Plate XXII

ROBERT W. BUSS
From the Painting by Himself.
Circa 1837.

ROBERT W. BUSS

Alteration in the Plan of Publishing "Pickwick"—The Difficulty Respecting a New Illustrator—Buss Elected to Succeed Seymour—Studies Art under G. Clint, A.R.A.—His Painting of "Christmas in the Olden Time"—His Ignorance of the Etcher's Art—Practises Drawing in Pen-and-ink—"The Pickwick Papers"—Buss's First Plate Approved by the Publishers—Failure of Subsequent Attempts—Expert Assistance Obtained—Plates Cancelled—Buss Dismissed—Substituted Designs by "Phiz"—"Pickwick" Drawings by Buss—His Unused Designs for "Pickwick"—His Illustrations for Marryat, Ainsworth, &c.—Accurate Draughtsmanship—"The Library of Fiction"—Buss's Illustrations for "A Little Talk about Spring and the Sweeps"—His Paintings, Humorous and Historical—Some Dickens Pictures—Drawings of Scenes in "Dombey and Son"—An Unfinished Portrait of Dickens—Drawings on Wood for Charles Knight—Exclusion of the Artist Buss's Pictures from the Royal Academy—Endeavours to Obtain Pupils—Lectures on Art—His Wife and Daughter Establish a School for Girls—A Professor of Drawing and a Teacher of Science—Praiseworthy Industry—Death of the Artist.

Charles Dickens's brother-in-law, the late Mr. Henry Burnett, was a frequent visitor at the home of the novelist during the "Pickwick" period, and years afterwards he vividly recalled the consternation, disappointment, and anxiety of the young writer on receipt of the melancholy news concerning the distressing fate of Robert Seymour, the first illustrator of "The Pickwick Papers." Dickens greatly admired the productions of that unfortunate artist, and, realising how successfully he had so far portrayed the characters in the work, apprehended there would be much difficulty in discovering a draughtsman who could interpret him with equal felicity. Indeed, there was quite a dearth of suitable talent, the only artist then living capable of etching his own designs being George Cruikshank. Unfortunately, there was not much time for consideration, as the third number of "Pickwick" had to be provided for without delay.

The crisis brought about by the unexpected death of Seymour compelled Chapman & Hall to promptly carry into effect a resolution they had formed of issuing future numbers of "The Pickwick Papers" on an improved plan, with a view to enhancing the attractiveness and popularity of the work. They determined that each succeeding number should consist of thirty-two pages of letterpress instead of twenty-four, and that there should be two illustrations in lieu of four—an arrangement which held good to the end. The difficulty respecting an illustrator to succeed Seymour had now to be grappled with, whereupon the publishers called to their assistance the eminent wood-engraver, John Jackson, who advised them to approach Robert William Buss, as being the only artist of his acquaintance likely to prove the most suitable for the purpose. Chapman & Hall acted upon this suggestion, and Buss, after much persuasion and at great personal inconvenience, agreed to temporarily relinquish very important engagements in order to assist them in their dilemma.

Plate XXIII

DESIGN FOR THE TITLE-PAGE OF "THE PICKWICK PAPERS"
Facsimile of an Unpublished Drawing by R. W. BUSS

Robert William Buss is referred to in an address issued with the third part of "Pickwick" as "a gentleman already well known to the public as a very humorous and talented artist." He was born on August 29, 1804, in Bull-and-Mouth Street, St. Martin's-le-Grand, and in due course apprenticed to his father, an enameller and engraver on gold and silver. Like Seymour, he was inoculated with the prevailing mania for "High Art," and this inclination becoming too strong to be thwarted, his indulgent father not only permitted the cancelling of his indentures, but even defrayed the cost of a year's study in Art, placing him under his old friend George Clint, A.R.A. (a landscape painter, and subsequently the President of the Society of British Artists), whose son Alfred married the younger Buss's only sister. Having thus, at the age of twenty-one, gained some practical experience in his adopted profession, Robert Buss thought himself competent to start life on his own account by painting portraits and subject-pictures. In this direction he met with fair success, but it was as a painter of humorous incidents that he first made his reputation, these finding eager purchasers among well-known collectors and connoisseurs. Among his earliest achievements was a painting representing "Christmas in the Olden Time," which he exhibited in the gallery of the Society of British Artists in 1838. This work, however, although warmly praised by the critics, proved a most unhappy venture, as the price realised by the artist for what represented the result of a year's labour hardly recouped him for the expenses incurred by its production.[13]

