Barnaby's raven in particular? Barnaby being an idiot, my notion is to
have him always in company with a pet raven, who is immeasurably more
knowing than himself. To this end I have been studying my bird, and
think I could make a very queer character of him. Should you like the
subject when this raven makes his first appearance?"
Two days later, he again pressed the question:--
"I must know what you think about the raven, my buck; I otherwise am in
this fix. I have given Browne no subject for this number, and time is
flying. If you would like to have the raven's first appearance, and
don't object to having both subjects, so be it. I shall be delighted. If
otherwise, I must feed that hero forthwith."
But Cattermole apparently declined the privilege of introducing to the
world a presentment of the immortal "Grip,"--an honour which therefore
fell to "Phiz's" pencil. On January 30, 1841, Dickens despatched to the
artist some printed slips describing Gabriel Varden's house, "which I
think [he said] will make a good subject, and one you will like. If you
put the ''prentice' in it, show nothing more than his paper cap, because
he will be an important character in the story, and you will need to
know more about him, as he is minutely described. I may as well say that
he is very short. Should you wish to put the locksmith in, you will find
him described in No. 2 of 'Barnaby' (which I told Chapman & Hall to send
you). Browne has done him in one little thing, but so very slightly that
you will not require to see his sketch, I think."
On February 9th the artist received the following request:--
"Will you, for No. 49, do the locksmith's house, which was described in
No. 48? I mean the outside. If you can, without hurting the effect, shut
up the shop as though it were night, so much the better. Should you want
a figure, an ancient watchman in or on his box, very sleepy, will be
just the thing for me.
"I have written to Chapman and requested him to send you a block of a
long shape, so that the house may come upright, as it were."
From this note, and a subsequent one in which Dickens commands the
artist to put "a penny pistol to Chapman's head and demand the blocks of
him," we learn that Cattermole had by this time accustomed himself to
copying his designs upon wood, and could dispense with that kind of
assistance. His drawing of the dilapidated but picturesque old country
inn, "The Boot," whither the rioters resorted, is, I believe, a direct
transcript from an old print representing the place as it appeared at
the time referred to, 1780; the woodcut is in reverse of the print.[33]
Here are two letters (dated July 28th and August 6th, 1841,
respectively) that fairly bristle with details of scenes, in chapters
liv. and lvi., which the artist was desired to depict:--
Footnote 33: A modern public-house still stands upon the
site, in Cromer Street, Gray's Inn Road. It retains the
original sign.
"Can you do for me by Saturday evening--I know the time is short, but I
think the subject will suit you, and I am greatly pressed--a party of
rioters (with Hugh and Simon Tappertit conspicuous among them) in old
John Willet's bar, turning the liquor taps to their own advantage,
smashing bottles, cutting down the grove of lemons, sitting astride on
casks, drinking out of the best punch-bowls, eating the great cheese,
smoking sacred pipes, &c., &c.; John Willet fallen backward in his
chair, regarding them with a stupid horror, and quite alone among them,
with none of the Maypole customers at his back?
"It's in your way, and you'll do it a hundred times better than I can
suggest it to you, I know."
* * * * *
"Here's a subject for the next number.... The rioters went, sir, from
John Willet's bar (where you saw them to such good purpose) straight to
the Warren, which house they plundered, sacked, burned, pulled down as
much of it as they could, and greatly damaged and destroyed. They are
supposed to have left it about half-an-hour. It is night, and the ruins
are here and there flaming and smoking. I want--if you understand--to
show one of the turrets laid open--the turret where the alarm-bell is,
mentioned in No. 1; and among the ruins (at some height if possible) Mr.
Haredale just clutching our friend, the mysterious file, who is passing
over them like a spirit; Solomon Daisy, if you can introduce him,
looking on from the ground below.
"Please to observe that the M. F. wears a large cloak and slouched hat.
This is important, because Browne will have him in the same number, and
he has not changed his dress meanwhile. Mr. Haredale is supposed to have
come down here on horseback pell-mell; to be excited to the last degree.
I think it will make a queer picturesque thing in your hands....
_P.S._--When you have done the subject, I wish you'd write me one line
and tell me how, that I may be sure we agree."
In sending to Dickens for approval a sketch of the ruined home of Mr.
Haredale, the artist enclosed the following letter, now printed for the
first time:--
"MY DEAR DICKENS,--I cannot hope you will make much out of
the accompanying sketch.[34] I suppose the spectator to be
placed upon the roof of one of the wings of the Warren
House, and towards him are rushing ... [Rudge] and Mr.
