,,transcriber ,,notes3 ,underscores at the start and end of a word indicate that the word appears in italics in the original4 ,example3 ,,second ,,edition ,equal signs at the start and end of a word indicate that the word appears as bold in the original4 ,example3 ,,second ,,edition ,footnotes have been moved to immediately below the paragraph in which the reference appears4 ,additional ,transcriber ,notes can be found at the end of this project4 ,,dickens ,,and ,,his ,,illustrators ,illustration3 ,and so as ,tiny ,tim observed1 ,god bless us every one6 ,charles ,dickens ,,plate ,i ,,charles ,,dickens ,from a scarce ,lithograph by ,,sol4 ,,eytinge1 ,,junr4 ,this ,portrait was published during the ,novelist's last visit to ,america 7#ahfg-fh71 by ,fields1 ,osgood ,co41 of ,boston1 their advertisement describing it as an ,authentic ,portrait of ,charles ,dickens1 drawn on stone by ,s4 ,eytinge1 ,jr41 whose ,illustrations of ,dickens's ,novels have been so popular4 ,the late ,mr4 ,j4 ,r4 ,osgood did not recall any actual sitting for the ,portrait1 but remembers that ,eytinge often saw ,dickens while making the drawing4 ,the impression from which the present reproduction was made is particularly interesting on account of the quotation from ,a ,christmas ,carol in the autograph of ,dickens4 ,lent by ,mr4 ,stuart ,m4 ,samuel4 ,,dickens ,,and ,,his ,,illustrators ,,cruikshank1 ,,seymour1 ,,buss1 ,,phiz1 ,,cattermole ,,leech1 ,,doyle1 ,,stanfield1 ,,maclise1 ,,tenniel ,,frank ,,stone1 ,,landseer1 ,,palmer1 ,,topham ,,marcus ,,stone1 ,,and ,,luke ,,fildes ,,by ,,frederic ,g4 ,,kitton ,,author ,,of ,,charles ,,dickens ,,by ,,pen ,,and ,,pencil1 ,,etc4 ,,with ,,twenty-,,two ,,portraits ,,and ,,facsimiles ,,of ,,seventy ,,original ,,drawings ,,now ,,reproduced ,,for ,,the ,,first ,,time ,,second ,,edition ,,london ,,george ,,redway #ahii ,,to ,,charles ,,dickens',s ,,daughter ,,kate ,,perugini ,,these ,,notes ,,upon ,,the ,,illustrations ,,to ,,her ,,father',s ,,writings are respectfully dedicated ,,by ,,the ,,author ,,preface ,in the matter of pictorial embellishment1 the writings of ,charles ,dickens may be regarded as occupying a unique position4 ,the original issues alone present a remarkable array of illustrations2 and when we remember the innumerable engravings specially prepared for subsequent editions1 as well as for independent publication1 we are fain to confess that1 in this respect at least1 the works of ,boz take precedence of those of any other novelist4 ,these designs1 too1 are of particular interest1 inasmuch as they are representative of nearly every branch of the art of the book-illustrator2 both the pencil of the draughtsman and the needle of the etcher have been requisitioned1 while the brush of the painter has depicted for us many striking scenes culled from the pages of ,dickens4 ,the evolution of a successful picture1 as exhibited by means of preparatory sketches1 is eminently instructive to the student of ,art4 ,the present volume should therefore appeal not merely to the ,dickens ,collector1 but to all who appreciate the artistic value of tentative studies wrought for a special purpose4 ,the absolute facsimiles1 here given for the first time1 enable us to obtain an insight into the methods adopted by the designers in developing their conceptions1 those methods being further manifested by the aid of correspondence which1 happily1 is still extant4 ,referring to ,dickens's intercourse with his ,illustrators1 ,forster significantly observes that the artists certainly had not an easy time with him4 ,the ,novelist's requirements were exacting even beyond what is ordinary between author and illustrator2 for he was apt 7as he himself admitted7 to build up temples in his mind not always makeable with hands4 ,while resenting the notion that ,dickens ever received from any artist the inspiration he was always striving to give1 his biographer assures us that1 so far as the illustrations are concerned1 he had rarely anything but disappointments1--a declaration which apparently substantiates the statement 7made on good authority7 that the ,novelist would have preferred his books to remain unadorned by the artist's pencil4 ,that the vast majority of his readers approved of such embellishment cannot be questioned1 for the genius of ,cruikshank and ,phiz has done much to impart reality to the persons imagined by ,dickens4 ,we are perhaps even more indebted to the excellent illustrations than to the ,author's descriptions for the ability to realise the outward presentments of ,pickwick1 ,fagin1 ,micawber1 and a host of other characters1 simply because the material eye absorbs impressions more readily than the mental eye4 ,that ,dickens's association with his ,illustrators was something more than mere coadjutorship is evidenced both in ,forster's ,life and in the published ,letters4 ,from these sources we derive much information tending to prove the existence of a warm friendship subsisting between ,author and ,artists2 indeed1 the latter 7with two or three exceptions7 were privileged to enjoy the close personal intimacy of ,dickens and his family circle4 ,recalling the fact that the ,novelist not unfrequently availed himself of the traits and idiosyncrasies of his familiars1 it seems somewhat strange that in the whole range of his creations we fail to discover a single attempt at the portraiture of an artist2 for those dilettanti wielders of the brush1 ,miss ,la ,creevy and ,henry ,gowan1 can scarcely be included under that denomination4 ,during the earlier part of this century the illustrators of books seldom1 if ever1 resorted to the use of the living model4 ,such experts as ,cruikshank1 ,seymour1 ,phiz1 ,maclise1 ,doyle1 and ,leech were no exceptions to this rule2 but at the beginning of the sixties there arose a new school of designers and draughtsmen1 prominent among them being ,leighton1 ,millais1 ,walker1 and ,sandys4 ,those popular ,royal ,academicians1 ,mr4 ,marcus ,stone and ,mr4 ,luke ,fildes 7the illustrators respectively of ,our ,mutual ,friend and ,edwin ,drood71 are almost the only surviving members of that confraternity2 they1 however1 speedily relinquished black-and-white ,art in order to devote their attention to the more fascinating pursuit of painting4 ,while admitting the technical superiority of many of the illustrations in the later editions of ,dickens's works 7such as those by ,frederick ,barnard and ,charles ,green71 the collector and bibliophile claim for the designs in the original issue an interest which is lacking in subsequent editions2 that is to say1 they possess the charm of association--a charm that far outweighs possible artistic defects and conventions2 for1 be it remembered1 these designs were produced under the direct influence and authorisation of ,dickens1 and by artists who worked hand in hand with the great romancer himself4 ,it is averred that ,phiz1 who rightly retains the premier position among ,dickens's ,illustrators1 placed very little value upon his tentative drawings1 which1 as soon as they had served their purpose1 were either thrown upon the fire or given away incontinently to those who had the foresight to ask for them4 ,fortunately1 the recipients were discriminating enough to treasure these pencillings1 many of them having since been transferred to the portfolios of collectors4 ,for the privilege of reproducing interesting examples ,i am indebted to ,her ,grace the ,duchess of ,st4 ,albans1 ,mr4 ,j4 ,f4 ,dexter1 ,mr4 ,m4 ,h4 ,spielmann1 ,mr4 ,w4 ,h4 ,lever1 ,messrs4 ,robson ,co41 the ,committee of ,nottingham ,castle ,museum1 and others4 ,i am especially grateful to ,mr4 ,augustin ,daly1 of ,new ,york1 for so generously permitting me to photograph the famous ,pickwick drawings by ,seymour1 together with a hitherto unpublished portrait of that artist4 ,the portrait of ,dickens forming the frontispiece to this volume is reproduced from a unique impression of a very scarce lithograph in the possession of ,mr4 ,stuart ,m4 ,samuel4 ,in order to give an effect of continuity to my ,notes1 ,i have lightly sketched the career of each ,artist1 introducing in chronological sequence the facts relating to his designs for ,dickens4 ,in several cases1 the proof-sheets of these chapters have been revised by the representatives of the ,artists to whom they refer1 and for valued aid in this direction my cordial thanks are due to the ,rev4 ,a4 ,j4 ,buss1 ,mr4 ,field ,stanfield1 ,mr4 ,a4 ,h4 ,palmer1 and ,mr4 ,f4 ,w4 ,w4 ,topham4 ,those of ,dickens's ,illustrators who are still with us have furnished me with much information1 and have kindly expressed their approval of what ,i have written concerning them4 ,i therefore avail myself of this opportunity of tendering my sincere thanks1 for assistance thus rendered1 to ,mr4 ,marcus ,stone1 ,r4,a41 ,mr4 ,luke ,fildes1 ,r4,a41 ,mr4 ,w4 ,p4 ,frith1 ,r4,a41 and ,sir ,john ,tenniel1 ,r4,i41 whose mark of approbation naturally imparts a special value to the present record4 ,i am still further indebted to ,mr4 ,stone and ,mr4 ,fildes for the loan of a number of their original drawings and sketches for ,dickens1 which have not hitherto been published4 ,owing to the circumstance that many of the so-called ,extra ,illustrations are now extremely rare1 my list of them could never have been compiled but for advantages afforded me by collectors1 in allowing me to have access to their ,dickensiana4 ,the kind offices of ,mr4 ,w4 ,r4 ,hughes1 ,mr4 ,thomas ,wilson1 ,mr4 ,w4 ,t4 ,pevier1 and ,mr4 ,w4 ,t4 ,spencer are gratefully acknowledged in this connection1 as well as those of ,mr4 ,dudley ,tenney of ,new ,york1 who has rendered me signal service in respect of ,american ,illustrations4 ,to ,forster's ,life of ,dickens and to the published ,letters ,i am naturally beholden for information not otherwise procurable1 while certain interesting details concerning ,phiz's drawings and etchings are quoted from ,mr4 ,d4 ,c4 ,thomson's ,life and ,labours of ,hablt ,k4 ,browne1 which is more extended in its general scope than my previously-issued ,memoir of the artist4 ,i am privileged to associate the names of ,miss ,hogarth and ,mrs4 ,perugini with this account of ,charles ,dickens and his collaborateurs2 to the former ,i am obliged for permission to print some of the ,novelist's correspondence which has never previously been made public1 while the latter has favoured me with the loan of photographic portraits4 ,finally1 ,i must express my indebtedness for much valuable aid to ,george ,cattermole's daughter1 ,mrs4 ,edward ,franks1 the cousin to whom the ,novelist alluded in a letter to her father dated ,february #bf1 #ahda1 and to whose clear blue eyes he desired to be commended4 ,f4 ,g4 ,,kitton4 ,,st4 ,,albans1 ,september #ahih4 ,,contents ,,page ,,preface vii ,,list ,,of ,,illustrations xv ,,george ,,cruikshank #a ,,robert ,,seymour #bi ,,robert ,w4 ,,buss #dg ,,habl,t ,k4 ,,browne 7,,phiz7 #eh ,,george ,,cattermole #aba ,,illustrators ,,of ,,the ,,christmas ,,books #acf ,,john ,,leech #ach ,,richard ,,doyle #adi ,,clarkson ,,stanfield1 ,r4,a4 #aec ,,daniel ,,maclise1 ,r4,a4 #afa ,,sir ,,john ,,tenniel #agb ,,frank ,,stone1 ,a4,r4,a4 #age ,,sir ,,edwin ,,landseer1 ,r4,a4 #ahj ,,samuel ,,palmer #ahb ,f4 ,w4 ,,topham #ahi ,,marcus ,,stone1 ,r4,a4 #aib ,,luke ,,fildes1 ,r4,a4 #bjd ,,appendix ,i4 ,,illustrators ,,of ,,cheap ,,editions #bai ,,ii4 ,,concerning ,,extra ,,illustrations #bbg ,,iii4 ,,dickens ,,in ,,art #bdc ,,index #bdi ,,list ,,of ,,illustrations ,no4 of ,plate4 ,subject4 ,artist4 #a4 ,portrait of ,,charles ,,dickens ,,sol4 ,,eytinge1 ,junr4 ,frontispiece #b4 ,portrait of ,,george ,,cruikshank ,,baugniet ,facing page #a #c4 ,jemima ,evans4--,sketches by ,boz ,g4 ,,cruikshank #d #d4 ,the ,four ,miss ,willises4--,sketches by ,boz #f #e4 ,thoughts about ,people4--,sketches by ,boz #h #f4 ,the ,parish ,engine4--,sketches by ,boz #aj #g4 ,studies for ,scenes and ,characters4--,sketches by ,boz #ab #h4 ,mr4 ,bumble ,degraded in the ,eyes of the ,paupers4--,oliver ,twist #ad #i4 ,mr4 ,claypole as he ,appeared when his ,master was ,out4--,oliver ,twist #af #aj4 ,oliver ,amazed at the ,dodger's ,mode of ',going to ,work4'--,oliver ,twist #ah #aa4 ,studies for ,bill ,sikes1 ,nancy1 and the ,artful ,dodger4--,oliver ,twist #bj #ab4 ,studies for ,bill ,sikes in the ,condemned ,cell4--,oliver ,twist #bb #ac4 ,study for ,fagin in the ,condemned ,cell4--,oliver ,twist #bd #ad4 ,first ,idea for ,fagin in the ,condemned ,cell and other ,sketches4--,oliver ,twist #bf #ae4 ,portrait of ,,robert ,,seymour ,,taylor #bi #af4 ,mr4 ,pickwick ,addresses the ,club4--,the ,pickwick ,papers ,r4 ,,seymour #cb #ag4 ,the ,pugnacious ,cabman4--,the ,pickwick ,papers #cd #ah4 ,dr4 ,slammer's ,defiance of ,jingle4--,the ,pickwick ,papers #cf #ai4 ,first ,study for ,the ,dying ,clown4--,the ,pickwick ,papers #ch #bj4 ,the ,runaway ,chaise4--,the ,pickwick ,papers #dj #ba4 ,the ,pickwickians in ,mr4 ,wardle's ,kitchen4--,the ,pickwick ,papers #db #bb4 ,portrait of ,,robert ,w4 ,,buss ,r4 ,w4 ,,buss #dg #bc4 ,unused ,design for the ,title-,page4--,the ,pickwick ,papers #dh #bd4 ,the ,break-down4--,the ,pickwick ,papers #ej #be4 ,a ,souvenir of ,dickens #eb #bf4 ,dolly ,varden4--,barnaby ,rudge #ed #bg4 ,florence ,dombey and ,captain ,cuttle4--,dombey and ,son #ef #bh4 ,portraits of ,,habl,t ,k4 ,,browne and ,,robert ,,young ,from ,photographs #eh #bi4 ,a ,sudden ,recognition1 ,unexpected on ,both ,sides4--,nicholas ,nickleby ,h4 ,k4 ,,browne #fd #cj4 ,studies for the ,cheeryble ,brothers4--,nicholas ,nickleby4 #fh #ca4 ,master ,humphrey and the ,deaf ,gentleman4--,master ,humphrey's ,clock #gb #cb4 ,the ,dombey ,family4--,dombey and ,son #gf #cc4 ,paul and ,mrs4 ,pipchin4--,dombey and ,son4 #hj #cd4 ,mr4 ,peggotty's ,dream comes ,true4--,david ,copperfield #hd #ce4 ,mr4 ,chadband ',improving' a ,tough ,subject4--,bleak ,house #ib #cf4 ,dolly ,varden4--,barnaby ,rudge ,h4 ,k4 ,,browne #ih #cg4 ,miss ,haredale4--,barnaby ,rudge #aaj #ch4 ,portrait of ,,george ,,cattermole ,from a ,photograph #aba #ci4 ,quilp's ,wharf4--,the ,old ,curiosity ,shop ,g4 ,,cattermole #abd #dj4 ,the ,death-bed of ,little ,nell 7,two ,studies74--,the ,old ,curiosity ,shop #abf #da4 ,the ,night ,watchman and ,the ,maypole ,inn4--,barnaby ,rudge #acj #db4 ,the ,murder at the ,warren4--,barnaby ,rudge #acb #dc4 ,portrait of ,,john ,,leech ,sir ,j4 ,e4 ,,millais1 ,p4,r4,a #ach #dd4 ,richard and ,margaret4--,the ,chimes ,j4 ,,leech #adj #de4 ,john1 ,dot1 and ,tilly ,slowboy4--,the ,cricket on the ,hearth #adb #df4 ,caleb at ,work4--,the ,cricket on the ,hearth #add #dg4 ,the ,tetterbys4--,the ,haunted ,man #adf ,from a ,photograph1 and #dh4 ,portraits of ,,richard ,,doyle and ,d4 ,,maclise1 ,r4,a4 from the ,painting by #adi ,e4 ,m4 ,ward1 ,r4,a #di4 ,portraits of ,,clarkson ,,stanfield1 ,r4,a41 and ,,frank ,,stone1 ,a4,r4,a ,from ,photographs #aec #ej4 ,war and ,peace4--,the ,battle of ,life ,c4 ,,stanfield1 ,r4,a #aef #ea4 ,the ,tower of the ,chimes and ,the ,spirit of the ,chimes4--,the ,chimes ,d4 ,,maclise1 ,r4,a4 #afb #eb4 ,milly and the ,old ,man4--,the ,haunted ,man ,f4 ,,stone1 ,a4,r4,a #agf #ec4 ,portraits of ,,sir ,,john ,from a ,photograph1 and ,,tenniel1 ,r4,i41 and ,,sir from the ,painting by ,,edwin ,,landseer1 ,r4,a ,sir ,f4 ,,grant1 ,p4,r4,a #ahj #ed4 ,portraits of ,f4 ,w4 ,,topham and ,,samuel ,,palmer ,from ,photographs #ahb #ee4 ,the ,villa ,d',este4--,pictures from ,italy ,s4 ,,palmer #ahf #ef4 ,portrait of ,,marcus ,,stone1 ,r4,a ,from a ,photograph #aib #eg4 ,studies for ,mr4 ,venus ,surrounded by the ,trophies of his ,art4--,our ,mutual ,friend ,,marcus ,,stone1 ,r4,a #aid #eh4 ,monsieur ,defarge and ,doctor ,manette4--,a ,tale of ,two ,cities #aif #ei4 ,black and ,white4--,american ,notes #aih #fj4 ,taking ,leave of ,joe4--,great ,expectations #bjj #fa4 ,portrait of ,,luke ,,fildes1 ,r4,a ,from a ,photograph #bjd #fb4 ,study for the ,head of ,neville ,landless4--,the ,mystery of ,edwin ,drood ,l4 ,,fildes1 ,r4,a #bjf #fc4 ,studies for ,edwin ,drood4--,the ,mystery of ,edwin ,drood #bjh #fd4 ,studies for ,mr4 ,jasper4--,the ,mystery of ,edwin ,drood #baj #fe4 ,study for ,good-bye1 ,rosebud1 ,darling4--,the ,mystery of ,edwin ,drood #bab #ff4 ,study for ,mr4 ,grewgious4--,the ,mystery of ,edwin ,drood #bad #fg4 ,do4 do4 do4 do4 #baf #fh4 ,portraits of ,,alfred ,,crowquill 7,a4 ,h4 ,forrester7 and ,,frederick ,,barnard1 ,r4,i ,from ,photographs #bbh #fi4 ,portraits of ,f4 ,w4 ,,pailthorpe and ,,charles ,,green1 ,r4,i4 #bcb ,the ,frontispiece ,portrait of ,charles ,dickens was photo-engraved by ,mr4 ,e4 ,gilbert ,hester1 and the ,collotype ,plates were prepared and printed by ,mr4 ,james ,hyatt4 ,illustration ,,plate ,,ii ,,george ,,cruikshank ,from the ,lithograph by ,,baugniet ,this ,portrait is a reproduction of a proof impression1 showing the retouching by ,cruikshank himself4 ,,dickens ,,and ,,his ,,illustrators ,,george ,,cruikshank ,first ,start in ,life--,early ,productions--,,sketches ,,by ,,boz--,introduction to ,dickens--,first and ,second ,series of the ,sketches--,extra ,plates--,additional ,designs for the ,complete ,edition--,portraiture of ,artist and ,author--,historic ,value of ,cruikshank's ,illustrations--,some ,slight ,inaccuracies--,frontispiece of the ,first ,cheap ,edition--,tentative ,sketches and ,unused ,designs--,,oliver ,,twist--,incongruities ,detected in a ,few of the ,plates--,thackeray's ,eulogium--,working ,tracings and ,water-,colour ,replicas--,trial ,sketches--,a ,note from ,cruikshank to ,dickens--,sketches of ,bill ,sikes in the ,condemned ,cell--,how the ,design for ,fagin in the ,condemned ,cell was ,conceived--,a ,criticism by ,ruskin--,the ,cancelled ,plate--,cruikshank's ,claim to the ,origin of ,oliver ,twist--,designs for ,dickens's ,minor ,writings in ,,bentley',s ,,miscellany--,the ,lamplighter's ,story--,cruikshank's ,last ,illustration for ,dickens--,frauds on the ,fairies--,the ,artist's ,remuneration--,death4 ,the name of ,george ,cruikshank1 which stands first in the long and imposing list of ,dickens ,illustrators1 is familiar to every one as that of a pencil humorist of no common calibre1 whose genius as a designer and whose marvellous skill as an etcher have evoked enthusiastic praise from ,john ,ruskin and other eminent critics4 ,he undoubtedly inherited his artistic talent from his father1 who was not only an etcher and engraver1 but 7as ,george himself has recorded7 a first-rate water-colour draughtsman4 ,so experienced an artist was therefore thoroughly capable of training his sons1 ,george and ,isaac ,robert1 for the same profession4 ,like most boys1 ,george dreamt of the sea1 aspiring to become a second ,captain ,cook2 but1 happily1 the death of his father compelled him to take up seriously the work of designing1 in order that he might assist in maintaining his mother and sister4 ,his first start in life originated in a publisher seeing some of his sketches1 which indicated such unusual talent that he was immediately engaged to illustrate children's books1 songs1 and other cheap literature peculiar to the period4 ,then the young artist essayed the more profitable arena of political caricaturing1 distinctly making his mark as a satirist ,realising at this time his imperfections as a draughtsman1 he determined to acquire the art of drawing with correctness1 entering the ,royal ,academy as a student2 but1 finding it difficult to work on pedantic lines1 his resolution soon waned1 and1 after one course of study1 he left the place for a short interval of--forty years6 ,although he never became the learned artist1 nor was able to draw with academic accuracy1 he wielded his pencil with a facility and vigour that delighted all beholders1 and this deftness1 combined with a remarkable sense of humour and satire1 speedily brought him commissions from every quarter4 ,it was as a book-illustrator that ,george ,cruikshank undoubtedly excelled1 and some idea of his industry in this direction 7during a period of eighty years of his busy life7 may be obtained from ,g4 ,c4 ,reid's comprehensive catalogue of his works1 where we find enumerated more than five thousand illustrations on paper1 wood1 copper1 and steel4 ,this1 however1 by no means exhausts the list1 for the artist survived the publication of the catalogue several years1 and was in harness to the end of his long career4 ,if the works described by ,mr4 ,reid be supplemented by the profusion of original sketches and ideas for his finished designs1 the number of ,cruikshank's productions may be estimated at about fifteen thousand6 ,before his introduction to ,charles ,dickens in #ahcf1 the versatile artist had adorned several volumes1 which1 but for his striking illustrations1 would probably have enjoyed but a brief popularity4 ,his etchings and drawings on wood are invariably executed in an exceedingly delicate manner1 at the same time preserving a breadth of effect unequalled by any aquafortiste of his day4 ,only those who know the difficulties of etching1 observes ,mr4 ,p4 ,g4 ,hamerton1 can appreciate the power that lies behind his unpretending skill2 there is never1 in his most admirable plates1 the trace of a vain effort4 99 99 99 99 99 ,sidenote3 ,sketches by ,boz1 #ahcc-cf4 ,dickens's clever descriptions of every-day life and every-day people were originally printed in the ,monthly ,magazine1 the ,evening ,chronicle and the ,morning ,chronicle1 ,bell's ,life in ,london1 and ,the ,library of ,fiction1 and subsequently appeared in a collected form under the general title of ,sketches by ,boz4 ,early in #ahcf ,dickens sold the entire copyright of the ,sketches to ,john ,macrone1 of ,st4 ,james's ,square1 who published a selection therefrom in two duodecimo volumes1 with illustrations by ,george ,cruikshank4 ,it was at this time that ,charles ,dickens first met the artist1 who was his senior by about a score of years1 and already in the enjoyment of an established reputation as a book-illustrator4 ,that the youthful author1 as well as his publisher1 realised the value of ,cruikshank's co-operation is manifested in the ,preface to the ,sketches1 where ,dickens1 after appropriately comparing the issue of his first book to the launching of a pilot balloon1 observes3 ,unlike the generality of pilot balloons which carry no car1 in this one it is very possible for a man to embark1 not only himself1 but all his hopes of future fame1 and all his chances of future success4 ,entertaining no inconsiderable feeling of trepidation at the idea of making so perilous a voyage in so frail a machine1 alone and unaccompanied1 the author was naturally desirous to secure the assistance and companionship of some well-known individual1 who had frequently contributed to the success1 though his well-known reputation rendered it impossible for him ever to have shared the hazard1 of similar undertakings4 ,to whom1 as possessing this requisite in an eminent degree1 could he apply but to ,george ,cruikshank8 ,the application was readily heard and at once acceded to2 this is their first voyage in company1 but it may not be the last4 ,each of the two volumes contains eight illustrations1 and it may justly be said of these little vignettes that they are among the artist's most successful efforts with the needle4 ,although highly popular from the beginning1 the ,sketches were now received with even greater fervour1 and several editions were speedily called for4 ,as the late ,mr4 ,g4 ,a4 ,sala contended1 the coadjutorship of so experienced a draughtsman as ,george ,cruikshank1 who knew ,london and ,london life better than the majority of ,sunday-school children know their ,catechism1 was of real importance to the young reporter of the ,morning ,chronicle1 with whose baptismal name 7be it remembered7 his readers and admirers were as yet unacquainted4 ,during the following year 7#ahcg7 ,macrone published a ,second ,series of the ,sketches in one volume1 uniform in size and character with its predecessors1 and containing ten etchings by ,cruikshank2 for the second edition of this extra volume two additional illustrations were done1 viz41 ,the ,last ,cab-,driver and ,may-day in the ,evening4#a ,it was at this time that ,dickens repurchased from ,macrone the entire copyright of the ,sketches1 and arranged with ,chapman ,hall for a complete edition1 to be issued in shilling monthly parts1 octavo size1 the first number appearing in ,november of that year4 ,the completed work contained all the ,cruikshank plates 7except that entitled ,the ,free and ,easy1 which1 for some unexplained reason1 was cancelled7 and the following new subjects3 ,the ,parish ,engine1 ,the ,broker's ,man1 ,our ,next-door ,neighbours1 ,early ,coaches1 ,public ,dinners1 ,the ,gin-,shop1 ,making a ,night of ,it1 ,the ,boarding-,house1 ,the ,tuggses at ,ramsgate1 ,the ,steam ,excursion1 ,mrs4 ,joseph ,porter1 and ,mr4 ,watkins ,tottle4 ,footnote #a3 ,a set of the twenty-eight etchings1 proofs before letters 7,first and ,second ,series71 realised #cj at ,sotheby's in #ahhi4 ,lithographic replicas of the plates in the ,second ,series were published in ,calcutta in #ahcg4 ,cruikshank also produced a design for the pink wrapper enclosing each of the twenty monthly parts2 this was engraved on wood by ,john ,jackson1 the original drawing 7adapted from one the artist had previously made for ,macrone7 being now in the possession of ,mr4 ,william ,wright1 of ,paris4 ,the subject of the frontispiece is the same as that of the title-page in the ,second ,series4 ,the alteration in the size of the illustrations for this cheap edition necessitated larger plates1 so that the artist was compelled to re-etch his designs4 ,these reproductions1 although on an extended scale1 were executed with even a greater degree of finish1 and contain more colour than those in the first issue2 but the general treatment of the smaller etchings is more pleasing by reason of the superior freedom of line therein displayed4 ,as might be anticipated1 a comparison of the two sets of illustrations discloses certain slight variations1 which are especially noticeable in the following plates3 ,greenwich ,fair2 musicians and male dancer added on left4 ,election