FRANK STONE, A.R.A.
From a Photograph

CLARKSON STANFIELD, R.A.

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.

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."

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."

Plate L

"WAR" AND "PEACE"
Facsimile of the Original Sketches for "The Battle of Life" by
C. STANFIELD, R.A.

The Battle of Life, 1846.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."

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.

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]

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.

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.

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.

"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]

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."

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—|. 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."

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:—

"My Dear F.,—It is clear to me that Dickens does not care one damn whether I make a little sketch for the book or not. However, if you think that the appearance of the volume should be as like the former ones as possible, I will with even pleasure gulp down my jealousy and draw on the wood that apple-tree, &c., for a frontispiece. In which case you must shut up that same subject to Doyle—as I saw in his sketch last night. But I do this at your bidding, and not at all for D., and on the whole would much prefer not engaging in the matter at all.—Yours truly,

D. M."

Apparently some little misunderstanding had hurt the susceptibilities of the artist, but, happily, it was speedily removed, for he presently wrote in a more conciliatory spirit:—

"My Dear Forster,—I have received the blocks and will make the design of the apple-tree and the girls dancing—so keep that subject sacred to me. B[radbury] and E[vans] have sent the block as large as the last, but as I do not approve the look of the design without margin, I intend to keep this one within bounds. They have sent me a smaller one for title-page. Now I propose, and I know it will improve the appearance of the little book, not to cram in another design there with the title—a printed title in type has always still been necessary—but if you like I will make another design for the body of the book. That one, perhaps, the lover of Marion's interview with her—and Clemency. I hope very much you will see no good objection to this proposition—or will you propose a second subject?—Ever yours truly

D. M."

Again, a few days later:—

"My Dear Forster,— ... I write to say that you will find me at the Athenæum to-morrow at five o'clock. Do not be later. I hope then to bring with me the drawing on the block for the frontispiece—the girls dancing; for the other, I will do what you like, the girls and the Doctor, Marion reading, &c., or the lover of Marion's interview with her, and Clemency outside the door, &c. We will agree to-morrow.—Very truly yours,

D. Maclise.

"I hope there may be time enough then not to hurry it."

The following letter probably refers to the allegorical design on the title-page, depicting the triumph of Virtue over Vice, in which the figures (with one exception) are nude: although, from an allusion to "that tree," it might be suggested that it was the frontispiece:—

"My Dear Forster,—I suppose the stern moralist, Thackeray, would have described the last design I made lecherous, libidinous, lustful, lewd, and loose; but I meant it to be pure and 'mi-ld as the moo-n-beams.'

"... I only write to tell you, if you can exercise any control over its fate, that it may be placed in the hands of as good a wood-man as possible, and that he be recommended to spare that tree-e-.

"I fear that my character is gone abroad, and that I am a dog with a bad name....—Ever yours,

Daniel Maclise."

Both the frontispiece and title-page were excellently rendered on wood by John Thompson, one of the foremost engravers of the day. Maclise, however, had hoped the work would have been entrusted to others, for he observed to Forster: "I am annoyed that neither Williams nor Dalziel are to do that little design. Some one called here and took it away on Monday, and he said that there was not time (the old excuse) to do it justice." Judging from the following trenchant remarks, the artist was anything but gratified by the engraved reproductions of these drawings when they appeared in print:—

"My Dear F.,—I can never hope to get you to understand how I am mortified and humiliated by the effect of these damnable cuts. It really is too much to be called upon to submit to, to be shown up in these little dirty scratches and to have one's name blazoned as if one was proud of them. I wish to Heaven you would have my name cut out from the corners, that at least I might have the benefit of the doubt as to which of the blots is mine. I would give anything that I had kept to my original notion and had nothing to do with the thing.... I wish you had left me that last one; I would have tried to beguile myself with a belief that it might be improved. My curses light upon the miserable dog that produced it—I don't mean myself.—Ever yours,

D. Maclise.

"And what is the good of employing Thom[p]son—if the demon printers are to ruin them with their diabolic press?"