Haredale as they issue from a small door in the tower,
whereunto is attached (as part and parcel of the same) the
bell-turret. A small closet through which they pass to the
roof has been dismantled, or rather thrown down and carried
by the fire and the other spoilers; on the grass below is
rooted Solomon Daisy in an ecstasy of wonder, &c., &c.;
beyond are clouds of smoke a-passing over and amongst many
tall trees, and all about are heard the tenants, frightened
rooks, flying and cawing like mad.--In haste, my dear
Charles,
"G. CATTERMOLE."
CLAPHAM, _Aug. 12_ [1841].
Footnote 34: See Plate. Both sketch and letter are in the
collection of Mr. Augustin Daly, of New York, to whom I am
indebted for the opportunity of reproducing them.
PLATE XLI
"THE NIGHT WATCHMAN"
AND
"THE 'MAYPOLE' INN"
_Facsimiles_ of Original Sketches for "Barnaby Rudge" by
GEORGE CATTERMOLE
_Lent by Mr. S. J. Davey._
[Illustration]
[Illustration]
It will be observed that the incident depicted in this illustration
takes place in utter darkness, while the published woodcut represents a
daylight scene. This remark also applies to the subject of the next
letter (dated August 19, 1841), which was treated by the artist in
a similar manner; the effect of torchlight being entirely absent from
the picture necessarily deprives it of much dramatic character:--
"When Hugh and a small body of the rioters cut off from the Warren
beckoned to their pals, they forced into a very remarkable postchaise
Dolly Varden and Emma Haredale, and bore them away with all possible
rapidity; one of their company driving, and the rest running beside the
chaise, climbing up behind, sitting on the top, lighting the way with
their torches, &c., &c. If you can express the women inside without
showing them--as by a fluttering veil, a delicate arm, or so forth,
appearing at the half-closed window--so much the better. Mr. Tappertit
stands on the steps, which are partly down, and, hanging on to the
window with one hand and extending the other with great majesty,
addresses a few words of encouragement to the driver and attendants.
Hugh sits upon the bar in front; the driver sitting postilion-wise, and
turns round to look through the window behind him at the little doves
within. The gentlemen behind are also anxious to catch a glimpse of the
ladies. One of those who are running at the side may be gently rebuked
for his curiosity by the cudgel of Hugh. So they cut away, sir, as fast
as they can.
"_P.S._--John Willet's bar is noble."
There were yet a few more illustrations required for the closing
chapters of "Barnaby Rudge," concerning which the artist received very
precise instructions from the author. For example, on September 14,
1841, Dickens forwarded to his illustrator the following "business
letter, written in a scramble just before post-time," the directions
having reference to incidents in chapters lxxiii., lxxxi., and
lxxxii.:--
"_Firstly_, Will you design, upon a block of wood, Lord George Gordon,
alone and very solitary, in his prison, and after your own fancy; the
time, evening; the season, summer?
"_Secondly_, Will you ditto upon a ditto, a sword-duel between Mr.
Haredale and Mr. Chester, in a grove of trees? No one close by. Mr.
Haredale has just pierced his adversary, who has fallen, dying, on the
grass. He (that is, Chester) tries to staunch the wound in his breast
with his handkerchief; has his snuff-box on the earth beside him, and
looks at Mr. Haredale (who stands with his sword in his hand looking
down on him) with most supercilious hatred, but polite to the last. Mr.
Haredale is more sorry than triumphant.
"_Thirdly_, Will you conceive and execute, after your own fashion, a
frontispiece for 'Barnaby'?
"_Fourthly_, Will you also devise a subject representing 'Master
Humphrey's Clock' as stopped; his chair by the fireside empty; his
crutch against the wall; his slippers on the cold hearth; his hat upon
the chair-back; the MSS. of 'Barnaby' and 'The Curiosity Shop' heaped
upon the table; and the flowers you introduced in the first subject of
all withered and dead? Master Humphrey being supposed to be no more.
"I have a fifthly, sixthly, seventhly, and eighthly; for I sorely want
you, as I approach the close of the tale; but I won't frighten you, so
we'll take breath.
"_P.S._--I have been waiting until I got to subjects of this nature,
thinking you would like them best."
