The Project Gutenberg eBook of Dickens and His Illustrators, by Frederic G. Kitton.

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.

FOOTNOTES:

[29] "Mr. Pickwick's Tale," in the first chapter.

[30] See headpiece to "First Night of the Giant Chronicles."

[31] See illustration in "The Old Curiosity Shop," chap, xxvii.

[32] Macready, upon whom the death of Little Nell had a painful effect, was much impressed by this illustration, as an entry in his diary testifies: "Found at home ... an onward number of 'Master Humphrey's Clock.' I saw one print in it of the dear dead child that gave a dead chill through my blood. I dread to read it, but must get it over."

[33] A modern public-house still stands upon the site, in Cromer Street, Gray's Inn Road. It retains the original sign.

[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.

ILLUSTRATORS OF THE CHRISTMAS BOOKS

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.

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.

FOOTNOTES:

[35] The first issue of the "Carol" was bound in cloth of a brownish colour, the subsequent issues appearing in crimson.

JOHN 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.

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."

A Christmas Carol, 1843.The year 1843 was memorable to John Leech, for then he first became 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.

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.

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.

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:—

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:—

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...."

FOOTNOTES:

[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."

[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.

[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.

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."

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.

RICHARD DOYLE

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.

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.

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.

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.

Artist	A Christmas Carol, 1843.	The Chimes, 1845.	The Cricket on the Hearth, 1846.	The Battle of Life, 1846.	The Haunted Man, 1848.	Total.
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