acquainted with the author of "Pickwick." By whom the introduction was
brought about is not quite clear; perhaps the credit of it may be
awarded to Douglas Jerrold or Thomas Hood. In the above-mentioned year
Leech's services were obtained for the illustration of "A Christmas
Carol," for which he prepared eight designs; four of these were etched
on steel, the impressions being afterwards coloured by hand, while the
remaining four were drawn on wood, and beautifully engraved by W. J.
Linton. The popularity of the "Carol" (the pioneer of all Dickens's
Christmas Books, and, indeed, of Christmas literature generally) proved
enormous, and much of its success was undoubtedly due to the attractive
designs of John Leech, who entered so thoroughly into the spirit of this
charming little allegory. In 1893 the original drawings, with the
exception of that entitled "Scrooge's Third Visitor," were sold at
Sotheby's for 155 guineas, and afterwards catalogued by a London
bookseller at £240--a considerable advance on the price paid to the
artist and engraver, which was just under £50. This interesting series
of drawings (two of them tinted in colours) had hitherto remained in the
possession of a daughter of the artist.
PLATE XLIV
"RICHARD AND MARGARET"
_Facsimile_ of the Original Sketch for "The Chimes" by
JOHN LEECH
The figure of Richard was altered in the published design.
_By Permission of the Art Museum Committee of the
Corporation of Nottingham._
* * * * *
[Sidenote: =The Chimes, 1845.=]
To "The Chimes" Leech contributed five illustrations, the original
drawings for which realised 66 guineas at Sotheby's in 1893. Some of
these slight pencillings now form part of the Leech Collection at
Nottingham Castle, including the first sketch for the illustration
referred to by Dickens (in a letter to his wife) as being, together with
a sketch by Doyle for the same story, so unlike his ideas that he
invited both artists to breakfast with him one morning, and, "with that
winning manner which you know of, got them, with the highest
good-humour, to do both afresh." The design in question appears in the
"Third Quarter," in which two scenes are represented, the upper one
depicting Margaret in her garret, while in the lower compartment appears
Richard, with "matted hair and unshorn beard," as he enters Trotty
Veck's cottage. The artist misunderstood his author, and delineated,
instead of Richard as described in the text, an extremely ragged and
dissipated-looking character, with a battered hat upon his head. When
the novelist saw it, the drawing had already been engraved, but the
woodcut was promptly suppressed; there still exists, however, an
impression of the cancelled engraving, which is bound up with what is
evidently a unique copy of "The Chimes" (now the property of Mr. J. F.
Dexter), where blank spaces are left for some of the woodcuts; this
particular copy is probably the publishers' "make up," and had
accidentally left their hands.
* * * * *
[Sidenote: =The Cricket on the Hearth, 1846.=]
"The Cricket on the Hearth" is embellished with seven designs by Leech.
The original sketch for one of these illustrations, representing John
and Dot seated by the fire, indicates that it was Leech's intention at
first to introduce Tilly Slowboy nursing the baby; but it was apparently
considered that her presence in the picture destroyed the domestic
harmony of the scene, so the figure was omitted, and a separate woodcut
made of the subject for a subsequent chapter. It is interesting to
compare Leech's illustration of Caleb Plummer and his blind daughter at
work with a similar design by Doyle in the same chapter, the vigorous
character of the former happily contrasting with the more restrained
treatment of the latter. In the final woodcut of "The Dance," Leech's
sense of humour (not always devoid of exaggeration) has free play, for
here not only do we see the human characters in the story indulging in
the pleasant exercise, but observe that, in one corner, the carrier's
pets, Boxer and the cat, are similarly disporting themselves, while even
the artist's signature (in the opposite corner) of a leech in a bottle
is placed upon a couple of lively legs, and is kicking away with an
_abandon_ worthy of the occasion.
* * * * *
[Sidenote: =The Battle of Life, 1846.=]
In Dickens's fourth Christmas Book, "The Battle of Life," John Leech is
represented by three illustrations, all of which are designed in the
manner characteristic of these little volumes, in having one scene
superimposed upon another. The original sketches for two of these
woodcuts, viz., "The Parting Breakfast" and "The Night of the Return,"
are in the South Kensington Museum,[37] while the third drawing has
found its way to America, whither so many Dickens relics have departed.
