Gray, and Vasey) Browne hardly did himself justice, their exaggerated
grotesqueness tending to deprive these little pictorial compositions of
much of their artistic value. Observe, for example, the repulsive
features of Kit, his mother, and the child in the tenth chapter of "The
Old Curiosity Shop," and note how positively diabolical are his
representations of Sampson Brass and his sister, and of Dick Swiveller.
It is difficult to believe that the terrible-looking creature intended
for the Marchioness, in the fifty-seventh and sixty-fifth chapters,
would ever have developed into a "good-looking" girl, as she really did,
according to the text. It is probably such unpleasing illustrations as
these which induced Mr. Frederic Harrison in _The Forum_ to condemn,
with exceeding severity, the artist's propensity for caricature; "the
grins, the grimaces, the contortions, the dwarfs, the idiots, the
monstrosities of these wonderful sketches could not be found in human
beings constructed on any known anatomy." Other woodcuts are of
course excellent, especially those in which Mr. Pickwick and the Wellers
are resuscitated. One of the most striking, however, is the weird
water-scape showing the corpse of Quilp washed ashore--a vista of
riparian scenery which, for the sense of desolate breadth and loneliness
it suggests, it would be difficult to excel. An illustration deserving
special examination is the tailpiece for the chapter immediately
following the end of "The Old Curiosity Shop," where the artist has
depicted Master Humphrey in his arm-chair, surrounded by Lilliputian
figures, among which may be recognised some of the principal actors in
the story.
A careful comparison of the illustrations with the text of "The Old
Curiosity Shop" reveals certain slight inaccuracies on the part of the
artist. For example, in the twenty-seventh chapter we read that Quilp
leant upon his stick as he beckoned to the boy carrying his trunk,
whereas "Phiz" depicts him raising the stick. In the woodcut portraying
Kit and his party at Astley's Theatre, the umbrella should be held by
Barbara's mother, and not Kit's. Again, in a subsequent chapter, we are
told that Sampson Brass's hat was "grievously crushed," but "Phiz" has
represented it with the crown suspended by a single thread,--a striking
instance of his tendency to exaggeration. The careful reader will also
note (in the seventeenth chapter) that the stilt on the right leg of the
"young gentleman" in "Grinder's lot" is at least twelve inches shorter
than its fellow, and that Mrs. Jarley's horse (in the twenty-sixth
chapter) is considerably out of proportion with its surroundings; the
caravan, too, is incorrectly drawn, and Mrs. Jarley with the drum should
have been placed upon the platform of the van. The inherent humour of
"Phiz" was often _àpropos_, an amusing instance being discoverable in
the illustration of Miss Monflathers and her young ladies (in the
thirty-first chapter), where the inscription on the board above the wall
reads, "Take notice--Man traps."
Although the designs in "Barnaby Rudge" are not entirely exempt from
the charge of exaggeration, they are, on the whole, more pleasing. The
artist seems to have fairly revelled in the scenes depicting the
rioters, and, while failing in his conception of Sir John Chester, he
successfully realised the more picturesque figures of Barnaby and
Maypole Hugh, the latter being admirably limned. Professor Ruskin,
however, in his "Ariadne Florentina," denounces these woodcuts in
language more caustic even than that of Mr. Frederic Harrison: "Take
up," he says, "for an average specimen of modern illustrated works, the
volume of Dickens's 'Master Humphrey's Clock' containing 'Barnaby
Rudge.'... The cheap popular Art cannot draw for you beauty, sense, or
honesty; and for Dolly Varden, or the locksmith, you will look through
the vignettes in vain. But every species of distorted folly or vice ...
are pictured for your honourable pleasure on every page, with clumsy
caricature, struggling to render its dulness tolerable by insisting on
defect." The drawing of Barnaby and the Raven (the final illustration in
the second volume) is one of the few the author of this pungent
criticism can bring himself to admire. "The raven," he observes, "like
all Dickens's animals, is perfect; and I am the more angry with the rest
because I have every now and then to open the book to look for him."
Respecting these woodcuts, it may be pointed out that Dickens omitted to
mention which arm Joe Willet was deprived of "in the defence of the
Salwanners." Curiously enough, "Phiz" similarly fails to assist us in
deciding the point, as, in the illustrations depicting him after the
war, he is seen _minus_ the right arm in four instances, while in
another woodcut it is the left which has disappeared.
