertaken to illustrate; and it may be confidently said
that of the thousands of drawings which he afterwards made he never
surpassed the charm and grace of his manipulative skill as shown in
this exquisitely decorated volume. The book was very beautifully got up
and most perfectly printed. Of our labour and part in the production,
perhaps it may be sufficient to quote a short note Dr. Mackay wrote to
us on the subject:
"_December 27th, 1852._
"MY DEAR SIR,--I cannot but express to you and your brother how
gratified and obliged I feel for the care you have bestowed
upon the illustrations for 'The Salamandrine.' I think they are
triumphs of the art of wood engraving, and I sincerely hope that
your efforts will be amply rewarded not only in present and future
reputation but in pecuniary advantages.
"The _Morning Chronicle_ of Saturday contains a fitting tribute to
your exertions, and it is likely, I think, that other papers will
follow in the same strain.
"Believe me,
"Ever yours truly,
"CHARLES MACKAY.
"E. DALZIEL, ESQ."
Following "The Salamandrine," began the most important works of our
lives, and it was through the enterprise of Messrs. Routledge and
Warne that we were enabled to produce so long a list of "Fine Art
Books," some of them on commission, and many others entirely on our own
responsibility. These also brought us many important commissions from
such houses as Messrs. Longman & Co., W. Blackwood & Son, Smith, Elder
& Co., J. Nisbet & Co., Appleton & Co., New York, Roberts Brothers,
Boston, and several other publishers of high standing both in England
and America.
[Illustration: LUCY GRAY, OR SOLITUDE.
"_To-night will be a stormy night,
You to the town must go,
And take the lantern, child, to light
Your mother through the snow._"
--WILLIAM WORDSWORTH.
BY SIR JOHN GILBERT, R.A., P.R.W.S.
_By permission of Messrs. George Routledge & Sons._]
An important feature in Sir John Gilbert's practice in this branch of
his art was his marvellous power of design, and wonderful dexterity in
execution. On one occasion during the progress of his work he spoke of
a drawing that had given him some trouble. He said, "Would you believe
it, sir, I was so dissatisfied with it that I absolutely rubbed it
out." He was asked one day whether he ever made an alteration on any
other drawing for "The Salamandrine." He replied, "Was there ever any
evidence of such a thing?"
But the greatest work of his that passed through our hands was
Staunton's "Shakespeare," also published by Messrs. Routledge, the
publication extending over four years. Vast as it was, he never
disappointed us as to time, and when we take into consideration the
number and elaborate character of the drawings, his regularity in
sending them in was really surprising. The system adopted was to leave
the tailpieces at the end of each Act to be drawn according to the
size of the spaces left on the pages, and it was our custom to send
a set of sheets of a Play down to him by special messenger with the
understanding that he was to bring the drawings, four or five, as the
case might be, back with him the same evening, which he always did:
many of them being so elaborately and so carefully finished as to prove
that Gilbert literally had the subjects at "his fingers' ends."
The following letters are of interest as expressing Gilbert's opinion
and impression on seeing the first number of this important work:
[Illustration: KING LEAR.
ONE OF SIR JOHN GILBERT'S EIGHT HUNDRED AND THIRTY-TWO ILLUSTRATIONS TO
THE WORKS OF SHAKESPEARE.
_By permission of Messrs. George Routledge & Sons._]
"BLACKHEATH,
"_Wednesday Evening_.
"DEAR SIRS,--I have looked at, examined, and criticised the first
number of 'Shakespeare' to that extent that positively I hardly
know what opinion to express of the first fruits of our labours.
"The Frontispieces will be an immense addition; without them it
seems that there are not enough pictures for the money--and yet,
eighteen cuts such as these are is surely a good shilling's worth.
It appears to me--_mind_, I don't feel quite convinced of it, for,
as I said before, I've so over and over considered it that I get
quite confused--that large cuts are wanted, _fewer_ and _larger_.
What do you think of two cuts to each act, and those, ten in all,
larger, keeping the little ones for tailpieces, where necessary to
have a tailpiece?