The Pickwick Papers, 1836-37.It was doubtless this painting with which Buss was occupied when Mr. Hall (of Chapman & Hall) called upon him respecting the illustrations for "Pickwick." "Taken quite by surprise," relates the artist, when recalling his association with Dickens's famous work, "I told him [Mr. Hall] I had never in the whole course of my life had an etching-needle in my hand, and that I was entirely ignorant of the process of etching, as far as practice was concerned. He assured me it was very easy to do, and that with my talent I was sure to succeed." After some hesitation, overcome by Mr. Hall's promise that consideration would be shown towards his want of experience, Buss yielded to the pressure thus put upon him, and consented to put aside his picture (although most anxious to complete it for exhibition at the Royal Academy), with a view to embarking upon his new undertaking.

In preparing studies for his pictures, Buss had accustomed himself to the use of bold effects, obtained by means of chalk or black-lead pencils of various degrees of hardness, blackness, and breadth of point. He therefore deemed it necessary to undergo a course of training which would enable him to impart to his work that delicacy of touch so essential in the art of etching upon copper or steel, and devoted himself almost day and night (as there was really no time to lose) to practice in drawing with pen-and-ink,—a fact (he observes) "of which Mr. Hall was utterly and entirely ignorant." There are still extant a few of these experimental efforts (chiefly figures and faces copied from line engravings), including a sheet containing a dozen sketches of heads—studies of characters in "Pickwick," apparently based upon Seymour's etchings—which testify not only to his energy, but also to his rapidly-acquired skill in the adoption of what was to him a novel medium. In these drawings, by the way, he used ordinary ink for the general design, diluting it for the delicate shades and distant objects, thus assimilating the effect of his pen-and-ink work with the variations resulting from the "biting-in" and "re-biting" of etchings.

Plate XXIV

"THE BREAK-DOWN"
Facsimile of an Unpublished Drawing by R. W. BUSS
Illustrating an incident in the ninth chapter of "The Pickwick Papers."

After labouring incessantly for a period of three weeks, the artist felt prepared to make his first attempt in etching, taking for his subject "Mr. Pickwick at the Review." Referring to this plate, he says: "Of course it was full of faults, inevitable to any one in the early stage of practice in etching. But it was shown to Messrs. Chapman & Hall, and approved by them, though not as one of the illustrations to be published.[14] All this occupied much time, which was every hour becoming more and more valuable, as the date of publication was close at hand. I had barely time to prepare my two subjects for the next number of 'Pickwick' in pencil and submit them for approval to the publishers, who returned them, being much pleased with my efforts. The subjects I selected were the Fat Boy watching Mr. Tupman and Miss Wardle in the arbour, and the Cricket-Match." Buss now essayed to reproduce his designs upon the plates; but the result proved disastrous, the too violent action of the improperly diluted acid tearing up the etching-ground, which also broke up under the needle, creating sad havoc. Dreading the possible consequences of delay, he placed his original drawings in the hands of an expert engraver, to be copied on the plate and "bitten-in." "This work," remarks the artist, "he did very well indeed, but, as might have been expected, had I had time for thought, the free touch of an original was entirely wanting. The etching itself failed, but the 'biting-in' was admirably done. Time was up. The plates must be placed at once in the printer's hands, and so (there being no help for it) the plates were printed, the numbers stitched and duly published. Thus my name appeared to designs of which not one touch of mine was on the plates." Had opportunities been given, Buss would have cancelled these plates, and prepared fresh ones of his own etching. The immediate effect of this fiasco was the termination of his connection with "The Pickwick Papers," the artist being actually engaged in preparing designs for the succeeding number when he received a note informing him that the work had been placed in other hands. Under the circumstances, it is not surprising that Buss felt this curt dismissal very keenly, for it must be remembered that he ventured upon the undertaking mainly to oblige the publishers, who, it appears, had promised him every consideration on account of his inexperience with the etching-needle.

