Apprenticed to a Heraldic Painter--Goes to Sea--Meets
Douglas Jerrold--Scene-painting--Exhibits at the Royal
Academy--Becomes Acquainted with Dickens--A Memorable Trip
to Cornwall--The Logan Stone--Illustrations for "The
Chimes"--A Labour of Love--A Present and a Letter from
Dickens--Illustration for "The Cricket on the Hearth"--A
Quaint Epistle, signed "Henry Bluff"--Illustrations for "The
Battle of Life"--Dickens's Opinion of Stanfield's
Designs--Illustration for "The Haunted Man"--Another Gift
from Dickens to the Artist--A Drawing of the "Britannia"
Steam-ship--Private Theatricals--A Remarkable
Act-Drop--Declining Health--Death of the Artist--Dickens's
Eulogium--"The Most Lovable of Men."
First a sailor, then an artist and a Royal Academician, William Clarkson
Stanfield acquired the reputation of being the greatest marine-painter
of his time. Born in 1793, he was brought up to the sea, and at sea
(curiously enough) was thrown into the companionship of Douglas Jerrold,
who, like himself, was ordained to make his mark in a very different
profession.
When about twelve years old Clarkson Stanfield was apprenticed to a
heraldic painter in Edinburgh, but an intense longing for the career of
a sailor resulted in his entering the merchant service in 1808. Four
years later he was pressed into the Royal Navy, and while on board the
King's ship _Namur_ in 1814 (where he first met Jerrold, then a
midshipman), his talent for drawing was discovered, whereupon he was
sent ashore at Sheerness to assist in the painting and decoration of the
Admiral's ball-room, his work giving so much satisfaction that he was
promised his discharge from the Navy--a promise, however, that was not
fulfilled. After another interval of three or four years he finally left
the sea, having been temporarily disabled by a fall, and procured an
engagement as scene-painter at the East London Theatre, for he had
already essayed this branch of Art on board ship. So eminently
satisfactory were his pictorial achievements in East London that he
obtained a similar position at the Edinburgh Theatre, and thence, in
1822, in conjunction with his friends David Roberts and Nasmyth, he was
employed in a like capacity at the Theatre Royal, Drury Lane. From that
time his success in Art was assured.
Stanfield had already exhibited in the Royal Academy, and year by year
his work in this and other Institutions continued to excite interest and
admiration, by reason of the simple truthfulness of all his
representations. Usually, but not invariably, he preferred to depict
scenes in which his nautical experience could be made available, and his
natural gifts permitted him to combine with the genuine sailor-like
feeling displayed in the treatment of his subjects a poetical sentiment
which considerably enhanced the charm of his productions. In 1832
Stanfield was elected an Associate of the Royal Academy, and three years
later he attained full honours. It will thus be seen that he had gained
a very dignified position in the world of Art before even the name of
Charles Dickens became known to the reading public,--as a matter of
fact, the future novelist was at that date writing the earliest of those
wonderful sketches which appeared under the _nom de guerre_ of "Boz."
Clarkson Stanfield, who was Charles Dickens's senior by about nineteen
years, made the acquaintance of the novelist late in the "Thirties,"
when began those affectionate relations subsisting between the two
distinguished men. "I love you so truly," observed Dickens to the
artist, in a letter dated August 24, 1844, "and have such pride and joy
of heart in your friendship, that I don't know how to begin writing to
you." Two years previously Stanfield joined Dickens and his friends
Forster and Maclise in their famous trip to Cornwall,--three memorable
weeks, overflowing with enjoyment and fun; the artists made sketches of
the most romantic of the halting-places, one of these being a drawing of
the Logan Stone by Stanfield (now in the Forster Collection at South
Kensington), where are seen the figures of himself and his three
fellow-travellers.
* * * * *
[Sidenote: =The Chimes, 1845.=]
In 1844 Dickens conceived the idea of a second Christmas Book, "The
Chimes," and what more natural than that he should desire to enlist the
services, as illustrator, of so skilled a draughtsman as Clarkson
Stanfield? It was decided to depart from the plan adopted in regard to
the "Carol," by engaging more than one artist, thus imparting an
agreeable variety to the designs. Stanfield, eager to gratify his
friend, did not require much persuasion to co-operate in the pictorial
embellishment of the little volume, for which he provided two choice
drawings, viz., "The Old Church,"--a faithful representation of the "old
London belfry" of St. Dunstan's in Fleet Street,--and "Will Fern's
Cottage,"--a pretty bit of landscape scenery, such as the artist knew so
well how to depict. With these Dickens was charmed, and in a letter to
his wife he said: "Stanfield's readiness, delight, wonder at my being
pleased with what he has done is delicious."