The frontispieces designed by Browne for the second and third volumes
are both elaborate and fanciful. In the first is seen an enormous
hour-glass containing a crowd composed of some of the minor characters
in the story, while surrounding it are representations of the more
prominent persons. It was originally intended that George Cattermole
should execute this drawing, but, being prevented by illness, it fell
into the hands of "Phiz," who thereupon wrote to the novelist:--
"_Sunday Morning._
"MY DEAR DICKENS,--Will you give me some notion of what sort
of design you wish for the Frontispiece for second volume of
_Clock_? Cattermole being put _hors de combat_--Chapman with
a careworn face (if you can picture that) brings me the
block at the eleventh hour and requires it finished by
Wednesday. Now, as I have two others to complete in the
meantime, something nice and _light_ would be best adapted
to my _palette_, and prevent an excess of perspiration in
the relays of wood-cutters. You shall have the others to
criticise on Tuesday.--Yours very truly,
"HABLÔT K. BROWNE."
In the frontispiece to the third volume is portrayed an ornamental
clock, at the summit of which is seated Master Humphrey, while on either
side and at the base are introduced the presentments of Barnaby with his
raven and other individuals in the tale. "Phiz" was also responsible for
the elaborate design on the wrapper of the weekly numbers.
The following amusing epistle, having reference to the initial letter
drawn by "Phiz" for the sixty-fifth chapter, was addressed by Dickens to
a member of his publishing firm, Edward Chapman, the "precipice" here
mentioned being a humorous allusion to the latter's approaching
marriage:--
"BROADSTAIRS, _Thursday, 16th September 1841_.
"MY DEAR SIR,--Know for your utter confusion, and to your
lasting shame and ignominy, that the initial letter HAS BEEN
provided, that it was furnished to the artist at the same
time as the subject--and that it is a
D
"--which stands for
Double--Demnible--Doubtful--Dangerous--Doleful--Disastrous--Dreadful
--Deuced--Dark--Divorce--and Drop--all applicable to the Precipice
on which you stand.
"Farewell! If you did but know--and would pause, even at
this late period--better an action for breach than--but we
buy experience. Excuse my agitation. I scarcely know what I
write. To see a fellow-creature--and one who has so long
withstood--still if--will _nothing_ warn you?
"In extreme excitement
C. D.
"My hand fails me.
"P.S.--PAUSE
PUT IT OFF
"P.P.S.--EMIGRATE
"P.P.P.S.--AND LEAVE ME
THE BUSINESS--
I MEAN THE STRAND ONE."
On the conclusion of the second volume of "Master Humphrey's Clock," a
dinner was given by Dickens to celebrate the event. Serjeant Talfourd
presided, and the guests included those engaged in the production of the
work. "Phiz," in accepting the invitation to be present, wrote as
follows:--
33 HOWLAND STREET [1841].
"MY DEAR DICKENS,--I shall be most happy to remember not to
forget the 10th April, and let me express a _dis_interested
wish that, having completed and established one 'Shop' in an
'extensive line of business,' you will go on increasing and
multiplying suchlike establishments in number and prosperity
till you become a Dick Whittington of a merchant, with
pockets distended to most Brobdignag dimensions.--Believe
me, yours very truly,
"HABLÔT K. BROWNE.."
PLATE XXXIV
"MR. PEGGOTTY'S DREAM COMES TRUE"
_Facsimile_ of the Original Drawing for "David Copperfield" by
H. K. BROWNE ("PHIZ")
In the published version the figure of Rosa Dartle (on the left) is
omitted, and David's hat is placed upon the table.
_Lent by Her Grace the Duchess of St. Albans._
[Illustration]
Through the courtesy of Mr. J. F. Dexter, I am enabled to reproduce in
_facsimile_ one of the original designs for "Master Humphrey's Clock,"
depicting Master Humphrey and the Deaf Gentleman. This drawing, executed
in pencil, differs slightly from the engraving; underneath it Dickens
has written, "Master Humphrey ADMIRABLE. Could his stick (with a crooked
top) be near his chair? I misdoubt the deaf gentleman's pipe, and wish
he could have a better one."