Forster disposes of the subject of Buss's association with "Pickwick" in a very few words, merely observing that "there was at first a little difficulty in replacing Seymour, and for a single number Mr. Buss was interposed," thus intimating that the engagement was a temporary one. In commenting upon this, the artist's son, the Rev. Alfred J. Buss, expresses a belief that his father could not certainly have regarded it in this light. "Is it reasonable to suppose," he asks, in Notes and Queries, April 24, 1875, "that he would have consented to devote three weeks of his time, at the most valuable season to an artist, to the practice of an entirely new department of art, if it had been clearly stated that his engagement was of the transitory nature Mr. Forster would imply, and the more especially when we bear in mind that the price to be paid for the etchings was only fifteen shillings each?" It was Forster's scanty and misleading reference to Buss's engagement as illustrator of "Pickwick" which induced the artist to draw up for his children a concise and clear account of everything that transpired.

It is not recorded whether Buss and Dickens became personally acquainted, nor, indeed, that they ever met. We may therefore surmise that all business transactions were carried on through the publishers, who probably forwarded to the artist proofs of the letterpress in order that he might select therefrom the subjects for illustration. The third number of "Pickwick" contains the only two published etchings by Buss for that work, viz., "The Cricket-Match" and "The Fat Boy Awake on this Occasion only." These plates, the effect of which was poor and thin, contrasted unfavourably with the Seymour etchings immediately preceding them, and were therefore suppressed as speedily as possible, others by "Phiz" (Hablôt K. Browne) being substituted before many copies had been issued.[15] In one of the latter an entirely different design is given,—that is to say, instead of "The Cricket-Match," we have "Mr. Wardle and his Friends under the Influence of 'the Salmon,'" depicting an incident described in the succeeding chapter.

The drawings by Buss for "Pickwick" have fortunately been preserved. Besides the original designs for the published etchings, there are still in existence several tentative sketches prepared by the artist in anticipation of future numbers,—those, indeed, upon which he was at work when he received his congé. Some of these sketches are vigorously limned with pen-and-ink outlines and the effects laid in with a brush, while others are rendered in pencil supplemented by washes of indian-ink. The following is a complete list of Buss's original drawings for "Pickwick":—

Mr. Pickwick at the Review.[16]—Unused design.—This subject was etched by the artist as a specimen of his work to be submitted to Chapman & Hall. Only two impressions are known to exist, while the plate itself was irretrievably injured through the surface being scratched with a piece of coarse emery paper.

The Cricket-Match.[16]—Published design.

Plate XXV

"A SOUVENIR OF DICKENS"
From an Unfinished Painting by R. W. BUSS
Size of Original Picture, 36 in. by 27 in.

The Cricket-Match.—First sketch, varying entirely from the etching. The wicket-keeper is seen behind the fat man, receiving the ball full in his face.

The Fat Boy Awake on this Occasion only.[1]—Published design.

The Fat Boy Awake on this Occasion only.—First sketch, varying from the etching. Tupman is represented on his knees by the side of Miss Wardle, who is holding a watering-pot, while the Fat Boy is seen behind, facing the spectator.

The Fat Boy Awake on this Occasion only.—Second sketch, varying from the etching. Here Tupman is standing, with his left arm around Miss Wardle's waist, and the Fat Boy is in front, in much the same attitude as represented in the published design; indeed, there are very slight differences between this sketch and the accepted drawing.

Mr. Wardle and his Friends under the Influence of "the Salmon."[17]—Unused design.

The Break-down.—Unused design. Pickwick, in an attitude of despair, stands facing the spectator; behind him Wardle is seen in the act of shaking his fist at the eloping party in the retreating chaise; while a postboy on the left holds the head of one of the horses belonging to the vehicle which has come to grief.

Mr. Winkle's First Shot.—Unused design. The central figure is Winkle, holding his gun; close by stands Snodgrass in an attitude of fear, while Pickwick and Wardle are sheltering behind a tree.

Study for the Title-Page.—Unused design. In this rough sketch Pickwick is the prominent personage, as he stands facing the spectator, with his right hand in the pocket of his smalls, and his left arm resting on what appears to be a mound of earth. Separately displayed upon the face of this mound are medallion portraits, in emblematical frames, of Pickwick, Snodgrass, Winkle, and Tupman, while above all is suspended a female figure typical of Fame, blowing a miniature trumpet and holding a laurel wreath over the head of Pickwick. The letters forming the words "Pickwick Club" are made up of various articles suggestive of conviviality and sport—such as corkscrews, bottles, wine-glasses, pistol, stirrup, &c.