for ,beadle2 three more children belonging to ,mr4 ,bung's family on right1 and two more of ,mr4 ,spruggins's family on left1 thus making up the full complement in each case4 ,the ,first of ,may 7originally entitled ,may-day in the ,evening72 the drummer on the left1 in the first edition1 looks straight before him1 while in the octavo edition he turns his face towards the girl with the parasol4 ,london ,recreations2 in the larger design the small child on the right is stooping to reach a ball1 which is not shown in the earlier plate4 ,,plate ,,iii ,,jemima ,,evans ,facsimile of ,unused ,designs for ,sketches by ,boz by ,,george ,,cruikshank ,illustration ,additional interest is imparted to some of the etchings in ,sketches by ,boz owing to the introduction by the artist of portraits of ,charles ,dickens and himself1 there being no less than five delineations of the face and figure of the youthful ,boz as he then appeared4 ,in the title-page of the ,second ,series 7as well as in the reproduction of it in the octavo edition71 the identity of the two individuals waving flags in the car of the balloon has been pointed out by ,cruikshank1 who wrote on the original pencil-sketch1 ,the parties going up in the balloon are intended for the author and the artist1--which may be considered a necessary explanation1 as the likenesses are not very apparent4 ,in the plates entitled ,early ,coaches1 ,a ,pickpocket in ,custody1 and ,making a ,night of ,it1 ,cruikshank has similarly attempted to portray his own lineaments and those of ,dickens2 he was more successful1 however1 in the illustration to ,public ,dinners1 where the presentments of himself and the novelist1 as stewards carrying official wands1 are more life-like4 ,there exist1 by the way1 several seriously-attempted portraits of ,dickens by ,cruikshank1 concerning the earliest of which it is related that author and artist were members of a club of literary men known during its brief existence as ,the ,hook and ,eye ,club1 and that at one of their nightly meetings ,dickens was seated in an arm-chair conversing1 when ,cruikshank exclaimed1 ,sit still1 ,charley1 while ,i take your portrait6 ,this impromptu sketch1 now the property of ,colonel ,hamilton1 has been etched by ,f4 ,w4 ,pailthorpe1 and a similar drawing is included in the ,cruikshank ,collection at ,south ,kensington4 ,among other contemporary portrait-studies 7executed in pencil and slightly tinted in colour7 is one bearing the following inscription in the artist's autograph3 ,charles ,dickens1 ,author of ,sketches by ,boz1 the ,pickwick ,papers1 c41 c41 c41--an admission that seems to dispose of ,cruikshank's subsequent claim to the authorship of ,pickwick4 ,,plate ,,iv ,,the ,,four ,,miss ,,willises ,facsimile of an ,unused ,design for ,sketches by ,boz by ,,george ,,cruikshank ,illustration ,it has been remarked that ,cruikshank was so accurate in the rendering of details that future antiquaries will rely upon his plates as authoritative in matters of architecture1 costume1 c4 ,for example1 in the etching of ,the ,last ,cab-,driver1 he has depicted an obsolete form of cabriolet1 the driver being seated over the right wheel2 and in that of ,the ,parish ,engine we may discover what kind of public fire-extinguisher was then in use--a very primitive implement in comparison with the modern steamer4 ,in the latter plate1 by the way1 we behold the typical beadle of the period1 who afterwards figured as ,bumble in ,oliver ,twist4 ,apropos of this etching1 ,mr4 ,frederick ,wedmore points out 7in ,temple ,bar1 ,april #ahgh7 that it is an excellent example of ,cruikshank's eye for picturesque line and texture in some of the commonest objects that met him in his walks3 the brickwork of the house1 for instance1 prettily indicated1 the woodwork of the outside shutters1 and the window1 on which various lights are pleasantly broken4 ,i know no artist1 he continues1 so alive as ,cruikshank to the pretty sedateness of ,georgian architecture4 ,then1 too1 there is the girl with basket on arm1 a figure not quite ungraceful in line and gesture4 ,she might have been much better if ,cruikshank had ever made himself that accurate draughtsman of the figure which he hardly essayed to be1 and she and all her fellows--it is only fair to remember--might have been better1 again1 had the artist who designed her done his finest work in a happier period of ,english dress4 ,mr4 ,wedmore alludes to another etching in ,sketches by ,boz as being perhaps the best of all in ,cruikshank as proof of that sensitive eye for what is picturesque and characteristic in every-day ,london4 ,it is called ',the ,streets1 ,morning1' the design somewhat empty of 'subject1' only a comfortable sweep who does not go up the chimney1 and a wretched boy who does1 are standing at a stall taking coffee1 which a woman1 with pattens striking on pavement and head tied up close in a handkerchief1 serves to the scanty comers in the early morning light4 ,a lamp-post rises behind her2 the closed shutters of the baker are opposite2 the public-house of the ,rising ,sun has not yet opened its doors2 at some house-corner further off a solitary figure lounges homeless2 beyond1 pleasant light morning shadows cross the cool grey of the untrodden street2 a church tower and spire rise in the delicate distance1 where the turn of the road hides the further habitations of the sleeping town4 ,it may be hypercritical to resent1 on the score of inaccuracy1 an occasional oversight on the part of ,cruikshank2 but it is nevertheless interesting to note that in the plate entitled ,election for ,beadle1 ,cruikshank has omitted from the inscription on ,spruggins's placard a reference to the twins1 the introduction of which caused that candidate to become temporarily a favourite with the electors2 in ,horatio ,sparkins1 the dropsical figure of seven 7see label on right7 is followed by a little #a_/b;d4 instead of the diminutive #c_/d;d4 mentioned in the text2 in ,the ,pawnbroker's ,shop it will be observed that the words ,money ,lent on the glass door should appear reversed1 so as to be read from the outside2 while in the etching illustrating ,private ,theatres1 the artist has forgotten to include the two dirty men with the corked countenances1 who are specially referred to in the ,sketch4 ,the first cheap edition of ,sketches by ,boz1 issued by ,chapman ,hall in #ahej1 contained a new frontispiece1 drawn on wood by ,cruikshank1 representing ,mr4 ,gabriel ,parsons being released from the kitchen chimney1--an incident in ,passage in the ,life of ,mr4 ,watkins ,tottle4 ,george ,cruikshank not unfrequently essayed several trial designs before he succeeded in realising to his satisfaction the subject he aimed at portraying4 ,some of these are extremely slight pencil notes--first ideas1 hastily made as soon as conceived--while others were subjected to greater elaboration1 and differing but slightly1 perhaps1 from the etchings2 on certain drawings are marginal memoranda--such as studies of heads1 expressions1 and attitudes--which are valuable as showing how the finished pictures were evolved4 ,the majority of the designs are executed in pencil1 while a few are drawn with pen-and-ink2 occasionally one may meet with a sketch in which the effect is broadly washed in with sepia or indian-ink1 and1 more rarely still1 with a drawing charmingly and delicately wrought in water-colours4 ,besides original sketches1 the collection at the ,south ,kensington ,museum contains a series of working tracings1 by means of which the artist transferred his subjects to the plates4 ,there are no less than three different suggestions for the frontispiece of the first cheap edition of ,sketches by ,boz1 together with various renderings of the design for the wrapper of the first complete edition1 in which the word ,boz in the title constitutes a conspicuous feature1 being formed of the three letters superimposed1 while disposed about them are several of the prominent characters4 ,probably the most interesting in this collection is a sheet of slight sketches signed by the artist1 although they are merely tentative jottings for his etchings4 ,one of these pencillings 7an unused subject7 represents a man proposing a toast at a dinner-table1 doubtless intended as an illustration for ,public ,dinners2 and here1 too1 are marginal studies of heads--including one of a ,bill ,sikes type--together with a significant note 7apparently of a later date7 in the autograph of ,cruikshank1 which reads thus3 ,some of these suggestions to ,chas4 ,dickens1 and which he wrote to in the second part of ',sketches by ,boz'6 ,,plate ,v ,,thoughts ,,about ,,people ,facsimile of an ,unused ,design for ,sketches by ,boz by ,,george ,,cruikshank ,illustration ,a large number of studies for ,sketches by ,boz may also be seen in the ,print ,room of the ,british ,museum1 many of which are very slight4 ,in some instances we find the same subject rendered in different ways1 and it is worthy of note that a few of these designs were never etched2 among the most remarkable of the unused sketches is a rough drawing for the wrapper of the monthly parts 7octavo edition71 with ostensible portraits of author and artist introduced4 ,this collection includes first ideas for ,thoughts about ,people1 ,hackney ,coaches1 ,the ,broker's ,man1 c41 and a careful examination shows that the sketches for the plates illustrating ,seven ,dials and ,the ,pickpocket in ,custody are entitled by the artist ,fight of the ,amazons and ,the ,hospital ,patient respectively4 ,in one of the trial sketches for ,the ,last ,cabman1 the horse is represented as having fallen to the ground1 the passenger being violently ejected from the vehicle4 99 99 99 99 99 ,sidenote3 ,oliver ,twist1 #ahcg-ci4 ,on ,august #bb1 #ahcf1 ,charles ,dickens entered into an agreement with ,richard ,bentley to edit a new monthly magazine called ,bentley's ,miscellany1 and to furnish that periodical with a serial tale4 ,george ,cruikshank's services as illustrator were also retained1 and his design for the wrapper inspired ,maginn to indite1 for ,the ,bentley ,ballads1 the ,song of the ,cover1 whence this characteristic verse is quoted3-- ,bentley1 ,boz1 and ,cruikshank stand ,like expectant reelers2 ',music6' ',play up6' pipe in hand ,beside the fluted pillars ,boz and ,cruikshank want to dance1-- ,none for frolic riper2 ,but ,bentley makes the first advance1 ,because he pays the piper4 ,the first number of the ,miscellany was issued in ,january #ahcg1 and in ,february appeared the initial chapter of the editor's story1 entitled ,oliver ,twist1 or1 the ,parish ,boy's ,progress1 which was continued in succeeding numbers until its completion in ,march #ahci1 with etchings by ,cruikshank4 ,the dramatic character of this stirring romance of low ,london life afforded the artist unusual scope for the display of his talent2 indeed1 his powerful pencil was far more suited to the theme than that of any of his contemporaries4 ,the principal scenes in the novel proved most attractive to him1 and he fairly revelled in delineating the tragic episodes associated with the career of ,fagin and ,sikes4 ,these twenty-four etchings are on the same scale as those in the first collected edition of the ,sketches1 but they are broader and more effective in treatment4 ,in ,october #ahch1--that is1 about five months before completion in the ,miscellany1--the entire story was issued by ,chapman ,hall in three volumes post octavo1 and there can be no doubt that its remarkable success was brought about in no small measure by ,cruikshank's inimitable pictures4 ,nearly eight years later 7in ,january #ahdf7 a cheaper edition1 containing all the illustrations1 was commenced in ten monthly parts1 demy octavo1 and subsequently published in one volume by ,bradbury ,evans4 ,on the cover for the monthly numbers ,cruikshank has portrayed eleven of the leading incidents in the story1 some of the subjects being entirely new1 while others are practically a repetition of the etched designs4 ,the plates in this edition1 having suffered from previous wear-and-tear1 were subjected to a general touching-up1 as a comparison with the earlier issue clearly indicates1 such reparation 7carried out by an engraver named ,findlay1 much to ,cruikshank's annoyance7 being especially noticeable in cases where tones have been added to wall-backgrounds and other parts of the designs4 ,apart from actual proof impressions1 the ,oliver ,twist etchings are naturally to be found in their best state in ,bentley's ,miscellany1 where they are seen in their pristine beauty4 ,in some of the plates it will be observed that ,cruikshank has introduced roulette 7or dotted7 work with excellent effect1 although1 of course1 this disqualifies them as examples of pure etching4 ,the first cheap edition of ,oliver ,twist1 issued in #ahej by ,chapman ,hall1 contains a frontispiece only by ,george ,cruikshank1 representing ,mr4 ,bumble and ,oliver in ,mrs4 ,mann's parlour1 as described in the second chapter4 ,,plate ,,vi ,,the ,,parish ,,engine ,facsimile of the ,original ,drawing for the ,first ,octavo ,edition of ,sketches by ,boz by ,,george ,,cruikshank ,illustration ,it has been said that ,cruikshank could not draw a pretty woman4 ,at any rate1 he neglected his opportunity in ,oliver ,twist1 for he fails in so depicting ,rose ,maylie1 while his portrayal of ,nancy is particularly ugly and repelling1 whereas she certainly possessed physical charms not unfrequently found in women of her class4 ,although the artist has imparted too venerable an appearance to the ,artful ,dodger1 he has seized in a wonderful manner the characteristics of criminal types in his rendering of ,fagin and ,bill ,sikes4 ,in many of ,cruikshank's etchings the accessories are very propos1 and sometimes not without a touch of quiet humour4 ,for example1 in the plate representing ,oliver recovering from the fever1 there is seen over the chimney-piece a picture of the ,good ,samaritan1 in allusion to ,mr4 ,brownlow's benevolent intentions with respect to the invalid orphan2 while in that depicting ,mr4 ,bumble and ,mrs4 ,corney taking tea1 may be noticed the significant figure of ,paul ,pry on the mantelshelf4 ,some of the designs are marked by slight incongruities1 which1 however1 do not detract from their interest4 ,in the etching ,oliver ,plucks up a ,spirit1 it will be observed that the small round table which the persecuted lad overthrows during his desperate attack upon ,noah ,claypole could not possibly assume1 by such accidental means1 the inverted position as here shown4 ,in the plate entitled ,the ,evidence ,destroyed1 the lantern 7according to the text7 should have been lowered into the dark well1 but doubtless the error was intentional on the part of the artist1 in order to secure effect2 in ,mr4 ,fagin and his ,pupil ,recovering ,nancy1 the girl is represented as being exceedingly robust1 whereas she was really so reduced with watching and privation as hardly to be recognised as the same ,nancy4 ,again1 in the illustration depicting ,sikes attempting to destroy his dog1 we see in the distance the dome of ,st4 ,paul's1 while1 as a matter of fact1 the desperate ruffian had not reached a point so near the metropolis when he thought of drowning the faithful animal4#b ,in ,the ,last ,chance1 where the robber contemplates dropping from the roof of ,fagin's house to escape his pursuers1 the rope 7described in the letterpress as being thirty-four feet long7 is barely half that length1 and could never have extended to the ground2 while the dog1 who lay concealed until his master had tumbled off the parapet1 must have been distinctly visible to all observers if he stood so prominently on the ridge-tiles as here indicated4 ,the latter etching is one of the most fascinating of the series1 for here ,cruikshank has realised every feature of the dramatic scene1--the harassed expression on the evil face of the hunted criminal1 the squalid tenements half shrouded by approaching darkness1 the excitement of the people crowding the windows of the opposite houses2 indeed1 the tragic and repulsive element in the picture constitutes a remarkable effort on the part of the artist4 ,footnote #b3 ,in a large water-colour replica of this subject1 signed ,george ,cruikshank1 ,octr4 #adth1 #ahgc1 in my #hbnd year1 the artist stated that the landscape represented the old ,pentonville fields1 north of ,london4 ,,plate ,,vii ,,studies ,,for ,,scenes ,,and ,,characters ,,in ,,sketches ,,by ,,boz ,facsimile of the ,original ,sketches by ,,george ,,cruikshank ,in the centre of the sheet the ,artist has written3 ,some of these suggestions to ,chas4 ,dickens1 and which he wrote to in the second part of ',sketches by ,boz4' ,illustration ,in considering the story as a whole1 it is difficult to say how much of the powerful impression we are conscious of may be due to the illustrator4 ,in his famous eulogy on ,cruikshank1 ,thackeray remarked3 ,we are not at all disposed to undervalue the works and genius of ,mr4 ,dickens1 and we are sure that he would admit as readily as any man the wonderful assistance that he has derived from the artist who has given us portraits of his ideal personages1 and made them familiar to all the world4 ,once seen1 these figures remain impressed on the memory1 which otherwise would have had no hold upon them1 and the ,jew and ,bumble1 and the heroes and heroines of the ,boz ,sketches1 become personal acquaintances with each of us4 ,o that ,hogarth could have illustrated ,fielding in the same way6 and fixed down on paper those grand figures of ,parson ,adams1 and ,squire ,allworthy1 and the great ,jonathan ,wild4 ,again1 with more especial reference to the ,oliver ,twist designs1 the kindly ,michael ,angelo ,titmarsh wrote3 ,the sausage scene at ,fagin's2 ,nancy seizing the boy2 that capital piece of humour1 ,mr4 ,bumble's courtship1 which is even better in ,cruikshank's version than in ,boz's exquisite account of the interview2 ,sykes's#c farewell to his dog2 and the ,jew--the dreadful ,jew--that ,cruikshank drew6 ,what a fine touching picture of melancholy desolation is that of ,sykes and the dog6 ,the poor cur is not too well drawn1 the landscape is stiff and formal2 but in this case the faults1 if faults they be1 of execution rather add to than diminish the effect of the picture2 it has a strange1 wild1 dreary1 broken-hearted look2 we fancy we see the landscape as it must have appeared to ,sykes1 when ghastly and with bloodshot eyes he looked at it4 ,as for the ,jew in the dungeon1 let us say nothing of it--what can we say to describe it8 ,footnote #c3 ,the name of ,sikes is frequently thus mis-spelt4 ,it is odd that ,dickens himself first wrote it ,sykes1 as may be seen in the original manuscript of the story4 ,the complete set of twenty-four working tracings of the original designs for ,oliver ,twist1 some of which exhibit variations from the finished etchings1 realised #adj at ,sotheby's in ,march #ahib4 ,water-colour replicas of all the subjects were prepared by ,cruikshank in #ahff for ,mr4 ,f4 ,w4 ,cosens1 which the artist supplemented by thirteen smaller drawings and a humorous title-page1 the entire series being reproduced in colour for an edition de luxe of ,oliver ,twist1 published by ,chapman ,hall in #ahid4 ,the ,cruikshank ,collections in the ,british and ,south ,kensington ,museums include many of the artist's sketches and first ideas for the ,oliver ,twist plates1 as well as a number of the matured designs4 ,here are several trial sketches for the monthly wrapper of the first octavo edition1 executed in pencil with slight washes of sepia added2 the original drawings for ,rose ,maylie and ,oliver 7known to collectors as the ,fireside plate1 to which reference will presently be made71 and for ,mr4 ,bumble ,degraded in the ,eyes of the ,paupers 7with marginal sketches71 the title of which is appended in ,dickens's autograph1 where1 instead of the eyes1 the word presence was originally written4 ,here1 also1 we find the first sketch of ,noah ,claypole enjoying an oyster-supper1 with the following query written by the artist3 ,dr4 ,dickens1 ',title' wanted--will any of these do8 ,yours1 ,g4 ,ck4 ,the proposed titles are then given1 thus3 ,mr4 ,claypole ,astonishing ,mr4 ,bumble and 'the ,natives'2 ,mr4 ,claypole ,indulging2 ,mr4 ,claypole as he ,appeared when his ,master was ,out1--the latter being adopted4 ,on the back of a pen-and-ink drawing of ,oliver's ,reception by ,fagin and the ,boys1 ,cruikshank suggested a different title1 viz41 ,oliver ,introduced to the ,old ,gentleman by ,jack ,dawkins4 ,a beautiful little water-colour drawing of the subject1 entitled ,oliver ,introduced to the ,respectable ,old ,gentleman1 is in the ,print ,room of the ,british ,museum1 where we may also discover a portrait of ,oliver himself--a profile study of the head as seen in the drawing now referred to4 ,on the back of a sketch of ,mr4 ,brownlow at the bookstall 7for the plate entitled ,oliver ,amazed at the ,dodger's ,mode of ',going to ,work'7 is the rough draft of an unsigned note in the autograph of ,cruikshank1 evidently addressed to ,dickens3-- ,thursday ,eg41 ,june #ae1 '#cg4 ,,my ,,dear ,,sir1--,can you let me have a subject for the second ,plate8 ,the first is in progress4 ,by the way1 would you like to see the ,drawing8 ,i can spare it for an hour or two if you will send for it4 ,,plate ,,viii ,,mr4 ,,bumble ,,degraded ,,in ,,the ,,eyes ,,of ,,the ,,paupers ,facsimile of the ,original ,sketch for ,oliver ,twist by ,,george ,,cruikshank ,the ,inscription above the ,sketch is in the ,autograph of ,dickens4 ,illustration ,i am enabled to reproduce in facsimile a very interesting sheet of sketches for prominent characters in ,oliver ,twist1 containing no less than five studies of ,fagin1 including the first idea for the famous etching of the ,jew in the condemned cell4 ,still more noteworthy are four studies of ,bill ,sikes in the condemned cell1 evidently made early in the progress of the book1 thus seeming to indicate that the artist conjectured this would be the fate of the burglar instead of the ,jew2 or is it possible that the existence of these studies may be considered as a corroboration of his assertion 7in a letter to the ,times1 presently to be quoted7 that he1 and not ,dickens1 must be credited with the idea of putting either ,sikes or ,fagin in the cell8 ,concerning ,cruikshank's powerful conception of ,fagin in the condemned cell 7the immortal ,fagin of ',oliver ,twist1' as ,thackeray styled him71 it is related by ,mr4 ,george ,hodder 7in ,memories of my ,time7 that when the great ,george brought forth this picture1 where the ,jew is seen biting his finger-nails and suffering the tortures of remorse and chagrin1 ,horace ,mayhew took an opportunity of asking him by what mental process he had conceived such an extraordinary notion2 and his answer was1 that he had been labouring at the subject for several days1 but had not succeeded in getting the effect he desired4 ,at length1 beginning to think the task was almost hopeless1 he was sitting up in bed one morning1 with his hand covering his chin and the tips of his fingers between his lips1 the whole attitude expressive of disappointment and despair1 when he saw his face in a cheval-glass which stood on the floor opposite to him4 ,that's it6 he involuntarily exclaimed2 that's just the expression ,i want6 and by this accidental process the picture was formed in his mind4 ,many years afterwards ,cruikshank declared this statement to be absurd1 and when interrogated by ,mr4 ,austin ,dobson1 who met the artist at ,mr4 ,frederick ,locker's house in #ahgg1 he said he had never been perplexed about the matter1 but attributed the story to the fact that1 not being satisfied whether the knuckles should be raised or depressed1 he had made studies of his own hand in a glass1 and illustrated his account by putting his hand to his mouth1 looking1 with his hooked nose1 wonderfully like the character he was speaking of4 ,respecting another illustration in the story1 where ,the ,jew and ,morris ,bolter begin to ,understand each ,other1 ,professor ,ruskin observes that it is the intensest rendering of vulgarity1 absolute and utter1 with which he is acquainted4 ,the latter portion of ,oliver ,twist was written in anticipation of the magazine1 in order that the complete story might be promptly launched in volume form4 ,the illustrations for the final chapters had consequently to be produced simultaneously and with all possible speed1 so that the artist had no time to submit his designs to ,dickens4 ,one of these plates1 viz41 ,rose ,maylie and ,oliver1 depicted a scene in the new home of the ,rev4 ,harry ,maylie2 he1 his wife1 and mother1 are seated by the fire1 while ,oliver stands by ,rose ,maylie's side4 ,when ,dickens first saw this etching he so strongly disapproved of it that the plate was forthwith cancelled and another design substituted2 but1 the book being then on the eve of publication1 it was impossible to prevent a small number of impressions of this illustration being circulated1 and copies of the work containing the scarce ,fireside plate are therefore eagerly sought after by collectors4 ,dickens1 in expressing to ,cruikshank his disapprobation of this etching1 undoubtedly realised the delicacy of the situation1 in the possibility of injuring the susceptibilities of the artist1 as the following carefully-worded intimation testifies3-- ,i returned suddenly to town yesterday afternoon1 to look at the latter pages of ',oliver ,twist' before it was delivered to the booksellers1 when ,i saw the majority of the plates in the last volume for the first time4 ,with reference to the last one--,rose ,maylie and ,oliver--without entering into the question of great haste1 or any other cause1 which may have led to its being what it is1 ,i am quite sure there can be little difference of opinion between us with respect to the result4 ,may ,i ask you whether you will object to designing this plate afresh1 and doing so at once1 in order that as few impressions as possible of the present one may go forth8 ,i feel confident you know me too well