Dickens and His Illustrators Part 16

Two days later, he again pressed the question:--

"I must know what you think about the raven, my buck; I otherwise am in this fix. I have given Browne no subject for this number, and time is flying. If you would like to have the raven's first appearance, and don't object to having both subjects, so be it. I shall be delighted. If otherwise, I must feed that hero forthwith."

But Cattermole apparently declined the privilege of introducing to the world a presentment of the immortal "Grip,"--an honour which therefore fell to "Phiz's" pencil. On January 30, 1841, d.i.c.kens despatched to the artist some printed slips describing Gabriel Varden's house, "which I think [he said] will make a good subject, and one you will like. If you put the ''prentice' in it, show nothing more than his paper cap, because he will be an important character in the story, and you will need to know more about him, as he is minutely described. I may as well say that he is very short. Should you wish to put the locksmith in, you will find him described in No. 2 of 'Barnaby' (which I told Chapman & Hall to send you). Browne has done him in one little thing, but so very slightly that you will not require to see his sketch, I think."

On February 9th the artist received the following request:--

"Will you, for No. 49, do the locksmith's house, which was described in No. 48? I mean the outside. If you can, without hurting the effect, shut up the shop as though it were night, so much the better. Should you want a figure, an ancient watchman in or on his box, very sleepy, will be just the thing for me.

"I have written to Chapman and requested him to send you a block of a long shape, so that the house may come upright, as it were."

From this note, and a subsequent one in which d.i.c.kens commands the artist to put "a penny pistol to Chapman's head and demand the blocks of him," we learn that Cattermole had by this time accustomed himself to copying his designs upon wood, and could dispense with that kind of a.s.sistance. His drawing of the dilapidated but picturesque old country inn, "The Boot," whither the rioters resorted, is, I believe, a direct transcript from an old print representing the place as it appeared at the time referred to, 1780; the woodcut is in reverse of the print.[33]

Here are two letters (dated July 28th and August 6th, 1841, respectively) that fairly bristle with details of scenes, in chapters liv. and lvi., which the artist was desired to depict:--

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

"Can you do for me by Sat.u.r.day evening--I know the time is short, but I think the subject will suit you, and I am greatly pressed--a party of rioters (with Hugh and Simon Tappert.i.t conspicuous among them) in old John Willet's bar, turning the liquor taps to their own advantage, smashing bottles, cutting down the grove of lemons, sitting astride on casks, drinking out of the best punch-bowls, eating the great cheese, smoking sacred pipes, &c., &c.; John Willet fallen backward in his chair, regarding them with a stupid horror, and quite alone among them, with none of the Maypole customers at his back?

"It's in your way, and you'll do it a hundred times better than I can suggest it to you, I know."

"Here's a subject for the next number.... The rioters went, sir, from John Willet's bar (where you saw them to such good purpose) straight to the Warren, which house they plundered, sacked, burned, pulled down as much of it as they could, and greatly damaged and destroyed. They are supposed to have left it about half-an-hour. It is night, and the ruins are here and there flaming and smoking. I want--if you understand--to show one of the turrets laid open--the turret where the alarm-bell is, mentioned in No. 1; and among the ruins (at some height if possible) Mr.

Haredale just clutching our friend, the mysterious file, who is pa.s.sing over them like a spirit; Solomon Daisy, if you can introduce him, looking on from the ground below.

"Please to observe that the M. F. wears a large cloak and slouched hat.

This is important, because Browne will have him in the same number, and he has not changed his dress meanwhile. Mr. Haredale is supposed to have come down here on horseback pell-mell; to be excited to the last degree.

I think it will make a queer picturesque thing in your hands....

_P.S._--When you have done the subject, I wish you'd write me one line and tell me how, that I may be sure we agree."

In sending to d.i.c.kens for approval a sketch of the ruined home of Mr.

Haredale, the artist enclosed the following letter, now printed for the first time:--

"MY DEAR d.i.c.kENS,--I cannot hope you will make much out of the accompanying sketch.[34] I suppose the spectator to be placed upon the roof of one of the wings of the Warren House, and towards him are rushing ... [Rudge] and Mr.

Haredale as they issue from a small door in the tower, whereunto is attached (as part and parcel of the same) the bell-turret. A small closet through which they pa.s.s to the roof has been dismantled, or rather thrown down and carried by the fire and the other spoilers; on the gra.s.s below is rooted Solomon Daisy in an ecstasy of wonder, &c., &c.; beyond are clouds of smoke a-pa.s.sing over and amongst many tall trees, and all about are heard the tenants, frightened rooks, flying and cawing like mad.--In haste, my dear Charles,

"G. CATTERMOLE."