Maclise, like other draughtsmen on wood, doubtless often experienced a sense of disappointment when their delicately-pencilled drawings were hurriedly engraved and submitted to the arbitrary treatment of printer's ink. In this way those subtle touches upon which the artist prided himself were lost for ever, so that the designs appear coarse and crude. Such was obviously the case with regard to the illustrations now under consideration, notwithstanding the fact that they bear the signatures of thoroughly experienced engravers. It is a fact worth recording here that Maclise did not draw from life the figures in his designs for the Christmas Books. Indeed, it was a matter of astonishment to his brother artists that, even when working upon his more important canvases, he very rarely resorted to the use of the living model, his singular facility in composition leading him, perhaps, too often to dispense with the study of the human form; yet his works, although possessing a mannered look, are distinctively marked by characteristics of individual as well as general nature.

As already intimated, the friendship subsisting between Dickens and Maclise was of a kind the most sincere, and it was naturally coupled with a true admiration which each entertained for the genius of the other. Dickens never tired of praising the talent of the artist, whom he thought "a tremendous creature, who might do anything," and recalled with delight those halcyon days when Maclise accompanied Clarkson Stanfield, Forster, and himself on that memorable Cornish trip in 1842, one result of which was a charming painting (now in the Forster Collection at South Kensington) of the Waterfall at St. Nighton's Keive, near Tintagel, into which the artist introduced as the principal feature a young girl carrying a pitcher, the model for whom was Dickens's sister-in-law, Miss Georgina Hogarth. It should be remembered that one of the finest of the early portraits of Dickens himself was painted by Maclise in 1839, at the instigation of Chapman & Hall, with a view to an engraving for "Nicholas Nickleby," the reproduction duly appearing as the frontispiece. The original picture was presented to Dickens by his publishers, and at the sale of the novelist's effects in 1870 this very interesting canvas was purchased for £693 by the Rev. Sir E. R. Jodrell, by whom it was bequeathed to the National Gallery, where it may now be seen. Maclise is responsible also for another excellent portrait of the novelist at the same youthful period—a slight pencil-drawing (executed in 1843) representing him with his wife and her sister.

The premature death of Dickens's raven, immortalised in "Barnaby Rudge," was formally notified to Maclise by the novelist in the form of a letter narrating the details of that domestic calamity. The artist forwarded the missive to Forster, together with a sketch purporting to represent "Grip's" apotheosis, while to Dickens himself he dispatched (March 13, 1841) the following letter, which does not appear in the published collection, and is one of a very few letters extant that were addressed by him to the novelist:[42]—

"My Dear Dickens,—I received the mournful intelligence of our friend's decease last night at eleven, and the shock was great indeed. I have just dispatched the announcement to poor Forster, who will, I am sure, sympathise with us in our bereavement. I know not what to think of the probable cause of his death,—I reject the idea of the Butcher Boy, for the orders he must have in his (the Raven's) life-time received on account of the Raven himself must have been considerable. I rather cling to the notion of felo de se—but this will no doubt come out upon the post-mortem. How blest we are to have such an intelligent coroner as Mr. Wakley. I think he was just of those melancholic habits which are the noticeable signs of your intended suicide, his solitary life, those gloomy tones,—when he did speak, which was always to the purpose. Witness his last dying speech, 'Hallo! old girl,' which breathes of cheerfulness and triumphant recognition,—his solemn suit of raven black, which never grew rusty. Altogether his character was the very prototype of a Byron hero—and even of a Scott—a Master of Ravenswood. He ought to be glad he had no family. I suppose he seems to have intended it, however, for his solicitude to deposit in those Banks in the garden his savings was always very touching. I suppose his obsequies will take place immediately.

"It is beautiful, the idea of his return, even after death, to the scene of his early youth and all his associations, and lie with kindred dusts amid his own ancestral graves after having made such a noise in the world, having clearly booked his place in that immortality-coach driven by Dickens. Yes, he committed suicide; he felt he had done it and done with life. The hundreds of years! what were they to him? There was nothing more to live for—and he committed the rash act.—Sympathisingly yours,

Dan. Maclise."

It is evident from the following epistle, addressed to Forster at the time when "Dombey and Son" was appearing in monthly numbers, that Maclise, while acknowledging his intense admiration of the novelist's powers, could not bring himself to appreciate certain of his youthful creations:—

"My Dear Forster,—I think it very great—the old nautical-instrument-seller novel, and most promising. I'm never up to his young girls—he is so very fond of the age of 'Nell,' when they are most insipid. I hope he is not going to make another 'Slowboy'—but I am only trying to say something, and to find fault when there is none to find. He is absolutely alone.—Ever yours,

D. M."

In 1870 Maclise's health began seriously to fail him; he appeared languid and depressed, and in April of that year he succumbed to an attack of acute pneumonia, predeceasing the novelist by only a few weeks.

