Randolph Caldecott Part 5

[Ill.u.s.tration: HER FIRST VALENTINE]

On the 31st of October, 1874, Mr. Henry Irving made his first appearance in London as Hamlet, one of those occasions on which the theatre was crowded with critics and well-known personages. Caldecott, altogether inexperienced in such work, made several rough sketches, seizing the grotesque side "as far as he dared" as he said.

[Ill.u.s.tration: A VALENTINE.]

The trying nature of that performance, and the flitting about on the stage of the nervous anxious figure, with the ever-present white pocket-handkerchief in his belt--will be remembered by many. Caldecott made the best sketch that he could from the left side of the dress-circle, the only position in the house that could be obtained for him.

[Ill.u.s.tration: "SOMEBODY'S COMING!"]

[Ill.u.s.tration: I WONDER WHO SENT ME THESE FLOWERS]

[Ill.u.s.tration: "THE YOUNG HAMLET."]

In company with the writer, Caldecott made various sketches in the House of Commons, the Law Courts, the theatres, and the like. The first three sketches of the House of Commons--one showing "The Arrival of the New Members," another, "The Speaker going up to the Lords," and a third, "At the Bar of the House of Lords"--were amongst the funniest of the series. Others followed from week to week, such as "The new Prime Minister," on page 83. On one occasion he went down to Westminster Hall to see the Rt. Hon. Benjamin D'Israeli enter the House of Commons as the _new prime minister_, and to a large ill.u.s.tration showing the north door of Westminster Hall (the architecture drawn by Mr. Jellicoe), he added the figures, a grotesque group of bystanders, presumably Conservatives, welcoming their new representative. (See the _Pictorial World_, March 7th, 1874.)

[Ill.u.s.tration: HOUSE OF COMMONS, MARCH 1874--ARRIVAL OF NEW MEMBERS.]

[Ill.u.s.tration: "THE SPEAKER GOING UP TO THE LORDS."]

[Ill.u.s.tration: "AT THE BAR OF THE HOUSE OF LORDS."]

It was an exciting time politically and socially, and many events of interest had to be recorded. Amongst them the conclusion, amidst general rejoicing, of the great Tichborne Trial on March 2nd, 1874, a trial which had lasted 188 days. This was an opportunity for the artist. Caldecott's original sketch of this subject, if it is in existence, should be treasured; some idea of the humour of it may be gathered from the drawing overleaf which was crowded into the corner of the newspaper. He also made a highly grotesque and artistic model in terra-cotta of the Tichborne Trial, now in the possession of Mr.

Stanley Baldwin of Manchester.

[Ill.u.s.tration: "THE NEW PRIME MINISTER."]

About this time, Caldecott went to the "farewell benefit" of the late Benjamin Webster and sketched the actor--surrounded by members of his company--making his final bow to the public.

[Ill.u.s.tration: THE TICHBORNE TRIAL--"BREAKING-UP DAY."]

On the eighteenth birthday, the "coming of age," of the late Prince Imperial of France, Caldecott went to Chislehurst. The drawing of the crowd on the lawn of Camden House in a state of general congratulation, the ceremony of presentation of enormous bouquets of violets and the like; of Frenchmen and their wives, of diplomatists, and others, will be found in the _Pictorial World_ for March 21st, 1874.

Here was a comparatively unknown artist at work, revealing talent which in after years would delight the world.

But fortunately for his health and peace of mind, and also for his future career, the young artist, who two years before had given up a clerkship in a Manchester bank (a "certainty" of more than 100 a year), was advised to refuse an engagement on the _Pictorial World_ of 10 10_s._ a week, which, had it been carried out, would have done much to raise the fortunes of that newspaper.

But the rush and hurry of journalistic work was distasteful to him; he had many commissions at this time, work of a better kind, requiring quiet and study. He was willing, and wishing always, to aid his friends, and so for some time he kept up a connection with the paper and made sketches on special occasions.

[Ill.u.s.tration: THE MORNING WALK.]

His health was delicate, but he was not suffering as in later years; his spirits were overflowing, and his kindliness and personal charm had made him friends everywhere.

On the 10th of April he enters in his diary--"At Armstrong's all day.

Began to paint pigeons on canvas panel. Looking at pigeons in British Museum quadrangle;" and on the 11th again, "painting pigeons."