To the first cheap edition of "Barnaby Rudge," 1849, "Phiz" contributed
the frontispiece,--a drawing on wood (engraved by W. T. Green)
representing Dolly Varden, with Hugh hiding in the bushes. In the
Library Edition (1858-59) the stories were published independently, each
in two volumes, with pretty vignettes on the title-pages, specially
designed by the same artist and engraved on steel. The original drawings
were delicately tinted in water-colours, the subjects being Little Nell
and her Grandfather, Dick Swiveller and the Marchioness, Dolly Varden
and Joe Willet, Barnaby and Hugh. In these engravings the female
characters are much more charmingly conceived than are those in the
woodcuts.
In 1848, when the first cheap edition of the story appeared, Hablôt
Browne made four new designs as "Extra Illustrations" for "The Old
Curiosity Shop," viz., Little Nell and her Grandfather, the Marchioness,
Barbara, and the Death of Little Nell. They were beautifully engraved in
stipple, and issued as an independent publication by the artist and his
coadjutor, Robert Young, whose joint venture it was. In the following
year they produced a similar set of four plates illustrating "Barnaby
Rudge," viz., Emma Haredale, Dolly Varden, Mrs. Varden and Miggs, and
Hugh and Barnaby. The portraits of the various characters were engraved
by Edwards and Knight, under the superintendence of Browne and Young.
The original drawing of Dolly Varden, one of "Phiz's" happiest
conceptions, is in the possession of Her Grace the Duchess of St.
Albans, together with an unengraved study for Emma Haredale. There are
extant, in Mr. J. F. Dexter's collection, two other studies for the
Dolly Varden plate, neither of which has been reproduced; the same
gentleman also owns the drawings of Nell and Barbara, the latter being
slightly different from, and superior to, the engraving.
A complete series of original water-colour drawings by "Phiz" for "The
Old Curiosity Shop" and "Barnaby Rudge," including an unused design for
a tailpiece, were sold at Sotheby's in 1897, and realised £610. These
drawings were executed as a commission for Mr. F. W. Cosens.
* * * * *
[Sidenote: =Martin Chuzzlewit, 1843-44.=]
Browne's versatile pencil was again actively employed in embellishing
the story begun by Dickens soon after his return from America in 1842,
and to this he contributed forty etchings. Here the figures are drawn on
a larger scale than usual, thus affording more scope for the delineation
of character.
The frontispiece is a most elaborate design, representing the principal
characters and incidents in the story, with Tom Pinch at the organ as a
central idea. In the illustration where Mark Tapley is seen starting
from his native village for London, "Phiz" exhibits his sense of the
picturesque in the old gables and dormers of the ancient tenements in
the background, while that depicting "Mr. Pecksniff on his Mission" is
an excellent verisimilitude of such a locality as Kingsgate Street of
fifty years since. But the etching in "Chuzzlewit" which may be
described as the artist's happiest effort as a comic creation is that
where Mrs. Gamp "propoges" a toast. Here he has admirably illustrated
the text,--the two midwives in friendly chat, surrounded by bandboxes
and other accessories, while behind are seen the immortal Sarah's rusty
gowns, which, depending from the bedposts, "had so adapted themselves by
long usage to her figure, that more than one impatient husband, coming
in precipitately at about the time of twilight, had been for an instant
stricken dumb by the supposed discovery that Mrs. Gamp had hanged
herself."
All the designs for "Martin Chuzzlewit" were etched on quarto plates,
two on each plate. Five of these plates were etched three times, these
including, besides the frontispiece and vignette title, the first six
illustrations in the book, and two which appeared in the fourteenth
number, viz., "Mr. Pinch Departs to Seek his Fortune," and "Mr. Nadgett
Breathes, as Usual, an Atmosphere of Mystery." A careful examination of
different copies of the first edition will disclose minute variations in
these particular illustrations, worthy of special mention being the
vignette title, where, in the earliest impressions, the £ mark is
incorrectly placed after the figures in the amount of reward on the
bill.
In the majority of the "Chuzzlewit" etchings there is a vigour and
precision of touch indicating the artist's riper experience. It must,
however, be admitted that a few of the plates are so feeble in execution
in comparison with the rest as to suggest that "Phiz's" drawings were
copied on the plate by a less expert etcher. An instance of this poverty
of execution will be found in the first design, depicting "The Meekness
of Mr. Pecksniff and his Charming Daughters," and the fact that this
plate is unsigned seems significant; in reply to my enquiry respecting
it, Mr. Robert Young assured me that "no one ever copied or etched
plates for Browne; he traced the subject on the steel himself, and
etched every line before it was bitten in. I know no reason for the
omission of his signature to any of his plates."