When, in June 1893, some highly-finished _replicas_ of these designs
were disposed of at Sotheby's, they realised the extraordinary sums of
£35, 10s., £17, 10s., and £20, 10s. respectively. In the Forster
Collection at South Kensington there are two very interesting letters,
addressed by Leech to the biographer of Dickens, having special
connection with these illustrations. The first (dated November 16, 1846)
refers to the breakfast scene, and from it we gather that there was a
very limited time for preparing the designs:--
Footnote 37: _Facsimiles_ of these have already appeared in
my Memoir of John Leech. A duplicate sketch (more completely
carried out) of "The Parting Breakfast" will be found in the
Print Room of the British Museum, but there is, I believe,
some doubt as to its authenticity. The late Mr. G. A. Sala
pointed out that the engraving of this subject contains an
astonishingly good likeness of that admired comedian, Robert
Keeley, as the old servant Britain.
PLATE XLV
"JOHN, DOT, AND TILLY SLOWBOY"
_Facsimile_ of the Original Drawing for "The Cricket on the Hearth" by
JOHN LEECH
The figure of Tilly Slowboy was omitted in the published Drawing, a
separate Illustration being made of that portion of the Design.
_Lent by Mr. W. H. Lever._
[Illustration]
"MY DEAR FORSTER,--I really cannot say off-hand how many
illustrations I can make within the week; indeed, I am so
embarrassed by the conditions under which I am to make my
share of the drawings that I hardly know what to do at all.
_Conscientiously_, I could not make Clemency Newcome
particularly beautiful. If you will read a little beyond the
words 'plump and cheerful,' you will find the following:
'But the extraordinary homeliness of her gait and manner
would have superseded any face in the world. To say that she
had two left legs and somebody else's arms, and that all
four limbs seemed to be out of joint, and to start from
perfectly wrong places,' &c, &c. Again, she is described as
having 'a prodigious pair of self-willed shoes,' and a gown
of 'the most hideous pattern procurable for money.' The
impression made upon me by such a description as I have
quoted certainly is that the character so described is both
awkward and comic. Of course I may be wrong in my conception
of what Dickens intended, but _I_ imagine the lady in
question a sort of clean 'Slowboy.' The blessed public (if
they consider the matter at all) will hold me responsible
for what appears with my name; they will know nothing about
my being obliged to conform to Maclise's ideas. I cannot
tell you how loath I should be to cause any delay or
difficulty in the production of the book, or what pain it
would give me to cause either Dickens or yourself any
annoyance. I confess I am a little out of heart.--Believe me
ever yours faithfully,
"JOHN LEECH."
"JOHN FORSTER, Esq."
Maclise, who also provided illustrations to "The Battle of Life," was
anxious that his own type of character for Clemency Newcome should be
reproduced in the designs by Leech; hence that artist's protest. Writing
again two days later on the subject, Leech said:--
"MY DEAR FORSTER,--Perhaps I was wrong in using the word
'conditions' in my note to you--I should have said
'circumstances,' and by being 'embarrassed' by them I meant
that I found it very harassing to do work (that I am for
several reasons anxious to do well) under the constant
feeling that I have too little time to do it in; and also I
meant to convey to you that the necessity (which I certainly
supposed to exist) of preserving a sort of resemblance to
the characters as conceived by Mr. Maclise made it a rather
nervous undertaking to me. It seems I expressed myself
clumsily, as the tone of my note appeared to you anything
but what I intended it to be. Any suggestion from you I
should always consider most valuable. I send you one
drawing, completed this morning at four o'clock, and I
assure you I would spare neither time nor any personal
comfort to show my personal regard for both yourself and
Dickens.
"I should not like to promise more than two other drawings,
if Saturday is positively the last day. I might be able to
do more, but I should not like to promise, and fail. Pray
overlook any glaring defects in the block I send, and
believe me yours faithfully,
"JOHN LEECH.
"JOHN FORSTER, Esq., &c. &c.
"_P.S._ I should like, if there is no objection, that Linton
should engrave for me."
PLATE XLVI
"CALEB AT WORK"
_Facsimile_ of the Original Drawing for "The Cricket on the Hearth" by
JOHN LEECH
_Lent by Mr. W. H. Lever._
[Illustration]
It was natural that, remembering the excellent reproductions of his
wood-drawings in the "Carol" and "The Chimes," Leech should express a
wish that Linton[38] might also engrave those in "The Battle of Life;"
but the signatures appended to the cuts show that, doubtless for
some sufficient reason, the artist's wish was not respected.