Owing to an illness from which Cattermole was then suffering, the
frontispiece here referred to was designed by Hablôt Browne. A few days
later, the author bethought him of an incident earlier in the story
(chapter lxix.), which required an illustration, and anent this he
despatched the following note:--
"Will you, before you go on with the other subjects I gave
you, do one of Hugh, bareheaded, bound, tied on a horse, and
escorted by horse-soldiers to jail? If you can add an
indication of old Fleet Market, and bodies of foot-soldiers
firing at people who have taken refuge on the tops of
stalls, bulk-heads, etc., it will be all the better."
PLATE XLII
THE MURDER AT THE WARREN
_Facsimile_ of the Original Sketch for "Barnaby Rudge" by
GEORGE CATTERMOLE
_Lent by Mr. Augustin Daly._
[Illustration]
This letter is the last (of those which have been preserved) having
reference to George Cattermole's artistic association with "Master
Humphrey's Clock." Of the one hundred and ninety-four illustrations
contained in this work, thirty-nine were designed by him, these
comprising fourteen for "The Old Curiosity Shop," fifteen for "Barnaby
Rudge," and ten for the "Clock" chapters; his signature, "G.C.,"
appended thereto has occasionally been mistaken for the initials of
George Cruikshank, to whom some of these designs have been incorrectly
attributed. There can be no doubt that George Cattermole's drawings
greatly enhanced the popularity of the work, for nothing could be
happier than his facile treatment of such subjects as the "Maypole" Inn,
the interior of the Old Curiosity Shop, and Quilp's Wharf; while
especially effective are his representations of the old church in the
village where Little Nell died. This picturesque little structure really
exists at Tong, in Shropshire, and, with its splendid carving and
magnificent monuments, presents the same attractive appearance which
inspired both Dickens and his illustrator. The novelist was so much
charmed with Cattermole's designs in "The Old Curiosity Shop" that he
could not refrain from expressing to the artist his warm appreciation of
them. "I have so deeply felt," he wrote, "your hearty and most
invaluable co-operation in the beautiful illustrations you have made for
the last story, that I look at them with a pleasure I cannot describe to
you in words, and that it is impossible for me to say how sensible I am
of your earnest and friendly aid. Believe me that this is the very first
time that any designs for what I have written have touched and moved me,
and caused me to feel that they expressed the idea I had in my mind. I
am most sincerely and affectionately grateful to you, and am full of
pleasure and delight."
In concluding this account of George Cattermole's illustrations for the
writings of Dickens, it only remains to add that he prepared a special
design as the frontispiece for the first cheap edition of "The Old
Curiosity Shop" (1848), an admirable drawing on wood, excellently
engraved by Thomas Williams, depicting "Little Nell in the Church."
On the completion of "Master Humphrey's Clock," the author commissioned
Cattermole to make two water-colour drawings of scenes in "The Old
Curiosity Shop," one representing "Little Nell's Home," while the other
(now in the Forster Collection at South Kensington) portrays "Little
Nell's Grave" in the old church, this being an enlarged version of the
woodcut. These drawings are excellent examples of Cattermole's work, and
were highly valued by the novelist, who, in a letter to the artist
(dated December 20, 1842), expressed his sincere approval of them. "It
is impossible," he said, "for me to tell you how greatly I am charmed
with those beautiful pictures, in which the whole feeling, and thought,
and expression of the little story is rendered, to the gratification of
my inmost heart; and on which you have lavished those amazing resources
of yours with power at which I fairly wondered when I sat down yesterday
before them. I took them to Mac [Maclise] straightway in a cab, and it
would have done you good if you could have seen and heard him. You can't
think how moved he was by the old man in the church, or how pleased I
was to have chosen it before he saw the drawings. You are such a queer
fellow, and hold yourself so much aloof, that I am afraid to say half I
would say touching my grateful admiration; so you shall imagine the
rest...."
After two years of failing health and much acute suffering, George
Cattermole closed an anxious and laborious life on the 24th of July,
1868, the end being undoubtedly hastened by the almost simultaneous
deaths, in 1862, of a much-loved son and daughter. Dickens, who
sincerely lamented the loss of this cherished friend, actively
interested himself on behalf of his widow and young children (who were
left in a very distressed condition) by starting a fund for their
relief.
It needs but an examination of the correspondence that passed between
Charles Dickens and George Cattermole (in which, during later years, the
novelist playfully addressed his friend as "My dear Kittenmoles") to
prove how deep was their mutual affection. The artist's natural vivacity
and good-fellowship caused him to be a great favourite, and those of his
family who survive recall with delight the "red-letter" days when
Dickens, Thackeray, Landseer, and other kindred spirits foregathered at
the Cattermole residence in Clapham Rise, on which occasions the genial
company retired after dinner to brew punch in the studio--a picturesque
apartment adorned with armour and tapestry and carved furniture,
indicative of the artist's tastes, and strongly reminiscent of his most
characteristic pictures.