CLAPHAM, _Aug. 12_ [1841].

Footnote 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.

PLATE XLI

"THE NIGHT WATCHMAN"

AND

"THE 'MAYPOLE' INN"

_Facsimiles_ of Original Sketches for "Barnaby Rudge" by

GEORGE CATTERMOLE

_Lent by Mr. S. J. Davey._

[Ill.u.s.tration]

[Ill.u.s.tration]

It will be observed that the incident depicted in this ill.u.s.tration takes place in utter darkness, while the published woodcut represents a daylight scene. This remark also applies to the subject of the next letter (dated August 19, 1841), which was treated by the artist in a similar manner; the effect of torchlight being entirely absent from the picture necessarily deprives it of much dramatic character:--

"When Hugh and a small body of the rioters cut off from the Warren beckoned to their pals, they forced into a very remarkable postchaise Dolly Varden and Emma Haredale, and bore them away with all possible rapidity; one of their company driving, and the rest running beside the chaise, climbing up behind, sitting on the top, lighting the way with their torches, &c., &c. If you can express the women inside without showing them--as by a fluttering veil, a delicate arm, or so forth, appearing at the half-closed window--so much the better. Mr. Tappert.i.t stands on the steps, which are partly down, and, hanging on to the window with one hand and extending the other with great majesty, addresses a few words of encouragement to the driver and attendants.

Hugh sits upon the bar in front; the driver sitting postilion-wise, and turns round to look through the window behind him at the little doves within. The gentlemen behind are also anxious to catch a glimpse of the ladies. One of those who are running at the side may be gently rebuked for his curiosity by the cudgel of Hugh. So they cut away, sir, as fast as they can.

"_P.S._--John Willet's bar is n.o.ble."

There were yet a few more ill.u.s.trations required for the closing chapters of "Barnaby Rudge," concerning which the artist received very precise instructions from the author. For example, on September 14, 1841, d.i.c.kens forwarded to his ill.u.s.trator the following "business letter, written in a scramble just before post-time," the directions having reference to incidents in chapters lxxiii., lx.x.xi., and lx.x.xii.:--

"_Firstly_, Will you design, upon a block of wood, Lord George Gordon, alone and very solitary, in his prison, and after your own fancy; the time, evening; the season, summer?

"_Secondly_, Will you ditto upon a ditto, a sword-duel between Mr.

Haredale and Mr. Chester, in a grove of trees? No one close by. Mr.

Haredale has just pierced his adversary, who has fallen, dying, on the gra.s.s. He (that is, Chester) tries to staunch the wound in his breast with his handkerchief; has his snuff-box on the earth beside him, and looks at Mr. Haredale (who stands with his sword in his hand looking down on him) with most supercilious hatred, but polite to the last. Mr.

Haredale is more sorry than triumphant.

"_Thirdly_, Will you conceive and execute, after your own fashion, a frontispiece for 'Barnaby'?

"_Fourthly_, Will you also devise a subject representing 'Master Humphrey's Clock' as stopped; his chair by the fireside empty; his crutch against the wall; his slippers on the cold hearth; his hat upon the chair-back; the MSS. of 'Barnaby' and 'The Curiosity Shop' heaped upon the table; and the flowers you introduced in the first subject of all withered and dead? Master Humphrey being supposed to be no more.

"I have a fifthly, sixthly, seventhly, and eighthly; for I sorely want you, as I approach the close of the tale; but I won't frighten you, so we'll take breath.

"_P.S._--I have been waiting until I got to subjects of this nature, thinking you would like them best."

Owing to an illness from which Cattermole was then suffering, the frontispiece here referred to was designed by Hablot Browne. A few days later, the author bethought him of an incident earlier in the story (chapter lxix.), which required an ill.u.s.tration, and anent this he despatched the following note:--

"Will you, before you go on with the other subjects I gave you, do one of Hugh, bareheaded, bound, tied on a horse, and escorted by horse-soldiers to jail? If you can add an indication of old Fleet Market, and bodies of foot-soldiers firing at people who have taken refuge on the tops of stalls, bulk-heads, etc., it will be all the better."

PLATE XLII

THE MURDER AT THE WARREN

_Facsimile_ of the Original Sketch for "Barnaby Rudge" by

GEORGE CATTERMOLE