On the 15th of April he is "making a drawing of storks, &c.," and on the 17th, 21st, and 22nd, "painting swans at Armstrong's all day."

On the 23rd of April he enters: "Bas-relief hunting scene going on,"

and on 24th, "painting storks and pigeons," and on 28th, "swans."

The painting of swans, storks, and pigeons, referred to above, was very important work for Caldecott. In conjunction with his friend Mr.

Armstrong, he painted the birds in two panels, one of swans (reproduced overleaf), and one of a stork and magpie. These panels were about six feet high, and form part of a series of decorations in the dining-room of Mr. Henry Renshawe's house at Bank Hall, near Buxton, Derbyshire.

The series of decorative paintings (by Thomas Armstrong) which included these panels, was exhibited at Mr. Deschamps' Gallery in New Bond Street in 1874, and attracted much attention at the time. The birds showed to great advantage, and will remain in the memory of many as amongst the most vigorous and effective of Caldecott's paintings in oils. They showed, thus early, a mastery of bird form and a power in reserve of an unusual kind.

"I have paid a little attention to decorative art," he writes to a friend at this time; besides being "at work on the _Sketch Book_," the results of which will be seen in the next chapter.

[Ill.u.s.tration: DECORATIVE PAINTING FOR A DINING-ROOM.]

[Ill.u.s.tration: "THE COTTAGE," FARNHAM ROYAL.]

CHAPTER VI.

FARNHAM ROYAL, BUCKS.

During the summers of 1872, 1873, and 1874, Caldecott stayed often at a cottage belonging to the writer, three miles north of Slough, in Buckinghamshire, in the picturesque neighbourhood of Stoke Pogis and Burnham Beeches.

A "loose box" adjoining the stable--a few yards to the right of the little verandah in the above sketch--had been fitted up for him by friendly hands; and it was here in this temporary studio, in the quiet of the country, looking out on woods and fields, that he made many of the drawings for _Old Christmas_.

Several entries in Caldecott's diary in 1874 mention that in June and July he was "working in the 'loose box' at Farnham Royal, on the _Sketch Book_."

Those were happy, irresponsible days, before great success had tempered his style, or brought with it many cares. Take the following letter (one of many) written in the full enjoyment of the change from lodgings in London:--

[Ill.u.s.tration: The Cottage. Farnham Royal. in Slough. 26 June 1874.]

"We are pa.s.sing a calm and peaceful existence here and were therefore somewhat startled the other day, when Sharp asked for the cart and donkey to take to the common for the purpose of bringing us a few Sultanas. We stroked our beards, but as Sharp seemed bent upon the affair reluctantly consented."

[The boy Sharp attended to the wants of Caldecott and his friend L., and wanted to make a pudding. The end of the letter is reproduced in facsimile.]

[Ill.u.s.tration]

[Ill.u.s.tration: THE PADDOCK, FARNHAM ROYAL.]

The ill.u.s.tration on the last page is a copy of a water-colour sketch made from "the loose box" at Farnham Royal. It depicts the arrival of a pony at the cottage and consequent disgust of the donkey at the intrusion. The old man--who combined the various offices of gardener, groom, and parish clerk--stood unconsciously as a model for several drawings in _Old Christmas_.

From Farnham Royal he writes at another time to a friend:--

"We are fast drifting into a vortex of dissipation--eddying round a whirlpool of gaiety; but I hope that through all, our heads will keep clear enough to guide the helms of our hearts."

About this time it was suggested to Caldecott to make studies of animals and birds, with a view to an ill.u.s.trated edition of _aesop's Fables_, a work for which his talents seemed eminently fitted. The idea was put aside from press of work, and when finally brought out in 1883 was not the success that had been antic.i.p.ated. This was princ.i.p.ally owing to the plan of the book.

[Ill.u.s.tration: "STUDYING FROM NATURE."]

As Caldecott's _aesop_ was often talked over with the writer in early days, a few words may be appropriate here. Caldecott yielded to a suggestion of Mr. J. D. Cooper, the engraver, to attach to each fable what were to be styled "Modern Instances," consisting of scenes, social or political, as an "application." Humorous as these were, in the artist's best vein of satire, the combination was felt to be an artistic mistake. That Caldecott was aware of this, almost from the first, is evident from a few words in a letter to an intimate friend where he says:--