to feel hurt by this enquiry1 and1 with equal confidence in you1 ,i have lost no time in preferring it4 ,,plate ,,ix ,,mr4 ,,claypole ,,as ,,he ,,appeared ,,when ,,his ,,master ,,was ,,out ,facsimile of the ,original ,sketch for ,oliver ,twist by ,,george ,,cruikshank ,the ,inscriptions are in the ,autograph of the ,artist4 ,illustration ,it seems1 however1 that ,cruikshank did not immediately proceed to carry out the author's wish1 but endeavoured to improve the plate by retouching and adding further tints by means of stippling1 c4 ,in the ,south ,kensington ,collection there is an early proof of the etching in which the shadow tints are washed in with a brush1 and the fact that these alterations were subsequently carried out is established by the existence of a unique impression of the plate in its second state4 ,this proof was probably submitted to ,dickens and again rejected1 for no impressions having the stippled additions are known to have been published4 ,the substituted design1 bearing the same title as the suppressed one1 does not much excel it in point of interest1 as the artist himself readily admitted2 it represents ,rose ,maylie and ,oliver standing in front of the tablet put up in the church to the memory of ,oliver's mother1 this etching appearing in ,bentley's ,miscellany and in all but the earliest copies of the book4 ,the substituted plate 7like many others in the volume7 was afterwards considerably touched up1 for it will be noticed that in the earlier impressions ,rose's dress is light in tone1 while subsequently it was changed to black4 ,a very circumstantial story relative to ,cruikshank's connection with ,oliver ,twist was published in a ,transatlantic journal called ,the ,round ,table1 and reprinted immediately after ,dickens's death in a biography of the novelist by ,dr4 ,shelton ,mackenzie1 who avers that he had been informed that ,dickens intended to locate ,oliver in ,kent1 and to introduce hop-picking and other picturesque features of the county he knew so well3 that the author changed his purpose1 and brought the boy to ,london3 and further1 that for such important alterations in the plot ,cruikshank was responsible4 ,but the more remarkable portion of this narrative is ,dr4 ,mackenzie's account of his visit to ,cruikshank in #ahdg1 at the artist's house in ,myddleton ,terrace1 ,pentonville1 concerning which he writes3-- ,i had to wait while he was finishing an etching1 for which a printer's boy was waiting4 ,to while away the time1 ,i gladly complied with his suggestion that ,i should look over a portfolio crowded with etchings1 proofs1 and drawings1 which lay upon the sofa4 ,among these1 carelessly tied together in a wrap of brown paper1 was a series of some twenty-five to thirty drawings1 very carefully finished1 through most of which were carried the now well-known portraits of ,fagin1 ,bill ,sikes and his dog1 ,nancy1 the ,artful ,dodger1 and ,master ,charles ,bates--all well known to the readers of ',oliver ,twist'--and many others who were not introduced4 ,there was no mistake about it1 and when ,cruikshank turned round1 his work finished1 ,i said as much4 ,he told me that it had long been in his mind to show the life of a ,london thief by a series of drawings1 engraved by himself1 in which1 without a single line of letterpress1 the story would be strikingly and clearly told4 ',dickens1' he continued1 'dropped in here one day just as you have done1 and1 while waiting until ,i could speak with him1 took up that identical portfolio and ferreted out that bundle of drawings4 ,when he came to that one which represents ,fagin in the condemned cell1 he silently studied it for half-an-hour1 and told me that he was tempted to change the whole plot of his story2 not to carry ,oliver ,twist through adventures in the country1 but to take him up into the thieves' den in ,london1 show what their life was1 and bring ,oliver safely through it without sin or shame4 ,i consented to let him write up to as many of the designs as he thought would suit his purpose2 and that was the way in which ,fagin1 ,sikes1 and ,nancy were created4 ,my drawings suggested them1 rather than his strong individuality suggested my drawings4 ,,plate ,x ,,oliver ,,amazed ,,at ,,the ,,dodger',s ,,mode ,,of ',,going ,,to ,,work' ,facsimile of the ,first ,sketch for the ,etching by ,,george ,,cruikshank ,illustration ,forster naturally characterises this story as a deliberate untruth1 related with a minute conscientiousness and particularity of detail that might have raised the reputation of ,sir ,benjamin ,backbite himself1 and points out that the artist's version1 as here narrated1 is completely refuted by ,dickens's letter to ,cruikshank1 which unquestionably proves that the closing illustrations had not even been seen by the novelist until the book was ready for publication4 ,cruikshank1 on reading in the ,times a criticism of ,forster's biography1 in which this charge against ,dickens was commented upon1 at once indited the following letter to that journal1 where it appeared on ,december #cj1 #ahga3-- ,to the ,editor of ',the ,times4' ,,sir1--,as my name is mentioned in the second notice of ,mr4 ,john ,forster's ',life of ,charles ,dickens1' in your paper of the #bfth inst41 in connection with a statement made by an ,american gentleman 7,dr4 ,shelton ,mackenzie7 respecting the origin of ',oliver ,twist1' ,i shall be obliged if you will allow me to give some explanation upon this subject4 ,for some time past ,i have been preparing a work for publication1 in which ,i intend to give an account of the origin of ',oliver ,twist1' and ,i now not only deeply regret the sudden and unexpected decease of ,mr4 ,charles ,dickens1 but regret also that my proposed work was not published during his life-time4 ,i should not now have brought this matter forward1 but as ,dr4 ,mackenzie states that he got the information from me1 and as ,mr4 ,forster declares his statement to be a falsehood1 to which1 in fact1 he would apply a word of three letters1 ,i feel called upon1 not only to defend the ,doctor1 but myself also from such a gross imputation4 ,dr4 ,mackenzie has confused some circumstances with respect to ,mr4 ,dickens looking over some drawings and sketches in my studio1 but there is no doubt whatever that ,i did tell this gentleman that ,i was the originator of the story of ',oliver ,twist1' as ,i have told very many others who may have spoken to me on the subject1 and which facts ,i now beg permission to repeat in the columns of the ,times1 for the information of ,mr4 ,forster and the public generally4 ,when ,bentley's ,miscellany was first started1 it was arranged that ,charles ,dickens should write a serial in it1 and which was to be illustrated by me2 and in a conversation with him as to what the subject should be for the first serial1 ,i suggested to ,mr4 ,dickens that he should write the life of a ,london boy1 and strongly advised him to do this1 assuring him that ,i would furnish him with the subject and supply him with all the characters1 which my large experience of ,london life would enable me to do4 ,my idea was to raise a boy from a most humble position up to a high and respectable one--in fact1 to illustrate one of those cases of common occurrence1 where men of humble origin1 by natural ability1 industry1 honest and honourable conduct1 raise themselves to first-class positions in ,society4 ,and as ,i wished particularly to bring the habits and manners of the thieves of ,london before the public 7and this for a most important purpose1 which ,i shall explain one of these days71 ,i suggested that the poor boy should fall among thieves1 but that his honesty and natural good disposition should enable him to pass through this ordeal without contamination2 and after ,i had fully described the full-grown thieves 7the ,bill ,sykeses7 and their female companions1 also the young thieves 7the ,artful ,dodgers7 and the receivers of stolen goods1 ,mr4 ,dickens agreed to act on my suggestion1 and the work was commenced1 but we differed as to what sort of boy the hero should be4 ,mr4 ,dickens wanted rather a queer kind of chap1 and1 although this was contrary to my original idea1 ,i complied with his request1 feeling that it would not be right to dictate too much to the writer of the story1 and then appeared ',oliver ,asking for ,more2' but it so happened just about this time that an inquiry was being made in the parish of ,st4 ,james's1 ,westminster1 as to the cause of the death of some of the workhouse children who had been 'farmed out1' and in which inquiry my late friend ,joseph ,pettigrew 7surgeon to the ,dukes of ,kent and ,sussex7 came forward on the part of the poor children1 and by his interference was mainly the cause of saving the lives of many of these poor little creatures4 ,i called the attention of ,mr4 ,dickens to this inquiry1 and said that if he took up this matter1 his doing so might help to save many a poor child from injury and death2 and ,i earnestly begged of him to let me make ,oliver a nice pretty little boy1 and if we so represented him1 the public--and particularly the ladies--would be sure to take a greater interest in him1 and the work would then be a certain success4 ,mr4 ,dickens agreed to that request1 and ,i need not add here that my prophecy was fulfilled3 and if any one will take the trouble to look at my representations of ',oliver1' they will see that the appearance of the boy is altered after the two first illustrations1 and1 by a reference to the records of ,st4 ,james's parish1 and to the date of the publication of the ,miscellany1 they will see that both dates tally1 and therefore support my statement4 ,,plate ,,xi ,,studies ,,for ,,bill ,,sikes1 ,,nancy1 ,,and ,,the ,,artful ,,dodger ,facsimile of ,original ,sketches by ,,george ,,cruikshank ,lent by ,messrs4 ,robson ,co4 ,illustration ,i had1 a long time previously to this1 directed ,mr4 ,dickens's attention to ,field ,lane1 ,holborn ,hill1 wherein resided many thieves and receivers of stolen goods1 and it was suggested that one of these receivers1 a ,jew1 should be introduced into the story2 and upon one occasion ,mr4 ,dickens and ,mr4 ,harrison ,ainsworth called upon me at my house in ,myddleton ,terrace1 ,pentonville1 and in course of conversation ,i then and there described and performed the character of one of these ,jew receivers1 whom ,i had long had my eye upon2 and this was the origin of ',fagin4' ,some time after this1 ,mr4 ,ainsworth said to me one day1 ',i was so much struck with your description of that ,jew to ,mr4 ,dickens1 that ,i think you and ,i could do something together1' which notion of ,mr4 ,ainsworth's1 as most people are aware1 was afterwards carried out in various works4 ,long before ',oliver ,twist' was ever thought of1 ,i had1 by permission of the city authorities1 made a sketch of one of the condemned cells in ,newgate prison2 and as ,i had a great object in letting the public see what sort of places these cells were1 and how they were furnished1 and also to show a wretched condemned criminal therein1 ,i thought it desirable to introduce such a subject into this work2 but ,i had the greatest difficulty to get ,mr4 ,dickens to allow me to carry out my wishes in this respect2 but ,i said ,i must have either what is called a ,christian or what is called a ,jew in a condemned cell1 and therefore it must be ',bill ,sikes' or ',fagin2' at length he allowed me to exhibit the latter4 ,without going further into particulars1 ,i think it will be allowed from what ,i have stated that ,i am the originator of ',oliver ,twist1' and that all the principal characters are mine2 but ,i was much disappointed by ,mr4 ,dickens not fully carrying out my first suggestion4 ,i must here mention that nearly all the designs were made from conversation and mutual suggestion upon each subject1 and that ,i never saw any manuscript of ,mr4 ,dickens until the work was nearly finished1 and the letter of ,mr4 ,dickens which ,mr4 ,forster mentions only refers to the last etching--done in great haste--no proper time being allowed1 and of a subject without any interest2 in fact1 there was not anything in the latter part of the manuscript that would suggest an illustration2 but to oblige ,mr4 ,dickens ,i did my best to produce another etching1 working hard day and night1 but when done1 what is it8 ,why1 merely a lady and a boy standing inside of a church looking at a stone wall6 ,mr4 ,dickens named all the characters in this work himself1 but before he had commenced writing the story he told me that he had heard an omnibus conductor mention some one as ,oliver ,twist1 which name1 he said1 he would give the boy1 as he thought it would answer his purpose4 ,i wanted the boy to have a very different name1 such as ,frank ,foundling or ,frank ,steadfast2 but ,i think the word ,twist proves to a certain extent that the boy he was going to employ for his purpose was a very different sort of boy from the one introduced and recommended to him by1 ,sir1 your obedient servant1 ,,george ,,cruikshank4 ,,hampstead ,,road1 ,december #bi1 #ahga4 ,,plate ,,xii ,,studies ,,for ,,bill ,,sikes ,,in ,,the ,,condemned ,,cell ,facsimile of ,original ,sketches by ,,george ,,cruikshank ,illustration ,in #ahgb ,cruikshank issued a pamphlet entitled ,the ,artist and the ,author1 a ,statement of ,facts1 where he positively asserted that not only was he the actual originator of ,oliver ,twist1 but also of many of ,harrison ,ainsworth's weird romances2 that these authors wrote up to his suggestions and designs1 just as ,combe did with regard to ,dr4 ,syntax and ,rowlandson's previously-executed illustrations4 ,in another published letter1 dated more than a year prior to that printed in the ,times1 the artist emphatically declared that the greater part of the second volume of ,sketches by ,boz was written from his hints and suggestions1 and he significantly added1 ,i am preparing to publish an explanation of the reason why ,i did not illustrate the whole of ,mr4 ,dickens's writings1 and this explanation will not at all redound to his credit4 ,indeed1 so thoroughly was he imbued with this conviction1 that on ,april #bj1 #ahgd1 in responding to a vote of thanks accorded him by the ,mayor of ,manchester for an address on ,intemperance1 he reiterated his statement relative to the origin of ,oliver ,twist4 ,the ,mayor having referred to the artist's designs in ,dickens's novels1 ,cruikshank intimated that the only work of the novelist he had illustrated was ,sketches by ,boz2 his worship remarked1 ,you forget ',oliver ,twist1' whereupon ,cruikshank replied1 ,that came out of my own brain4 ,i wanted ,dickens to write me a work1 but he did not do it in the way ,i wished4 ,i assure you ,i went and made a sketch of the condemned cell many years before that work was published4 ,i wanted a scene a few hours before strangulation1 and ,dickens said he did not like it1 and ,i said he must have a ,jew or a ,christian in the cell4 ,dickens said1 ',do as you like1' and ,i put ,fagin1 the ,jew1 into the cell4 ,dickens behaved in an extraordinary way to me1 and ,i believe it had a little effect on his mind4 ,he was a most powerful opponent to ,teetotalism1 and he described us as 'old hogs4'#d ,footnote #d3 ,this is1 doubtless1 a reference to an article by ,dickens entitled ,whole ,hogs1 which appeared in ,household ,words1 ,august #bc1 #ahea1 protesting against the extreme views of the ,temperance party4 ,unfortunately for ,cruikshank's claim to the origin of ,oliver ,twist1 he allowed more than thirty years to elapse before making it public4 ,when questioned on this point he would say that ever since these works were published1 and even when they were in progress1 he had in private society1 when conversing upon such matters1 always explained that the original ideas and characters of these works emanated from him6 ,mr4 ,harrison ,ainsworth has recorded that ,dickens was so worried by ,cruikshank putting forward suggestions that he resolved to send him only printed proofs for illustration4 ,in a letter to ,forster 7,january #ahch7 the novelist wrote1 alluding to the severity of his labours3 ,i have not done the ',young ,gentleman1' nor written the preface to ',grimaldi1' nor thought of ',oliver ,twist1' or even supplied a subject for the plate1 the latter intimation sufficiently indicating that ,dickens was more directly concerned in the selection of suitable themes for illustration than ,cruikshank would have us believe4 ,the author of ,sketches by ,boz abundantly testified in those remarkable papers that his eyes1 like ,cruikshank's1 had penetrated the mysteries of ,london2 indeed1 we find in the ,sketches all the material for the story of poor ,oliver1 where it is more artistically and dramatically treated4 ,it is not improbable1 of course1 that from ,cruikshank's familiarity with life in the ,great ,city he was enabled to offer useful hints to the young writer1 and even perhaps to make suggestions respecting particular characters2 but this constitutes a very unimportant share in the production of a literary work4 ,to what extent the interchange between artist and author was carried can never be satisfactorily determined2 but of this there can be no doubt1 that ,cruikshank's habit of exaggeration1 combined with his eagerness in over-estimating the effect of his work1 led him 7as ,mr4 ,blanchard ,jerrold remarks7 into injudicious statements or over-statements1 which were sometimes provocative of much unpleasant controversy4 ,it is1 however1 no exaggeration to say that the pencil of ,george ,cruikshank was as admirable in its power of delineating character as was the mighty pen of ,charles ,dickens1 and that in the success and popularity of ,oliver ,twist they may claim an equal share4 ,,plate ,,xiii ,,fagin ,,in ,,the ,,condemned ,,cell ,facsimile of a ,trial ,sketch by ,,george ,,cruikshank ,illustration ,sidenote3 ,minor ,writings in ,bentley's ,miscellany4 ,certain humorous pieces written by ,dickens for ,richard ,bentley were also illustrated by ,cruikshank4 ,the first paper1 entitled ,public ,life of ,mr4 ,tulrumble1 once ,mayor of ,mudfog 7published in ,january #ahcg71 contains an etching of ,ned#e ,twigger in the kitchen of ,mudfog ,hall1 and the next contribution1 purporting to be a ,full ,report of the ,second ,meeting of the ,mudfog ,association for the ,advancement of ,everything 7,september1 #ahch7 is embellished with a very ludicrous illustration1 entitled ,automaton ,police ,office and ,real ,offenders1 from the model exhibited before ,section ,b of the ,mudfog ,association4 ,this design depicts the interior of a police-court in which all the officials are automatic--an ingenious rendering of the idea propounded by ,mr4 ,coppernose to the ,president and members of the ,association4 ,to the second paper the artist also supplied a woodcut portrait of ,the ,tyrant ,sowster1 of whom he made no less than six studies before he succeeded in producing a satisfactory presentment of ,mudfog's active and intelligent beadle4 ,footnote #e3 ,in the original title on the plate1 ,ned ,twigger's ,christian name is incorrectly given as ,tom4 ,in his juvenile days ,dickens wrote a farce entitled ,the ,lamplighter1 which1 owing to its non-acceptance by the theatrical management for whom it was composed1 he converted into an amusing tale called ,the ,lamplighter's ,story4 ,this constituted his share in a collection of light essays and other papers gratuitously supplied by well-known authors1 and issued in volume form under the title of ,the ,pic ,nic ,papers1 for the benefit of the widow of ,macrone1 ,dickens's first publisher4 ,the work1 edited by ,dickens1 was launched by ,henry ,colborn in #ahda1 in three volumes1 with fourteen illustrations by ,cruikshank1 ,phiz1 and other artists4 ,the first volume opened with ,the ,lamplighter's ,story1 for which ,cruikshank provided an etching entitled ,the ,philosopher's ,stone1 the subject represented being the unexpected explosion of ,tom ,grig's crucible4 ,this was the last illustration executed by the artist for ,dickens's writings1#f and it may be added that some impressions of the plate were issued in proof state before letters1 but these are exceedingly rare4 ,although for many years afterwards they continued fast friends1 it may be 7as ,mr4 ,graham ,everitt conjectures7 that ,cruikshank found it impossible to co-operate any longer with so exacting an employer of artistic labour as ,charles ,dickens1 who remonstrated1 with some show of reason1 that he was the best judge of what he required pictorially1--an argument1 however1 which did not suit the independent spirit of the artist4 ,of his genius ,dickens was ever a warm admirer1 and remarking upon the exclusion of so able a draughtsman from the honours of the ,royal ,academy1 because1 forsooth6 his works were not produced in certain mediums1 the novelist pertinently asks3 ,will no ,associates be found upon its books one of these days1 the labours of whose oil and brushes will have sunk into the profoundest obscurity1 when many pencil-marks of ,mr4 ,cruikshank and ,mr4 ,leech will be still fresh in half the houses in the land8 ,footnote #f3 ,cruikshank designed the illustrations for the ,memoirs of ,grimaldi1 #ahch1 but this work was merely edited by ,dickens1 and therefore does not come within the scope of the present volume4 ,it will be remembered that ,george ,cruikshank published a version of the ,fairy ,tales1 converting them into stories somewhat resembling ,temperance tracts4 ,dickens was greatly incensed1 and1 half-playfully and half-seriously1 protested against such alterations of the beautiful little romances1 this re-writing them according to ,total ,abstinence1 ,peace ,society1 and ,bloomer principles1 and expressly for their propagation2 in an article published in ,household ,words1 ,october #a1 #ahec1 entitled ,frauds on the ,fairies1 the novelist enunciates his opinions on the subject1 and gives the story of ,cinderella as it might be edited by a gentleman with a mission4 ,this elicited a reply from ,cruikshank 7in a short-lived magazine bearing his name1 and launched by him in #ahed71 which took the form of ,a ,letter from ,hop-o'-my-,thumb to ,charles ,dickens1 ,esq41 commencing with ,right ,trusty1 ,well-,beloved1 ,much-,read1 and ,admired ,sir1 the artist contending that he was justified in altering a common fairy-tale when his sole object was to remove objectionable passages1 and1 in their stead1 to inculcate moral principles4 ,there is no doubt1 however1 that ,dickens's rebuke seriously affected the sale of the ,fairy ,library4 ,,plate ,,xiv ,,first ,,idea ,,and ,,sketch ,,for ,,fagin ,,in ,,the ,,condemned ,,cell ,,and ,,various ,,studies ,,for ,,scenes ,,and ,,characters ,,in ,,oliver ,,twist ,facsimile of ,original ,drawings by ,,george ,,cruikshank ,illustration ,in #ahdg ,dickens instituted a series of theatrical entertainments for certain charitable objects1 the distinguished artists and writers who formed the goodly company of amateur actors including ,george ,cruikshank4 ,on one occasion they made a tour in the provinces1 giving performances at several important towns1 and on the conclusion of this splendid strolling ,dickens wrote an amusing little jeu d'esprit in the form of a history of the trip1 adopting for the purpose the phraseology of ,mrs4 ,gamp4 ,it was to be a new ,piljian's ,projiss1 with illustrations by the artist-members2 but1 for some reason1 it was destined never to appear in the manner intended by its projector4 ,forster has printed all that was ever written of the little jest1 where we find a humorous description of ,cruikshank in ,mrs4 ,gamp's vernacular3 ,i was drove about like a brute animal and almost worritted into fits1 when a gentleman with a large shirt-collar and a hook nose1 and a eye like one of ,mr4 ,sweedlepipe's hawks1 and long locks of hair1 and wiskers that ,i wouldn't have no lady as ,i was engaged to meet suddenly a turning round a corner1 for any sum of money you could offer me1 says1 laughing1 ',halloa1 ,mrs4 ,gamp1 what are you up to8' ,i didn't know him from a man 7except by his clothes72 but ,i says faintly1 ',if you're a ,christian man1 show me where to get a second-cladge ticket for ,manjester1 and have me put in a carriage1 or ,i shall drop6' ,which he kindly did1 in a cheerful kind of a way1 skipping about in the strangest manner as ever ,i see1 making all kinds of actions1 and looking and vinking at me from under the brim of his hat 7which was a good deal turned up71 to that extent1 that ,i should have thought he meant something but for being so flurried as not to have no thoughts at all until ,i was put in a carriage4444 ,when ,mrs4 ,gamp was informed1 in a whisper1 that the gentleman who assisted her into the carriage was ,george1 she replied1 ,what ,george1 sir8 ,i don't know no ,george4 ,the great ,george1 ma'am--the ,crookshanks1 was the explanation4 ,whereupon ,mrs4 ,gamp continues3 ,if you'll believe me1 ,mrs4 ,harris1 ,i turns my head1 and see the wery man a making picturs of me on his thumb-nail at the winder6 ,the artist took part in several plays under ,dickens's management1 but1 although it is not recorded that he created great sensation as an actor1 it seems evident that his impersonations met with the approval of the novelist1 who was a thorough martinet in ,thespian matters4 ,that ,george ,cruikshank was by no means a prosperous man is perhaps explained by the fact that he never was highly remunerated for his work4 ,time was1 wrote ,thackeray1 when for a picture with thirty heads in it he was paid three guineas--a poor week's pittance1 truly1 and a dire week's labour6 ,the late ,mr4 ,sala declared that for an illustrative etching on a plate1 octavo size1 ,george never received more than twenty-five pounds1 and had been paid as low as ten1--that he had often drawn a charming little vignette on wood for a guinea4 ,on ,february #a1 #ahgh1 this remarkable designer and etcher--the most skilled book-illustrator of his day--passed painlessly away at his house in ,hampstead ,road1 having attained the ripe old age of eighty-five4 ,his remains were interred at ,kensal ,green1 but