cell ("the immortal Fagin of 'Oliver Twist,'" as Thackeray styled him),
it is related by Mr. George Hodder (in "Memories of my Time") that when
the great George brought forth this picture, where the Jew is seen
biting his finger-nails and suffering the tortures of remorse and
chagrin, Horace Mayhew took an opportunity of asking him by what mental
process he had conceived such an extraordinary notion; and his answer
was, that he had been labouring at the subject for several days, but had
not succeeded in getting the effect he desired. At length, beginning to
think the task was almost hopeless, he was sitting up in bed one
morning, with his hand covering his chin and the tips of his fingers
between his lips, the whole attitude expressive of disappointment and
despair, when he saw his face in a cheval-glass which stood on the floor
opposite to him. "That's it!" he involuntarily exclaimed; "that's just
the expression I want!" and by this accidental process the picture was
formed in his mind. Many years afterwards Cruikshank declared this
statement to be absurd, and when interrogated by Mr. Austin Dobson, who
met the artist at Mr. Frederick Locker's house in 1877, he said he had
never been perplexed about the matter, but attributed the story to the
fact that, not being satisfied whether the knuckles should be raised or
depressed, he had made studies of his own hand in a glass, and
illustrated his account by putting his hand to his mouth, looking, with
his hooked nose, wonderfully like the character he was speaking of.
Respecting another illustration in the story, where "The Jew and Morris
Bolter begin to Understand each Other," Professor Ruskin observes that
it is "the intensest rendering of vulgarity, absolute and utter," with
which he is acquainted.
The latter portion of "Oliver Twist" was written in anticipation of the
magazine, in order that the complete story might be promptly launched in
volume form. The illustrations for the final chapters had consequently
to be produced simultaneously and with all possible speed, so that the
artist had no time to submit his designs to Dickens. One of these
plates, viz., "Rose Maylie and Oliver," depicted a scene in the new home
of the Rev. Harry Maylie; he, his wife, and mother, are seated by the
fire, while Oliver stands by Rose Maylie's side. When Dickens first saw
this etching he so strongly disapproved of it that the plate was
forthwith cancelled and another design substituted; but, the book being
then on the eve of publication, it was impossible to prevent a small
number of impressions of this illustration being circulated, and copies
of the work containing the scarce "Fireside" plate are therefore eagerly
sought after by collectors. Dickens, in expressing to Cruikshank his
disapprobation of this etching, undoubtedly realised the delicacy of the
situation, in the possibility of injuring the susceptibilities of the
artist, as the following carefully-worded intimation testifies:--
"I returned suddenly to town yesterday afternoon, to look at the latter
pages of 'Oliver Twist' before it was delivered to the booksellers, when
I saw the majority of the plates in the last volume for the first time.
"With reference to the last one--Rose Maylie and Oliver--without
entering into the question of great haste, or any other cause, which may
have led to its being what it is, I am quite sure there can be little
difference of opinion between us with respect to the result. May I ask
you whether you will object to designing this plate afresh, and doing so
_at once_, in order that as few impressions as possible of the present
one may go forth?
"I feel confident you know me too well to feel hurt by this enquiry,
and, with equal confidence in you, I have lost no time in preferring
it."
PLATE IX
"MR. CLAYPOLE AS HE APPEARED WHEN HIS MASTER WAS OUT"
_Facsimile_ of the Original Sketch for "Oliver Twist" by
GEORGE CRUIKSHANK
The Inscriptions are in the Autograph of the Artist.
[Illustration]
It seems, however, that Cruikshank did not immediately proceed to carry
out the author's wish, but endeavoured to improve the plate by
retouching and adding further tints by means of stippling, &c. In the
South Kensington Collection there is an early proof of the etching in
which the shadow tints are washed in with a brush, and the fact that
these alterations were subsequently carried out is established by the
existence of a unique impression of the plate in its second state. This
proof was probably submitted to Dickens and again rejected, for no
impressions having the stippled additions are known to have been
published. The substituted design, bearing the same title as the
suppressed one, does not much excel it in point of interest, as the
artist himself readily admitted; it represents Rose Maylie and Oliver
standing in front of the tablet put up in the church to the memory of
Oliver's mother, this etching appearing in _Bentley's Miscellany_ and in
all but the earliest copies of the book. The substituted plate (like
many others in the volume) was afterwards considerably "touched up," for
it will be noticed that in the earlier impressions Rose's dress is light
in tone, while subsequently it was changed to black.