ILLUSTRATORS
OF THE CHRISTMAS BOOKS
JOHN LEECH.
RICHARD DOYLE.
CLARKSON STANFIELD, R.A.
D. MACLISE, R.A.
SIR JOHN TENNIEL.
FRANK STONE, A.R.A.
SIR E. LANDSEER, R.A.
It was nothing less than an inspiration when, in 1843, Dickens conceived
the idea of "A Christmas Carol," the composition of which induced in him
such mental excitement, that when it was completed he "broke out like a
madman." Its extraordinary popularity encouraged him to prepare a
similar story for publication at the end of the following year, this
being succeeded by three others, all of them appearing during the
festive season, in a binding of crimson cloth embellished with gold
designs.[35] Not the least interesting feature of these handsome little
volumes is the illustrations, mainly owing to the fact that they were
designed by the leading black-and-white artists of the day, including
three Royal Academicians and one Associate of the Royal Academy. Of this
talented company only one member survives,--Sir John Tenniel, whose
pencil is still actively employed in the pages of _Punch_. The following
table denotes the number of designs supplied by each artist to the
Christmas Books.
Footnote 35: The first issue of the "Carol" was bound in
cloth of a brownish colour, the subsequent issues appearing
in crimson.
ANALYSIS OF ILLUSTRATIONS.
____________________________________________________________________
¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦
¦ ¦A Christmas¦ The ¦ The ¦The Battle¦ The ¦ ¦
¦ Artist ¦ Carol, ¦ Chimes¦ Cricket¦ of Life ¦Haunted ¦Total ¦
¦ ¦ 1843. ¦ 1845 ¦ on the ¦ 1846 ¦Man, 1848¦ ¦
¦ ¦ ¦ ¦ Hearth ¦ ¦ ¦ ¦
¦ ¦ ¦ ¦ 1846 ¦ ¦ ¦ ¦
¦___________¦___________¦_______¦________¦__________¦_________¦______¦
¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦
¦ Leech ¦ 8 ¦ 5 ¦ 7 ¦ 3 ¦ 5 ¦ 28 ¦
¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦
¦ Doyle ¦ ... ¦ 4 ¦ 3 ¦ 3 ¦ ... ¦ 10 ¦
¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦
¦ Stanfield ¦ ... ¦ 2 ¦ 1 ¦ 3 ¦ 3 ¦ 9 ¦
¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦
¦ Maclise ¦ ... ¦ 2 ¦ 2 ¦ 4 ¦ ... ¦ 8 ¦
¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦
¦ Tenniel ¦ ... ¦ ... ¦ ... ¦ ... ¦ 6 ¦ 6 ¦
¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦
¦ Stone ¦ ... ¦ ... ¦ ... ¦ ... ¦ 3 ¦ 3 ¦
¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦
¦ Landseer ¦ ... ¦ ... ¦ 1 ¦ ... ¦ ... ¦ 1 ¦
¦ ¦___________¦_______¦________¦__________¦_________¦______¦
¦ ¦ 8 ¦ 13 ¦ 14 ¦ 13 ¦ 17 ¦ 65 ¦
¦___________¦___________¦_______¦________¦__________¦_________¦______¦
The engravers were the Dalziel Brothers (14 subjects), T. Williams (11),
W. J. Linton (10), Martin and Corbould (8), Smith and Cheltnam (5),
Groves (3), Thompson (3), F. P. Becker (2), Gray (2), Swain (2), Green
(1). Four designs were etched on steel by John Leech, thus making up the
full complement of illustrations.
JOHN LEECH
Leech's Early Attempts at Drawing--Medical Studies--First
Published Work--Desires to Illustrate "Pickwick"--Becomes
Acquainted with Dickens--"A CHRISTMAS CAROL"--Sale of the
Original Drawings--"THE CHIMES"--Leech Misinterprets his
Author--"THE CRICKET ON THE HEARTH"--An Altered Design--The
Artist's Humour Exemplified--"THE BATTLE OF LIFE"--Sale of
Original Drawings--Unpublished Letters by Leech--A Grave
Error--"THE HAUNTED MAN"--Leech's Method of Work--Artistic
Value of his Sketches--Ruskin's Criticism--Leech as an
Actor--A Serious Accident--Dickens as Nurse--Ill-health--A
Fatal Seizure--Sir John Millais' Portrait of Leech.