These drawings sufficiently indicate that the artist possessed a decided power with the pencil, which he turned to good account shortly after the abrupt termination of his connection with "The Pickwick Papers." For example, in 1839 he successfully illustrated, by means of etching, Mrs. Trollope's diverting story, "The Widow Married," then appearing as a serial in the New Monthly Magazine, and among the more remarkable of his later efforts with the etching-needle are his designs for novels by Marryat, Ainsworth, and other well-known writers of the day, many of the plates being equal, in the matter of technique, to those by "Phiz," thus denoting that, had an opportunity been afforded him, he might have made his mark with "Pickwick." It may be said of Buss (as is asserted concerning Cruikshank) that his works, whether in colour or black-and-white, are regarded as affording authentic information respecting costumes and other accessories; for he was exceedingly conscientious in matters of detail, preferring to incur infinite trouble to secure accuracy rather than rely upon his imagination.

The Library of Fiction, 1836.Like Seymour, Buss was associated with Dickens in connection with that ephemeral work, "The Library of Fiction." Besides "The Tuggses at Ramsgate," the novelist wrote for its pages a paper called "A Little Talk about Spring and the Sweeps," containing an illustration drawn by Buss and engraved on wood by John Jackson, who, it will be remembered, introduced the artist to Chapman & Hall. This short tale was reprinted in the first complete edition of "Sketches by Boz," 1839, under the title of "The First of May," with an etching by Cruikshank depicting an incident differing entirely from that which forms the subject of Buss's woodcut.

Plate XXVI

DOLLY VARDEN
From an Original Water-colour Drawing by R. W. BUSS

As a painter of humorous scenes and historical events, Buss gained considerable popularity. From 1826 to 1859 he contributed nearly every year subject-pictures and portraits to the Exhibitions of the Royal Academy, Suffolk Street Gallery, and British Institution, and among his numerous canvases (many of which have been engraved) may be mentioned:—Humorous—"The Biter Bit," "The March of Intellect," "The Monopolist," "An Unexpected Reception," "Soliciting a Vote," "Chairing the Member," "Mob Tyranny," "The Mock Mayor of Newcastle-under-Lyme." Historical—"The Introduction of Tobacco by Sir Walter Raleigh," "James Watt's First Experience with Steam," "Hogarth at School," "Chantrey's First Essay in Modelling," "Nelson's First Victory over the French Fleet." The artist was also occasionally inspired by Shakespeare and Dickens, and it is specially interesting to note that he painted at least three pictures of scenes in the novelist's works, viz., "Joe Willet Taking Leave of Dolly Varden" (from "Barnaby Rudge"), exhibited at the Royal Academy in 1844, and now in a South Australian public picture-gallery; "The Cricket's Chirp" (Peerybingle, Dot, and Tilly Slowboy, from "The Cricket on the Hearth," Chirp the First), exhibited at Suffolk Street, 1846; and a representation of Trotty Veck peeping into the basket containing his dinner of tripe which his daughter brings him. In an album of studies and notes for his pictures (arranged by the artist for preservation as an heirloom) may be found several sketches for the first-named subject, and in addition to these are two small water-colour drawings, oval in form, of scenes in "Dombey and Son," representing "Mr. Dombey more Magnificent than Usual," and "Captain Cuttle visited by Florence Dombey," the latter being especially well rendered. Whether these have ever been engraved I am unable to say, but the probability is they have not. Curiously enough, the last picture on Buss's easel purported to represent "A Dream of Dickens." This unfinished canvas (still in the possession of a member of the artist's family) contains a portrait of the novelist seated in his study, with visions of scenes from his various works around him. The portrait is adapted from the well-known photograph by Watkins, while the incidents depicted are taken from the original illustrations.

Although Buss's large picture of "Christmas in the Olden Time" proved, for the artist, a financial failure, it benefited him in being the means of introducing him to Charles Knight (perhaps the most enterprising publisher of that day), who, recognising in the young painter a diligent student of manners and customs, engaged his services on the Pictorial Edition of Shakespeare's Works, "Old England," the Penny Magazine, and Chaucer's "Canterbury Tales," all of which were issued under Knight's auspices. The Rev. A. J. Buss well remembers his father making these drawings on wood blocks, which were engraved by Jackson, Sly, and others, and recalls that, some years after, he obtained a commission from Mr. Hogarth, a printseller, to execute some Christmas subjects for reproduction by line-engraving.