were ultimately removed to the crypt of ,st4 ,paul's ,cathedral1 where a bust by ,adams perpetuates his memory4 ,illustration ,,plate ,,xv ,,robert ,,seymour ,from an ,unpublished ,drawing by ,,taylor ,lent by ,mr4 ,augustin ,daly4 ,,robert ,,seymour ,early ,years--,a ,taste for ,high ,art--,drawings on ,wood for ,figaro and ,bell's ,life in ,london--,essays the ,art of ,etching--,designs for ,maxims and ,hints for an ,angler--,proposes to ,publish a ,book of ,humorous ,sporting ,subjects--,a ,club of ,cockney ,sportsmen--,charles ,whitehead and ,charles ,dickens--,the ,inception of ,,the ,,pickwick ,,papers--,seymour's ,illustrations--,the ,artist ,succumbs to ,overwork--,suicide of ,seymour--,dickens's ,tribute--,seymour's ,last ,drawing for ,pickwick--,the ,dying ,clown--,his ,original ,designs--,seymour's ,conception of ,mr4 ,pickwick--,letter from ,dickens to the ,artist--,first ,ideas and ,unused ,sketches--,a ,valuable ,collection--,scarcity of ,seymour's ,pickwick ,plates--,design for the ,wrapper of the ,monthly ,parts--,mrs4 ,seymour's ,account of the ,origin of ,the ,pickwick ,papers--,an ,absurd ,claim ,refuted--,,the ,,library ,,of ,,fiction--,seymour's ,illustrations for ,the ,tuggses at ,ramsgate4 ,concerning the artist who was primarily engaged in the illustration of ,pickwick1 very little has been recorded1 owing perhaps to the fact that his career1 which terminated so tragically and so prematurely1 was brief and uneventful4 ,the following particulars of his life and labours1 culled from various sources1 will1 ,i trust1 enable the reader to appreciate ,robert ,seymour's true position respecting his connection with ,charles ,dickens's immortal work4 ,born in or near ,london in #agih1 ,robert ,seymour indicated at a very early age a decided taste for drawing1 whereupon his father1 ,henry ,seymour1 a ,somerset gentleman1 apprenticed him to a skilful pattern-draughtsman named ,vaughan1 of ,duke ,street1 ,smithfield4#g ,although this occupation was most uncongenial to young ,seymour1 it caused him to adopt a neat style of drawing which ultimately proved of much utility4 ,he aspired to a higher branch of ,art than that involved in the delineation of patterns for calico-printers2 but for a time he remained with ,vaughan1 pleasantly varying the monotony of his daily routine by producing miniature portraits of friends who consented to sit to him1 receiving in return a modest though welcome remuneration4 ,still cherishing an inclination towards ,high ,art1 he and a colleague named ,work 7significant patronymic67 deserted ,vaughan1 and1 renting a room at the top of the old tower at ,canonbury1 they purchased a number of plaster-casts1 lay-figures1 c41 from which the two juvenile enthusiasts began to study with great assiduity4 ,in ,seymour's case tangible results were speedily forthcoming1 for he presently painted a picture of unusually large dimensions1 quaintly described by his fellow-student as containing representations of the ,giant of the ,brocken1 the ,skeleton ,hunt1 the ,casting of ,bullets1 and a full meal of all the ,german horrors eagerly swallowed by the public of that day4 ,this remarkable canvas was1 it seems1 a really creditable work1 and found a place on the walls of a gallery in ,baker ,street ,baazar4 ,seymour1 like many other ambitious young artists possessing more talent than pence1 quickly realised the sad fact that1 though the pursuit was in itself a very agreeable one1 it meant penury to the painter unless he owned a private fortune or commanded the purse-strings of rich patrons4 ,the artist's widow afterwards declared that he invariably sold his pictures direct from the easel2 but there is no doubt that with him ,high ,art proved a financial failure1 and he reluctantly turned his attention to the more lucrative 7if less attractive7 occupation of designing on wood1 for which he was peculiarly fitted by his previous practice in clean1 precise draughtsmanship during that probationary period in ,vaughan's workshop4 ,footnote #g3 ,in another account 7written by a contemporary of the artist7 it is stated that ,seymour was the natural son of ,vaughan himself1 and that the child bore the name of the mother1 under whose care he remained until his father acknowledged the paternity1 when he took the boy into his workshop4 ,seymour was endowed by ,nature with a keen sense of the ludicrous1 and this1 aided by a knowledge of drawing1 enabled him to execute designs of so humorous a character that his productions were immediately welcomed by the proprietors of such publications as ,figaro and ,bell's ,life in ,london1 to which were thus given a vitality and a popularity they did not previously possess4 ,although at first the recompense was but scanty1 hardly sufficient1 indeed1 to procure the necessaries of life1 yet ,robert ,seymour felt it was the beginning of what might eventually resolve itself into a fairly remunerative vocation4 ,his talent speedily brought him profitable commissions for more serious publications1 while his pencil was simultaneously employed in sketching and drawing amusing incidents1 especially such as related to fishing and shooting1--forms of sport which constituted his favourite recreation4 ,living at this time in the then rural suburb of ,islington1 he had many opportunities of observing the methods of ,cockney sportsmen1 who were wont to wander thither on ,sundays and holidays1 and whose inexperience with rod and gun gave rise to many absurdities and comic fiascos1 thus affording the young artist abundant material for humorous designs4 ,until #ahbg1 ,seymour confined his labours to drawing for the wood-engravers4 ,he now essayed the art of etching upon plates of steel or copper1 simulating the style and manner of ,george ,cruikshank2 he even ventured to affix the nom de plume of ,shortshanks to his early caricatures1 until he received a remonstrance from the famous ,george himself4 ,having attained some proficiency in both etching and lithography1 he determined to make practical use of his experience1 and in #ahcc designed a series of twelve lithographic plates for a new edition of a work entitled ,maxims and ,hints for an ,angler1 in which the humours of the piscatorial art were excellently rendered2 he also executed a number of similar designs portraying1 with laughable effect1 the adventures and misadventures of the very counter-jumpers whose ways and habits came under his keen1 observant eye4 ,these amusing pictures1 drawn on stone with pen-and-ink1 and published as a collection of ,sketches by ,seymour1 achieved an immense popularity1 and were chiefly the means of rendering his name generally familiar4 ,seymour was very fond of horticultural pursuits1 and took great pains in cultivating his own garden2 but the result of his efforts in this direction proved disappointing1 and when dilating upon his want of success1 it was suggested that the misfortunes of an amateur gardener might be made the subject of some entertaining drawings4 ,after pondering over this idea1 and mindful of the fact that he still possessed a number of unpublished sketches reflecting upon the abilities of amateur sportsmen1 he resolved upon reproducing some of a sporting character4 ,his original notion was to bring out a work similar in plan to that of ,the ,heiress1 a pictorial novel which he illustrated in #ahcj1 and he first proposed the subject to the printseller ,mc,lean in #ahce1 and then to ,spooner1 the well-known publisher4 ,the latter highly approved the project1 and in discussing it they concluded it would be desirable to supplement the pictures with suitable letterpress4 ,the undertaking was so far advanced that ,seymour etched four plates1 but1 owing to unforeseen delays on the part of ,spooner1 the matter was held in abeyance for about three months1 by which time ,seymour determined to issue the work on his own responsibility1 and to endeavour to get ,h4 ,mayhew or ,moncrieff to write for it4 99 99 99 99 99 ,sidenote3 ,the ,pickwick ,papers1 #ahcf-cg4 ,when1 in ,february #ahcf1 ,edward ,chapman 7of ,chapman ,hall7 called upon him with reference to a drawing which the firm had commissioned him to undertake1 the artist mentioned the scheme of a work to be illustrated by him1 having1 as a central idea1 a ,club of ,cockney ,sportsmen4 ,chapman thought favourably of the notion1 and proposed that it should be brought out in two half-guinea volumes2 but ,seymour1 desiring the widest circulation1 insisted on the plan he originally conceived1 that of shilling monthly numbers4 ,then came the question1 ,who should prepare the requisite text8 ,leigh ,hunt1 ,theodore ,hook1 and other prominent writers of the day declined to undertake it1 and shortly afterwards ,seymour1 having just been reading ,sketches by ,boz1 the humour and originality of which highly delighted him1 proposed that ,dickens should be asked to contribute the letterpress4 ,,plate ,,xvi ,,mr4 ,,pickwick ,,addresses ,,the ,,club ,facsimile of the ,original ,drawing for ,the ,pickwick ,papers by ,r4 ,,seymour ,lent by ,mr4 ,augustin ,daly4 ,illustration ,mr4 ,mackenzie ,bell has given 7in the ,athenum1 ,june #aa1 #ahhg7 a slightly different version of this part of the narration1 and states that ,charles ,whitehead1 an early friend of ,dickens1 used constantly to affirm that he had been asked to write to ,seymour's sketches1 and that1 feeling uncertain of being able to supply the copy with sufficient regularity1 he not ,seymour recommended ,dickens for the task4 ,this appears very likely to have been the case1 adds ,mr4 ,bell1 as at that time ,whitehead1 who was eight years older than ,dickens1 was already known as a facile and fecund writer1 his coarse yet powerful romance of ',jack ,ketch' having been very popular for some time4 ,it is even possible that ',the ,pickwick ,papers' may have been suggested to ,dickens by a passage in the preface of ',jack ,ketch1' where a humorous allusion is made to the possibility of the author producing his more mature experiences under the unambitious title of ',the ,ketch ,papers1' a work which never appeared4 ,it may be mentioned that ,dickens had just sent in his ,,ms4 of ,the ,tuggses at ,ramsgate for ,the ,library of ,fiction1 edited by ,whitehead1 who was already familiar with the budding novelist's ability as an author4 ,this carries us to the point whence ,dickens takes up the thread of the story1 as printed in the preface to the first cheap edition of ,pickwick 7#ahdg71 where he writes3-- ,i was a young man of three-and-twenty when the present publishers ,chapman ,hall1 attracted by some pieces ,i was at that time writing in the ,morning ,chronicle newspaper 7of which one series had lately been collected and published in two volumes1 illustrated by my esteemed friend ,george ,cruikshank71 waited upon me to propose a something that should be published in shilling numbers4444 ,the idea propounded to me was that the monthly something should be a vehicle for certain plates to be executed by ,mr4 ,seymour1 and there was a notion1 either on the part of that admirable humorous artist or of my visitor 7,i forget which71 that a ',nimrod ,club1' the members of which were to go out shooting1 fishing1 and so forth1 and getting themselves into difficulties through their want of dexterity1 would be the best means of introducing these4 ,i objected1 on consideration1 that although born and partly bred in the country1 ,i was no great sportsman1 except in regard of all kinds of locomotion2 that the idea was not novel1 and had been already much used2 that it would be infinitely better for the plates to arise naturally out of the text2 and that ,i should like to take my own way1 with freer range of ,english scenes and people1 and was afraid ,i should ultimately do so in any case1 whatever course ,i might prescribe to myself at starting4 ,my views being deferred to1 ,i thought of ,mr4 ,pickwick1 and wrote the first number1 from the proof-sheets of which ,mr4 ,seymour made his drawing of the ,club1 and that happy portrait of its founder1 by which he is always recognised1 and which may be said to have made him a reality4 ,i connected ,mr4 ,pickwick with a club because of the original suggestion1 and ,i put in ,mr4 ,winkle expressly for the use of ,mr4 ,seymour4 ,,plate ,,xvii ,,the ,,pugnacious ,,cabman ,facsimile of the ,original ,drawing for ,the ,pickwick ,papers by ,r4 ,,seymour ,lent by ,mr4 ,augustin ,daly4 ,illustration ,the first monthly part of ,the ,pickwick ,papers appeared early in ,april #ahcf1 consisting of twenty-six pages of text and four etchings by ,seymour4 ,judging from a letter written by ,dickens at the time the scheme was first proposed1 it seems that the illustrations were to have been engraved on wood4 ,the artist was then excessively busy1 for besides pledging himself to produce four plates for each monthly issue of ,pickwick1 he had numerous other engagements to fulfil1 so great was the demand for his designs4 ,although a rapid executant1 the commissions he received from publishers accumulated to such an extent1 that the excessive strain resulting from overwork at starvation prices began seriously to affect his health4 ,not only did the monthly supply of the ,pickwick plates constitute an additional demand upon his mental resources1 but he was harassed by the uncertainty of receiving from the printer the proofs from which he deduced his subjects1 these sometimes being delayed so that very little time was allowed for the preparation of the plates4 ,unhappily his brain was unable to bear such pressure2 constant business worries and anxieties induced symptoms of insanity1 and before he had completed the second quartette of etchings for ,pickwick1 the unfortunate artist committed suicide4 ,this deplorable act took place on ,april #bj1 #ahcf1 in a summer-house in the garden at the back of his residence in ,liverpool ,road1 ,islington1 where1 by the aid of a string attached to the trigger of a fowling-piece1 he deliberately sent the charge through his head4 ,seymour1 we are assured1 had not the slightest pecuniary embarrassment2 he was quite happy1 too1 in his domestic affairs1 extremely fond of his family1 and naturally of a very cheerful disposition4 ,his melancholy fate caused a general feeling of regret among the public1 with whom he was a great favourite1 and to whom he was then better known than ,dickens himself4 ,in the second number of ,pickwick appeared the following just tribute to the merits of the artist3 ,some time must elapse before the void the deceased gentleman has left in his profession can be filled up2 the blank his death has occasioned in the ,society1 which his amiable nature won1 and his talents adorned1 we can hardly hope to see supplied4 ,we do not allude to this distressing event1 in the vain hope of adding1 by any eulogium of ours1 to the respect in which the late ,mr4 ,seymour's memory is held by all who ever knew him4 ,in the original announcement of ,the ,pickwick ,papers we read3 ,seymour has devoted himself1 heart and graver1 to the task of illustrating the beauties of ',pickwick4' ,it was reserved to ,gibbon to paint1 in colours that will never fade1 the ,decline and ,fall of the ,roman ,empire--to ,hume to chronicle the strife and turmoil of the two proud ,houses that divided ,england against herself--to ,napier to pen1 in burning words1 the ,history of the ,war in the ,peninsula2--the deeds and actions of the gifted ,pickwick yet remain for ',boz' and ,seymour to hand down to posterity4 ,this projected collaboration1 alas6 was speedily frustrated by the unexpected tragedy1 for ,seymour had produced but seven plates when he terminated his life1 the following being the subjects of his designs in the order of their publication3 ,first ,number4 ,,mr4 ,,pickwick ,,addresses ,,the ,,club4 ,,the ,,pugnacious ,,cabman4 ,,the ,,sagacious ,,dog4 ,,dr4 ,,slammer',s ,,defiance ,,of ,,jingle4 ,second ,number4 ,,the ,,dying ,,clown4 ,,mr4 ,,pickwick ,,in ,,chase ,,of ,,his ,,hat4 ,,mr4 ,,winkle ,,soothes ,,the ,,refractory ,,steed4 ,the ,address issued with the ,second ,part contains an apology for the appearance therein of only three plates instead of four1 as promised4 ,when we state1 says the author1 that they comprise ,mr4 ,seymour's last efforts1 and that on one of them1 in particular1 7the embellishment to the ,stroller's ,tale17 he was engaged up to a late hour of the night preceding his death1 we feel confident that the excuse will be deemed a sufficient one4 ,dickens had seen the unhappy man only once1 forty-eight hours before his death1 on the occasion of his visit to ,furnival's ,inn with the etching just referred to1 which1 altered at ,dickens's suggestion1 he brought away again for the few further touches that occupied him to a late hour of the night before he destroyed himself4#h ,in an unpublished letter 7dated ,april #c1 #ahff7 addressed by the novelist to a correspondent who required certain particulars respecting ,pickwick1 he thus referred to the artist3 ,mr4 ,seymour shot himself before the second number of ',the ,pickwick ,papers' 444 was published4 ,while he lay dead1 it was necessary that search should be made in his working room for the plates to the second number1 the day for the publication of which was then drawing on4 ,the plates were found unfinished1 with their faces turned to the wall4 ,it was ,mr4 ,chapman who found them and brought them away4 ,footnote #h3 ,the artist's son asserts that the last plate ,seymour etched for ,pickwick 7viz41 ,the ,dying ,clown7 was submitted to ,dickens a fortnight 7not forty-eight hours1 as recorded by ,forster7 before his death4 ,it seems that ,seymour's final drawing was for a woodcut1 executed for ,john ,jackson1 the engraver1 to whom the artist delivered it on the evening of the fatal day1 ,april #bj1 #ahcf4 ,,plate ,,xviii ,,dr4 ,,slammer',s ,,defiance ,,of ,,jingle ,facsimile of the ,original ,drawing for ,the ,pickwick ,papers by ,r4 ,,seymour ,lent by ,mr4 ,augustin ,daly4 ,illustration ,in #ahhg ,messrs4 ,chapman ,hall appropriately celebrated the ,jubilee of ,the ,pickwick ,papers by publishing an ,edition de luxe1 with facsimiles of the original drawings made for the work1 or1 rather1 of as many of these as were then available4 ,in the editor's preface it is stated that four out of the seven drawings etched by ,seymour for ,pickwick had disappeared1 but it afterwards transpired that two of the missing designs remained in the possession of the artist's family1 until they were sold to a private purchaser1 who1 in #ahhi1 disposed of them by auction4 ,of these drawings1 therefore1 only one1 viz41 ,the ,sagacious ,dog1 is undiscoverable4 ,the album in which the missing designs were found also contained other original drawings for ,pickwick1 as well as the ,dickens letter to ,seymour and an excellent portrait of the artist2 this important collection included the three published designs 7viz41 ,mr4 ,pickwick ,addresses the ,club1 ,the ,pugnacious ,cabman1 and ,dr4 ,slammer's ,defiance of ,jingle1--the latter differing slightly from the etching71 together with the first sketch for ,the ,dying ,clown1 and two unpublished drawings 7evidently alternative subjects1 illustrating incidents in the fifth chapter71 respectively representing ,the ,runaway ,chaise and ,the ,pickwickians in ,mr4 ,wardle's ,kitchen4 ,all these drawings1 except that of ,the ,dying ,clown1 are outlined with pen-and-ink1 and the effects washed in with a brownish tint4 ,perhaps the most astonishing circumstance in connection with this collection is the extravagant sum it realised in the auction-room1 for1 as might be anticipated1 many were anxious to secure so valuable a memento4 ,the bidding was brisk until #bjj was reached1 when competition was confined to the representative of ,mr4 ,augustin ,daly 7of ,new ,york7 and another whose name is unrecorded1 the result being that the prize fell to ,mr4 ,daly for #ejj--probably a record figure for such an item4 ,no one experienced greater surprise at this enormous price than the purchaser himself1 who assures me that1 although he imposed no limit1 it was never his intention to offer so fabulous an amount2 indeed1 the sum he had in his mind was not so much as a quarter of that at which this attractive album eventually fell to the hammer4 ,owing to the generosity of ,mr4 ,daly1 ,i am enabled to reproduce in facsimile the whole of these extremely interesting designs1 which he brought to ,england expressly for this purpose4 ,seymour's method of work was to sketch with pencil or pen the outline of his subject1 and add the shadow effects by means of light washes of a greyish tint4 ,a precision and neatness of touch characterise these ,pickwick drawings1 the most interesting of which is undoubtedly that representing ,mr4 ,pickwick addressing the ,club1 a scene such as ,seymour may have actually witnessed in the parlour of almost any respectable public-house in his own neighbourhood of ,islington4 ,here we have the first delineation of the immortal founder of the famous ,club1 that happy portrait1 as ,dickens said of it1 by which he is always recognised1 and which may be said to have made him a reality4 ,seymour originally sketched this figure as a long thin man1 the familiar presentment of him as a rotund personage having been subsequently inspired by ,edward ,chapman's description of a friend of his at ,richmond named ,john ,foster1 a fat old beau1 who would wear1 in spite of the ladies' protests1 drab tights and black gaiters4 ,it is curious1 however1 that in ,the ,heiress1 illustrated by ,seymour six years previously1 we find in the second plate a character bearing a striking resemblance to ,mr4 ,pickwick1 and in ,maxims and ,hints for an ,angler 7#ahcc71 the artist similarly portrayed an old gentleman marvellously like him1 both as regards physique and benignity of expression2 indeed1 this seems to have been a favourite type with ,seymour1 and thus it would appear that1 in making ,dickens's hero short and comfortable1 he only reverted to an earlier conception4 ,,plate ,,xix ,,first ,,study ,,for ,,the ,,dying ,,clown ,facsimile of the ,original ,drawing for ,the ,pickwick ,papers by ,r4 ,,seymour ,lent by ,mr4 ,augustin ,daly4 ,illustration ,the drawing which ranks second in point of interest is the artist's first idea for ,the ,dying ,clown1 illustrating ,the ,stroller's ,tale4 ,the original sketch is a slight outline study in pen-and-ink of the figures only1 the facial expressions being cleverly rendered4 ,in the ,victoria edition of ,the ,pickwick ,papers a facsimile is given of a later and more developed version of the subject2 this differs from the published etching1 the alterations being the result1 doubtless1 of the criticism bestowed upon the drawing in the following letter addressed by ,dickens to the artist1--apparently the only written communication from him to ,seymour which has been preserved3-- #ae ,,furnival',s ,,inn1 ,thursday ,evening1 ,april #ahcf4 ,,my ,,dear ,,sir1--,i had intended to write to you to say how much gratified ,i feel by the pains you have bestowed upon our mutual friend ,mr4 ,pickwick1 and how much the result of your labours has surpassed my expectations4 ,i am happy to be able to congratulate you1 the publishers1 and myself on the success of the undertaking1 which appears to have been most complete4 ,i have now another reason for troubling you4 ,it is this4 ,i am extremely anxious about ',the ,stroller's ,tale1' the more especially as many literary friends1 on whose judgment ,i place great reliance1 think it will create considerable sensation4 ,i have seen your design for an etching to accompany it4 ,i think it extremely good1 but still it is not quite my idea2 and as ,i feel so very solicitous to have it as complete as possible1 ,i shall feel personally obliged if you will make another drawing4 ,it will give me great pleasure to see you1 as well as the drawing1 when it is completed4 ,with this view ,i have asked ,chapman and ,hall to take a glass of grog with me on ,sunday evening 7the only night ,i am disengaged71 when ,i hope you will be able to look in4 ,the alteration ,i want ,i will endeavour to explain4 ,i think the woman should be younger--the dismal man decidedly should1 and he should be less miserable in appearance4 ,to communicate an interest to the plate1 his whole appearance should express more sympathy and solicitude2 and while ,i represented the sick man as emaciated and dying1 ,i would not make him too repulsive4 ,the furniture of the room you have depicted admirably4 ,i have ventured to make these suggestions1 feeling assured that you will consider them in the spirit in which ,i submit them to your judgment4 ,i shall be happy to hear from you that ,i may expect to see you on ,sunday evening4--,dear ,sir1 very truly yours1 ,,charles ,,dickens4 ,in compliance with this wish1 ,seymour etched a new design for ,the ,stroller's ,tale1 which he conveyed to the author at the appointed time1 this being the only occasion on which he and ,dickens ever met4 ,whether the novelist again manifested dissatisfaction1 or whether some other cause of irritation arose1 is not known1 but it is said that ,seymour returned home after the interview in a very discontented frame of mind2 he did nothing more for ,pickwick from that time1 and destroyed nearly all the correspondence relating to the subject4 ,it has been stated that he received five pounds for each drawing1 but it is positively asserted1 on apparently trustworthy evidence1 that the sum paid on account was only thirty-five shillings for each subject1#i and that the artist never relinquished the entire right which he had in the designs4 ,footnote #i3 ,r4 ,w4 ,buss1 the successor of ,seymour as illustrator of ,pickwick1 records that ten shillings was the price accorded to the artist for each plate4 ,as in the case of ,the ,stroller's ,tale1 there are noticeable differences between the drawing and the etching of the last of ,seymour's published designs1 depicting ,mr4 ,winkle and the ,refractory ,steed4 ,in this plate it will be observed that1 although the general composition is identical with that in the drawing1 the positions of the horse's forelegs are reversed1 and