Stanfield, it appears, would not accept payment for these drawings,
preferring that they should be considered as tokens of friendship.
Dickens, however, could not pass over so generous an act without some
acknowledgment, and this took the form of a silver claret-jug, which was
presented (as the inscription records) "In Memory of 'The Chimes.'"
Accompanying the gift was the following letter, dated October 2, 1845,
where allusion is made to the succeeding Christmas Story:--
"MY DEAR STANNY,--I send you the claret-jug. But for a
mistake, you would have received the little remembrance
almost immediately after my return from abroad.
" ... I need not say how much I should value another little
sketch from your extraordinary hand in this year's small
volume, to which Mac again does the frontispiece. But I
cannot hear of it, and will not have it (though the
gratification of such aid to me is really beyond all
expression), unless you will so far consent to make it a
matter of business as to receive, without asking any
questions, a cheque in return from the publishers. Do not
misunderstand me--though I am not afraid there is much
danger of your doing so, for between us misunderstanding is,
I hope, not easy. I know perfectly well that no terms would
induce you to go out of your way, in such a regard, for
perhaps anybody else. I cannot, nor do I desire to, vanquish
the friendly obligation which help from you imposes on me.
But I am not the sole proprietor of these little books; and
it would be monstrous in you if you were to dream of putting
a scratch into a second one without some shadowy reference
to the other partners, ten thousand times more monstrous in
me if any consideration on earth could induce me to permit
it, which nothing will or shall.
"So, see what it comes to. If you will do me a favour on my
terms, it will be more acceptable to me, my dear Stanfield,
than I can possibly tell you. If you will not be so
generous, you deprive me of the satisfaction of receiving it
at your hands, and shut me out from that possibility
altogether. What a stony-hearted ruffian you must be in such
a case!--Ever affectionately yours,
"CHARLES DICKENS."
* * * * *
[Sidenote: =The Cricket on the Hearth, 1846.=]
The "small volume" here alluded to was "The Cricket on the Hearth," for
which Stanfield prepared one illustration, viz., "The Carrier's Cart."
* * * * *
[Sidenote: =The Battle of Life, 1846.=]
PLATE L
"WAR" AND "PEACE"
_Facsimile_ of the Original Sketches for "The Battle of Life" by
C. STANFIELD, R.A.
_Lent by Mr. Field Stanfield._
[Illustration]
To the fourth Christmas Book, "The Battle of Life," Stanfield
contributed three beautiful little designs, representing respectively
"War," "Peace," and "The 'Nutmeg Grater' Inn." Happily, I am enabled to
present _facsimiles_ of the original sketches (very slight in treatment)
of the first two subjects, through the courtesy of the artist's son, Mr.
Field Stanfield. The story was written at Lausanne, and, during
Dickens's absence in Switzerland, Forster succeeded in enlisting
Stanfield as one of the illustrators as a glad surprise for the
author, who, on being informed of the fact, wrote to his biographer:
"Your Christmas Book illustration-news makes me jump for joy." Forster
intimates that these "three morsels of English landscape," delineated by
Stanfield, had a singular charm for Dickens at the time, who referred to
the illustrations altogether as by far the best that had been done for
any of the Christmas Books. "It is a delight," he remarked concerning
Stanfield's designs, "to look at these little landscapes of the dear old
boy. How gentle and elegant, and yet how manly and vigorous they are! I
have a perfect joy in them."
* * * * *
[Sidenote: =The Haunted Man, 1848.=]
The last of the Christmas Books, viz., "The Haunted Man," contains three
illustrations by this artist, viz., "The Lighthouse," "The Exterior of
the Old College," and "The Christmas Party in the Great Dinner Hall." In
the first subject, which is decidedly the most successful, Stanfield
found a most congenial theme, for here his knowledge of sailors and of
the dangers of the sea proved serviceable. With regard to his designs
for these little annuals, it appears that the artist could not be
prevailed upon to accept payment for them, Dickens's protests
notwithstanding. He consequently became the recipient of another gift--a
pair of handsome silver salvers, bearing the simple inscription,
"Clarkson Stanfield from Charles Dickens," in recognition of his
friendly collaboration, and these are now in the possession of one of
the artist's sons.