A very circumstantial story relative to Cruikshank's connection with
"Oliver Twist" was published in a Transatlantic journal called _The
Round Table_, and reprinted immediately after Dickens's death in a
biography of the novelist by Dr. Shelton Mackenzie, who avers that he
had been informed that Dickens intended to locate Oliver in Kent, and to
introduce hop-picking and other picturesque features of the county he
knew so well: that the author changed his purpose, and brought the boy
to London: and further, that for such important alterations in the plot
Cruikshank was responsible. But the more remarkable portion of this
narrative is Dr. Mackenzie's account of his visit to Cruikshank in
1847, at the artist's house in Myddleton Terrace, Pentonville,
concerning which he writes:--
"I had to wait while he was finishing an etching, for which a printer's
boy was waiting. To while away the time, I gladly complied with his
suggestion that I should look over a portfolio crowded with etchings,
proofs, and drawings, which lay upon the sofa. Among these, carelessly
tied together in a wrap of brown paper, was a series of some twenty-five
to thirty drawings, very carefully finished, through most of which were
carried the now well-known portraits of Fagin, Bill Sikes and his dog,
Nancy, the Artful Dodger, and Master Charles Bates--all well known to
the readers of 'Oliver Twist'--and many others who were not introduced.
There was no mistake about it, and when Cruikshank turned round, his
work finished, I said as much. He told me that it had long been in his
mind to show the life of a London thief by a series of drawings,
engraved by himself, in which, without a single line of letterpress, the
story would be strikingly and clearly told. 'Dickens,' he continued,
'dropped in here one day just as you have done, and, while waiting until
I could speak with him, took up that identical portfolio and ferreted
out that bundle of drawings. When he came to that one which represents
Fagin in the condemned cell, he silently studied it for half-an-hour,
and told me that he was tempted to change the whole plot of his story;
not to carry Oliver Twist through adventures in the country, but to take
him up into the thieves' den in London, show what their life was, and
bring Oliver safely through it without sin or shame. I consented to let
him write up to as many of the designs as he thought would suit his
purpose; and that was the way in which Fagin, Sikes, and Nancy were
created. My drawings suggested them, rather than his strong
individuality suggested my drawings."
PLATE X
"OLIVER AMAZED AT THE DODGER'S MODE OF 'GOING TO WORK'"
_Facsimile_ of the First Sketch for the Etching by
GEORGE CRUIKSHANK
[Illustration]
Forster naturally characterises this story as a deliberate untruth,
related with "a minute conscientiousness and particularity of detail
that might have raised the reputation of Sir Benjamin Backbite himself,"
and points out that the artist's version, as here narrated, is
completely refuted by Dickens's letter to Cruikshank, which
unquestionably proves that the closing illustrations had not even been
seen by the novelist until the book was ready for publication.
Cruikshank, on reading in the _Times_ a criticism of Forster's
biography, in which this charge against Dickens was commented upon, at
once indited the following letter to that journal, where it appeared on
December 30, 1871:--
"_To the Editor of 'The Times._'
"SIR,--As my name is mentioned in the second notice of Mr.
John Forster's 'Life of Charles Dickens,' in your paper of
the 26th inst., in connection with a statement made by an
American gentleman (Dr. Shelton Mackenzie) respecting the
origin of 'Oliver Twist,' I shall be obliged if you will
allow me to give some explanation upon this subject. For
some time past I have been preparing a work for publication,
in which I intend to give an account of the origin of
'Oliver Twist,' and I now not only deeply regret the sudden
and unexpected decease of Mr. Charles Dickens, but regret
also that my proposed work was not published during his
life-time. I should not now have brought this matter
forward, but as Dr. Mackenzie states that he got the
information from me, and as Mr. Forster declares his
statement to be a falsehood, to which, in fact, he would
apply a word of three letters, I feel called upon, not only
to defend the Doctor, but myself also from such a gross
imputation. Dr. Mackenzie has confused some circumstances
with respect to Mr. Dickens looking over some drawings and
sketches in my studio, but there is no doubt whatever that I
did tell this gentleman that I was the originator of the
story of 'Oliver Twist,' as I have told very many others who
may have spoken to me on the subject, and which facts I now
beg permission to repeat in the columns of the _Times_, for
the information of Mr. Forster and the public generally.