After 1854 Buss's pictures were for some reason excluded from the Royal Academy Exhibitions, and this so seriously affected the sale of his work that he was compelled to have recourse to teaching drawing as a means of supplementing a precarious income. As early as 1843 he had issued circulars announcing a course of lessons in drawing on Dupin's method, having previously purchased many expensive models, and rented a room in Duke Street, Grosvenor Square; but all in vain, for not a single pupil was forthcoming! He then prepared a series of lectures on English Comic and Satiric Art, which he delivered in London and the chief provincial towns in England, these being illustrated by large diagrams.

Plate XXVII

FLORENCE DOMBEY AND CAPTAIN CUTTLE
From an Original Water-colour Drawing by R. W. BUSS

HABLÔT K. BROWNE ("Phiz")

I

An Illustrator required for "Pickwick"—Leech and Thackeray offer their Services—Thackeray's First Meeting with Dickens—"Mr. Pickwick's Lucky Escape"—Leech's Specimen Drawing—Hablôt K. Browne ("Phiz") Elected to Succeed Buss—His Etching of "John Gilpin's Ride" Awarded a Silver Medal—His Designs for "Sunday Under Three Heads" and "The Library of Fiction"—Mr. J. G. Fennell's Reminiscences of the Artist—Thackeray's Congratulations to "Phiz"—A Modest Banquet—"Phiz" as an Etcher—Assisted by Robert Young—Their First Plate for "Pickwick"—An All-Night Sitting—Particulars Concerning a "First Edition" of "Pickwick"—The Success of the Work Assured—The Sobriquet of "Phiz"—The Artist's Signatures—Method of Preparing the "Pickwick" Illustrations—Variations in Duplicated Plates—George Augustus Sala's Opinion of the "Pickwick" Plates—The Etchings Criticised—"Phiz's" Original Drawings for "Pickwick"—His Tentative Designs—Differences between the Drawings and the Etchings—Dickens's Hints to the Artist—"Phiz's" Sketch of Mr. Pickwick—A Series of New Designs—Vignettes for the Library Edition—Woodcuts for the Household Edition—Frontispiece for "The Strange Gentleman"—Illustrations for "Sketches Of Young Gentlemen" and "Sketches of Young Couples"—Sale of the Original Drawings—"Nicholas Nickleby"—Dickens and "Phiz" in Yorkshire—The Prototype of Squeers—A Significant Memorandum—Mr. Lloyd's Recollections of William Shaw, a Yorkshire Pedagogue—The "Nickleby" Etchings Criticised—Particulars Concerning the Plates—The Original Drawings—A Missing Design—Dickens's Instructions to "Phiz"—Variations in the Illustrations—Pictorial Wrapper—Vignettes for the Library Edition.

Plate XXVIII

HABLÔT K. BROWNE ("PHIZ")
From an Unpublished Photograph

Lent by Mr. Gordon Browne, R.I.

ROBERT YOUNG
From a Photograph by W. GREEN

It is certainly extraordinary that within the space of a few weeks two vacancies for the post of illustrator of "Pickwick" should have occurred. It was about the beginning of June 1836 (the date of the publication of the third part, containing his two etchings) when Buss unexpectedly received the intimation that his services would be no longer required, and no sooner had this fact become known than there was quite a rush of aspiring artists eager to offer their professional aid, among them being several who had already made a reputation as draughtsmen—such as "Crowquill" (Alfred Forrester), Lee, and others. It is of special interest to learn that John Leech and William Makepeace Thackeray were also desirous of obtaining the appointment, but the honour was destined for another. Thackeray had practised etching for some years, having, while an undergraduate at Cambridge, taken lessons of an engraver and printseller named Roe, who carried on his profession in the University town, and under that gentleman's superintendence he etched a series of plates illustrative of college life, which were first published in 1878. Possessing a natural gift for drawing, the famous satirist (in his early days) earnestly desired to follow Art as a profession, and so far encouraged his bent by copying pictures in the Louvre; but his studies seem to have been of a desultory character, and of little value in making him a sound draughtsman. When, on returning to London, he heard that a designer was required for the "Pickwick" illustrations, he immediately sought an interview with Dickens at his rooms in Furnival's Inn, taking with him some specimens of his work, and more than twenty years afterwards, in responding to the toast of "Literature" at the Royal Academy banquet, he thus referred to the memorable incident: "I can remember when Mr. Dickens was a very young man, and had commenced delighting the world with some charming humorous works, of which I cannot mention the name, but which were coloured light green and came out once a month, that this young man wanted an artist to illustrate his writings, and I recollect walking up to his chambers with two or three drawings in my hand, which, strange to say, he did not find suitable. But for that unfortunate blight which came over my artistical existence, it would have been my pride and my pleasure to have endeavoured one day to find a place on these walls for one of my performances." Although at the time he was doubtless surprised at, and sorely disappointed by, "Boz's" want of appreciation, he afterwards acknowledged there was some justification for it, and good-humouredly alluded to the rejection of his services as "Mr. Pickwick's lucky escape." Who can say whether "Vanity Fair" and "Esmond" would ever have been written had this mighty penman been elected to succeed Buss?[18]