* * * * *
[Sidenote: =American Notes, 1850.=]
There is another illustration by Stanfield to which some allusion must
be made. This is an admirable water-colour drawing of the _Britannia_,
the steamship that conveyed Dickens to America in 1842. The drawing was
made with a view to reproduction as the frontispiece for the first cheap
edition of "American Notes," and the following hitherto unpublished
letter (dated May 11, 1850) to Edward Chapman (of Chapman & Hall), is
of interest in this connection:--
"DEAR SIR,--Mr. Stanfield will draw the packet-ship for the
frontispiece to the 'American Notes.' He says lithograph is
better than wood for that kind of subject; please let me
know immediately whether it will suit us to lithograph
it.--Faithfully yours,
"CHARLES DICKENS."
The suggestion was found impracticable, so it was decided that the
drawing should be made on wood. The block was therefore forwarded to the
artist, who complained to Dickens of its imperfect surface, whereupon
the novelist despatched to Edward Chapman this brief missive, dated May
22:--
"DEAR SIR,--Mr. Stanfield wonders you didn't send him a
paving-stone to draw upon, as send a block in this
unprepared state. I send you his drawing to do the best you
can with. It costs nothing, and I wish it to be kept very
clean and returned to me.--Faithfully yours,
"CHARLES DICKENS."
It may be inferred from this letter that the drawing was copied upon the
wood-block by the engraver himself, whose name (T. Bolton) is appended
to the frontispiece. The original picture was purchased at the sale of
Dickens's effects in 1870 for the sum of £110, 5s., by the late Earl of
Darnley, for many years the novelist's friend and neighbour.
Clarkson Stanfield, whose intimacy with the Dickens family was very
close, used to take part in their Christmas sports and gambols, and in
connection with the private theatricals at Tavistock House his services
as scene-painter were invaluable. _Apropos_ of this, the novelist once
wrote to Frank Stone, A.R.A.: "Stanfield bent on desperate effects, and
all day long with his coat off, up to his eyes in distemper colours."
Again: "If Stanfield don't astonish 'em [the audience], I'm a Dutchman.
O Heaven, if you could hear the ideas he proposes to me, making even
_my_ hair stand on end!" For Wilkie Collins's drama, "The Lighthouse,"
produced at Tavistock House, the artist painted a very remarkable
act-drop representing the Eddystone Lighthouse, concerning which it may
be observed that, although it occupied the great painter only one or two
mornings, it realised at the novelist's death nearly a thousand guineas!
Dickens, when writing to Stanfield, frequently adopted nautical
expressions, in allusion to the artist's experiences as a seaman. He
sometimes addressed him as "Old Tarpaulin," "Old Salt," "Messmet," &c.,
and as an example of this I here reprint a letter, written on an
occasion when Stanfield innocently demanded of Dickens to be informed of
the amount due for a pair of candlesticks that the novelist had sent
him:--
"MY DEAR STANNY,--In reference to the damage for the
candlesticks, I beg to quote (from 'The Cricket on the
Hearth,' by the highly popular and deservedly so Dick) this
reply:
"'I'll damage you if you inquire.'
"Ever yours,
"My block-reeving,
Main-brace splicing,
Lead-heaving,
Ship-conning,
Stun'sail-bending,
Deck-swabbing,
Son of a sea-cook,
"HENRY BLUFF,
"H.M.S. _Timber_."[39]
Footnote 39: From "The Letters of Charles Dickens." Mr. Field
Stanfield informs me that it is quite certain the
candlesticks were not a gift from Dickens to his father. It
would seem most probable that there may have been some
accident during theatrical preparations, for which the artist
considered himself responsible, and that Dickens undertook to
repair the misfortune himself.
During the last ten years of his life Stanfield's health became less
strong, and he was obliged in some measure to retire from the congenial
circle of his artistic and literary associates, continuing, however, to
take great delight in his art. Stanfield breathed his last on May 18,
1867. His death proved a great blow to Dickens, who, in a note of
sympathy to Mr. George Stanfield, observed: "No one of your father's
friends can ever have loved him more dearly than I always did, or can
have better known the worth of his noble character." To the famous
painter, for whom he ever entertained a strong affection, the novelist
had dedicated "Little Dorrit," and, as a tribute to his memory, wrote
(in _All the Year Round_) a sympathetic eulogium upon his departed
friend of thirty years, where, after alluding to the artist as "the
National historian of the Sea," he says: "He was a charitable,
religious, gentle, truly good man. A genuine man, incapable of pretence
or of concealment. He was the soul of frankness, generosity, and
simplicity. The most genial, the most affectionate, the most loving, and
the most lovable of men."