"Turn this over in your mind, and if you think it desirable,
consult Messrs. Routledge. I cannot help thinking ten cuts, about
two-thirds the size of the space occupied by the type, would have
a greater effect, and I should say cost no more than the sum laid
down.
* * * * *
"You desired to have my opinion of the number, but I fear you will
say, 'Here is no opinion at all.'
"Believe me to be, dear Sirs,
"Yours truly,
"JOHN GILBERT."
On the completion of the first volume, he says:
"Mr. Routledge and Mr. Warne both wrote to me expressing their
great satisfaction with the last number, and I suppose it must be
considered a good shilling's worth. You know how I appreciate your
labours; there are cuts in the last number that cannot be exceeded,
and looking at the volume, I think, for general even goodness of
style in engraving, it has never been excelled."
That the printing of some of our books was not at all times faultless,
the following note from Sir John Gilbert will testify. In acknowledging
a volume of India proofs, he says:
[Illustration: KING LEAR AND FOOL IN A STORM.
LEAR. "_Blow, winds, and crack your cheeks! rage! blow!
You cataracts, and hurricanoes, spout
Till you have drench'd our steeples_."
--SHAKESPEARE.
BY SIR JOHN GILBERT, R.A., P.R.W.S.
_By permission of Messrs. George Routledge & Sons._]
"I write to acknowledge a volume of proofs. Its size and thickness
impressed me, and I don't well know how sufficiently to thank you
for having had the proofs bound up with such care and taste. I can
only say that I thank you very much for it, and that it will be
highly valued by me. I had no idea of the magnificent style you had
intended to get it up. Comparing these proofs with the impressions
in the volume of poems, I am more than ever impressed that the
printer has not done his part properly: the difference is immense.
"Believe me, very truly,
"JOHN GILBERT."
About this time W. Harrison Ainsworth was editing "Bentley's
Miscellany," and published some of his own works through that journal,
Sir John Gilbert making the illustrations to "The Lancaster Witches,"
which were entrusted to us for engraving and printing. In sending a
cheque, Ainsworth wrote:
"I have much pleasure in sending you a cheque in payment of your
account for the engraving and printing of the designs, all of which
have my entire satisfaction."
Again, in another letter accompanying a set of drawings by Gilbert,
illustrating "The Constable of the Tower," he says:
"I have always thought Mr. Gilbert's illustrations to 'Lancaster
Witches' as in every way charmingly engraved, and I have no doubt
the present cuts will equal them, if not surpass them, in beauty.
"Ever yours truly,
"W. HARRISON AINSWORTH."
While the illustrations to "Shakespeare" were in progress we had two
sets of engraver's burnished India proofs taken by skilled hands, under
our own special care, before the wood blocks were delivered to the
printer. One set, we are pleased to say, is now the property of the
British Museum, where they will remain in all their original beauty.
[Illustration:
Thursday Evening
Dear Sirs,
I have just had a glance over the number of our Shakespeare's just
issued, and cannot resist writing to you at once to express the
very great gratification it has given me. You have indeed done
your part of the work nobly, it does you the greatest credit and
confirms me in the belief I always have had that no one can engrave
my drawings like you can. I have written to George Routledge to the
same effect.
Believe me yours truly
John Gilbert]
Sir John Gilbert died at his house, Vanburgh Park Road, Blackheath, on
October 5th, 1897, in his 81st year.
His brother, Mr. Frederick Gilbert, writing on his death, says, "My
brother, Sir John, had a long and distressing illness, but we are
thankful to think not a very painful one--he died very peacefully."
A friend of Sir John's called upon him a few months before his death
and found him hard at work, and making a favourable remark about the
picture he was engaged upon, the veteran replied, quite seriously,
"Well, yes! I think I'm improving."
"And I am told, Sir John," continued the friend, "that you have never
painted from the living model."
Sir John turned his head, with an amused look about the eyes, saying,
"Well, to tell you the truth, I cannot remember the time when I did so."