Footnote 38: As I write, the decease of that admirable artist
and engraver is reported from New Haven, U.S.A. W. J. Linton
was born in London in 1812, and had therefore attained a
venerable age, spending the latter portion of his life in
America. During an extremely active career he produced, among
other literary works, a valuable and comprehensive history of
the art of which he was undoubtedly the most capable
exponent. Mr. Linton, who may justly be termed the father of
modern wood-engraving, carried on the tradition of Bewick,
and was a thorough champion of the "white-line school." As a
zealous Chartist he took an active and prominent part in
politics, and, in addition to this, he was a voluminous
writer both in poetry and prose, his works including "The
English Republic," "Claribel, and other Poems," "A Life of
Whittier," &c.
In his third design for "The Battle of Life" Leech committed an
extraordinary blunder, the result (it must be confessed) of carelessly
studying his author. In this illustration, where the festivities to
welcome the bridegroom at the top of the page contrast with the flight
of the bride represented below, Leech gravely erred in supposing that
Michael Warden had taken part in the elopement, and has introduced his
figure with that of Marion. This curious mistake, which might have been
avoided had the drawing been submitted to Dickens, was not discovered
until too late for remedy, and it is highly characteristic of the
novelist, of the true regard he felt for the artist, that he preferred
to pass it silently. The most remarkable thing of all is (as Forster has
pointed out), nobody seems to have noticed the unfortunate oversight,
although it must be obvious to every attentive reader that it makes
great havoc of one of the most delicate episodes in the story. The
feelings of the author, on realising the seriousness of this terrible
misconception on the part of the artist, may be readily imagined.
Writing to his biographer, he said: "When I first saw it, it was with a
horror and agony not to be expressed. Of course I need not tell _you_,
my dear fellow, Warden has no business in the elopement scene. _He_ was
never there! In the first hot sweat of this surprise and novelty, I was
going to implore the printing of that sheet to be stopped, and the
figure taken out of the block. But when I thought of the pain this might
give to our kind-hearted Leech, and that what is such a monstrous
enormity to me, as never having entered my brain, may not so present
itself to others, I became more composed; though the fact is wonderful
to me. No doubt a great number of copies will be printed by the time
this reaches you, and therefore I shall take it for granted that it
stands as it is. Leech otherwise is very good, and the illustrations
altogether are by far the best that have been done for any of my
Christmas Books...."
The Haunted Man, 1848.
"The Haunted Man and the Ghost's Bargain"--the last of the Christmas
stories--contains five designs by Leech, and one of the original
sketches is here reproduced, through the courtesy of the Museum
authorities at Nottingham Castle. They are not among Leech's happiest
efforts, and do not compare favourably with the vignettes in "A
Christmas Carol."
PLATE XLVII
"THE TETTERBYS"
_Facsimile_ of the Original Drawing for "The Haunted Man" by
JOHN LEECH
_By Permission of the Art Museum Committee of the
Corporation of Nottingham._
[Illustration]
Like Cruikshank, "Phiz," and other contemporary book-illustrators, John
Leech never worked from models, relying chiefly upon his retentive
memory; he seldom made sketches of any kind, but merely jotted down such
useful memoranda of bits of scenery and character, details of particular
costume, &c, as could be recorded in a little note-book which he
invariably carried about with him. When developing an idea for a
drawing, he would first make a slight outline of the subject upon paper
of the size required, then trace it down upon the wood-block, and
finally complete the picture with care and deliberation. The only
lessons in etching he ever had he received from George Cruikshank; but
it was as a draughtsman on wood that he excelled, his etchings (of which
those in the "Carol" are among the best) not being technically equal to
those of either Cruikshank or "Phiz," nor do they exhibit that sense of
freedom and spontaneity visible in his published drawings. The late
George du Maurier, his friend and colleague on _Punch_, tells us that
Leech "drew straight on the wood block, with a lead-pencil; his delicate
grey lines had to be translated into the uncompromising coarse black
lines of printer's ink--a ruinous process; and what his work lost in
this way is only to be estimated by those who know." In giving an
account of Leech's work, Professor Ruskin points out a fact not
generally known, viz., that from an artistic standpoint his first
sketches for the woodcuts are much more valuable than the finished
drawings, even before those drawings sustained any loss in engraving.
"The first few lines in which he sets down his purpose are invariably,
of all drawing that I know," says the eminent critic, "the most
wonderful in their accurate and prosperous haste." Dickens remained
a constant admirer of Leech's genius, and when, in 1848, there appeared
a collection of lithographs, where the artist humorously depicted "The
Rising Generation," the novelist indited for _The Examiner_ a glowing
eulogium upon the work of his friend, in the course of which he declared
that he was "the very first Englishman who had made beauty a part of his
art." It was from Dickens that Leech occasionally accepted happy
thoughts for _Punch_, and it will be remembered that he frequently
availed himself (as did Sir John Tenniel subsequently) of "Phiz's"
designs for Dickens, whenever he thought they could be appropriately
converted into political cartoons.