DANIEL MACLISE, R.A.
His Precocious Talent--Studies Anatomy--Enters the Royal
Academy Schools--Gains a "Travelling Studentship"--Elected a
Royal Academician--Declines the Presidency--Introduced to
Dickens--A Lifelong Friendship--"MASTER HUMPHREY'S
CLOCK"--Maclise Essays an Illustration--"THE CHIMES"--A
Reading by Dickens and a Sketch by Maclise--His Original
Drawings--"THE CRICKET ON THE HEARTH"--An Unpublished Letter
from Maclise--"THE BATTLE OF LIFE"--Dickens's Appreciation
of Maclise's Illustrations--The Artist's Correspondence with
Forster Respecting his Designs--His Anxiety Concerning the
Engraving--An Indignant Letter--"Little Dirty
Scratches"--Maclise Dispenses with the Living
Model--Dickens's Relations with the Artist--A Memorable
Trip--Picture of the Waterfall at St. Nighton's Cave--A
Portrait of Dickens--An Interesting Pencil-Drawing--Death of
"Grip"--The Raven Immortalised by Maclise--A Letter of
Sympathy--The Artist's Declining Health--His Death a Severe
Shock to Dickens--The Novelist's Tribute to his Memory.
Among a host of intimate friends, none was more beloved by Dickens than
the warm-hearted Irish artist, Daniel Maclise, whose fine genius and
handsome person charmed all who knew him. Maclise was the son of a
Scotch soldier quartered at Cork, and was born in that city on January
25, 1811, being thus the novelist's senior by about a year. As a child
he exhibited great facility in executing caricatures, and was soon
enabled to support himself by the sale of his sketches. It was at first
intended that he should adopt the surgical profession, with which object
he studied anatomy under Dr. Woodroffe, but, like John Leech, he did not
take kindly to the science of healing, preferring (as did Leech) the
more congenial pursuit of Art. Accordingly, in 1827, Maclise entered the
Royal Academy Schools, where he made such rapid progress, that two years
later his work was admitted to the Exhibition of the Royal Academy.
Although, in 1831, the fortunate young painter received the gold medal
entitling him to the "Travelling Studentship," he elected to remain in
England, having already visited Paris and studied at the Louvre and the
Luxembourg. Achieving success after success as a painter of Shakesperian
scenes, portraits, &c., he became an Associate of the Royal Academy in
1836, and attained full honours in 1840. In 1866 he was offered the
Presidency, but, as did Sir Edwin Landseer during the previous year, he
declined that distinction.
* * * * *
[Sidenote: =Master Humphrey's Clock, 1840-41=.]
It was in the year of his election as Associate that Maclise was
introduced by Forster to Charles Dickens, and we learn that the tastes
and pursuits of the three friends were so congenial that thenceforth
they were inseparable,--this affectionate intercourse being maintained
without interruption for nearly thirty years. When, in 1840, Dickens
contemplated the publication of "Master Humphrey's Clock," it was his
intention to endeavour to secure the valuable co-operation of Maclise as
an illustrator of that work, in conjunction with George Cattermole.
Forster states that there seems to have been a desire on Maclise's part
to try his hand at an illustration, but he did not remember that it bore
other fruit than "a very pleasant day at Jack Straw's Castle, where
Dickens read one of the later numbers to us." That Maclise's wish was
actually realised, however, is proved by the fact that in the
fifty-fifth chapter of "The Old Curiosity Shop" there is a design by him
representing Little Nell and the Sexton. Why this should have been his
only contribution to the pages of "Master Humphrey's Clock" has never
been explained, but it is not improbable that the artist was too busily
occupied with his paintings just at this time, and therefore unable to
devote serious attention to black-and-white work.