Thackeray's schoolfellow and life-long friend, John Leech, also submitted a design to Chapman & Hall, in the hope of being successful where others had failed, but the little drawing, slightly tinted in colours, depicting the amusing scene in the Bagman's story of Tom Smart and the high-backed chair, did not indicate the possession by the artist of the necessary qualifications. He was accordingly dismissed; but it was reserved for this amiable man and accomplished draughtsman not only to adorn with his pencil the pages of the "Carol" and other Christmas books of Charles Dickens, but to be afterwards honoured by the friendship and esteem of England's great novelist.

Sunday under Three Heads, 1836.As all the world knows, the privilege of illustrating Dickens's most popular work was secured by Hablôt Knight Browne ("Phiz"), this clever designer being rightly regarded as artistic exponent-in-chief of Dickens's creations. At this time he had barely attained his majority, and, unlike Cruikshank, who came to the pictorial embellishment of "Sketches by Boz" and "Oliver Twist" with a distinct reputation, was an almost untried artist. About his eighteenth year, while serving his apprenticeship with the Findens, the well-known line-engravers, Browne was awarded a silver medal offered for competition by the Society of Arts for "the best representation of an historical subject"—a large etching portraying John Gilpin's famous ride through Edmonton. Apropos of this etching Mr. Mason Jackson writes in the Athenæum, June 11, 1887: "Mr. Chapman (of Chapman & Hall) was delighted with 'John Gilpin's Ride,' and forthwith applied to Browne, who thus succeeded Seymour and Buss as the illustrator of 'Pickwick.'" After a careful comparison of dates, I venture to point out the probability that it was not with a view to the illustration of "Pickwick" that Edward Chapman paid his first visit to Browne, as generally supposed, but for the purpose of engaging his services as designer of some woodcuts for a pamphlet which the firm was about to publish, entitled "Sunday under Three Heads—As it is; As Sabbath Bells would make it; As it might be made." This brochure, written by Dickens under the pseudonym of "Timothy Sparks," is prefaced by a Dedication dated June 1836, and was therefore in progress prior to the publication of the fourth number of "Pickwick," containing "Phiz's" first designs, which appeared during the following month. When, in after years, Mr. Morton Brune enquired of the artist concerning his share in this little production, he replied: "The work of Dickens mentioned by you was illustrated by me when quite a youngster, and I am sorry to say I can give no information about it—recollecting nothing whatever."[19] Besides a trio of heads (printed on both wrapper and title-page), there are three full-page illustrations, engraved by C. Gray and Orrin Smith. This excessively scarce pamphlet was issued as a protest against the extreme views of Sir Andrew Agnew and the Sabbatarian party, and had immediate reference to a Bill "for the better observance of the Sabbath," then recently rejected in the House of Commons by a small majority. "Sunday under Three Heads" was originally published at two shillings, and now realises as much as £10 in the auction-room. There are two or three facsimile reprints in existence, but the reproductions of the woodcuts are comparatively poor.

It should be mentioned that "Phiz" (together with Seymour and Buss) assisted in the illustration of "The Library of Fiction," published by Chapman & Hall in 1836-37, so that his artistic efforts were by no means unfamiliar to the firm at this time. In his design facing page 293 of the first volume of that work there may be discovered the figure of an obese individual who is the very counterpart of Tony Weller.