trees have been introduced on the left of the picture4 ,,plate ,,xx ,,the ,,runaway ,,chaise ,facsimile of an ,unused ,design for ,the ,pickwick ,papers by ,r4 ,,seymour ,this ,drawing illustrates an incident in the fifth chapter4 ,lent by ,mr4 ,augustin ,daly4 ,illustration ,an examination of ,seymour's etchings for ,pickwick shows that1 in the application of the dilute nitric acid to corrode the lines produced by the etching-point1 the artist was greatly troubled1 and1 in order to save his designs and keep faith with the publishers and the public1 he was probably compelled to apply for help in his need to one of the artist-engravers residing in his neighbourhood4 ,it has been suggested that certain faults in his plates caused by defective biting were remedied by means of the engraving tool2 but1 so far as ,i have been able to discover1 there is no evidence of this4 ,his plates possess the quality of pure etching2 indeed1 in that respect they are superior to those by ,phiz in the same work4 ,it should1 however1 be noted that there are extant very few copies of ,pickwick containing impressions from ,seymour's own plates2 perhaps in not more than one copy out of a hundred will they be found1 and this scarcity is explained by the fact that when the plates suffered deterioration through printing1 the artist's death prevented him from duplicating them1 so that the subjects had to be copied and re-etched by ,phiz4 ,seymour reversed his designs upon the steel plates1 so that when printed they appear exactly as originally drawn4 ,there is reason to infer1 from an entry in the artist's memorandum-book1 that the first four subjects were etched before he showed them to ,dickens1 and that they were afterwards re-etched and modified in some degree to suit the author's views4 ,besides these illustrations1 ,seymour is responsible for the design appearing on the green wrapper of the monthly parts1 which was engraved on wood by ,john ,jackson4 ,a glance at this at once convinces us how strongly the sporting element was at first intended to predominate1 for here are displayed trophies of guns1 fishing-rods1 and other sporting implements2 at the top of the page is seen the veritable ,winkle aiming at a sparrow1 while below1 seated on a chair in a punt1 peacefully reposes ,mr4 ,pickwick with his rod1 watching for a bite2 in the background of the picture may be recognised ,putney ,church1 as well as the old wooden bridge which once spanned the ,thames at this point4 ,,plate ,,xxi ,,the ,,pickwickians ,,in ,,mr4 ,,wardle',s ,,kitchen ,facsimile of an ,unused ,design for ,the ,pickwick ,papers by ,r4 ,,seymour ,this ,drawing illustrates an incident in the fifth chapter4 ,lent by ,mr4 ,augustin ,daly4 ,illustration ,after the publication of ,the ,pickwick ,papers many veracious reports as to its origin were circulated4 ,in some of these statements ,dickens was entirely deprived of the credit of its inception1 and partly to assert his claim1 but principally because he believed his readers would be interested in the truth of the matter1 he related the facts in the already-quoted ,preface to the first cheap edition4 ,about two years later he was considerably annoyed by the appearance of a pamphlet purporting to give ,an ,account of the ,origin of the ,pickwick ,papers1 the author of which was the widow of the distinguished artist who originated the work4 ,mrs4 ,seymour printed in her brochure a distorted version of ,dickens's ,preface1 and attempted a reply thereto1 by which she endeavoured to show the fallacy of his statements4 ,the following extract from this privately-printed pamphlet sufficiently indicates the tenor of ,mrs4 ,seymour's attempt to prove that the honour belonged exclusively to the artist3 ,mr4 ,dickens edited a work called ',the ,pickwick ,papers1' which was originated solely by my husband in the summer of #ahce1 and but for a cold 7which brought on a severe illness7 which he caught on ,lord ,mayor's ,day1 on taking his children to view the procession from the ,star ,chamber1 would have been written1 as well as embellished1 by himself2 this cause alone prevented him from doing so1 as the numerous periodicals he was constantly engaged upon had greatly accumulated during his illness4#aj ,although such a claim1 so seriously maintained1 necessitated immediate refutation1 ,dickens allowed a considerable time to elapse before making a formal denial thereof4 ,with a view to future action1 however1 he wrote to ,edward ,chapman for his recollections of the primary events in the history of the work1 and accordingly received from him the following reply1 dated ,july #g1 #ahdi3 ,in ,november #ahce we published a little book called ',the ,squib ,annual1' with plates by ,seymour1 and it was during my visit to him to see after them that he said he should like to do a series of ,cockney sporting plates of a superior sort to those he had already published4 ,i said ,i thought it might do if accompanied by letterpress and published in monthly parts2 and this being agreed to1 we wrote to the author of ',three ,courses and a ,dessert' 7a ,mr4 ,clarke74 ,i proposed it2 but receiving no answer1 the scheme dropped for some months1 till ,seymour said he wished us to decide1 as another job had offered which would fully occupy his time4 ,and it was on this we decided to ask you to do it4444 ,i am quite sure that from the beginning to the end nobody but yourself had anything whatsoever to do with it4 ,footnote #aj3 ,in #ahhi ,mrs4 ,seymour's own copy of this exceedingly scarce pamphlet 7of which only three copies are known to exist7 was purchased by ,mr4 ,daly for #gd at ,sotheby's4 ,it contains a few slight corrections by ,mrs4 ,seymour4 ,further publicity was bestowed upon the subject in a letter contributed to the ,athenum of ,march #bd1 #ahff1 by ,seymour's son1 who not only repeated the principal arguments adduced by the pamphlet1 but promised further particulars in a subsequent communication4 ,whereupon ,dickens1 rightly considering that the opportunity had now arrived for emphatically repudiating the whole story1 forwarded the following letter for publication in the ensuing number of the ,athenum3-- ,as the author of ',the ,pickwick ,papers' 7and of one or two other books71 ,i send you a few facts1 and no comments1 having reference to a letter signed ',r4 ,seymour1' which in your editorial discretion you published last week4 ,mr4 ,seymour the artist never originated1 suggested1 or in any way had to do with1 save as illustrator of what ,i devised1 an incident1 a character 7except the sporting tastes of ,mr4 ,winkle71 a name1 a phrase1 or a word1 to be found in ',the ,pickwick ,papers4' ,i never saw ,mr4 ,seymour's handwriting1 ,i believe1 in my life4 ,i never even saw ,mr4 ,seymour but once in my life1 and that was within eight-and-forty hours of his untimely death4 ,two persons1 both still living1 were present on that short occasion4 ,mr4 ,seymour died when only twenty-four twenty-six printed pages of ',the ,pickwick ,papers' were published2 ,i think before the next three or four afterwards corrected to twenty-four were completely written2 ,i am sure before one subsequent line of the book was invented4#aa ,footnote #aa3 ,the unpublished sketch by ,seymour in ,mr4 ,daly's collection1 depicting the ,pickwickians in ,mr4 ,wardle's kitchen1 illustrates a scene described on page #ej1 so that ,dickens's memory was slightly at fault4 ,here follows the account of ,mr4 ,hall's interview with the novelist1 as given in the ,preface of the #ahdg edition1 and the letter thus continues3 ,in ,july #ahdi1 some incoherent assertions made by the widow of ,mr4 ,seymour1 in the course of certain endeavours of hers to raise money1 induced me to address a letter to ,mr4 ,edward ,chapman1 then the only surviving business-partner in the original firm of ,chapman ,hall1 who first published ',the ,pickwick ,papers1' requesting him to inform me in writing whether the foregoing statement was correct4 ,a few days later ,dickens wrote to his eldest son a letter in which he says3-- ,there has been going on for years an attempt on the part of ,seymour's widow to extort money from me by representing that he had some inexplicable and ill-used part in the invention of ,pickwick666 ,i have disregarded it until now1 except that ,i took the precaution some years ago to leave among my few papers ,edward ,chapman's testimony to the gross falsehood and absurdity of the idea4 ,but1 last week1 ,i wrote a letter to the ,athenum about it1 in consequence of ,seymour's son reviving the monstrosity4 ,i stated in that letter that ,i had never so much as seen ,seymour but once in my life1 and that was some eight-and-forty hours before his death4 ,i stated also that two persons still living were present at the short interview4 ,those were your ,uncle ,frederick and your mother4 ,i wish you would ask your mother to write to you1 for my preservation among the aforesaid few papers1 a note giving you her remembrance of that evening--of ,frederick's afterwards knocking at our door before we were up1 to tell us that it was in the papers that ,seymour had shot himself1 and of his perfect knowledge that the poor little man and ,i looked upon each other for the first and last time that night in ,furnival's ,inn4 ,it seems a superfluous precaution1 but ,i take it for the sake of our descendants long after you4#ab ,footnote #ab3 ,this letter was first published in the ,introduction1 by the late ,mr4 ,charles ,dickens the ,younger1 to ,macmillan ,co4's edition of ,the ,pickwick ,papers1 #ahib4 ,the few papers here alluded to were destroyed before the novelist's death1 with the exception of ,edward ,chapman's confirmatory letter4 ,needless to say1 both ,mrs4 ,charles ,dickens and ,frederick ,dickens entirely corroborated the novelist's assertions respecting his own share and that of ,seymour in the origin of ,pickwick4 ,in concluding this account of a most unpleasant controversy1 we may reasonably surmise that had not ,seymour communicated his idea to ,chapman1 ,pickwick would never have been written4 ,the proposal for a book similar in character certainly emanated from the artist1 and in this sense he was1 of course1 the originator of that work1 while to him also belongs the honour of inventing1 pictorially1 the portraits of the ,pickwickians4 ,but it was ,boz1 glorious ,boz1 who vitalised the happy conception1 by imparting thereto such prodigality of fun and so much individuality that ,the ,pickwick ,papers at once leaped into fame1 and1 as all the world knows1 was received with acclamation by every section of the public4 99 99 99 99 99 ,sidenote3 ,the ,library of ,fiction1 #ahcf4 ,coincident with the publication of the first monthly number of ,the ,pickwick ,papers1 there appeared the initial part of a new serial called ,the ,library of ,fiction1 which1 under the editorship of ,charles ,whitehead1 was launched by the same publishers4 ,whitehead1 whose name has already been mentioned in connection with ,pickwick1 became acquainted with ,dickens at the time the latter was writing ,sketches by ,boz1 which he so much admired that he endeavoured to persuade the young author to contribute something of a similarly striking character to the projected ,library of ,fiction4 ,dickens consented1 and we find that his amusing little story1 entitled ,the ,tuggses at ,ramsgate1 constitutes the opening paper4 ,several of the articles and tales in ,the ,library of ,fiction were illustrated1 and it is interesting to note that ,dickens's contribution to the first part was embellished with two designs by ,robert ,seymour1 engraved on wood by ,landells4 ,it is generally considered that ,seymour's woodcut illustrations are by far the best specimens of his talent1 and the engravers of that day were exceedingly happy in reproducing the delicacy of touch and brilliancy of effect which distinguished the drawings made by him direct upon the blocks4 ,seymour's first design represents the ,tuggs family and their friends1 ,mr4 and ,mrs4 ,captain ,waters1 on the sands by the seaside1 and it is interesting to learn that the fat man seated on a chair in front is said to be a portrait of the artist1 as he appeared during the latter part of his life4 ,the second illustration1 depicting the incident of the irate ,captain ,waters discovering ,mr4 ,cymon ,tuggs behind the curtain1 also formed the subject of ,george ,cruikshank's etching for the little story when it was reprinted in the first edition of ,sketches by ,boz1 published about some three years later1 and1 in comparing the separate designs1 we find that they are almost identical1 except that the two prominent figures in the etching are in reverse of those in the woodcut4 ,illustration ,,plate ,,xxii ,,robert ,w4 ,,buss ,from the ,painting by ,himself4 ,circa #ahcg4 ,,robert ,w4 ,,buss ,alteration in the ,plan of ,publishing ,pickwick--,the ,difficulty ,respecting a ,new ,illustrator--,buss ,elected to ,succeed ,seymour--,studies ,art under ,g4 ,clint1 ,a4,r4,a4--,his ,painting of ,christmas in the ,olden ,time--,his ,ignorance of the ,etcher's ,art--,practises ,drawing in ,pen-and-ink--,,the ,,pickwick ,,papers--,buss's ,first ,plate ,approved by the ,publishers--,failure of ,subsequent ,attempts--,expert ,assistance ,obtained--,plates ,cancelled--,buss ,dismissed--,substituted ,designs by ,phiz--,pickwick ,drawings by ,buss--,his ,unused ,designs for ,pickwick--,his ,illustrations for ,marryat1 ,ainsworth1 c4--,accurate ,draughtsmanship--,,the ,,library ,,of ,,fiction--,buss's ,illustrations for ,a ,little ,talk about ,spring and the ,sweeps--,his ,paintings1 ,humorous and ,historical--,some ,dickens ,pictures--,drawings of ,scenes in ,dombey and ,son--,an ,unfinished ,portrait of ,dickens--,drawings on ,wood for ,charles ,knight--,exclusion of the ,artist ,buss's ,pictures from the ,royal ,academy--,endeavours to ,obtain ,pupils--,lectures on ,art--,his ,wife and ,daughter ,establish a ,school for ,girls--,a ,professor of ,drawing and a ,teacher of ,science--,praiseworthy ,industry--,death of the ,artist4 ,charles ,dickens's brother-in-law1 the late ,mr4 ,henry ,burnett1 was a frequent visitor at the home of the novelist during the ,pickwick period1 and years afterwards he vividly recalled the consternation1 disappointment1 and anxiety of the young writer on receipt of the melancholy news concerning the distressing fate of ,robert ,seymour1 the first illustrator of ,the ,pickwick ,papers4 ,dickens greatly admired the productions of that unfortunate artist1 and1 realising how successfully he had so far portrayed the characters in the work1 apprehended there would be much difficulty in discovering a draughtsman who could interpret him with equal felicity4 ,indeed1 there was quite a dearth of suitable talent1 the only artist then living capable of etching his own designs being ,george ,cruikshank4 ,unfortunately1 there was not much time for consideration1 as the third number of ,pickwick had to be provided for without delay4 ,the crisis brought about by the unexpected death of ,seymour compelled ,chapman ,hall to promptly carry into effect a resolution they had formed of issuing future numbers of ,the ,pickwick ,papers on an improved plan1 with a view to enhancing the attractiveness and popularity of the work4 ,they determined that each succeeding number should consist of thirty-two pages of letterpress instead of twenty-four1 and that there should be two illustrations in lieu of four--an arrangement which held good to the end4 ,the difficulty respecting an illustrator to succeed ,seymour had now to be grappled with1 whereupon the publishers called to their assistance the eminent wood-engraver1 ,john ,jackson1 who advised them to approach ,robert ,william ,buss1 as being the only artist of his acquaintance likely to prove the most suitable for the purpose4 ,chapman ,hall acted upon this suggestion1 and ,buss1 after much persuasion and at great personal inconvenience1 agreed to temporarily relinquish very important engagements in order to assist them in their dilemma4 ,,plate ,,xxiii ,,design ,,for ,,the ,,title-,,page ,,of ,,the ,,pickwick ,,papers ,facsimile of an ,unpublished ,drawing by ,r4 ,w4 ,,buss ,illustration ,robert ,william ,buss is referred to in an address issued with the third part of ,pickwick as a gentleman already well known to the public as a very humorous and talented artist4 ,he was born on ,august #bi1 #ahjd1 in ,bull-and-,mouth ,street1 ,st4 ,martin's-le-,grand1 and in due course apprenticed to his father1 an enameller and engraver on gold and silver4 ,like ,seymour1 he was inoculated with the prevailing mania for ,high ,art1 and this inclination becoming too strong to be thwarted1 his indulgent father not only permitted the cancelling of his indentures1 but even defrayed the cost of a year's study in ,art1 placing him under his old friend ,george ,clint1 ,a4,r4,a4 7a landscape painter1 and subsequently the ,president of the ,society of ,british ,artists71 whose son ,alfred married the younger ,buss's only sister4 ,having thus1 at the age of twenty-one1 gained some practical experience in his adopted profession1 ,robert ,buss thought himself competent to start life on his own account by painting portraits and subject-pictures4 ,in this direction he met with fair success1 but it was as a painter of humorous incidents that he first made his reputation1 these finding eager purchasers among well-known collectors and connoisseurs4 ,among his earliest achievements was a painting representing ,christmas in the ,olden ,time1 which he exhibited in the gallery of the ,society of ,british ,artists in #ahch4 ,this work1 however1 although warmly praised by the critics1 proved a most unhappy venture1 as the price realised by the artist for what represented the result of a year's labour hardly recouped him for the expenses incurred by its production4#ac ,footnote #ac3 ,the picture afterwards changed hands for six or seven times the amount originally received by the painter4 ,it eventually became the property of his daughter1 the late ,miss ,frances ,mary ,buss1 for many years the ,head-mistress of the ,north ,london ,collegiate ,school for ,girls1 in the ,drawing-,school of which institution this interesting canvas now hangs4 99 99 99 99 99 ,sidenote3 ,the ,pickwick ,papers1 #ahcf-cg4 ,it was doubtless this painting with which ,buss was occupied when ,mr4 ,hall 7of ,chapman ,hall7 called upon him respecting the illustrations for ,pickwick4 ,taken quite by surprise1 relates the artist1 when recalling his association with ,dickens's famous work1 ,i told him ,mr4 ,hall ,i had never in the whole course of my life had an etching-needle in my hand1 and that ,i was entirely ignorant of the process of etching1 as far as practice was concerned4 ,he assured me it was very easy to do1 and that with my talent ,i was sure to succeed4 ,after some hesitation1 overcome by ,mr4 ,hall's promise that consideration would be shown towards his want of experience1 ,buss yielded to the pressure thus put upon him1 and consented to put aside his picture 7although most anxious to complete it for exhibition at the ,royal ,academy71 with a view to embarking upon his new undertaking4 ,in preparing studies for his pictures1 ,buss had accustomed himself to the use of bold effects1 obtained by means of chalk or black-lead pencils of various degrees of hardness1 blackness1 and breadth of point4 ,he therefore deemed it necessary to undergo a course of training which would enable him to impart to his work that delicacy of touch so essential in the art of etching upon copper or steel1 and devoted himself almost day and night 7as there was really no time to lose7 to practice in drawing with pen-and-ink1--a fact 7he observes7 of which ,mr4 ,hall was utterly and entirely ignorant4 ,there are still extant a few of these experimental efforts 7chiefly figures and faces copied from line engravings71 including a sheet containing a dozen sketches of heads--studies of characters in ,pickwick1 apparently based upon ,seymour's etchings--which testify not only to his energy1 but also to his rapidly-acquired skill in the adoption of what was to him a novel medium4 ,in these drawings1 by the way1 he used ordinary ink for the general design1 diluting it for the delicate shades and distant objects1 thus assimilating the effect of his pen-and-ink work with the variations resulting from the biting-in and re-biting of etchings4 ,,plate ,,xxiv ,,the ,,break-,,down ,facsimile of an ,unpublished ,drawing by ,r4 ,w4 ,,buss ,illustrating an incident in the ninth chapter of ,the ,pickwick ,papers4 ,illustration ,after labouring incessantly for a period of three weeks1 the artist felt prepared to make his first attempt in etching1 taking for his subject ,mr4 ,pickwick at the ,review4 ,referring to this plate1 he says3 ,of course it was full of faults1 inevitable to any one in the early stage of practice in etching4 ,but it was shown to ,messrs4 ,chapman ,hall1 and approved by them1 though not as one of the illustrations to be published4#ad ,all this occupied much time1 which was every hour becoming more and more valuable1 as the date of publication was close at hand4 ,i had barely time to prepare my two subjects for the next number of ',pickwick' in pencil and submit them for approval to the publishers1 who returned them1 being much pleased with my efforts4 ,the subjects ,i selected were the ,fat ,boy watching ,mr4 ,tupman and ,miss ,wardle in the arbour1 and the ,cricket-,match4 ,buss now essayed to reproduce his designs upon the plates2 but the result proved disastrous1 the too violent action of the improperly diluted acid tearing up the etching-ground1 which also broke up under the needle1 creating sad havoc4 ,dreading the possible consequences of delay1 he placed his original drawings in the hands of an expert engraver1 to be copied on the plate and bitten-in4 ,this work1 remarks the artist1 he did very well indeed1 but1 as might have been expected1 had ,i had time for thought1 the free touch of an original was entirely wanting4 ,the etching itself failed1 but the 'biting-in' was admirably done4 ,time was up4 ,the plates must be placed at once in the printer's hands1 and so 7there being no help for it7 the plates were printed1 the numbers stitched and duly published4 ,thus my name appeared to designs of which not one touch of mine was on the plates4 ,had opportunities been given1 ,buss would have cancelled these plates1 and prepared fresh ones of his own etching4 ,the immediate effect of this fiasco was the termination of his connection with ,the ,pickwick ,papers1 the artist being actually engaged in preparing designs for the succeeding number when he received a note informing him that the work had been placed in other hands4 ,under the circumstances1 it is not surprising that ,buss felt this curt dismissal very keenly1 for it must be remembered that he ventured upon the undertaking mainly to oblige the publishers1 who1 it appears1 had promised him every consideration on account of his inexperience with the etching-needle4 ,footnote #ad3 ,this design has been reproduced by photo-lithography1 impressions of which may occasionally be found in copies of ,pickwick4 ,forster disposes of the subject of ,buss's association with ,pickwick in a very few words1 merely observing that there was at first a little difficulty in replacing ,seymour1 and for a single number ,mr4 ,buss was interposed1 thus intimating that the engagement was a temporary one4 ,in commenting upon this1 the artist's son1 the ,rev4 ,alfred ,j4 ,buss1 expresses a belief that his father could not certainly have regarded it in this light4 ,is it reasonable to suppose1 he asks1 in ,notes and ,queries1 ,april #bd1 #ahge1 that he would have consented to devote three weeks of his time1 at the most valuable season to an artist1 to the practice of an entirely new department of art1 if it had been clearly stated that his engagement was of the transitory nature ,mr4 ,forster would imply1 and the more especially when we bear in mind that the price to be paid for the etchings was only fifteen shillings each8 ,it was ,forster's scanty and misleading reference to ,buss's engagement as illustrator of ,pickwick which induced the artist to draw up for his children a concise and clear account of everything that transpired4 ,it is not recorded whether ,buss and ,dickens became personally acquainted1 nor1 indeed1 that they ever met4 ,we may therefore surmise that all business transactions were carried on through the publishers1 who probably forwarded to the artist proofs of the letterpress in order that he might select therefrom the subjects for illustration4 ,the third number of ,pickwick contains the only two published etchings by ,buss for that work1 viz41 ,the ,cricket-,match and ,the ,fat ,boy ,awake on this ,occasion only4 ,these plates1 the effect of which was poor and thin1 contrasted unfavourably with the ,seymour etchings immediately preceding them1 and were therefore suppressed as speedily as possible1 others by ,phiz 7,hablt ,k4 ,browne7 being substituted before many copies had been issued4#ae ,in one of the latter an entirely different design is given1--that is to say1 instead of ,the ,cricket-,match1 we have ,mr4 ,wardle and his ,friends under the ,influence of 'the ,salmon1' depicting an incident described in the succeeding chapter4 ,footnote #ae3 ,the two cancelled etchings by ,buss have been copied on steel1 but1 being printed on ,india paper1 are not likely to be mistaken for the original plates4 ,impressions of the ,buss etchings are exceedingly scarce1 only about seven hundred copies of the number containing them having been circulated4 ,the drawings by ,buss for ,pickwick have fortunately been preserved4 ,besides the original designs for the published etchings1 there are still in existence several tentative sketches prepared by the artist in anticipation of future numbers1--those1 indeed1 upon which he was at work when he received his cong4 ,some of these sketches are vigorously limned with pen-and-ink outlines and the effects laid in with a brush1 while others are rendered in pencil supplemented by washes of indian-ink4 ,the following is a complete list of ,buss's original drawings for ,pickwick3-- ,,mr4 ,,pickwick ,,at ,,the ,,review4#af--,unused design4--,this subject was etched by the artist as a specimen of his work to be submitted to ,chapman ,hall4 ,only two impressions are known to exist1 while the plate itself was irretrievably injured through the surface being scratched with a piece of coarse emery paper4 ,,the ,,cricket-,,match4#af--,published design4 ,footnote #af3 ,reproduced in facsimile in the ,victoria edition of ,pickwick1 #ahhg4 ,,plate ,,xxv ,a ,,souvenir ,,of ,,dickens ,from an ,unfinished ,painting by ,r4 ,w4 ,,buss ,size of ,original ,picture1 #cf in4 by #bg in4 ,lent by the ,rev4 ,f4 ,fleetwood ,buss4 ,illustration ,,the ,,cricket-,,match4--,first sketch1 varying entirely from the etching4 ,the wicket-keeper is seen behind the fat man1 receiving the ball full in his face4 ,,the ,,fat ,,boy ,,awake ,,on ,,this ,,occasion ,,only4#a--,published design4 ,,the ,,fat ,,boy ,,awake ,,on ,,this ,,occasion ,,only4--,first sketch1 varying from the etching4 ,tupman is represented on his knees by the side of ,miss ,wardle1 who is holding a watering-pot1 while the ,fat ,boy is seen behind1 facing the spectator4 ,,the ,,fat ,,boy ,,awake ,,on ,,this ,,occasion ,,only4--,second sketch1 varying from the etching4 ,here ,tupman is standing1 with his left arm around ,miss ,wardle's waist1 and the ,fat ,boy is in front1 in much the same attitude as represented in the published design2 indeed1 there are very slight differences between this sketch and the accepted drawing4 ,,mr4 ,,wardle ,,and ,,his ,,friends ,,under ,,the ,,influence ,,of ,,the ,,salmon4#ag--,unused design4 ,footnote #ag3 ,reproduced in facsimile in the ,victoria edition of ,pickwick1 #ahhg4 ,,the ,,break-,,down4--,unused design4 ,pickwick1 in an attitude of despair1 stands facing the spectator2 behind him ,wardle is seen in the act of shaking his fist at the eloping party in the retreating chaise2 while a postboy on the left holds the head of one of the horses belonging to the vehicle which has come to grief4 ,,mr4 ,,winkle',s ,,first ,,shot4--,unused design4 ,the central figure is ,winkle1 holding his gun2 close by stands ,snodgrass in an attitude of fear1 while ,pickwick and ,wardle are sheltering behind a tree4 ,,study ,,for ,,the ,,title-,,page4--,unused design4 ,in this rough sketch ,pickwick is the prominent personage1 as he stands facing the spectator1 with his right hand in the pocket of his smalls1 and his left arm resting on what appears to be a mound of earth4 ,separately displayed upon the face of this mound are medallion portraits1 in emblematical frames1 of ,pickwick1 ,snodgrass1 ,winkle1 and ,tupman1 while above all is suspended a female figure typical of ,fame1 blowing a miniature trumpet and holding a laurel wreath over the head of ,pickwick4 ,the letters forming the words ,pickwick ,club are made up of various articles suggestive of conviviality and sport--such as corkscrews1 bottles1 wine-glasses1 pistol1 stirrup1 c4 ,these drawings sufficiently indicate that the artist possessed a decided power with the pencil1 which he turned to good account shortly after the abrupt termination of his connection with ,the ,pickwick ,papers4 ,for example1 in #ahci he successfully illustrated1 by means of etching1 ,mrs4 ,trollope's diverting story1 ,the ,widow ,married1 then appearing as a serial in the ,new ,monthly ,magazine1 and among the more remarkable of his later efforts with the etching-needle are his designs for novels by ,marryat1 ,ainsworth1 and other well-known writers of the day1 many of the plates being equal1 in the matter of technique1 to those by ,phiz1 thus denoting that1 had an opportunity been afforded him1 he might have made his mark with ,pickwick4 ,it may be said of ,buss 7as is asserted concerning ,cruikshank7 that his works1 whether in colour or black-and-white1 are regarded as affording authentic information respecting costumes and other accessories2 for he was exceedingly conscientious in matters of detail1 preferring to incur infinite trouble to secure accuracy rather than rely upon his imagination4 99 99 99 99 99 ,sidenote3 ,the ,library of ,fiction1 #ahcf4 ,like ,seymour1 ,buss was associated with ,dickens in connection with that ephemeral work1 ,the ,library of ,fiction4 ,besides ,the ,tuggses at ,ramsgate1 the novelist wrote for its pages a paper called ,a ,little ,talk about ,spring and the ,sweeps1 containing an illustration drawn by ,buss and engraved on wood by ,john ,jackson1 who1 it will be remembered1 introduced the artist to ,chapman ,hall4 ,this short tale was reprinted in the first complete edition of ,sketches by ,boz1 #ahci1 under the title of ,the ,first of ,may1 with an etching by ,cruikshank depicting an incident differing entirely from that which forms the subject of ,buss's woodcut4 ,,plate ,,xxvi ,,dolly ,,varden ,from an ,original ,water-colour ,drawing by ,r4 ,w4 ,,buss ,lent by the ,rev4 ,a4 ,j4 ,buss4 ,illustration 99 99 99 99 99 ,as a painter of humorous scenes and historical events1 ,buss gained considerable popularity4 ,from #ahbf to #ahei he contributed nearly every year subject-pictures and portraits to the ,exhibitions of the ,royal ,academy1 ,suffolk ,street ,gallery1 and ,british ,institution1 and among his numerous canvases 7many of which have been engraved7 may be mentioned3--,humorous--,the ,biter ,bit1 ,the ,march of ,intellect1 ,the ,monopolist1 ,an ,unexpected ,reception1 ,soliciting a ,vote1 ,chairing the ,member1 ,mob ,tyranny1 ,the ,mock ,mayor of ,newcastle-under-,lyme4 ,historical--,the ,introduction of ,tobacco by ,sir ,walter ,raleigh1 ,james ,watt's ,first ,experience with ,steam1 ,hogarth at ,school1 ,chantrey's ,first ,essay in ,modelling1 ,nelson's ,first ,victory over the ,french ,fleet4 ,the artist was also occasionally inspired by ,shakespeare and ,dickens1 and it is specially interesting to note that he painted at least three pictures of scenes in the novelist's works1 viz41 ,joe ,willet ,taking ,leave of ,dolly ,varden 7from ,barnaby ,rudge71 exhibited at the ,royal ,academy in #ahdd1 and now in a ,south ,australian public picture-gallery2 ,the ,cricket's ,chirp 7,peerybingle1 ,dot1 and ,tilly ,slowboy1 from ,the ,cricket on the ,hearth1 ,chirp the ,first71 exhibited at ,suffolk ,street1 #ahdf2 and a representation of ,trotty ,veck peeping into the basket containing his dinner of tripe which his daughter brings him4 ,in an album of studies and notes for his pictures 7arranged by the artist for preservation as an heirloom7 may be found several sketches for the first-named subject1 and in addition to these are two small water-colour drawings1 oval in form1 of scenes in ,dombey and ,son1 representing ,mr4 ,dombey more ,magnificent than ,usual1 and ,captain ,cuttle visited by ,florence ,dombey1 the latter being especially well rendered4 ,whether these have ever been engraved ,i am unable to say1 but the probability is they have not4 ,curiously enough1 the last picture on ,buss's easel purported to represent ,a ,dream of ,dickens4 ,this unfinished canvas 7still in the possession of a member of the artist's family7 contains a portrait of the novelist seated in his study1 with visions of scenes from his various works around him4 ,the portrait is adapted from the well-known photograph by ,watkins1 while the incidents depicted are taken from the original illustrations4 ,although ,buss's large picture of ,christmas in the ,olden ,time proved1 for the artist1 a financial failure1 it benefited him in being the means of introducing him to ,charles ,knight 7perhaps the most enterprising publisher of that day71 who1 recognising in the young painter a diligent student of manners and customs1 engaged his services on the ,pictorial ,edition of ,shakespeare's ,works1 ,old ,england1 the ,penny ,magazine1 and ,chaucer's ,canterbury ,tales1 all of which were issued under ,knight's auspices4 ,the ,rev4 ,a4 ,j4 ,buss well remembers his father making these drawings on wood blocks1 which were engraved by ,jackson1 ,sly1 and others1 and recalls that1 some years after1 he obtained a commission from ,mr4 ,hogarth1 a printseller1 to execute some ,christmas subjects for reproduction by line-engraving4 ,after #ahed ,buss's pictures were for some reason excluded from the ,royal ,academy ,exhibitions1 and this so seriously affected the sale of his work that he was compelled to have recourse to teaching drawing as a means of supplementing a precarious income4 ,as early as #ahdc he had issued circulars announcing a course of lessons in drawing on ,dupin's method1 having previously purchased many expensive models1 and rented a room in ,duke ,street1 ,grosvenor ,square2 but all in vain1 for not a single pupil was forthcoming6 ,he then prepared a series of lectures on ,english ,comic and ,satiric ,art1 which he delivered in ,london and the chief provincial towns in ,england1 these being illustrated by large diagrams4 ,,plate ,,xxvii ,,florence ,,dombey ,,and ,,captain ,,cuttle ,from an ,original ,water-colour ,drawing by ,r4 ,w4 ,,buss ,lent by the ,rev4 ,a4 ,j4 ,buss4 ,illustration ,during the period of struggle for a livelihood1 the artist's wife and daughter came nobly to his assistance by establishing1 in #ahej1 the ,north ,london ,collegiate ,school for ,ladies 7as it was then designated71 which developed into the leading school in the cause of ,female ,education4 ,in order to give it a higher grade than other similar seminaries had then attained1 ,buss not only became its professor of drawing1 but teacher of science too1 first devoting himself to the study of ,chemistry1 ,botany1 ,human ,physiology1 ,mechanics1 ,hydraulics1 c41 and he soon became qualified for his self-imposed responsibilities4 ,his artistic capabilities here stood him in good stead1 for they enabled him to prepare large diagrams with which to illustrate his lectures2 in addition to this1 he made his own models for demonstrating the science of ,mechanics--thus proving the power he possessed of adapting himself to circumstances1 in the earnest desire to obtain a living and in his love for wife and children4 ,i do not think1 observes the ,rev4 ,a4 ,j4 ,buss1 when corresponding with me on this subject1 ,i ever knew a man so industrious as my father4 ,i have a clear remembrance almost from my childhood of his industry1--early morning in his painting-room--up to late hours drawing on wood and etching4 ,he deserved better fortune than he secured2 and ,i have only learnt to admire him the more1 the more ,i think of his career4 ,at the death of his wife1 the artist led a very retired life1 in a studio most picturesquely fitted up with ancient furniture1 and here it was that he devoted the latter years of his life in preparing for publication his lectures on ,art1 being aided and encouraged in his congenial task by his affectionate daughter1 the late ,frances ,mary ,buss1 who subsequently gained high distinction in connection with ,education4 ,this profusely-illustrated volume1 printed for private circulation1 was issued in #ahgd1 and bore the following title3 ,english ,graphic ,satire1 and its relation to ,different ,styles of ,painting1 ,sculpture1 and ,engraving4 ,a ,contribution to the ,history of the ,english ,school of ,art4 ,robert ,william ,buss died at his residence in ,camden ,street1 ,camden ,town1 on ,february #bf1 #ahge1 in his seventy-first year4 ,the end came very quietly and painlessly to him who had fought the battle of life so honestly and so fearlessly4 ,,habl,t ,k4 ,,browne 7,,phiz7 ,i ,an ,illustrator required for ,pickwick--,leech and ,thackeray offer their ,services--,thackeray's ,first ,meeting with ,dickens--,mr4 ,pickwick's ,lucky ,escape--,leech's ,specimen ,drawing--,,habl,t ,k4 ,,browne 7,phiz7 ,elected to ,succeed ,buss--,his ,etching of ,john ,gilpin's ,ride ,awarded a ,silver ,medal--,his ,designs for ,,sunday ,,under ,,three ,,heads and ,,the ,,library ,,of ,,fiction--,mr4 ,j4 ,g4 ,fennell's ,reminiscences of the ,artist--,thackeray's ,congratulations to ,phiz--,a ,modest ,banquet--,phiz as an ,etcher--,assisted by ,robert ,young--,their ,first ,plate for ,pickwick--,an ,all-,night ,sitting--,particulars ,concerning a ,first ,edition of ,pickwick--,the ,success of the ,work ,assured--,the ,sobriquet of ,phiz--,the ,artist's ,signatures--,method of ,preparing the ,pickwick ,illustrations--,variations in ,duplicated ,plates--,george ,augustus ,sala's ,opinion of the ,pickwick ,plates--,the ,etchings ,criticised--,phiz's ,original ,drawings for ,pickwick--,his ,tentative ,designs--,differences between the ,drawings and the ,etchings--,dickens's ,hints to the ,artist--,phiz's ,sketch of ,mr4 ,pickwick--,a ,series of ,new ,designs--,vignettes for the ,library ,edition--,woodcuts for the ,household ,edition--,frontispiece for ,,the ,,strange ,,gentleman--,illustrations for ,,sketches ,,of ,,young ,,gentlemen and ,,sketches ,,of ,,young ,,couples--,sale of the ,original ,drawings--,,nicholas ,,nickleby--,dickens and ,phiz in ,yorkshire--,the ,prototype of ,squeers--,a ,significant ,memorandum--,mr4 ,lloyd's ,recollections of ,william ,shaw1 a ,yorkshire ,pedagogue--,the ,nickleby ,etchings ,criticised--,particulars ,concerning the ,plates--,the ,original ,drawings--,a ,missing ,design--,dickens's ,instructions to ,phiz--,variations in the ,illustrations--,pictorial ,wrapper--,vignettes for the ,library ,edition4 ,,plate ,,xxviii ,,habl,t ,k4 ,,browne 7,,phiz7 ,from an ,unpublished ,photograph ,lent by ,mr4 ,gordon ,browne1 ,r4,i4 ,,robert ,,young ,from a ,photograph by ,w4 ,,green ,lent by ,mr4 ,r4 ,young4 ,illustration ,it is certainly extraordinary that within the space of a few weeks two vacancies for the post of illustrator of ,pickwick should have occurred4 ,it was about the beginning of ,june #ahcf 7the date of the publication of the third part1 containing his two etchings7 when ,buss unexpectedly received the intimation that his services would be no longer required1 and no sooner had this fact become known than there was quite a rush of aspiring artists eager to offer their professional aid1 among them being several who had already made a reputation as draughtsmen--such as ,crowquill 7,alfred ,forrester71 ,lee1 and others4 ,it is of special interest to learn that ,john ,leech and ,william ,makepeace ,thackeray were also desirous of obtaining the appointment1 but the honour was destined for another4 ,thackeray had practised etching for some years1 having1 while an undergraduate at ,cambridge1 taken lessons of an engraver and printseller named ,roe1 who carried on his profession in the ,university town1 and under that gentleman's superintendence he etched a series of plates illustrative of college life1 which were first published in #ahgh4 ,possessing a natural gift for drawing1 the famous satirist 7in his early days7 earnestly desired to follow ,art as a profession1 and so far encouraged his bent by copying pictures in the ,louvre2 but his studies seem to have been of a desultory character1 and of little value in making him a sound draughtsman4 ,when1 on returning to ,london1 he heard that a designer was required for the ,pickwick illustrations1 he immediately sought an interview with ,dickens at his rooms in ,furnival's ,inn1 taking with him some specimens of his work1 and more than twenty years afterwards1 in responding to the toast of ,literature at the ,royal ,academy banquet1 he thus referred to the memorable incident3 ,i can remember when ,mr4 ,dickens was a very young man1 and had commenced delighting the world with some charming humorous works1 of which ,i cannot mention the name1 but which were coloured light green and came out once a month1 that this young man wanted an artist to illustrate his writings1 and ,i recollect walking up to his chambers with two or three drawings in my hand1 which1 strange to say1 he did not find suitable4 ,but for that unfortunate blight which came over my artistical existence1 it would have been my pride and my pleasure to have endeavoured one day to find a place on these walls for one of my performances4 ,although at the time he was doubtless surprised at1 and sorely disappointed by1 ,boz's want of appreciation1 he afterwards acknowledged there was some justification for it1 and good-humouredly alluded to the rejection of his services as ,mr4 ,pickwick's lucky escape4 ,who can say whether ,vanity ,fair and ,esmond would ever have been written had this mighty penman been elected to succeed ,buss8#ah ,footnote #ah3 ,according to the following anecdote1 ,thackeray did not over-estimate his own powers as a draughtsman4 ,mr4 ,m4 ,h4 ,spielmann tells us that after ,edmund ,yates had started an illustrated magazine1 which had but a brief existence1 ,thackeray wrote to him3 ,you have a new artist on ,the ,train1 ,i see1 my dear ,yates4 ,i have been looking at his work1 and ,i have solved a problem4 ,i find there is a man alive who draws worse than myself6 ,thackeray's schoolfellow and life-long friend1 ,john ,leech1 also submitted a design to ,chapman ,hall1 in the hope of being successful where others had failed1 but the little drawing1 slightly tinted in colours1 depicting the amusing scene in the ,bagman's story of ,tom ,smart and the high-backed chair1 did not indicate the possession by the artist of the necessary qualifications4 ,he was accordingly dismissed2 but it was reserved for this amiable man and accomplished draughtsman not only to adorn with his pencil the pages of the ,carol and other ,christmas books of ,charles ,dickens1 but to be afterwards honoured by the friendship and esteem of ,england's great novelist4 99 99 99 99 99 ,sidenote3 ,sunday under ,three ,heads1 #ahcf4 ,as all the world knows1 the privilege of illustrating ,dickens's most popular work was secured by ,hablt ,knight ,browne 7,phiz71 this clever designer being rightly regarded as artistic exponent-in-chief of ,dickens's creations4 ,at this time he had barely attained his majority1 and1 unlike ,cruikshank1 who came to the pictorial embellishment of ,sketches by ,boz and ,oliver ,twist with a distinct reputation1 was an almost untried artist4 ,about his eighteenth year1 while serving his apprenticeship with the ,findens1 the well-known line-engravers1 ,browne was awarded a silver medal offered for competition by the ,society of ,arts for the best representation of an historical subject--a large etching portraying ,john ,gilpin's famous ride through ,edmonton4 ,apropos of this etching ,mr4 ,mason ,jackson writes in the ,athenum1 ,june #aa1 #ahhg3 ,mr4 ,chapman 7of ,chapman ,hall7 was delighted with ',john ,gilpin's ,ride1' and forthwith applied to ,browne1 who thus succeeded ,seymour and ,buss as the illustrator of ',pickwick4' ,after a careful comparison of dates1 ,i venture to point out the probability that it was not with a view to the illustration of ,pickwick that ,edward ,chapman paid his first visit to ,browne1 as generally supposed1 but for the purpose of engaging his services as designer of some woodcuts for a pamphlet which the firm was about to publish1 entitled ,sunday under ,three ,heads--,as it is2 ,as ,sabbath ,bells would make it2 ,as it might be made4 ,this brochure1 written by ,dickens under the pseudonym of ,timothy ,sparks1 is prefaced by a ,dedication dated ,june #ahcf1 and was therefore in progress prior to the publication of the fourth number of ,pickwick1 containing ,phiz's first designs1 which appeared during the following month4 ,when1 in after years1 ,mr4 ,morton ,brune enquired of the artist concerning his share in this little production1 he replied3 ,the work of ,dickens mentioned by you was illustrated by me when quite a youngster1 and ,i am sorry to say ,i can give no information about it--recollecting nothing whatever4#ai ,besides a trio of heads 7printed on both wrapper and title-page71 there are three full-page illustrations1 engraved by ,c4 ,gray and ,orrin ,smith4 ,this excessively scarce pamphlet was issued as a protest against the extreme views of ,sir ,andrew ,agnew and the ,sabbatarian party1 and had immediate reference to a ,bill for the better observance of the ,sabbath1 then recently rejected in the ,house of ,commons by a small majority4 ,sunday under ,three ,heads was originally published at two shillings1 and now realises as much as #aj in the auction-room4 ,there are two or three facsimile reprints in existence1 but the reproductions of the woodcuts are comparatively poor4 ,footnote #ai3 ,as early as #ahcg ,browne designed 7as an advertisement for ,bentley7 a little woodcut 7now very rare7 in which he depicted ,charles ,dickens leading by the lappel of his waistcoat a burly and perspiring porter1 who is seen carrying a huge bale of copies of ,bentley's ,miscellany1 of which magazine the novelist was then the editor4 ,it should be mentioned that ,phiz 7together with ,seymour and ,buss7 assisted in the illustration of ,the ,library of ,fiction1 published by ,chapman ,hall in #ahcf-cg1 so that his artistic efforts were by no means unfamiliar to the firm at this time4 ,in his design facing page #bic of the first volume of that work there may be discovered the figure of an obese individual who is the very counterpart of ,tony ,weller4 99 99 99 99 99 ,sidenote3 ,the ,pickwick ,papers1 #ahcf-cg4 ,an intimate friend of ,hablt ,k4 ,browne1 ,mr4 ,john ,greville ,fennell 7formerly of the ,field journal71 confirms my opinion that the artist's earliest association with the writings of ,dickens was his connection with ,sunday under ,three ,heads2 but1 as the engravings in that pamphlet only bore the designer's initials1 it is more than probable that ,browne himself was then an absolute stranger to the future novelist4 ,within a very brief period1 however1 certain events conspired to bring about the beginning of an acquaintance which ripened into a friendship that never ceased during ,dickens's life-time4 ,mr4 ,fennell writes3 ,it was ,i who1 while superintending ,e4 ,w4 ,finden's establishment1 sold his first drawing to ,adolphus ,ackermann1 and induced him 7,h4 ,k4 ,b47 to reproduce ,buss's two illustrations 7viz41 ,the ,cricket-,match#bj and ,the ,fat ,boy ,awake on this ,occasion only71 which ,i sent down to ,chapman ,hall4 ,it was apparently through ,mr4 ,fennell's intervention that the publishers were enabled to recognise ,browne's ability as an etcher1 and to discover in the specimens submitted to them that he was the very man to occupy the position then recently vacated by ,buss4 ,he first heard of his appointment from his generous rival1 ,thackeray1 who at once made his way to the artist's abode in ,newman ,street for the purpose of congratulating him1 and it is said that they immediately repaired to a neighbouring public-house1 where a banquet consisting of sausages and bottled stout was held in honour of the occasion4 ,footnote #bj3 ,so far as ,i am aware1 no illustration by ,phiz of this subject is extant4 ,at this juncture1 ,browne 7who considered line-engraving too tedious a process7 suspended operations at ,finden's establishment1 and1 through the friendly auspices of ,mr4 ,fennell1 his indentures were cancelled two years before they had expired4 ,in conjunction with a kindred spirit1 he hired a modest room as a studio1 and employed his time in the more congenial pursuit of water-colour drawing4 ,as the result of a solemn compact between them to produce three drawings daily1 ,browne1 who worked very rapidly1 was enabled to pay his share of the rent by the proceeds of his labours4 ,in order to familiarise himself with the human form1 he attended the evening class at the ,life ,school in ,st4 ,martin's ,lane1 having as a fellow-pupil that famous painter of the nude1 ,william ,etty1 who afterwards joined the ranks of the ,royal ,academicians4 ,in #ahcf 7when in his twenty-first year7 ,browne had acquired considerable facility with his pencil1 and soon proved that his selection as the illustrator of ,pickwick was thoroughly justified4 ,by means of the training he had undergone at the ,findens1 he had obtained a mastery over the difficulties and mysteries of etching1 which now proved eminently serviceable4 ,buss declared that ,phiz was by no means an expert when he commenced working for ,pickwick1 being compelled to obtain help from an experienced engraver named ,sands1 who touched up the drawings with his own needle1 adding shade where required1 and then applied the acid and did all the necessary 'biting-in' and 'stopping-out4' ,the facts1 however1 are rather over-stated1 as witness that early effort 7perhaps unknown to ,buss71 viz41 the etching of ,john ,gilpin1 which was undoubtedly unaided work1 testifying that the artist was then quite capable of running alone4 ,it is acknowledged1 however1 that1 so far as the biting-in was concerned1 he invariably secured co-operation1 not on account of his own incapacity1 but merely to save time1 and for this purpose he generally sought and obtained the requisite help of his quondam fellow-apprentice1 ,robert ,young4 ,browne speedily communicated to ,mr4 ,young the welcome intelligence respecting the ,pickwick appointment2 indeed1 we are told that he went at once to his friend's chambers1 and on entering said1 ,look here1 old fellow3 will you come to my rooms to assist me with a plate ,i have to etch8 ,mr4 ,young1 who was still in the employ of ,finden1 had acquired such a thorough knowledge of the art of biting-in designs upon steel plates1 that ,browne realised the importance of securing his co-operation without delay1 and1 happily for him1 his friend readily acceded to his wish2 whereupon ,phiz suggested that he should take his key with him1 as they might be late4 ,the design having already been drawn upon the plate1 the two conspirators devoted the entire night to the operation of biting-in1 the outcome of which was the production of the plate depicting the eventful meeting of ,mr4 ,pickwick and ,sam ,weller at the old ,white ,hart ,inn1 perhaps the most notable illustration in the book4 ,mr4 ,young's share of the undertaking consisted in the application and manipulation of acid1 which corroded the plate where exposed by the needle--a troublesome and delicate operation1 requiring