John Leech occasionally associated himself with the amateur theatrical
performances organised by Dickens, but it must be admitted that, owing
to his naturally modest and retiring disposition, he did not achieve
great distinction as an actor. In 1849, while on a visit to the novelist
at Bonchurch, he was stunned by a huge wave when bathing, and was put to
bed with "twenty of his namesakes on his temples." Congestion of the
brain ensued, and Dickens, who proved one of the most attentive of
nurses during this anxious time, proposed to Mrs. Leech to try
magnetism. "Accordingly," he wrote to Forster, "in the middle of the
night I fell to, and after a very fatiguing bout of it, put him to sleep
for an hour and thirty-five minutes. A change came on in the sleep, and
he is decidedly better. I talked to the astonished Mrs. Leech across
him, when he was asleep, as if he had been a truss of hay."
Incessant brain-work induced in John Leech a peculiar irritability, and
he was so much affected by street noises, even such as would escape
ordinary attention, that he was compelled at length to resort to the
device of double windows. Eventually this abnormal sensitiveness told so
seriously upon his health that he was ordered to Homburg for change of
scene; but, on returning to his London home in the autumn of 1864, he
was still strangely susceptible to noise of all kinds. In addition to
this, the artist suffered acutely from _angina pectoris_, and on
October 29, 1864, he was seized with an attack of that terrible disease,
which, alas! proved fatal. Dickens was sadly overcome by the death of
this kindly man, and attributed, thereto his inability to make progress
with "Our Mutual Friend," upon which he was then engaged. Around the
artist's grave there assembled, on a bright autumn day, many who were
distinguished in Art and Literature, in honour of him they sincerely
mourned, grieving for the loss of a spirit, so gentle and graceful, that
had just passed away.
* * * * *
The portrait of John Leech reproduced for this work is from a beautiful
water-colour drawing by his friend, the late Sir John E. Millais,
P.R.A., representing the artist in the prime of life. This interesting
and valuable presentment of the great pictorial humorist was purchased
in 1892 by the Trustees of the National Portrait Gallery, and during the
previous year a reproduction of it was given, at my suggestion, as the
frontispiece to the biography of John Leech by Mr. W. P. Frith, R.A.
Another intimate friend of Leech, Mr. Holman Hunt, informs me that he
considers this drawing by Millais as undoubtedly the best portrait of
the artist.
[Illustration: R. Doyle]
[Illustration: D. Maclise]
PLATE XLVIII
RICHARD DOYLE
From a Photograph by
G. JERRARD
_Lent by Mrs. Henry Doyle._
D. MACLISE, R.A.
From the Painting by
E. M. WARD. R.A., 1846
RICHARD DOYLE
Inherits a Talent for Drawing--Not Permitted to Study from
Models--No Regular Training in Art--A Skilful
Amateur--Precocious Sense of Humour--Fanciful Designs--Doyle
Joins the _Punch_ Staff--Instructed in Drawing on Wood--His
Sign-manual--Retirement from _Punch_--Not Acquainted with
Dickens--His Illustrations for "THE CHIMES"--Elves and
Goblins--An Oversight by the Artist--"THE CRICKET ON THE
HEARTH" and "THE BATTLE OF LIFE"--Doyle's Original Sketches
for the Christmas Books Dispersed.
With the single exception of John Leech, Richard Doyle contributed the
greatest number of illustrations to the Christmas Books, three of these
little volumes containing, in the aggregate, ten designs by him. He was
born in London in 1824, his father, John Doyle, being the famous
caricaturist, "H.B.," whose political cartoons created much sensation in
their day. At an early age Richard Doyle proved that he inherited a
talent for drawing, and was encouraged in this direction by his father,
who (strange to say) would not allow him to study from the living model,
preferring that the boy should be taught "to observe with watchful eye
the leading features of the object before him, and then some little time
after to reproduce them from memory as nearly as he could." He had no
regular training in art, except such as he was privileged to enjoy in
his father's studio, the result being that (as Mr. M. H. Spielmann
reminds us in his "History of _Punch_") he never attained a higher
position than that of an extremely skilful amateur, "whose shortcomings
were concealed in his charming illustrations and imaginative designs,
but were startlingly revealed in his larger work and in his
figure-drawing.... He was saved by his charm and sweetness, his
inexhaustible fun and humour, his delightful though superficial
realisation of character, and his keen sense of the grotesque."