"When _Bentley's Miscellany_ was first started, it was
arranged that Charles Dickens should write a serial in it,
and which was to be illustrated by me; and in a conversation
with him as to what the subject should be for the first
serial, I suggested to Mr. Dickens that he should write the
life of a London boy, and strongly advised him to do this,
assuring him that I would furnish him with the subject and
supply him with all the characters, which my large
experience of London life would enable me to do.
"My idea was to raise a boy from a most humble position up
to a high and respectable one--in fact, to illustrate one of
those cases of common occurrence, where men of humble
origin, by natural ability, industry, honest and honourable
conduct, raise themselves to first-class positions in
Society. And as I wished particularly to bring the habits
and manners of the thieves of London before the public (and
this for a most important purpose, which I shall explain one
of these days), I suggested that the poor boy should fall
among thieves, but that his honesty and natural good
disposition should enable him to pass through this ordeal
without contamination; and after I had fully described the
full-grown thieves (the Bill Sykeses) and their female
companions, also the young thieves (the Artful Dodgers) and
the receivers of stolen goods, Mr. Dickens agreed to act on
my suggestion, and the work was commenced, but we differed
as to what sort of boy the hero should be. Mr. Dickens
wanted rather a queer kind of chap, and, although this was
contrary to my original idea, I complied with his request,
feeling that it would not be right to dictate too much to
the writer of the story, and then appeared 'Oliver Asking
for More;' but it so happened just about this time that an
inquiry was being made in the parish of St. James's,
Westminster, as to the cause of the death of some of the
workhouse children who had been 'farmed out,' and in which
inquiry my late friend Joseph Pettigrew (surgeon to the
Dukes of Kent and Sussex) came forward on the part of the
poor children, and by his interference was mainly the cause
of saving the lives of many of these poor little creatures.
I called the attention of Mr. Dickens to this inquiry, and
said that if he took up this matter, his doing so might
help to save many a poor child from injury and death; and I
earnestly begged of him to let me make Oliver a nice pretty
little boy, and if we so represented him, the public--and
particularly the ladies--would be sure to take a greater
interest in him, and the work would then be a certain
success. Mr. Dickens agreed to that request, and I need not
add here that my prophecy was fulfilled: and if any one will
take the trouble to look at my representations of 'Oliver,'
they will see that the appearance of the boy is altered
after the two first illustrations, and, by a reference to
the records of St. James's parish, and to the date of the
publication of the _Miscellany_, they will see that both
dates tally, and therefore support my statement.
PLATE XI
STUDIES FOR
BILL SIKES, NANCY, AND THE ARTFUL DODGER
_Facsimile_ of Original Sketches by
GEORGE CRUIKSHANK
_Lent by Messrs. Robson & Co._
[Illustration]
"I had, a long time previously to this, directed Mr.
Dickens's attention to Field Lane, Holborn Hill, wherein
resided many thieves and receivers of stolen goods, and it
was suggested that one of these receivers, a Jew, should be
introduced into the story; and upon one occasion Mr. Dickens
and Mr. Harrison Ainsworth called upon me at my house in
Myddleton Terrace, Pentonville, and in course of
conversation I then and there described and performed the
character of one of these Jew receivers, whom I had long had
my eye upon; and this was the origin of 'Fagin.'
"Some time after this, Mr. Ainsworth said to me one day, 'I
was so much struck with your description of that Jew to Mr.
Dickens, that I think you and I could do something
together,' which notion of Mr. Ainsworth's, as most people
are aware, was afterwards carried out in various works. Long
before 'Oliver Twist' was ever thought of, I had, by
permission of the city authorities, made a sketch of one of
the condemned cells in Newgate prison; and as I had a great
object in letting the public see what sort of places these
cells were, and how they were furnished, and also to show a
wretched condemned criminal therein, I thought it desirable
to introduce such a subject into this work; but I had the
greatest difficulty to get Mr. Dickens to allow me to carry
out my wishes in this respect; but I said I must have
either what is called a Christian or what is called a Jew in
a condemned cell, and therefore it must be 'Bill Sikes' or
'Fagin;' at length he allowed me to exhibit the latter.