considerable experience1 as1 by too lengthy or too brief a subjection of the metal to the action of the acid1 the plate would be ruined1 and the labour of the artist rendered of no avail4 ,mr4 ,young writes in reply to my enquiry respecting this and subsequent collaboration3 ,i did not bite-in the whole of ',phiz's' etchings4 ,i was some years abroad1 during which he had assistance from two engravers1 ,sands and ,weatherhead4 ',phiz' was quite capable of doing this part of the work himself1 for he had two or three years' practice during his apprenticeship at ,finden's2 but he had no time for such work1 being always fully occupied in etching or drawing on wood4 ,,plate ,,xxix ,a ,,sudden ,,recognition1 ,,unexpected ,,on ,,both ,,sides ,facsimile of the ,original ,drawing for ,nicholas ,nickleby by ,h4 ,k4 ,,browne 7,,phiz7 ,above the ,sketch is written the following1 in the autograph of ,dickens3--,i don't think that ,smike is frightened enough or that ,squeers is earnest enough1 for my purpose4 ,lent by ,mr4 ,m4 ,h4 ,spielmann4 ,illustration ,the title-page of ,pickwick intimates that the volume contains ,forty-three illustrations by ,r4 ,seymour and ,phiz1 thus ignoring ,buss's contributions4 ,the fact is 7as stated in the preceding chapter7 that only a few copies of ,part ,,iii41 containing the two plates by ,buss1 were issued1 these being quickly superseded by a couple of new designs by ,browne2 therefore1 a copy of an absolutely first edition of the book should include seven etchings by ,seymour1 two by ,buss1 and thirty-four by ,phiz4 ,two plates1 viz41 ,the ,fat ,boy ,awake on this ,occasion only and ,mr4 ,wardle and his ,friends under the ,influence of 'the ,salmon' were etched for ,part ,,iii4 7after those in ,part ,,iv471 to take the place of ,buss's cancelled designs4 ,in early copies of the first edition all the plates were printed without titles1 and throughout the first twelve numbers each plate bore only a reference in figures to the page which it was intended to illustrate4 ,in the remaining numbers 7,parts ,,xiii4 to ,,xx47 the reference figures were withheld1 the plates showing in the first published copies neither figures1 titles1 nor publishers' imprint4 ,for the first three parts of ,the ,pickwick ,papers there was so limited a demand that the publishers seriously contemplated a discontinuance of the work1 a fate which1 from the same cause1 threatened ,thackeray's famous novel1 ,vanity ,fair1 in the early stages of its career4 ,happily1 such a disaster was averted by the appearance in the fourth part of ,sam ,weller1 who at once achieved such enormous popularity that the sale went up by leaps and bounds1 the number of copies disposed of increasing from a few hundreds to several thousands4 ,this was an extremely happy augury1 not only for author and publishers1 but for the young artist whose connection with the book began at this critical time1 and the extraordinary circulation so suddenly imparted to the work was doubtless principally instrumental in obtaining for him other commissions1 with which he was soon overflowing4 ,browne's earliest printed plates are signed ,nemo1 and referring to this he says3 ,i think ,i signed myself as ',nemo' to my first etchings 7those of ,no4 #d7 before adopting ',phiz' as my sobriquet1 to harmonise--,i suppose--better with ,dickens's ',boz4' ,the third and succeeding plates bear the signature of ,phiz1 a sign-manual which presently became well known to all readers of the novels of ,dickens1 ,ainsworth1 and ,lever4 ,although he seldom appended his surname to his designs1 we not unfrequently find 7in his woodcuts especially7 the initials ,h4,k4,b41 in lieu of the more familiar pseudonym4 ,it seems the public could never quite realise that the different signatures were those of the same artist1 and were wont to remark that ,browne's work was better than ,phiz's4 ,the ,pickwick illustrations were produced in couples1 that is1 two subjects were etched on one plate1 this being printed at a single operation and the sheets afterwards divided4 ,phiz was exceedingly rapid in his work when time was limited1 and could design and etch a plate in the course of a day1 and have it bitten-in and ready for the printer by the next morning4 ,unlike ,seymour1 he almost invariably drew his subjects on the steel without reversing them1 so that they appeared reversed in the printing2 it is evident1 however1 that he sometimes failed to remember this when preparing his designs1 so that occasionally we find that his figures are left-handed1 and other similar incongruities4 ,doubtless1 the artist's motive in thus copying his drawings directly upon the plate was to facilitate operations1 for in this way he could dispense with the aid of a mirror4 ,a noteworthy consequence of the increased sale of the ,pickwick numbers was the serious deterioration of the plates caused by friction in printing1 as for every impression the plate must be inked and the superfluous ink removed by wiping with the hand4 ,in those days the process called steel-facing1 by means of which the etched or engraved surface is hardened1 was unknown1 so that1 comparatively1 only a few impressions could be struck off before the plate indicated any appreciable sign of wear-and-tear4 ,the designs were therefore etched in duplicate1 and this appears to have commenced at the date of the publication of the tenth part of ,pickwick4 ,the system of duplicating the plates readily accounts for the interesting variations observable in different copies of the first issue2 as1 for example1 the faces in the illustration delineating ,mr4 ,pickwick's first meeting with ,sam ,weller are much improved in the replica1 while other details are greatly altered2 in the original plate portraying ,mr4 ,pickwick in the pound1 there are two donkeys and four pigs1 while the later impression has but one donkey and two pigs2 in the etching where ,master ,bardell is seen kicking ,mr4 ,pickwick1 the boy was first drawn with his head down1 but was subsequently represented with it raised1 the attitudes of ,snodgrass and ,winkle being also slightly changed2 the second version of the plate entitled ,the ,break-down 7which1 by the way1 bears a remarkable resemblance to ,buss's unused drawing of the same subject7 differs considerably from the first1 and this remark applies to many of the other designs2 but it is chiefly in the earlier plates that these variations are particularly noticeable4 ,it is by no means surprising that such unimportant alterations exist1 for an artist like ,phiz would find it infinitely tiresome to slavishly copy1 line for line1 the original designs1 especially if he saw an opportunity for improving them4 ,the late ,george ,augustus ,sala held the opinion that ,hablt ,browne's earlier illustrations to ,pickwick are exceedingly humorous1 but exceedingly ill-drawn1 and believed that it was the amazing success of the author which spurred the artist to sedulous study1 thus conducing in a remarkable degree towards the development of his faculties4 ,remembering1 however1 that ,phiz had only just attained his majority1 we cannot but admire the deftness and skill he then displayed in so difficult an art as etching1 for1 although some of the illustrations are marked by a certain grotesqueness1 these plates are marvels of technique4 ,in the preface to the first edition of ,the ,pickwick ,papers we read3 ,it is due to the gentleman1 whose designs accompany the letterpress1 to state that the interval has been so short between the production of each number in manuscript and its appearance in print1 that the greater portion of the illustrations have been executed by the artist from the author's mere verbal description of what he intended to write4 ,it was customary at this time for ,dickens to call upon ,browne1 and hastily explain his intentions respecting the chapters to be illustrated1 and from notes then made by the artist the requisite designs were evolved4 ,this satisfactorily accounts for certain inaccuracies in the plates1 for which1 however1 ,phiz cannot justly be censured2 for example1 in the etching representing ,mr4 ,pickwick hiding behind the door of the young ladies' seminary1 the cook should have been the only person shown beyond the threshold2 and in the plate depicting the discovery of ,jingle in the ,fleet1 we see ,job ,trotter standing behind ,mr4 ,pickwick1 whereas1 according to the text1 he had not entered the room at that precise moment4 ,on the other hand1 we may detect some defects for which ,phiz must be held responsible2 as1 for instance1 the inaccurate perspective of the mantelshelf in the plate entitled ,the ,red-nosed ,man ,discourseth1 and the absence of proportion in the size of the figures of ,mr4 ,pickwick and the old lady in the etching portraying ,christmas ,eve at ,mr4 ,wardle's1 a similar anomaly appearing in the etching of ,mr4 ,pickwick's encounter with ,mrs4 ,bardell in the ,fleet4 ,again1 there surely never existed so enormous a sedan-chair as that from the roof of which ,mr4 ,pickwick expostulates with ,sam ,weller when he attacks the executive of ,ipswich1 or that into which ,mr4 ,winkle bolts in his robe de nuit4 ,in the skating scene1 curiously enough1 there is no indication of skates being worn by any member of the company4 ,phiz sometimes posed his figures in attitudes which1 if not physically impossible1 are unnatural and unpicturesque2 it must be admitted1 however1 that he usually succeeded where ,george ,cruikshank invariably failed1 that is1 in delineating pretty women1 of whom his skilled pencil has given us quite an extensive gallery4 ,a set of proofs of ,phiz's plates sold for twenty guineas at ,sotheby's in #ahhi4 ,a reprint of ,pickwick1 published at ,launceston1 ,van ,diemen's ,land1 in #ahch-ci1 was illustrated by means of lithographic copies 7signed ,tiz7 of some of the original etchings4 ,at the same time there appeared an ,american edition1 issued in parts by ,turney1 ,new ,york1 with facsimiles of the plates engraved on steel4 ,,plate ,,xxx ,,studies ,,for ,,the ,,cheeryble ,,brothers ,facsimile of ,original ,drawings by ,h4 ,k4 ,,browne 7,,phiz7 ,lent by ,mr4 ,j4 ,f4 ,dexter4 ,illustration ,it fortunately happens that1 with two exceptions1 the original drawings by ,phiz for ,the ,pickwick ,papers have been preserved2 the missing designs are ,mr4 ,wardle and his ,friends under the ,influence of 'the ,salmon' and the vignette for the title-page1 where ,tony ,weller is seen ducking ,stiggins in the horse-trough4 ,photogravure reproductions of all the existing designs 7some having ,dickens's autograph7 were published in the ,victoria edition by ,chapman ,hall in #ahhg4 ,the majority of the drawings were executed in pencil or pen-and-ink1 the effects washed in with a brush1 the remainder being entirely brushwork4 ,the following is a list of ,pickwick designs by ,phiz such as were merely tentative1 and therefore never etched3-- ,,mr4 ,,winkle',s ,,first ,,shot4--,trial sketch1 illustrating an incident in the seventh chapter4 ,a sketch of the same subject was made by ,buss4 ,,christmas ,,eve ,,at ,,mr4 ,,wardle',s4--,trial sketch1 varying but slightly from the approved design4 ,,the ,,goblin ,,and ,,the ,,sexton4--,first sketch1 in pencil1 varying considerably from the etching4 ,an attenuated sprite1 with sugar-loaf hat and arms akimbo1 is seated on the top of a flat gravestone beside ,gabriel ,grub1 who1 pausing in the act of raising a bottle to his lips1 gazes with astonishment at his uncanny visitor4 ,behind is seen a church porch4 ,,the ,,goblin ,,and ,,the ,,sexton4--,second sketch1 similar in character1 but more complete4 ,positions of figures reversed1 and the goblin more robust4 ,in the published etching the artist has introduced as a background a view of an ecclesiastical building1 which bears some resemblance to ,st4 ,alban's ,abbey4 ,,the ,,warden',s ,,room4--,trial sketch1 varying considerably from the approved design4 ,the attitudes of dancer and seated figure are different1 the man in the bed adjoining ,mr4 ,pickwick's throws up both arms and one leg1 while in either hand he holds a nightcap and beer-jug4 ,other figures are introduced on the right4 ,in comparing the drawings with the plates1 important variations are sometimes apparent4 ,in the remarkable etching1 ,the ,election at ,eatanswill1 the artist has introduced fresh figures1 while others are altered2 in ,mr4 ,pickwick in the ,pound1 we see in the first state of the etching two donkeys and four pigs1 instead of one donkey and three pigs1 as in the drawing2 in ,job ,trotter encountering ,sam in ,mr4 ,muzzle's ,kitchen1 the pretty housemaid was originally represented sitting on ,sam ,weller's knee2 in ,the ,valentine1 the artist's first intention was to portray ,tony ,weller without hat and cape2 and in ,conviviality at ,bob ,sawyer's1 a human skeleton is visible behind ,mr4 ,ben ,allen1 which was omitted in the etching4 ,the interest of a few of these drawings is considerably enhanced by the fact that they contain instructions and suggestions in the autograph of ,dickens4 ,the first so treated is ,mrs4 ,leo ,hunter's ,fancy-dress ,djeun1 the drawing differing in many respects from the etching1 chiefly in the attitudes and arrangement of the figures2 under it the author has written3 ,i think it would be better if ,pickwick had hold of the ,bandit's arm4 ,if ,minerva tried to look a little younger 7more like ,mrs4 ,pott1 who is perfect71 ,i think it would be an additional improvement4 ,the design was altered in accordance with the spirit of the criticism1 and we find ,minerva1 instead of a plump and matronly personage1 the very opposite in the matter of physique4 ,it is worthy of note that in the first state of the etching the face of the ,russian officer in the rear bore too close a caricature resemblance to that of ,lord ,brougham1 the subsequent change in his appearance being due to some remonstrance against the artist's freedom4 ,the drawing depicting ,mr4 ,pickwick's first interview with ,serjeant ,snubbin contains the following hint from the author3 ,i think the ,serjeant should look younger1 and a great deal more sly and knowing2 he should be looking at ,pickwick too1 smiling compassionately at his innocence4 ,the other fellows are noble4--,c4 ,d4 ,as a matter of fact1 the drawing is more successful than the etching1 the ,serjeant's face in the former indicating that it had been obliterated and altered to suit ,dickens's idea4 ,in the original design for the etching representing ,mr4 ,winkle's ,situation when the ,door ',blew to1' the artist portrayed ,mr4 ,winkle holding the candlestick in front of him2 but ,dickens objected to this1 and wrote at the top of the drawing3 ,winkle should be holding the candlestick above his head1 ,i think4 ,it looks more comical1 the light having gone out ,the change was made1 but the curious thing is1 neither author nor artist remembered the fact that at the moment depicted ,mr4 ,winkle had actually discarded the useless candlestick4 ,under the same drawing ,dickens penned the following comment3 ,a fat ,chairman so short as our friend here1 never drew breath in ,bath2 ,phiz has also written in the margin3 ,shall ,i leave ,pickwick where he is or put him under the bed-clothes8 ,i can't carry him so high as the second floor4--,h4 ,k4 ,b4 7,mr4 ,pickwick's rooms are described as being in the upper portion of the house1 but it would seem that ,dickens had originally placed him on the second floor1 which suggests that the text was altered to suit the illustration4 ,in reply to this query the author wrote3 ,i would leave him where he is decidedly4 ,is the lady full dressed8 ,she ought to be4--,c4 ,d4 ,mr4 ,pickwick was left accordingly2 likewise the fat chairman1 whose abnormal obesity was reproduced in the etching as it appears in the drawing4 ,in the sketch of ,mr4 ,winkle ,returns under ,extraordinary ,circumstances1 the artist had not made ,sam ,weller and the housemaid quite as ,dickens desired1 whereupon the novelist appended the following queries3 ,are ,sam and the housemaid clearly made out2 and would it not be better if he was looking on with his arm round ,mary8 ,i rayther question the accuracy of the housemaid4#ba ,as the sketch1 in its present state1 realises ,dickens's ideas1 we may assume that it was altered by the artist before he transferred his design to the plate2 indeed1 there seems to be evidence of this in the blurred appearance of the young couple in the drawing1 in the margin of which ,phiz has written the following instructions about the biting-in3 ,the outlines of the figures ,i have etched with a broad point unintentionally2 bite them slightly1 that they may not be too hard1 especially ,pickwick4 ,the last of the drawings containing the novelist's handwriting is that illustrating ,the ,ghostly passengers in the ,ghost of a ,mail1 this bearing the unusual signature1 ,charles his mark ,dickens1 by which the novelist evidently meant to express his satisfaction with the artist's treatment of the subject4 ,in the ,english ,humorists ,exhibition held in ,london a few years since1 there was a capital study by ,phiz of ,mr4 ,pickwick1 apparently an enlarged replica of the familiar figure and pose as seen in ,seymour's illustration of him as he appeared when addressing the ,club2 it is a water-colour drawing on buff paper1 supplemented by marginal sketches of the head and bust of ,pickwick with his hat on1 together with two studies of hats2 upon the side of the drawing is inscribed the following memorandum3 ,nankeen tights1 black cloth gaiters1 white waistcoat1 blue coat1 brass buttons1 square cut in the tails4 ,footnote #ba3 ,the words in brackets are unfortunately cut off the sketch4 ,,plate ,,xxxi ,,master ,,humphrey ,,and ,,the ,,deaf ,,gentleman ,facsimile of the ,original ,drawing for ,master ,humphrey's ,clock by ,h4 ,k4 ,,browne 7,,phiz7 ,beneath the ,sketch is written the following1 in the autograph of ,dickens3--,master ,humphrey ,,admirable4 ,could his stick 7with a crooked top7 be near his chair8 ,i misdoubt the deaf gentleman's pipe1 and wish he could have a better one4 ,lent by ,mr4 ,j4 ,f4 ,dexter4 ,illustration ,in #ahdg ,phiz prepared six new designs for ,the ,pickwick ,papers1 which were delicately engraved on wood2 the series was issued independently1 and simultaneously with the first cheap edition of the book4 ,these drawings are undoubtedly superior to the etchings1 being the more matured work of the artist4 ,the following were the subjects chosen3 ,mr4 ,winkle's ,first ,shot1 ,the ,effects of ,cold ,punch1 ,mr4 ,pickwick at ,dodson and ,fogg's1 ,the ,kiss under the ,mistletoe1 ,old ,weller at the ,temperance ,meeting1 ,the ,leg of ,mutton ',swarry4' ,phiz also contributed to each of the two volumes of the ,library ,edition 7#aheh-ei7bb a vignette illustration for the title-page1 the subjects being ,mr4 ,pickwick and the ,wellers1 and ,sam ,weller with the ,pretty ,housemaid2 they were engraved on steel from the original drawings in water-colours4 ,in #ahfg the artist was seized with a form of paralysis1 the use of the right hand being so greatly impaired that he was unable to make the forefinger and thumb meet2 this compelled him to hold the pencil or brush in a clumsy fashion1 and to draw with a sort of sweeping movement of the whole arm4 ,it was under such distressing conditions that in #ahgc-gd he executed a commission to illustrate ,chapman ,hall's ,household ,edition of ,the ,pickwick ,papers4 ,these fifty-seven designs are necessarily extremely poor in treatment1 and painfully indicate the effect of the injury his hand had sustained2 indeed1 the wonder is that he could draw at all4 ,it must be admitted1 however1 that much of the feebleness of the woodcuts is due to the engraver1 as the original outline sketches 7which were transferred to the boxwood blocks and there developed7 exhibit in a wonderful degree both freedom and precision of touch4 ,a small collection of these drawings was sold at ,sotheby's in ,december #ahhg1 each drawing realising the average price of seven pounds4 ,sets of the ,pickwick designs in the ,household ,edition1 coloured by ,f4 ,w4 ,pailthorpe1 have been issued as extra illustrations4 ,footnote #bb3 ,the early volumes in the ,library ,edition1 issued during #aheh-ei1 have only vignettes on the title-pages4 ,the later issues of this edition 7#ahfb-fh7 contain several illustrations1 some of these being reprints of the plates in the first edition1 while others were specially designed4 99 99 99 99 99 ,sidenote3 ,the ,strange ,gentleman1 #ahcg4 ,in #ahcf1 as soon as ,dickens terminated his connection with the ,reporters' ,gallery in the ,house of ,commons1 he was induced to take a considerable interest in the then newly-erected ,st4 ,james's ,theatre1 and even essayed to write for his friend ,j4 ,p4 ,harley 7as a practical joke1 he afterwards explained7 a comic burletta called ,the ,strange ,gentleman1 which was adapted from ,the ,great ,winglebury ,duel in ,sketches by ,boz4 ,the little farce was published by ,chapman ,hall during the following year with a frontispiece by ,phiz1 the subject of the plate being suggested by the concluding scene1 where the ,strange ,gentleman proposes marriage to ,julia ,dobbs2 the two seated figures are vigorously drawn1 and on a larger scale than those in the ,pickwick designs4 ,the ,strange ,gentleman is perhaps the rarest of ,dickens's writings1 and the extraordinary sum of #de was realised at ,sotheby's in ,august #ahib for an exceptionally fine copy4 ,it has since been beautifully reprinted in facsimile1 with a new frontispiece etched by ,f4 ,w4 ,pailthorpe4 ,sidenote3 ,sketches of ,young ,gentlemen1 #ahch4 ,in the same year ,chapman ,hall published a booklet 7anonymously written by ,e4 ,caswell7 entitled ,sketches of ,young ,ladies1 by ,quiz1 with six etchings by ,phiz1 the author of which was erroneously believed to be ,charles ,dickens1 whose literary style it somewhat resembled4 ,the ,young ,ladies being referred to here in a rather ungallant fashion1 ,dickens essayed 7as a kind of protest7 a similar work1 in which he pokes fun at the idiosyncrasies of youths of the sterner sex4 ,like its predecessor1 the ,sketches of ,young ,gentlemen were written anonymously1 and similarly contained six etched illustrations by ,phiz4 99 99 99 99 99 ,sidenote3 ,sketches of ,young ,couples1 #ahdj4 ,in #ahdj there appeared a third booklet1 entitled ,sketches of ,young ,couples2 of this ,dickens was also the unavowed author1 while ,phiz contributed the usual six etchings4 ,in the third of these designs 7only two of which are signed7 we are reminded of his presentment of the ,kenwigses in ,nicholas ,nickleby1 the illustrations for which story were then occupying the artist's attention4 ,these little productions were issued in green paper covers1 decorated with designs by ,phiz4 ,the sets of six original drawings for ,sketches of ,young ,ladies and ,sketches of ,young ,gentlemen realised #dj and #ci respectively at ,sotheby's in #ahig4 99 99 99 99 99 ,sidenote3 ,nicholas ,nickleby1 #ahch-ci4 ,in the advertisement announcing the publication of ,nicholas ,nickleby1 it was stated that each monthly part would be embellished with two illustrations by ',phiz'4 ,this is not strictly accurate1 for to the twenty parts the artist contributed but thirty-nine plates1 the full complement1 however1 being made up with a portrait of the author 7as the frontispiece71 engraved by ,finden from the painting by ,d4 ,maclise1 ,a4,r4,a4 ,the most interesting of the ,nickleby plates are undoubtedly those depicting scenes at ,dotheboys ,hall1 that representing ,squeers at the ,saracen's ,head containing the most familiar presentment of its amiable proprietor4 ,thus1 as he stood mending his pen1 the novelist and artist saw the living prototype1 and had taken mental notes of the odd figure1 who1 as will presently be related1 was among the several schoolmasters they interviewed4#bc ,footnote #bc3 ,among the few drawings executed by ,phiz for ,punch1 there is a representation of an orthodox pettifogging attorney perched upon a stool1 whose portrait is that of the very ,squeers4 ,it constitutes one of a series of ,punch's ,valentines1 and was published in the second volume1 #ahdb4 ,it was the novelist's intention to expose in this story the terrible abuses practised in the cheap boarding-schools of ,yorkshire1 and1 in order that he might realise their true character1 he determined to investigate for himself the real facts as to the condition of those notorious seminaries4 ,accordingly1 at the end of ,january #ahch1 he and ,phiz started on this memorable journey1 in bitterly cold weather1 and1 visiting several schools in the locality1 they came into direct contact with the proprietors4 ,one of these was ,william ,shaw1 the identical schoolmaster who1 some years previously1 had been heavily fined for what was represented at the trial as gross maltreatment of his pupils4 ,according to the following entry in the novelist's private diary 7under date ,february #b1 #ahch71 there can be no doubt that he had this individual principally in his mind when delineating the infamous ,squeers3--,mem4--,shaw1 the schoolmaster we saw to-day1 is the man in whose school several boys went blind some time since from gross neglect4 ,the case was tried1 and the verdict went against him4 ,it must have been between #ahbc and #ahbf4 ,look this out in the newspapers4 ,mr4 ,lloyd1 a well-known ,glasgow comedian1 who spent twelve months in ,shaw's school at ,bowes1 ,yorkshire1 afterwards testified to the truth of the outward appearance of the man as described by ,dickens and portrayed by the artist in the pages of the novel1 allowing1 of course1 for both being greatly exaggerated4 ,a sharp1 thin1 upright little man1 with a slight scale covering the pupil of one of his eyes4 ,yes1 there he stands1 with his ,wellington boots and short black trousers1 not originally cut too short1 but from a habit he had of sitting with one knee over the other1 and the trousers being tight1 they would get 'rucked' half-way up the boots4 ,then1 the clean white vest1 swallow-tailed black coat1 white necktie1 silver-mounted spectacles1 close-cut