In a few instances the artist has not strictly followed the text. For
example, in the plate where Mr. Pecksniff calls upon Mrs. Gamp, the
pie-shop is placed next door, whereas it is clearly described as being
next door _but one_. In the etching of Mark Tapley "finding a jolly
subject for contemplation," instead of Mark's name being inscribed in
full upon the "Rowdy Journal" door, his initials only should appear, "in
letters nearly half a foot long, together with the day of the month in
smaller type;" the four horses harnessed to the coach in which Tom Pinch
departs to seek his fortune ("Phiz's" horses, by the way, are always
well drawn) are described as "greys," while in the plate only one is
thus represented. Such discrepancies, however, although interesting to
note, are unimportant. As usual, we find in the accessories (such as the
titles of books and pictures) sly touches of humour peculiarly _àpropos_
of the principal theme. "Phiz's" design for the wrapper of the monthly
parts is emblematical of the story; here "silver spoons" and "wooden
ladles," as embodied in the original title, play a conspicuous part.
The "Chuzzlewit" drawings, all of which have been preserved, are
executed in pencil, some having washes of neutral tint. They vary but
slightly from the etchings, the greatest differences being noted in the
first two designs, this doubtless arising from the difficulty
experienced by the artist in immediately seizing the author's meaning.
In one special instance Dickens favoured his illustrator with very
precise instructions. Respecting the American scenes, the artist desired
more details than usual, so he received from the novelist the following
letter (now in Mr. J. F. Dexter's collection), giving particulars for
the plate representing "The Thriving City of Eden, as it appeared in
Fact."
"Martin and Mark are displayed as the tenants of a wretched log hut (for
a pattern whereof see a vignette brought by Chapman & Hall) in a
perfectly flat, swampy, wretched forest of stunted timber in every stage
of decay, with a filthy river running before the door, and some other
miserable log houses distributed among the trees, whereof the most
ruinous and tumble-down of all is labelled 'Bank and National Credit
Office.' Outside their door, as the custom is, is a rough sort of form
or dresser, on which are set forth their pot and kettle and so forth,
all of the commonest kind. On the outside of the house, at one side of
the door, is a written placard, 'Chuzzlewit and Co., Architects and
Surveyors,' and upon a stump of tree, like a butcher's block, before the
cabin, are Martin's instruments--a pair of rusty compasses, &c. On a
three-legged stool beside this block sits Martin in his shirt sleeves,
with long dishevelled hair, resting his head upon his hands--the
picture of hopeless misery--watching the river and sadly remembering
that it flows towards home. But Mr. Tapley, up to his knees in filth and
brushwood, and in the act of endeavouring to perform some
impossibilities with a hatchet, looks towards him with a face of
unimpaired good humour, and declares himself perfectly jolly. Mark, the
only redeeming feature. Everything else dull, miserable, squalid,
unhealthy, and utterly devoid of hope--diseased, starved, and abject.
The weather is intensely hot, and they are but partially clothed."
The artist, naturally bewildered by such elaborate directions, has
written underneath this note: "I can't get all this perspective in,
unless you will allow of a long subject--something less than a mile!"
For the plate, "Martin Chuzzlewit Suspects the Landlady," two drawings
were prepared, but the second was probably only to guide the biter-in of
the steel as to the effect of light and shade required; for it
occasionally happened that "Phiz" had not time to give verbal
instructions to his assistant, when he would send a rough indication of
what was needed in the matter of _chiaroscuro_. In the original drawing
representing "The Meekness of Mr. Pecksniff and his Charming Daughters,"
the figure of Tom Pinch differs from the plate, and shows signs of
having been quickly sketched in, as though the first idea was not to
introduce him at all; in a second delineation of the same subject this
figure is limned with greater care.
The original designs for "Chuzzlewit" were disposed of at Sotheby's in
1889 for £433, 13s., the beautifully-finished drawing of the
frontispiece realising £35, while that of "Mrs. Gamp 'Propoges' a
Toast," rightly considered as one of the artist's _chef-d'oeuvres_,
was purchased for £35, 10s.
To the Library Edition (1858-59) "Phiz" contributed a vignette for the
title-page of each of the two volumes of "Martin Chuzzlewit," which were
engraved on steel from the original water-colour drawings. The subject
of the first design is almost a repetition of the etching in the
original issue, and depicts the "Meekness of Mr. Pecksniff and his
Charming Daughters," the ladies being certainly more attractive in the
later conception. In the second vignette we see Mrs. Gamp and Betsy
Prig, at the moment when the latter, in her wrath, denied the existence
of the memorable Mrs. Harris.