* * * * *
[Sidenote: =The Chimes, 1845.=]
PLATE LI
"THE TOWER OF THE CHIMES"
AND
"THE SPIRIT OF THE CHIMES"
_Facsimiles_ of the Original Drawings for "The Chimes" by
D. MACLISE, R. A.
[Illustration]
[Illustration]
Maclise had been much engaged in book-illustration (sometimes signing
himself "Alfred Croquis") when, in 1844, it was proposed that he should
provide designs for Dickens's second Christmas Book, "The Chimes." This
little story was written in Italy, and, during Dickens's absence,
the necessary arrangements respecting the illustrations were made by
Forster. It may be incidentally mentioned that, eager to try the effect
of the story, the novelist journeyed to England for the express purpose
of reading it aloud to his friends at Forster's residence in Lincoln's
Inn Fields, the memorable incident being depicted by Maclise in an
amusing pencil-sketch, afterwards reproduced for Forster's biography.
Maclise became responsible for the frontispiece and decorative
title-page of "The Chimes," both of these fanciful designs gracefully
portraying elves and fairies, spirits of the bells, and allegorical
figures typifying Love, Life, and Death. The original drawings, now in
South Kensington Museum, were delicately executed in pencil, and
engraved on steel by F. P. Becker. With reference to these
illustrations, the artist wrote:--
"MY DEAR FORSTER,--I wonder if it would be possible to make
the paper of the book an inch bigger, that is, to increase
the width of margin around the letterpress, without much
additional expense. I wish you to put the question. I do not
think my design too large, but it would marvellously
increase the elegance of the look of the book. I must say
the 'Carol' book is the very climax of vulgarity in its
_mise en planches_.--_Au revoir._.
"D. M."[40]
Footnote 40: This and the succeeding letters from Maclise to
Forster are now printed for the first time.
It was, of course, considered inadvisable to depart from precedent by
acting upon the above suggestion. Dickens was highly pleased with the
artist's designs, and, writing to his wife on December 2, 1844, he said:
"Mac's frontispiece is charming."
* * * * *
[Sidenote: =The Cricket on the Hearth, 1846.=]
To the third Christmas Book, "The Cricket on the Hearth," Maclise also
contributed the frontispiece and decorative title-page, which were
engraved on wood instead of steel. These designs are replete with quaint
fancy, the frontispiece being especially worthy of attention,
comprising, as it does, no less than ten miniature _tableaux_, the
chief of these representing a homely scene, where the Carrier and his
wife are seated by the fireside, their babe being rocked in its cradle
by the fairies, while above the steaming kettle is perched that good
spirit, the Cricket. The following undated letter is interesting on
account of its connection with this Christmas story:--
"MY DEAR FORSTER,-- ... I write to ask if you have a moment to see
B[radbury] and E[vans] about these blocks for my little designs. I
wrote to D[ickens] Saturday, and there came to me such a small pair
that I instantly sent them back. Then on Saturday evening two more
came; _one of them will do_--but as you understand the matter, and
last year even got the book enlarged a little,[41] I want you to say
that I _must have a block_ for the _frontispiece_ the exact size of
the leaf on which the frontispiece of the 'Chimes' is. I have made a
little sketch to be placed on the wood, and some of the little
shapes come as close to the edge of the page as this line I
make--[Symbol: long vertical line]. I want the wood as high and as
wide as that page--but oh! my I--on, if it could but be--the _page_
I mean, not the _wood_,--a little--_so_ much larger, ah! I should be
happy for life. Tell B. and E. this and ask D. to insist on it.
Mind, I am not exceeding the present paper of the 'Chimes,' but for
the look of the book it would be very important--and they have sent
me a block much smaller than that page, whereas I cannot afford
one-hundredth part of a pin's point. I know 'tis vain to write to
them--so trouble you, and I want the blocks--in an hour!!!--Ever
most faithfully,
"D. M."
Footnote 41: There was practically no enlargement.
* * * * *
[Sidenote: =The Battle of Life, 1846.=]
The artist prepared for "The Battle of Life" not only the customary
frontispiece and title-page, but two additional designs for the later
portion of the story. Dickens, who was in Paris at the time, was
delighted when he heard of this, and in a letter to a friend observed:
"Forster writes me that Mac has come out with tremendous vigour in the
Christmas Book, and took off his coat at it with a burst of such
alarming energy that he has done four subjects!" Of these, the principal
is the frontispiece, representing the Dance round the Appletree, but the
most successful design is that depicting "The Sisters,"--a graceful
composition, and the last drawing produced by the artist for Dickens.
Remembering the novelist's keen appreciation of Maclise's illustrations
in the preceding Christmas Books, it seems somewhat strange that the
artist should have thus emphatically expressed himself to Forster in the
following letter, evidently indited in a moment of pique:--