The writer of a highly appreciative article in the _Magazine of Art_,
says, "Though Sir John Gilbert painted art in every branch, it is
only in one, and that not in the public estimation the one by which
he defies the rivalry of all comers, that he showed himself head and
shoulders above the draughtsmen of his time.... Distinguished as he was
as a painter, it is in virtue of his achievements in black and white
that he takes his place among the few masters, not of his age and
country only, but of all time, who through the medium of the hand and
printing press have ranged themselves among the highest.... He may be
voted old-fashioned for the moment, but real art rises superior to mode
or vogue in taste: it has time upon its side.
[Illustration: LEAR FANTASTICALLY DRESSED WITH FLOWERS.
BY SIR JOHN GILBERT, R.A., P.R.W.S.
_By permission of Messrs. George Routledge & Sons._]
"Added to innumerable illustrations made for the _London Journal_, it
is estimated that Sir John Gilbert made at least 30,000 drawings for
the _Illustrated London News_.[7] He sent 50 pictures to the Royal
Academy, 20 to the British Artists, 40 to the Royal Water Colour
Society, 40 to the British Institute, and produced about 270 works
which have never been exhibited. Added to this stupendous list of works
he contributed 110 drawings to the Illustrated Edition of 'Longfellow's
Poems,' 50 to Dr. Charles Mackay's 'Salamandrine,' 832 to Staunton's
'Shakespeare,' several to 'Lays of the Holy Land,' 'The Book of Job,'
and 'Wordsworth's Poems,' as well as a liberal contribution to the long
series of books known as 'Dalziel's Fine Art Books.'"
In referring to Gilbert's book illustrations a recent writer says,
"There is no sign of haste, though many are sketchy; still, there is
nothing which suggests that greater excellence would have attended
greater elaboration."
FOOTNOTES:
[2] It is stated that Sir Walter Scott was so delightfully charmed with
Mackay's acting in this character that he declared "until he saw him
act he had no idea of the extraordinary character he had drawn."
[3] An Institution long since defunct.
[4] The following lines, which were largely quoted by the American
Press, were written on the occasion of Canon Prothero unveiling a bust
of Henry Wadsworth Longfellow, in Westminster Abbey, March 1st, 1884:
There is no place in all the great wide world,
Where Anglo-Saxon is the spoken tongue,
Or where the British flag streams out unfurled,
Where patriotic song or ballad's sung,--
But there is heard in kindly company
With Burns and Hood, with Dibdin, Goldsmith, Moore,
The name of him from far across the sea
Who sang the noble song, Excelsior.
He touched the heart with sweet and silvery rhyme,--
He thrilled us with the pathos of his song,--
He showed us wild men in the olden time,
And painted suff'ring under cruel wrong.
Yet ever in the light of truest love
He swept with tender touch the sacred lyre;
And as he sang he caught, as from above,
A blaze of holy, pure, poetic fire.
He sang of changing seasons warm and bright,
He sang of times that were all cold and grey;
He sang of Flowers and of the darkening night,
Of Angel footsteps, and of Rainy day;--
Of Blacksmith as he by the anvil stood,
The Skipper and his daughter drowned at sea,
The Maiden stepping into womanhood,
And then God's Acre, with its mystery.
E'en as he sang, so lived he in his day,
Aye striving for some good deed to be done,--
To show some thing of beauty by the way,
And tell how fame and honour might be won.
"His life was beautiful,"[8] so sang his friend,
With constant charity of heart and hand;
This one more chaplet with his name we blend,--
"He was an honour to his native land."[8]
To-day we lay a humble tribute bare,
'Tis but a block of marble, in the place,
On which a human hand, with cunning rare,
Has deftly carved the sweetness of his face.
There in the Abbey, where our poets lie,
Where many a noble pageant we have seen,
Stands now this bust--where all the world may hie--
Of him who told us of Evangeline.
GEORGE DALZIEL.
[5] Corbould had made a set of eight illustrations to Spencer's "Fairy
Queen" for us.
[6] "The Bottle" was published in 1847.
[7] Here we think the writer of the article has over estimated the
number, as Sir John had for many years before his death entirely
severed his connection with the _Illustrated London News_, as well as
all other journalistic work.
[8] These words were used by the American Ambassador, who was present
and spoke on the occasion.