Richard Doyle's precocious sense of humour is exemplified in his
illustrations for the Comic Histories, executed by him when fifteen
years of age, but which were posthumously published. An extraordinary
power of fanciful draughtsmanship distinguishes the majority of his
designs, so that his pencil was in frequent request for works which
demanded the display of this special faculty, such as Leigh Hunt's "Jar
of Honey," Ruskin's "King of the Golden River," "Pictures from the Elf
World," Planché's "Old Fairy Tales," &c. In 1843, when the artist was
only nineteen, he was installed as a member of the regular pictorial
staff of _Punch_, and received instruction in drawing on wood from
Joseph Swain, the engraver for that journal. Richard Doyle was
familiarly known to his intimate friends as "Dicky Doyle," which
probably suggested his sign-manual of a little dicky-bird perched upon
his initials, R.D.,--a signature that may be found appended to a very
considerable number of cuts designed for _Punch_ during a period of
seven years--that is, until his retirement therefrom in 1850.
* * * * *
[Sidenote: =The Chimes, 1845.=]
Although Doyle furnished illustrations to three of Dickens's Christmas
Books, there is no evidence that he was ever personally acquainted with
the novelist. No reference is made to the artist by Forster, nor does it
appear that any correspondence passed between him and Dickens, the
necessary instructions being apparently transmitted through the
publishers. The earliest Christmas story with which we find him
associated is "The Chimes," to which he supplied four illustrations,
viz., "The Dinner on the Steps," "Trotty at Home," "Trotty Veck among
the Bells," and "Margaret and her Child." His designs embellish the
initial pages of each chapter, and are treated in a decorative and
fanciful manner. In the first of these it will be noticed that the upper
portion consists of a representation of the tower of St. Dunstan's
Church in Fleet Street,--a subject repeated by Clarkson Stanfield, R.A.,
in a subsequent illustration. In the other woodcuts the artist exhibits
his acknowledged skill in delineating elves and goblins, that depicting
Trotty among the Spirits of the Bells affording a delightful example of
his wonderful power in portraying goblin-like creatures, with their
weird expressions and varied postures. _Apropos_ of this engraving, a
curious oversight has been discovered by the Rev. H. R. Haweis, for
Doyle has introduced only three bells, thus seeming to have forgotten
that four are required to ring a quarter! The subject of the remaining
design, where Margaret, with her babe, kneels at the river's brink, is
replete with pathos, the impression of desolation and despair being
admirably rendered by means of a few simple lines.
* * * * *
[Sidenote: =The Cricket on the Hearth, 1846.=]
The next Christmas story, "The Cricket on the Hearth," contains three
illustrations by Doyle, one for each chapter, as before. The first
really comprises two distinct subjects, separated by a quaintly-designed
initial letter; in the upper drawing is seen John Peerybingle's cart on
its journey, preceded by Boxer, while below we are presented with an
ideal scene of domestic happiness, where John and Dot are seated before
the fire in their humble home. The first page of "Chirp the Second"
contains a capital picture of Caleb Plummer and his blind daughter
Bertha, busily at work among the toys; in the last design, illustrating
the opening lines of "Chirp the Third," the honest carrier is observed
reclining his head upon his hand in silent grief, while comforting
spirits hover around him.
* * * * *
[Sidenote: =The Battle of Life, 1846.=]
Dickens's fourth Christmas Book, "The Battle of Life," includes three
designs by Doyle, which are also introduced as embellishments of the
initial pages of the different chapters. They are much bolder in
treatment, however, than the artist's earlier drawings, and do not
possess the artistic charm appertaining to his illustrations in "The
Cricket on the Hearth." The most successful are the vignette subjects at
the top of each page, which are charming little studies.
It is unfortunate that no original sketches for these illustrations are
available for reproduction. A member of the artist's family declares
that they were dispersed, principally as gifts to friends, and that
their present destination is unknown.
On December 10, 1883, Richard Doyle was struck down by apoplexy as he
was quitting the Athenæum Club, and died on the following day. Thus
passed away not only one of the most graceful limners of Fairyland that
England has produced, but one who will long be remembered for his many
noble qualities of heart and mind.
[Illustration]
[Illustration]
PLATE XLIX
CLARKSON STANFIELD, R.A.
From a Photograph
_Lent by Mr. Field Stanfield._
FRANK STONE, A.R.A.
From a Photograph
_Lent by Mrs. Kate Perugini._