Dickens experienced a severe shock on hearing of the death of this steadfast and genuine friend, and when, three days later, he returned thanks for "Literature" at the Royal Academy dinner (his final appearance in public), he offered a most affectionate, graceful, and eloquent tribute to the memory of him who had just passed away. "For many years," he said, "I was one of the two most intimate friends and most constant companions of the late Mr. Maclise. Of his genius in his chosen art I will venture to say nothing here, but of his prodigious fertility of mind and wonderful wealth of intellect, I may confidently assert that they would have made him, if he had been so minded, at least as great a writer as he was a painter. The gentlest and most modest of men, the freshest as to his generous appreciation of young aspirants, and the frankest and largest-hearted as to his peers, incapable of a sordid or ignoble thought, gallantly sustaining the true dignity of his vocation, without one grain of self-ambition, wholesomely natural at the last as at the first, 'in wit a man, simplicity a child,' no artist, of whatsoever denomination, I make bold to say, ever went to his rest leaving a golden memory more pure from dross, or having devoted himself with a truer chivalry to the art-goddess whom he worshipped." These were the last public words of Charles Dickens, and they were uttered when the speaker was far from well, and when, indeed, he was himself nearing the brink of the Great Unknown.

SIR JOHN TENNIEL

Cartoons for Punch—Book Illustrations—A Self-Taught Artist—Becomes Acquainted with Dickens—Designs for "The Haunted Man"—A Wonderful Memory of Observation—An Interview with Dickens—Knighthood.

Sir John Tenniel, the doyen of the Punch staff, is undoubtedly best known as the designer and draughtsman of the cartoon published weekly in that journal. This famous pictorial satirist succeeded Richard Doyle on Punch in 1850, and since 1861 (with the exception of a few brief intervals) he has supplied the subject of the principal engraving with unfailing regularity. Confining himself almost entirely to black-and-white drawing, Sir John has produced, during a long and active career, a large number of book-illustrations, such as those embellishing certain editions of "Æsop's Fables," "The Ingoldsby Legends," "Lalla Rookh," and "The Arabian Nights," while those charming designs in the late "Lewis Carroll's" "Alice in Wonderland," with its sequel, "Through the Looking-Glass," will be readily remembered. In Once a Week may also be found many of his illustrations.

Sir John Tenniel was born in London in 1820. Although for a time he attended the Royal Academy Schools, he is practically a self-taught artist, and exhibited his first picture when sixteen years of age. After this initial success he continued to paint and exhibit pictures both in oil and water-colours, but soon realised that he could exercise his facile pencil with greater advantage, his designs possessing a refinement and good taste, coupled with a sense of humour—characteristics suggesting the thought that to him may be attributed the establishment of the connection between "High" Art and what may be termed "Grotesque" Art.

The Haunted Man, 1848.Prior to joining the Punch staff—that is to say, in 1847—Sir (then Mr.) John Tenniel became acquainted with Charles Dickens, who invited the young artist to contribute (in conjunction with Clarkson Stanfield, R.A., John Leech, and Frank Stone, A.R.A.) some designs to "The Haunted Man," published in 1848. Accordingly, in this Christmas Book we find him represented by six illustrations, consisting of the frontispiece, engraved title-page, and four other designs, the latter appearing at the opening of the chapters. The frontispiece is a remarkable achievement in respect to the decorative border surrounding the central picture,—a beautifully-fanciful treatment of elf-like and other figures, typifying Good and Evil, the drawing being admirably engraved on wood by Martin and Corbould. In the second chapter the artist has represented the Tetterby family, which it is interesting to compare with a similar group of the Tetterbys by John Leech in the same chapter. Sir John Tenniel's final drawing is a successful attempt to portray, in the form of allegory, Night receding before Dawn.

Except in painting, Sir John Tenniel never resorts to the use of the living model for his figures, but depends entirely upon a wonderful memory of observation. Apropos of his collaboration with the novelist, he has favoured me with the following note:—

"My 'artistic association' with Charles Dickens began and ended simply with my poor little contributions towards the illustration of 'The Haunted Man.' There was no written correspondence between us that I can remember, and I believe I had but one interview with Dickens on the subject, when he gave me certain hints as to treatment, &c. &c. &c. Only that, and nothing more!