"Without going further into particulars, I think it will be
allowed from what I have stated that I am the originator of
'Oliver Twist,' and that all the principal characters are
mine; but I was much disappointed by Mr. Dickens not fully
carrying out my first suggestion.
"I must here mention that nearly all the designs were made
from conversation and mutual suggestion upon each subject,
and that I never saw any manuscript of Mr. Dickens until the
work was nearly finished, and the letter of Mr. Dickens
which Mr. Forster mentions only refers to the last
etching--done in great haste--no proper time being allowed,
and of a subject without any interest; in fact, there was
not anything in the latter part of the manuscript that would
suggest an illustration; but to oblige Mr. Dickens I did my
best to produce another etching, working hard day and night,
but when done, what is it? Why, merely a lady and a boy
standing inside of a church looking at a stone wall!
"Mr. Dickens named all the characters in this work himself,
but before he had commenced writing the story he told me
that he had heard an omnibus conductor mention some one as
Oliver Twist, which name, he said, he would give the boy, as
he thought it would answer his purpose. I wanted the boy to
have a very different name, such as Frank Foundling or Frank
Steadfast; but I think the word Twist proves to a certain
extent that the boy he was going to employ for his purpose
was a very different sort of boy from the one introduced and
recommended to him by, Sir, your obedient servant,
"GEORGE CRUIKSHANK.
"HAMPSTEAD ROAD, _December 29, 1871_."
PLATE XII
STUDIES FOR
BILL SIKES IN THE CONDEMNED CELL
_Facsimile_ of Original Sketches by
GEORGE CRUIKSHANK
[Illustration]
In 1872 Cruikshank issued a pamphlet entitled "The Artist and the
Author, a Statement of Facts," where he positively asserted that not
only was he the actual originator of "Oliver Twist," but also of
many of Harrison Ainsworth's weird romances; that these authors "wrote
up to his suggestions and designs," just as Combe did with regard to
"Dr. Syntax" and Rowlandson's previously-executed illustrations. In
another published letter, dated more than a year prior to that printed
in the _Times_, the artist emphatically declared that the greater part
of the second volume of "Sketches by Boz" was written from his hints and
suggestions, and he significantly added, "I am preparing to publish an
explanation of the reason why I did not illustrate the _whole_ of Mr.
Dickens's writings, and this explanation will not at all redound to his
credit." Indeed, so thoroughly was he imbued with this conviction, that
on April 20, 1874, in responding to a vote of thanks accorded him by the
Mayor of Manchester for an address on Intemperance, he reiterated his
statement relative to the origin of "Oliver Twist." The Mayor having
referred to the artist's designs in Dickens's novels, Cruikshank
intimated that the only work of the novelist he had illustrated was
"Sketches by Boz"; his worship remarked, "You forget 'Oliver Twist,'"
whereupon Cruikshank replied, "That came out of my own brain. I wanted
Dickens to write me a work, but he did not do it in the way I wished. I
assure you I went and made a sketch of the condemned cell many years
before that work was published. I wanted a scene a few hours before
strangulation, and Dickens said he did not like it, and I said he must
have a Jew or a Christian in the cell. Dickens said, 'Do as you like,'
and I put Fagin, the Jew, into the cell. Dickens behaved in an
extraordinary way to me, and I believe it had a little effect on his
mind. He was a most powerful opponent to Teetotalism, and he described
us as 'old hogs.'"[4]
Footnote 4: This is, doubtless, a reference to an article by
Dickens entitled "Whole Hogs," which appeared in _Household
Words_, August 23, 1851, protesting against the extreme views
of the Temperance party.
Unfortunately for Cruikshank's claim to the origin of "Oliver Twist," he
allowed more than thirty years to elapse before making it public. When
questioned on this point he would say that ever since these works were
published, and even when they were in progress, he had in private
society, when conversing upon such matters, always explained that the
original ideas and characters of these works emanated from him! Mr.
