Dickens and His Illustrators Part 21

"'I'll damage you if you inquire.'

"Ever yours,

"My block-reeving, Main-brace splicing, Lead-heaving, Ship-conning, Stun'sail-bending, Deck-swabbing, Son of a sea-cook,

"HENRY BLUFF, "H.M.S. _Timber_."[39]

Footnote 39: From "The Letters of Charles d.i.c.kens." Mr. Field Stanfield informs me that it is quite certain the candlesticks were not a gift from d.i.c.kens to his father. It would seem most probable that there may have been some accident during theatrical preparations, for which the artist considered himself responsible, and that d.i.c.kens undertook to repair the misfortune himself.

During the last ten years of his life Stanfield's health became less strong, and he was obliged in some measure to retire from the congenial circle of his artistic and literary a.s.sociates, continuing, however, to take great delight in his art. Stanfield breathed his last on May 18, 1867. His death proved a great blow to d.i.c.kens, 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 n.o.ble 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 d.i.c.kens--A Lifelong Friendship--"MASTER HUMPHREY'S CLOCK"--Maclise Essays an Ill.u.s.tration--"THE CHIMES"--A Reading by d.i.c.kens and a Sketch by Maclise--His Original Drawings--"THE CRICKET ON THE HEARTH"--An Unpublished Letter from Maclise--"THE BATTLE OF LIFE"--d.i.c.kens's Appreciation of Maclise's Ill.u.s.trations--The Artist's Correspondence with Forster Respecting his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--d.i.c.kens's Relations with the Artist--A Memorable Trip--Picture of the Waterfall at St. Nighton's Cave--A Portrait of d.i.c.kens--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 d.i.c.kens--The Novelist's Tribute to his Memory.

Among a host of intimate friends, none was more beloved by d.i.c.kens 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 ent.i.tling 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 a.s.sociate of the Royal Academy in 1836, and attained full honours in 1840. In 1866 he was offered the Presidency, but, as did Sir Edwin Landseer during the previous year, he declined that distinction.

[Sidenote: =Master Humphrey's Clock, 1840-41=.]

It was in the year of his election as a.s.sociate that Maclise was introduced by Forster to Charles d.i.c.kens, 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, d.i.c.kens contemplated the publication of "Master Humphrey's Clock," it was his intention to endeavour to secure the valuable co-operation of Maclise as an ill.u.s.trator 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 ill.u.s.tration, but he did not remember that it bore other fruit than "a very pleasant day at Jack Straw's Castle, where d.i.c.kens 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 s.e.xton. Why this should have been his only contribution to the pages of "Master Humphrey's Clock" has never been explained, but it is not improbable that the artist was too busily occupied with his paintings just at this time, and therefore unable to devote serious attention to black-and-white work.

[Sidenote: =The Chimes, 1845.=]

PLATE LI

"THE TOWER OF THE CHIMES"

AND

"THE SPIRIT OF THE CHIMES"

_Facsimiles_ of the Original Drawings for "The Chimes" by

D. MACLISE, R. A.

[Ill.u.s.tration]

[Ill.u.s.tration]

Maclise had been much engaged in book-ill.u.s.tration (sometimes signing himself "Alfred Croquis") when, in 1844, it was proposed that he should provide designs for d.i.c.kens's second Christmas Book, "The Chimes." This little story was written in Italy, and, during d.i.c.kens's absence, the necessary arrangements respecting the ill.u.s.trations were made by Forster. It may be incidentally mentioned that, eager to try the effect of the story, the novelist journeyed to England for the express purpose of reading it aloud to his friends at Forster's residence in Lincoln's Inn Fields, the memorable incident being depicted by Maclise in an amusing pencil-sketch, afterwards reproduced for Forster's biography.

Maclise became responsible for the frontispiece and decorative t.i.tle-page of "The Chimes," both of these fanciful designs gracefully portraying elves and fairies, spirits of the bells, and allegorical figures typifying Love, Life, and Death. The original drawings, now in South Kensington Museum, were delicately executed in pencil, and engraved on steel by F. P. Becker. With reference to these ill.u.s.trations, the artist wrote:--

"MY DEAR FORSTER,--I wonder if it would be possible to make the paper of the book an inch bigger, that is, to increase the width of margin around the letterpress, without much additional expense. I wish you to put the question. I do not think my design too large, but it would marvellously increase the elegance of the look of the book. I must say the 'Carol' book is the very climax of vulgarity in its _mise en planches_.--_Au revoir._.

"D. M."[40]

Footnote 40: This and the succeeding letters from Maclise to Forster are now printed for the first time.

It was, of course, considered inadvisable to depart from precedent by acting upon the above suggestion. d.i.c.kens was highly pleased with the artist's designs, and, writing to his wife on December 2, 1844, he said: "Mac's frontispiece is charming."

[Sidenote: =The Cricket on the Hearth, 1846.=]

To the third Christmas Book, "The Cricket on the Hearth," Maclise also contributed the frontispiece and decorative t.i.tle-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] Sat.u.r.day, and there came to me such a small pair that I instantly sent them back. Then on Sat.u.r.day evening two more came; _one of them will do_--but as you understand the matter, and last year even got the book enlarged a little,[41] I want you to say that I _must have a block_ for the _frontispiece_ the exact size of the leaf on which the frontispiece of the 'Chimes' is. I have made a little sketch to be placed on the wood, and some of the little shapes come as close to the edge of the page as this line I make--[Symbol: long vertical line]. I want the wood as high and as wide as that page--but oh! my I--on, if it could but be--the _page_ I mean, not the _wood_,--a little--_so_ much larger, ah! I should be happy for life. Tell B. and E. this and ask D. to insist on it.

Mind, I am not exceeding the present paper of the 'Chimes,' but for the look of the book it would be very important--and they have sent me a block much smaller than that page, whereas I cannot afford one-hundredth part of a pin's point. I know 'tis vain to write to them--so trouble you, and I want the blocks--in an hour!!!--Ever most faithfully,

"D. M."

Footnote 41: There was practically no enlargement.

[Sidenote: =The Battle of Life, 1846.=]

The artist prepared for "The Battle of Life" not only the customary frontispiece and t.i.tle-page, but two additional designs for the later portion of the story. d.i.c.kens, 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 princ.i.p.al 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 d.i.c.kens.

Remembering the novelist's keen appreciation of Maclise's ill.u.s.trations 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 d.i.c.kens does not care one d.a.m.n 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 t.i.tle-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 t.i.tle--a printed t.i.tle 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 Athenaeum 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,