John Leech, the leading spirit of _Punch_ for more than twenty years,
was born in London in 1817, his father (an Irishman of culture) being a
vintner, and at one time the proprietor of the London Coffee-House on
Ludgate Hill, then the most important of the large City hotels. As the
elder Leech showed some skill as a draughtsman, we may reasonably assume
that from him the son inherited a talent for drawing, by means of which
he was destined, before many years had passed, to astonish the world by
his humour and originality. When a mere lad, he exhibited such aptitude
and dexterity with the pencil, that Flaxman, the famous sculptor,
pronounced these precocious efforts to be wonderful, and exclaimed:
"That boy must be an artist; he will be nothing else or less."
Notwithstanding this recommendation, young Leech (after a course of
schooling at the Charterhouse, where he had William Makepeace Thackeray
as a fellow-pupil) was entered by his father at St. Bartholomew's
Hospital, with a view to his adopting the medical profession; but his
_penchant_ for drawing and sketching proved irresistible, and he gained
more repute among the students by means of his life-like (but
good-natured) caricatures, than for any ability he may have displayed in
hospital work. On leaving St. Bartholomew's, he was placed under an
eccentric practitioner named Whittle (whom Albert Smith has
immortalised as Mr. Rawkins), and subsequently under Dr. John Cockle,
afterwards Physician to the Royal Free Hospital.
PLATE XLIII
JOHN LEECH
From the Water-colour Drawing by
SIR JOHN E. MILLAIS, P.R.A., 1854
[Illustration]
Leech, however, gradually relinquished his medical studies, and resolved
to live by his pencil. He was only eighteen years of age when he
published his first venture, "Etchings and Sketchings, by A. Penn,
Esq.," comprising a collection of slightly caricatured sketches of
various odd characters to be met with on the streets of London. Shortly
after this maiden effort there appeared upon the scene the initial
number of the celebrated "Pickwick Papers," and when, in the second
number, the sad death was announced of Robert Seymour, the illustrator,
Leech immediately conceived the idea of seeking election as his
successor. "Boz" at this time was absolutely unknown to him except by
that strange pseudonym, so the ambitious young artist communicated his
desire to the publishers, Chapman & Hall, to whom he sent as a specimen
of his powers a clever drawing, delicately tinted in colour, of that
familiar scene in "Pickwick" where Tom Smart sits up in bed and
converses with the animated chair.[36] Thackeray (it will be remembered)
also aspired to the position coveted by Leech, but neither possessed the
necessary qualifications.
Footnote 36: Concerning this design, of which a _facsimile_
is given in the Victoria edition of "The Pickwick Papers,"
1887, a correspondent received the following interesting
communication from a representative of Dickens's publishing
firm:--
"_May 2nd, 1888._
"DEAR SIR,--The history of the drawing by Leech of 'Tom
Smart and the Arm-chair' is, that at the time there was a
difficulty about the artist for illustrating 'Pickwick,' Mr.
Leech sent it in as a specimen of his ability to illustrate
the work. This was in the year 1836, and it was in the
possession of my predecessor, Mr. Edward Chapman, until
twenty-five years ago, when it came into my
possession.--Faithfully yours,
"FRED CHAPMAN."
In those early years Leech designed numerous illustrations for _Bells
Life in London_, and concocted schemes of drollery with his literary
friends which resulted in the publication of such humorous productions
as the "Comic Latin Grammar," "Comic English Grammar," &c. In August,
1841, he contributed his first drawing to _Punch_ (the fourth number),
this being the forerunner of many hundreds of pictures, chiefly of "life
and character," bearing the familiar sign-manual of a leech wriggling
in a bottle. The artist's connection with _Punch_ gave him a great
opportunity, for he was thus enabled to come before the public, week
after week, with an endless succession of scenes in high life and low
life, now of the hunting-field and now of the river,--always with
something that could not fail to delight the eye and to excite
good-natured laughter. His deftness and versatility naturally brought
many commissions from publishers anxious to secure the aid of his
prolific pencil, so that besides his weekly contribution to _Punch_ he
was occupied in preparing designs for other works, notably _Douglas
Jerrold's Shilling Magazine_, _Hood's Comic Annual_, and "The Ingoldsby
Legends."
* * * * *
[Sidenote: =A Christmas Carol, 1843.=]