Harrison Ainsworth has recorded that Dickens was so worried by
Cruikshank putting forward suggestions that he resolved to send him only
printed proofs for illustration. In a letter to Forster (January 1838)
the novelist wrote, alluding to the severity of his labours: "I have not
done the 'Young Gentleman,' nor written the preface to 'Grimaldi,' nor
thought of 'Oliver Twist,' or _even supplied a subject for the plate_,"
the latter intimation sufficiently indicating that Dickens was more
directly concerned in the selection of suitable themes for illustration
than Cruikshank would have us believe. The author of "Sketches by Boz"
abundantly testified in those remarkable papers that his eyes, like
Cruikshank's, had penetrated the mysteries of London; indeed, we find in
the "Sketches" all the material for the story of poor Oliver, where it
is more artistically and dramatically treated. It is not improbable, of
course, that from Cruikshank's familiarity with life in the Great City
he was enabled to offer useful hints to the young writer, and even
perhaps to make suggestions respecting particular characters; but this
constitutes a very unimportant share in the production of a literary
work. To what extent the interchange between artist and author was
carried can never be satisfactorily determined; but of this there can be
no doubt, that Cruikshank's habit of exaggeration, combined with his
eagerness in over-estimating the effect of his work, led him (as Mr.
Blanchard Jerrold remarks) "into injudicious statements or
over-statements," which were sometimes provocative of much unpleasant
controversy. It is, however, no exaggeration to say that the pencil of
George Cruikshank was as admirable in its power of delineating character
as was the mighty pen of Charles Dickens, and that in the success and
popularity of "Oliver Twist" they may claim an equal share.
PLATE XIII
"FAGIN IN THE CONDEMNED CELL"
_Facsimile_ of a Trial Sketch by
GEORGE CRUIKSHANK
[Illustration]
[Sidenote: =Minor Writings in "Bentley's Miscellany."=]
Certain humorous pieces written by Dickens for Richard Bentley were also
illustrated by Cruikshank. The first paper, entitled "Public Life of Mr.
Tulrumble, once Mayor of Mudfog" (published in January 1837), contains
an etching of Ned[5] Twigger in the kitchen of Mudfog Hall, and the next
contribution, purporting to be a "Full Report of the Second Meeting of
the Mudfog Association for the Advancement of Everything" (September,
1838) is embellished with a very ludicrous illustration, entitled
"Automaton Police Office and Real Offenders, from the model exhibited
before Section B of the Mudfog Association." This design depicts the
interior of a police-court in which all the officials are automatic--an
ingenious rendering of the idea propounded by Mr. Coppernose to the
President and members of the Association. To the second paper the artist
also supplied a woodcut portrait of "The Tyrant Sowster," of whom he
made no less than six studies before he succeeded in producing a
satisfactory presentment of Mudfog's "active and intelligent" beadle.
Footnote 5: In the original title on the plate, Ned Twigger's
Christian name is incorrectly given as Tom.
In his juvenile days Dickens wrote a farce entitled "The Lamplighter,"
which, owing to its non-acceptance by the theatrical management for whom
it was composed, he converted into an amusing tale called "The
Lamplighter's Story." This constituted his share in a collection of
light essays and other papers gratuitously supplied by well-known
authors, and issued in volume form under the title of "The Pic Nic
Papers," for the benefit of the widow of Macrone, Dickens's first
publisher. The work, edited by Dickens, was launched by Henry Colborn in
1841, in three volumes, with fourteen illustrations by Cruikshank,
"Phiz," and other artists. The first volume opened with "The
Lamplighter's Story," for which Cruikshank provided an etching entitled
"The Philosopher's Stone," the subject represented being the unexpected
explosion of Tom Grig's crucible. This was the last illustration
executed by the artist for Dickens's writings,[6] and it may be added
that some impressions of the plate were issued in proof state "before
letters," but these are exceedingly rare. Although for many years
afterwards they continued fast friends, it may be (as Mr. Graham Everitt
conjectures) that Cruikshank found it impossible to co-operate any
longer with so exacting an employer of artistic labour as Charles
Dickens, who remonstrated, with some show of reason, that he was the
best judge of what he required pictorially,--an argument, however, which
did not suit the independent spirit of the artist. Of his genius Dickens
was ever a warm admirer, and remarking upon the exclusion of so able a
draughtsman from the honours of the Royal Academy, because, forsooth!
his works were not produced in certain mediums, the novelist pertinently
asks: "Will no Associates be found upon its books one of these days, the
labours of whose oil and brushes will have sunk into the profoundest
obscurity, when many pencil-marks of Mr. Cruikshank and Mr. Leech will
be still fresh in half the houses in the land?"
Footnote 6: Cruikshank designed the illustrations for the
"Memoirs of Grimaldi," 1838, but this work was merely edited
by Dickens, and therefore does not come within the scope of
the present volume.