The Pickwick Papers, 1836-37.An intimate friend of Hablôt K. Browne, Mr. John Greville Fennell (formerly of the Field journal), confirms my opinion that the artist's earliest association with the writings of Dickens was his connection with "Sunday under Three Heads"; but, as the engravings in that pamphlet only bore the designer's initials, it is more than probable that Browne himself was then an absolute stranger to the future novelist. Within a very brief period, however, certain events conspired to bring about the beginning of an acquaintance which ripened into a friendship that never ceased during Dickens's life-time. Mr. Fennell writes: "It was I who, while superintending E. & W. Finden's establishment, sold his first drawing to Adolphus Ackermann, and induced him (H. K. B.) to reproduce Buss's two illustrations (viz., The Cricket-Match[20] and The Fat Boy Awake on this Occasion only), which I sent down to Chapman & Hall." It was apparently through Mr. Fennell's intervention that the publishers were enabled to recognise Browne's ability as an etcher, and to discover in the specimens submitted to them that he was the very man to occupy the position then recently vacated by Buss. He first heard of his appointment from his generous rival, Thackeray, who at once made his way to the artist's abode in Newman Street for the purpose of congratulating him, and it is said that they immediately repaired to a neighbouring public-house, where a banquet consisting of sausages and bottled stout was held in honour of the occasion.

At this juncture, Browne (who considered line-engraving too tedious a process) suspended operations at Finden's establishment, and, through the friendly auspices of Mr. Fennell, his indentures were cancelled two years before they had expired. In conjunction with a kindred spirit, he hired a modest room as a studio, and employed his time in the more congenial pursuit of water-colour drawing. As the result of a solemn compact between them to produce three drawings daily, Browne, who worked very rapidly, was enabled to pay his share of the rent by the proceeds of his labours. In order to familiarise himself with the human form, he attended the evening class at the "Life" School in St. Martin's Lane, having as a fellow-pupil that famous painter of the "nude," William Etty, who afterwards joined the ranks of the Royal Academicians.

In 1836 (when in his twenty-first year) Browne had acquired considerable facility with his pencil, and soon proved that his selection as the illustrator of "Pickwick" was thoroughly justified. By means of the training he had undergone at the Findens, he had obtained a mastery over the difficulties and mysteries of etching, which now proved eminently serviceable. Buss declared that "Phiz" was by no means an expert when he commenced working for "Pickwick," being compelled to obtain help from an experienced engraver named Sands, who "touched up the drawings with his own needle, adding shade where required, and then applied the acid and did all the necessary 'biting-in' and 'stopping-out.'" The facts, however, are rather over-stated, as witness that early effort (perhaps unknown to Buss), viz., the etching of John Gilpin, which was undoubtedly unaided work, testifying that the artist was then quite capable of running alone. It is acknowledged, however, that, so far as the "biting-in" was concerned, he invariably secured co-operation, not on account of his own incapacity, but merely to save time, and for this purpose he generally sought and obtained the requisite help of his quondam fellow-apprentice, Robert Young.

Browne speedily communicated to Mr. Young the welcome intelligence respecting the "Pickwick" appointment; indeed, we are told that he went at once to his friend's chambers, and on entering said, "Look here, old fellow: will you come to my rooms to assist me with a plate I have to etch?" Mr. Young, who was still in the employ of Finden, had acquired such a thorough knowledge of the art of biting-in designs upon steel plates, that Browne realised the importance of securing his co-operation without delay, and, happily for him, his friend readily acceded to his wish; whereupon "Phiz" suggested that he should take his key with him, as they might be late. The design having already been drawn upon the plate, the two conspirators devoted the entire night to the operation of biting-in, the outcome of which was the production of the plate depicting the eventful meeting of Mr. Pickwick and Sam Weller at the old White Hart Inn, perhaps the most notable illustration in the book. Mr. Young's share of the undertaking consisted in the application and manipulation of acid, which corroded the plate where exposed by the needle—a troublesome and delicate operation, requiring considerable experience, as, by too lengthy or too brief a subjection of the metal to the action of the acid, the plate would be ruined, and the labour of the artist rendered of no avail.

Mr. Young writes in reply to my enquiry respecting this and subsequent collaboration: "I did not bite-in the whole of 'Phiz's' etchings. I was some years abroad, during which he had assistance from two engravers, Sands and Weatherhead. 'Phiz' was quite capable of doing this part of the work himself, for he had two or three years' practice during his apprenticeship at Finden's; but he had no time for such work, being always fully occupied in etching or drawing on wood."

Plate XXIX

"A SUDDEN RECOGNITION, UNEXPECTED ON BOTH SIDES"
Facsimile of the Original Drawing for "Nicholas Nickleby" by H. K. BROWNE ("Phiz")