Dickens and His Illustrators Part 22

"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 t.i.tle-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, l.u.s.tful, 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 t.i.tle-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 d.a.m.nable 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 coa.r.s.e and crude.

Such was obviously the case with regard to the ill.u.s.trations 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 d.i.c.kens 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. d.i.c.kens 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 princ.i.p.al feature a young girl carrying a pitcher, the model for whom was d.i.c.kens's sister-in-law, Miss Georgina Hogarth. It should be remembered that one of the finest of the early portraits of d.i.c.kens 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 d.i.c.kens 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 d.i.c.kens'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 d.i.c.kens 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]--

Footnote 42: Replying to Mr. W. J. O'Driscoll's application for the loan of any of the artist's correspondence, with a view to publishing them in his Memoir of Maclise, d.i.c.kens stated that a few years previously he destroyed an immense correspondence, expressly because he considered it had been held with him and not with the public. Thus we have been deprived of valuable records which would have thrown additional light upon the friendly intercourse subsisting between the novelist and many of his distinguished contemporaries.

"MY DEAR d.i.c.kENS,--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 a.s.sociations, 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 d.i.c.kens. 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 's...o...b..y'--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 succ.u.mbed to an attack of acute pneumonia, predeceasing the novelist by only a few weeks.

d.i.c.kens 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 pa.s.sed 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 a.s.sert 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 ign.o.ble 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-G.o.ddess whom he worshipped." These were the last public words of Charles d.i.c.kens, 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 Ill.u.s.trations--A Self-Taught Artist--Becomes Acquainted with d.i.c.kens--Designs for "The Haunted Man"--A Wonderful Memory of Observation--An Interview with d.i.c.kens--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 princ.i.p.al 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-ill.u.s.trations, such as those embellishing certain editions of "aesop'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-Gla.s.s," will be readily remembered. In _Once a Week_ may also be found many of his ill.u.s.trations.

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.

[Sidenote: =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 d.i.c.kens, 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 ill.u.s.trations, consisting of the frontispiece, engraved t.i.tle-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 a.s.sociation' with Charles d.i.c.kens began and ended simply with my poor little contributions towards the ill.u.s.tration of 'The Haunted Man.' There was no written correspondence between us that I can remember, and I believe I had but one interview with d.i.c.kens 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 ill.u.s.trations in the works of d.i.c.kens, these happily suggesting the political situation of the moment. This subject is fully treated in my paper on "d.i.c.kens and _Punch_" in the _English Ill.u.s.trated Magazine_, August 1891.

Sir John is one of the oldest members of the Royal Inst.i.tute 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 d.i.c.kens.

FRANK STONE, A.R.A.

Early Career--Intimacy with d.i.c.kens--Ill.u.s.trations for "THE HAUNTED MAN"--Selects his Own Subjects--A Letter from d.i.c.kens--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 d.i.c.kens--His Election as a.s.sociate 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 d.i.c.kens Ill.u.s.trators. 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 una.s.suming 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 d.i.c.kens, Thackeray, and other celebrities of the day.

[Sidenote: =The Haunted Man, 1848.=]

Frank Stone's intimacy with Charles d.i.c.kens 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 d.i.c.kens. 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."