"As to what became of the original sketches I have not the remotest idea; probably I gave them away—or, more probably still, they were one day consigned to the waste-paper basket. At all events, and after an interval of about forty-five years, it is perhaps scarcely surprising that I should have long since forgotten all about them."

It should be mentioned that, as in the case of Leech, many of Sir John Tenniel's Punch cartoons are adapted from illustrations in the works of Dickens, these happily suggesting the political situation of the moment. This subject is fully treated in my paper on "Dickens and Punch" in the English Illustrated Magazine, August 1891.

Sir John is one of the oldest members of the Royal Institute of Painters in Water-Colours. In June 1893 the distinction of knighthood was conferred upon the veteran artist, his name having been included in the list of Royal birthday honours, at the recommendation of Mr. Gladstone, whose face and figure he has so frequently delineated; thus for the first time were the claims of black-and-white draughtsmen deservedly recognised. Sir John Tenniel's busy pencil continues to be effectively employed in the pages of Punch; but he remains, alas! the sole survivor of the band of clever artists whose designs adorn the Christmas Books of Charles Dickens.

FRANK STONE, A.R.A.

Early Career—Intimacy with Dickens—Illustrations for "The Haunted Man"—Selects his Own Subjects—A Letter from Dickens—His Approbation of the Drawing of "Milly and the Old Man"—Hints from the Novelist to the Artist—Amateur Theatricals—Frank Stone's Portrait of Lieutenant Sydney Dickens—His Election as Associate of the Royal Academy—His Portraits of 'Tilda Price, Kate Nickleby, and Madeline Bray—His Frontispiece for the First Cheap Edition of "Martin Chuzzlewit"—Sudden Death.

Frank Stone, A.R.A., father of Mr. Marcus Stone, R.A., was privileged to join the ranks of Dickens Illustrators. This distinguished artist, born in 1800, was the son of a Manchester cotton-spinner, which business he also followed until twenty-four years of age, when he abandoned mercantile pursuits in favour of Art. During the early portion of his professional career, which was begun in London under very modest and unassuming conditions, he made pencil-drawings for Heath's "Book of Beauty," and presently became successful as a painter in water-colours. His engaging personality and innate abilities caused him to be welcomed in both literary and artistic circles, and in this way he secured the warm friendship of Dickens, Thackeray, and other celebrities of the day.

The Haunted Man, 1848.Frank Stone's intimacy with Charles Dickens was especially close. In 1845 the artist, with his family, went to reside in Tavistock House, Tavistock Square, remaining there until 1851, when it became the home of Dickens. In the interval the novelist's fourth Christmas Book, "The Haunted Man," was published, for which Frank Stone prepared three designs, representing respectively "Milly and the Old Man," "Milly and the Student," and "Milly and the Children." As indicated by the following letter (dated November 21, 1848), the novelist dispatched proofs of the letterpress to the artist, in order that he might select his own subjects:—

"My Dear Stone,—I send herewith the second part of the book, which I hope may interest you. If you should prefer to have it read to you by the Inimitable rather than to read it, I shall be at home this evening (loin of mutton at half-past five), and happy to do it. The proofs are full of printer's errors, but, with the few corrections I have scrawled upon it, you will be able to make out what they mean.

"I send you on the opposite side a list of the subjects already in hand from the second part. If you should see no other in it that you like (I think it important that you should keep Milly, as you have begun with her), I will in a day or two describe you an unwritten subject for the third part of the book."

"Subjects in hand for the Second Part.

1. Illuminated page. Tenniel. Representing Redlaw going upstairs, and the Tetterby family below.

2. The Tetterby Supper. Leech.

3. The boy in Redlaw's room, munching his food and staring at the fire."

A preliminary sketch (in pencil and indian-ink) for the first subject was immediately submitted to the novelist for approval, and elicited the following reply:—

"We are unanimous.

"The drawing of Milly on the chair is CHARMING. I cannot tell you how much the little composition and expression please me. Do that, by all means.

"I fear she must have a little cap on. There is something coming in the last part about her having had a dead child, which makes it yet more desirable than the existing text does that she should have that little matronly sign about her. Unless the artist is obdurate indeed, and then he'll do as he likes.

"I am delighted to hear that you have your eye on her in the students' room. You will really, pictorially, make the little woman whom I love...."

Plate LII

"MILLY AND THE OLD MAN"
Facsimile of the Original Drawing for "The Haunted Man" by
FRANK STONE, A.R.A.