* * * * *
[Sidenote: =Dombey and Son, 1846-48.=]
Among the forty illustrations prepared by "Phiz" for "Dombey and Son"
will be found some of the artist's happiest efforts. By this time his
experience with the etching-needle enabled him to execute his designs
upon the steel plates with wonderful facility and dexterity, and
continual practice had made him almost perfect in this particular branch
of art. All these plates were etched in duplicate; the greater number
were drawn on quarto plates, having two subjects on each as usual, but
the frontispiece, the last four illustrations, and the duplicates of
three others were etched singly on steels of octavo size.[25]
Footnote 25: An American edition (published in 1844) contains
fourteen clever _replicas_ of the "Dombey" etchings.
The duplicates do not vary much; that in which an alteration is most
noticeable, although hardly perceptible, is "Abstraction and
Recognition," the bills on the wall near Alice in one plate being less
mutilated than in the other. There was such a large circulation of the
book in part form that the printing from the plates could not be
executed quickly enough, the etchings being rarely sent in until the
last minute; so that it became necessary to resort to lithographic
transfers until the duplicate plates could be etched. In "Dombey and
Son" the artist first introduced the oblong form of illustration, this
lending itself more appropriately to the subjects so treated, and in
succeeding novels we find a fair sprinkling of designs of this shape.
When nearing the end of the story he essayed, with considerable success,
a new method of obtaining _chiaroscuro_, and he afterwards adopted it
whenever striking effects were required. The only plate in "Dombey" so
treated is "On the Dark Road," on which, by means of a ruling-machine, a
tint had been placed before the subject was drawn, and, by a process of
biting-in, stopping-out, and burnishing, an effect resembling mezzotint
was obtained. The machine was kept in Mr. Young's studio at Furnival's
Inn, and could be manipulated by a boy, the operation of "ruling" being
a purely mechanical one; it was the subsequent treatment by acid and
burnisher, in reproducing the tones of the original drawing, that
required the knowledge of an expert.
A few anomalies may be discovered in the "Dombey" plates. In the various
representations of Captain Cuttle the artist has depicted him, in two
instances, with the hook upon the left arm instead of the right. When
comparing the three plates portraying Sol Gills's little back-parlour,
certain little discrepancies are apparent, such as the altered position
of the model of a brig, &c. In the plate entitled "The Wooden Midshipman
on the Look-out," Florence is delineated as a well-developed young
woman, whereas, according to the text, she was then but a mere child of
fourteen. In the same illustration the artist has drawn a pair of horses
(or rather their heads) which can have no possible connection with the
omnibus near by, although they are evidently intended to be associated
therewith. In the etching "Abstraction and Recognition," Alice and her
mother standing in the archway are much too tall; it is interesting to
note here the advertisement on the wall of Cruikshank's "Bottle," which
may be considered as denoting the popularity of that remarkable series
of pictures, then being issued. Two palpable errors are discoverable in
the illustration entitled "On the Dark Road," for not only does the
driver hold the reins in the wrong hand, but it will be seen that the
wheels of the rapidly-moving carriage are really represented as
stationary, while the "off" wheels are omitted altogether. In the last
plate but one, the figure of Florence is not sufficiently visionary, and
therefore fails to convey the author's meaning respecting the
conscience-stricken Dombey.
Hablôt Browne invariably laboured under some disadvantage when designing
his illustrations for Dickens; indeed, he was sometimes compelled to
draw his inspiration merely from the author's verbal explanation or
reading of a particular passage; so it is not surprising that we
discover an occasional discrepancy. In the case of "Dombey," he
experienced a difficulty of another kind, for during the writing of the
story Dickens was living at Lausanne in Switzerland, and the sketches
had to be sent there for his criticism and approval, which not only
caused delay, but gave the artist some trouble in understanding the
suggestions made by the author when returning the drawings.
PLATE XXXV
"MR. CHADBAND 'IMPROVING' A TOUGH SUBJECT"
_Facsimile_ of the Original Drawing for "Bleak House" by
H. K. BROWNE ("PHIZ")
In the Etching the figure of Jo is placed on the opposite side of the
picture.
_Lent by Her Grace the Duchess of St. Albans._
[Illustration]