iron-grey hair1 high-crowned hat worn slightly at the back of his head--and there you have the man4 ,it certainly seems remarkable that ,mr4 ,lloyd and others who knew ,shaw recollect him as a most worthy and kind-hearted gentleman1 but this perhaps is explained by certain facts concerning him and his school that were published in the ,athenum1 ,february #ahid1 together with a commentary upon a reprint of the trial in which he was the defendant4 ,it is a curious fact that several ,yorkshire schoolmasters actually claimed to be the prototype of ,squeers2 indeed1 a member of the fraternity 7probably ,shaw himself7 declared that he remembered being waited on by two gentlemen1 one of whom held him in conversation while the other took his likeness2 and although 7says the author in his preface to the story7 ,mr4 ,squeers has but one eye1 and he has two1 and the published sketch does not resemble him 7whoever he may be7 in any other respect1 still he and all his friends know at once for whom it is meant1 because the character is so like him4 ,i think there can be no doubt that both ,dickens and ,phiz1 when delineating ,squeers1 reproduced too closely the idiosyncrasies of one individual1 and that the author's description1 as well as the artist's presentment1 bore so obvious a likeness to ,shaw1 that he became the scapegoat for others worse than himself1 and suffered accordingly4 ,,plate ,,xxxii ,,the ,,dombey ,,family ,facsimile of the ,first ,study for the ,etching by ,h4 ,k4 ,,browne 7,,phiz7 ,the ,query written beneath the ,drawing is in the autograph of the ,artist4 ,it was addressed to ,dickens1 and reads as follows3--,qy4 ,whether 'twere better to have him standing thus1 stiff as a poker1 with a kind of side glance at his daughter1--or sitting1 as in the other8 ,the ,etching differs considerably from the ,drawing4 ,lent by ,mr4 ,j4 ,f4 ,dexter4 ,illustration ,in some of the etchings may be discovered slight incongruities 7as1 for example1 in the first plate1 where ,ralph ,nickleby's hat is too small for his head71 while in others there is a palpable touch of exaggeration4 ,in the illustration1 ,the ,country ,manager ,rehearses a ,combat1 the artist has omitted to introduce the figure of the landlord who ushered into the managerial presence ,nicholas and ,smike1 and the broad-swords should have been basket-hilted weapons4 ,in the etching1 where ,nicholas instructs ,smike in the art of acting1 ,nicholas wears the rapier on the wrong side1 this oversight doubtless resulting from the non-reversal of the design upon the plate4 ,the ,nickleby illustrations are1 as a whole1 very successful2 in many instances the expressions are capitally rendered1 although it is to be regretted that the artist did but scant justice to the physical attractions of ,kate ,nickleby and ,madeline ,bray4 ,there were sixty-three quarto plates etched for the thirty-nine illustrations in the story1 each plate carrying two designs2 some of these were etched three times1 while in seven instances the quarto plate was reproduced no less than four times4 ,in none of these duplicated plates will be found such marked variations in detail as may be noted in the replicas of the ,pickwick designs1 so that the collector need only seek for well-printed impressions4#bd ,footnote #bd3 ,the ,nickleby plates were copied by ,j4 ,yeager for the first ,american edition of the story4 ,all the original drawings for ,nickleby1 with one exception1 are still in existence2 they were disposed of on ,july #af1 #ahhj1 in ,robinson ,fisher's auction-rooms1 when they realised in the aggregate rather more than a hundred pounds4 ,the missing design is that depicting ,nicholas in his capacity as tutor in the ,kenwigs family4 ,these drawings are executed in pencil and wash1 some being especially valuable by reason of marginal notes in the autograph of the novelist4 ,at the top of the original sketch for ,a ,sudden ,recognition1 ,unexpected on ,both ,sides 7kindly lent by ,mr4 ,m4 ,h4 ,spielmann for reproduction71 ,dickens has pencilled a note to the artist1 a portion of which 7that within the brackets7 has been cut away3 ,i don't think that ,smike is frightened enough or that ,squeers is earnest enough1 for my purpose1--a criticism which was apparently not productive of much alteration in the direction indicated1 unless effected in the sketch before the subject was etched4 ,the late ,mr4 ,f4 ,w4 ,cosens1 who possessed several preliminary studies of the ,kenwigs children1 had in his collection a note from ,dickens giving minute instructions to ,phiz respecting the design for the plate entitled ,great ,excitement of ,miss ,kenwigs at the ,hairdresser's ,shop4 ,the novelist desired his illustrator to depict a hairdresser's shop at night--not a dashing one1 but a barber's4 ,morleena ,kenwigs on a tall chair1 having her hair dressed by an under-bred attendant1 with her hair parted down the middle and frizzed up into curls at the sides4 ,another customer1 who is being shaved1 has just turned his head in the direction of ,miss ,kenwigs1 and she and ,newman ,noggs 7who has brought her there1 and has been whiling away the time with an old newspaper7 recognise1 with manifestations of surprise1 and ,morleena with emotion1 ,mr4 ,lillivick1 the collector4 ,mr4 ,lillivick's bristly beard expresses great neglect of his person1 and he looks very grim and in the utmost despondency4 ,the original drawing for ,nicholas ,starts for ,yorkshire presents several important variations from the published plate1 the positions of the figures being considerably altered1 the most remarkable differences being that ,ralph ,nickleby and ,squeers in the sketch are placed on the side opposite the coach and more in the background1 the coachman reading the way-bill is transferred to the spot where ,squeers now stands1 while there is another coachman looking over his shoulder1 who is omitted in the etching2 the coachman with the whip 7as seen in the plate7 was not introduced in the sketch4 ,for the monthly parts ,phiz designed a pictorial wrapper2 on either side of this wood-engraving is a corpulent figure mounted on tall stilts1 surmounted by an allegorical scene typifying ,justice1 with cornucopia1 c41 and below is seen the culprit ,squeers wading through a river1 guided by imps carrying lanterns4 ,for the two volumes of the ,library ,edition of ,nicholas ,nickleby 7#aheh-ei7 ,phiz prepared small designs1 delicately tinted in water-colours1 which were engraved on steel as vignettes for the title-pages2 the subjects represented are ,the ,nickleby ,family and ,the ,mad ,gentleman and ,mrs4 ,nickleby1 the original drawings realising #ad each at ,sotheby's in #ahhi4 ,,habl,t ,k4 ,,browne 7,,phiz7 ,,ii ,,master ,,humphrey',s ,,clock--,a ,quaint ,advertisement--,woodcuts instead of ,etchings--,phiz's ,contributions--,instances of his ,exaggerated ,grotesqueness--,mr4 ,frederic ,harrison's ,comment--,a ,powerful ,design--,illustrations in ,the ,old ,curiosity ,shop ,criticised--,ruskin's ,attack upon the ,designs in ,barnaby ,rudge--,his ,admiration of the ,woodcut of ,barnaby and ,grip--,phiz's ,frontispieces--,his ,letter to ,dickens--,an ,amusing ,epistle from ,dickens to his ,publisher--,a ,clock ,dinner--,original ,drawing of ,master ,humphrey and the ,deaf ,gentleman--,frontispiece for the ,first ,cheap ,edition of ,barnaby ,rudge--,vignettes for the ,library ,edition--,new ,designs for ,master ,humphrey's ,clock--,portraits of ,dolly ,varden1 ,little ,nell1 and ,barbara--,sale of ,water-,colour ,drawings--,,martin ,,chuzzlewit--,the ,illustrations ,characterised--,how they were ,prepared--,slight ,errors by ,phiz--,the ,original ,drawings--,minute ,instructions from ,dickens to the ,artist--,a ,humorous ,rejoinder--,sale of the ,chuzzlewit ,designs--,vignettes for the ,library ,edition--,,dombey ,,and ,,son--,the ,plates ,etched in ,duplicate--,introduction of the ,oblong ,form of ,illustration--,method of ,obtaining ,chiaroscuro--,some ,anomalies in the ,etchings--,working under ,difficulties--,dickens's ,anxiety ,respecting the ,designs--,studies for ,mr4 ,dombey--,a ,letter of ,instructions--,hints to the ,artist--,dickens ,disappointed--,the ,etching of ,mrs4 ,pipchin and ,paul--,doctor ,blimber's ,young ,gentlemen--,a ,remarkable ,oversight--,explicit ,directions from ,dickens to ,phiz--,original ,drawings for ,dombey and ,son--,slight ,variations from the ,etchings--,dombey ,sketches ,presented to ,dickens--,a ,portrait of ,little ,paul--,pictorial ,wrapper--,extra ,plates--,criticism by ,dickens--,portraits of ,alice and ,florence ,dombey--,frontispiece for the ,first ,cheap ,edition--,vignettes for the ,library ,edition4 ,sidenote3 ,master ,humphrey's ,clock1 #ahdj-da4 ,charles ,dickens's next work1 entitled ,master ,humphrey's ,clock1 which comprises ,the ,old ,curiosity ,shop and ,barnaby ,rudge1 was first issued in weekly instalments1 as well as the customary monthly parts1 the new venture being thus announced3 ,now wound up and going1 preparatory to its striking on ,saturday1 the #bhth ,march1 ,master ,humphrey's ,clock1 ,maker's name--',boz4' ,the ,figures and ,hands by ,george ,cattermole1 ,esq4 and ',phiz4' ,a novel feature of this undertaking was the illustrations1 which were not etched as hitherto1 but engraved on wood and dropped into the text1 the total number of designs being one hundred and ninety-four1 including three frontispieces and twenty-four initials4 ,of these ,phiz produced by far the greater proportion1 he being responsible for no less than a hundred and fifty-three1 including two frontispieces and all the initials2 the subjects of many of the latter1 by the way1 have no connection with the letterpress4 ,some of the drawings are unsigned1 while others have appended to them the artist's initials or monogram1 occasionally reversed4 ,at this time ,phiz was almost as anonymous as ,boz1 but when ,master ,humphrey's ,clock ultimately appeared in volume form1 his identity was fully established on the title-page as ,hablt ,browne4 ,the result of a careful analysis of the illustrations discloses the fact that ,phiz produced sixty-one for ,the ,old ,curiosity ,shop and ,barnaby ,rudge respectively1 and seven for the miscellaneous papers relating to ,the ,clock1 exclusive of the initials4 ,the greater number of figure-pieces fell to his pencil1 while the architectural subjects were entrusted to his coadjutor1 ,george ,cattermole4 ,,plate ,,xxxiii ,,paul ,,and ,,mrs4 ,,pipchin ,facsimile of the ,original ,sketch for ,dombey and ,son by ,h4 ,k4 ,,browne 7,,phiz7 ,a subsequent and more complete ,drawing of this subject is included in the ,duchess of ,st4 ,albans' ,collection4 ,lent by ,mr4 ,j4 ,f4 ,dexter4 ,illustration ,in many of the drawings 7admirably engraved by ,s4 ,williams1 ,landells1 ,gray1 and ,vasey7 ,browne hardly did himself justice1 their exaggerated grotesqueness tending to deprive these little pictorial compositions of much of their artistic value4 ,observe1 for example1 the repulsive features of ,kit1 his mother1 and the child in the tenth chapter of ,the ,old ,curiosity ,shop1 and note how positively diabolical are his representations of ,sampson ,brass and his sister1 and of ,dick ,swiveller4 ,it is difficult to believe that the terrible-looking creature intended for the ,marchioness1 in the fifty-seventh and sixty-fifth chapters1 would ever have developed into a good-looking girl1 as she really did1 according to the text4 ,it is probably such unpleasing illustrations as these which induced ,mr4 ,frederic ,harrison in ,the ,forum to condemn1 with exceeding severity1 the artist's propensity for caricature2 the grins1 the grimaces1 the contortions1 the dwarfs1 the idiots1 the monstrosities of these wonderful sketches could not be found in human beings constructed on any known anatomy4 ,other woodcuts are of course excellent1 especially those in which ,mr4 ,pickwick and the ,wellers are resuscitated4 ,one of the most striking1 however1 is the weird water-scape showing the corpse of ,quilp washed ashore--a vista of riparian scenery which1 for the sense of desolate breadth and loneliness it suggests1 it would be difficult to excel4 ,an illustration deserving special examination is the tailpiece for the chapter immediately following the end of ,the ,old ,curiosity ,shop1 where the artist has depicted ,master ,humphrey in his arm-chair1 surrounded by ,lilliputian figures1 among which may be recognised some of the principal actors in the story4 ,a careful comparison of the illustrations with the text of ,the ,old ,curiosity ,shop reveals certain slight inaccuracies on the part of the artist4 ,for example1 in the twenty-seventh chapter we read that ,quilp leant upon his stick as he beckoned to the boy carrying his trunk1 whereas ,phiz depicts him raising the stick4 ,in the woodcut portraying ,kit and his party at ,astley's ,theatre1 the umbrella should be held by ,barbara's mother1 and not ,kit's4 ,again1 in a subsequent chapter1 we are told that ,sampson ,brass's hat was grievously crushed1 but ,phiz has represented it with the crown suspended by a single thread1--a striking instance of his tendency to exaggeration4 ,the careful reader will also note 7in the seventeenth chapter7 that the stilt on the right leg of the young gentleman in ,grinder's lot is at least twelve inches shorter than its fellow1 and that ,mrs4 ,jarley's horse 7in the twenty-sixth chapter7 is considerably out of proportion with its surroundings2 the caravan1 too1 is incorrectly drawn1 and ,mrs4 ,jarley with the drum should have been placed upon the platform of the van4 ,the inherent humour of ,phiz was often propos1 an amusing instance being discoverable in the illustration of ,miss ,monflathers and her young ladies 7in the thirty-first chapter71 where the inscription on the board above the wall reads1 ,take notice--,man traps4 ,although the designs in ,barnaby ,rudge are not entirely exempt from the charge of exaggeration1 they are1 on the whole1 more pleasing4 ,the artist seems to have fairly revelled in the scenes depicting the rioters1 and1 while failing in his conception of ,sir ,john ,chester1 he successfully realised the more picturesque figures of ,barnaby and ,maypole ,hugh1 the latter being admirably limned4 ,professor ,ruskin1 however1 in his ,ariadne ,florentina1 denounces these woodcuts in language more caustic even than that of ,mr4 ,frederic ,harrison3 ,take up1 he says1 for an average specimen of modern illustrated works1 the volume of ,dickens's ',master ,humphrey's ,clock' containing ',barnaby ,rudge4'444 ,the cheap popular ,art cannot draw for you beauty1 sense1 or honesty2 and for ,dolly ,varden1 or the locksmith1 you will look through the vignettes in vain4 ,but every species of distorted folly or vice 444 are pictured for your honourable pleasure on every page1 with clumsy caricature1 struggling to render its dulness tolerable by insisting on defect4 ,the drawing of ,barnaby and the ,raven 7the final illustration in the second volume7 is one of the few the author of this pungent criticism can bring himself to admire4 ,the raven1 he observes1 like all ,dickens's animals1 is perfect2 and ,i am the more angry with the rest because ,i have every now and then to open the book to look for him4 ,respecting these woodcuts1 it may be pointed out that ,dickens omitted to mention which arm ,joe ,willet was deprived of in the defence of the ,salwanners4 ,curiously enough1 ,phiz similarly fails to assist us in deciding the point1 as1 in the illustrations depicting him after the war1 he is seen minus the right arm in four instances1 while in another woodcut it is the left which has disappeared4 ,the frontispieces designed by ,browne for the second and third volumes are both elaborate and fanciful4 ,in the first is seen an enormous hour-glass containing a crowd composed of some of the minor characters in the story1 while surrounding it are representations of the more prominent persons4 ,it was originally intended that ,george ,cattermole should execute this drawing1 but1 being prevented by illness1 it fell into the hands of ,phiz1 who thereupon wrote to the novelist3-- ,sunday ,morning4 ,,my ,,dear ,,dickens1--,will you give me some notion of what sort of design you wish for the ,frontispiece for second volume of ,clock8 ,cattermole being put hors de combat--,chapman with a careworn face 7if you can picture that7 brings me the block at the eleventh hour and requires it finished by ,wednesday4 ,now1 as ,i have two others to complete in the meantime1 something nice and light would be best adapted to my palette1 and prevent an excess of perspiration in the relays of wood-cutters4 ,you shall have the others to criticise on ,tuesday4--,yours very truly1 ,,habl,t ,k4 ,,browne4 ,in the frontispiece to the third volume is portrayed an ornamental clock1 at the summit of which is seated ,master ,humphrey1 while on either side and at the base are introduced the presentments of ,barnaby with his raven and other individuals in the tale4 ,phiz was also responsible for the elaborate design on the wrapper of the weekly numbers4 ,the following amusing epistle1 having reference to the initial letter drawn by ,phiz for the sixty-fifth chapter1 was addressed by ,dickens to a member of his publishing firm1 ,edward ,chapman1 the precipice here mentioned being a humorous allusion to the latter's approaching marriage3-- ,,broadstairs1 ,thursday1 #afth ,september #ahda4 ,,my ,,dear ,,sir1--,know for your utter confusion1 and to your lasting shame and ignominy1 that the initial letter ,,has ,,been provided1 that it was furnished to the artist at the same time as the subject--and that it is a ,d --which stands for ,double--,demnible--,doubtful--,dangerou s--,doleful--,disastrous--,dreadful --,deuced--,dark--,divorce--and ,drop--all applicable to the ,precipice on which you stand4 ,farewell6 ,if you did but know--and would pause1 even at this late period--better an action for breach than--but we buy experience4 ,excuse my agitation4 ,i scarcely know what ,i write4 ,to see a fellow-creature--and one who has so long withstood--still if--will nothing warn you8 ,in extreme excitement ,c4 ,d4 ,my hand fails me4 ,p4,s4--,,pause ,,put ,,it ,,off ,p4,p4,s4--,,emigrate ,p4,p4,p4,s4--,,and ,,leave ,,me ,,the ,,business-- ,i ,,mean ,,the ,,strand ,,one4 ,on the conclusion of the second volume of ,master ,humphrey's ,clock1 a dinner was given by ,dickens to celebrate the event4 ,serjeant ,talfourd presided1 and the guests included those engaged in the production of the work4 ,phiz1 in accepting the invitation to be present1 wrote as follows3-- #cc ,,howland ,,street #ahda4 ,,my ,,dear ,,dickens1--,i shall be most happy to remember not to forget the #ajth ,april1 and let me express a disinterested wish that1 having completed and established one ',shop' in an 'extensive line of business1' you will go on increasing and multiplying suchlike establishments in number and prosperity till you become a ,dick ,whittington of a merchant1 with pockets distended to most ,brobdignag dimensions4--,believe me1 yours very truly1 ,,habl,t ,k4 ,,browne44 ,,plate ,,xxxiv ,,mr4 ,,peggotty',s ,,dream ,,comes ,,true ,facsimile of the ,original ,drawing for ,david ,copperfield by ,h4 ,k4 ,,browne 7,,phiz7 ,in the published version the figure of ,rosa ,dartle 7on the left7 is omitted1 and ,david's hat is placed upon the table4 ,lent by ,her ,grace the ,duchess of ,st4 ,albans4 ,illustration ,through the courtesy of ,mr4 ,j4 ,f4 ,dexter1 ,i am enabled to reproduce in facsimile one of the original designs for ,master ,humphrey's ,clock1 depicting ,master ,humphrey and the ,deaf ,gentleman4 ,this drawing1 executed in pencil1 differs slightly from the engraving2 underneath it ,dickens has written1 ,master ,humphrey ,,admirable4 ,could his stick 7with a crooked top7 be near his chair8 ,i misdoubt the deaf gentleman's pipe1 and wish he could have a better one4 ,to the first cheap edition of ,barnaby ,rudge1 #ahdi1 ,phiz contributed the frontispiece1--a drawing on wood 7engraved by ,w4 ,t4 ,green7 representing ,dolly ,varden1 with ,hugh hiding in the bushes4 ,in the ,library ,edition 7#aheh-ei7 the stories were published independently1 each in two volumes1 with pretty vignettes on the title-pages1 specially designed by the same artist and engraved on steel4 ,the original drawings were delicately tinted in water-colours1 the subjects being ,little ,nell and her ,grandfather1 ,dick ,swiveller and the ,marchioness1 ,dolly ,varden and ,joe ,willet1 ,barnaby and ,hugh4 ,in these engravings the female characters are much more charmingly conceived than are those in the woodcuts4 ,in #ahdh1 when the first cheap edition of the story appeared1 ,hablt ,browne made four new designs as ,extra ,illustrations for ,the ,old ,curiosity ,shop1 viz41 ,little ,nell and her ,grandfather1 the ,marchioness1 ,barbara1 and the ,death of ,little ,nell4 ,they were beautifully engraved in stipple1 and issued as an independent publication by the artist and his coadjutor1 ,robert ,young1 whose joint venture it was4 ,in the following year they produced a similar set of four plates illustrating ,barnaby ,rudge1 viz41 ,emma ,haredale1 ,dolly ,varden1 ,mrs4 ,varden and ,miggs1 and ,hugh and ,barnaby4 ,the portraits of the various characters were engraved by ,edwards and ,knight1 under the superintendence of ,browne and ,young4 ,the original drawing of ,dolly ,varden1 one of ,phiz's happiest conceptions1 is in the possession of ,her ,grace the ,duchess of ,st4 ,albans1 together with an unengraved study for ,emma ,haredale4 ,there are extant1 in ,mr4 ,j4 ,f4 ,dexter's collection1 two other studies for the ,dolly ,varden plate1 neither of which has been reproduced2 the same gentleman also owns the drawings of ,nell and ,barbara1 the latter being slightly different from1 and superior to1 the engraving4 ,a complete series of original water-colour drawings by ,phiz for ,the ,old ,curiosity ,shop and ,barnaby ,rudge1 including an unused design for a tailpiece1 were sold at ,sotheby's in #ahig1 and realised #faj4 ,these drawings were executed as a commission for ,mr4 ,f4 ,w4 ,cosens4 99 99 99 99 99 ,sidenote3 ,martin ,chuzzlewit1 #ahdc-dd4 ,browne's versatile pencil was again actively employed in embellishing the story begun by ,dickens soon after his return from ,america in #ahdb1 and to this he contributed forty etchings4 ,here the figures are drawn on a larger scale than usual1 thus affording more scope for the delineation of character4 ,the frontispiece is a most elaborate design1 representing the principal characters and incidents in the story1 with ,tom ,pinch at the organ as a central idea4 ,in the illustration where ,mark ,tapley is seen starting from his native village for ,london1 ,phiz exhibits his sense of the picturesque in the old gables and dormers of the ancient tenements in the background1 while that depicting ,mr4 ,pecksniff on his ,mission is an excellent verisimilitude of such a locality as ,kingsgate ,street of fifty years since4 ,but the etching in ,chuzzlewit which may be described as the artist's happiest effort as a comic creation is that where ,mrs4 ,gamp propoges a toast4 ,here he has admirably illustrated the text1--the two midwives in friendly chat1 surrounded by bandboxes and other accessories1 while behind are seen the immortal ,sarah's rusty gowns1 which1 depending from the bedposts1 had so adapted themselves by long usage to her figure1 that more than one impatient husband1 coming in precipitately at about the time of twilight1 had been for an instant stricken dumb by the supposed discovery that ,mrs4 ,gamp had hanged herself4 ,all the designs for ,martin ,chuzzlewit were etched on quarto plates1 two on each plate4 ,five of these plates were etched three times1 these including1 besides the frontispiece and vignette title1 the first six illustrations in the book1 and two which appeared in the fourteenth number1 viz41 ,mr4 ,pinch ,departs to ,seek his ,fortune1 and ,mr4 ,nadgett ,breathes1 as ,usual1 an ,atmosphere of ,mystery4 ,a careful examination of different copies of the first edition will disclose minute variations in these particular illustrations1 worthy of special mention being the vignette title1 where1 in the earliest impressions1 the mark is incorrectly placed after the figures in the amount of reward on the bill4 ,in the majority of the ,chuzzlewit etchings there is a vigour and precision of touch indicating the artist's riper experience4 ,it must1 however1 be admitted that a few of the plates are so feeble in execution in comparison with the rest as to suggest that ,phiz's drawings were copied on the plate by a less expert etcher4 ,an instance of this poverty of execution will be found in the first design1 depicting ,the ,meekness of ,mr4 ,pecksniff and his ,charming ,daughters1 and the fact that this plate is unsigned seems significant2 in reply to my enquiry respecting it1 ,mr4 ,robert ,young assured me that no one ever copied or etched plates for ,browne2 he traced the subject on the steel himself1 and etched every line before it was bitten in4 ,i know no reason for the omission of his signature to any of his plates4 ,in a few instances the artist has not strictly followed the text4 ,for example1 in the plate where ,mr4 ,pecksniff calls upon ,mrs4 ,gamp1 the pie-shop is placed next door1 whereas it is clearly described as being next door but one4 ,in the etching of ,mark ,tapley finding a jolly subject for contemplation1 instead of ,mark's name being inscribed in full upon the ,rowdy ,journal door1 his initials only should appear1 in letters nearly half a foot long1 together with the day of the month in smaller type2 the four horses harnessed to the coach in which ,tom ,pinch departs to seek his fortune 7,phiz's horses1 by the way1 are always well drawn7 are described as greys1 while in the plate only one is thus represented4 ,such discrepancies1 however1 although interesting to note1 are unimportant4 ,as usual1 we find in the accessories 7such as the titles of books and pictures7 sly touches of humour peculiarly propos of the principal theme4 ,phiz's design for the wrapper of the monthly parts is emblematical of the story2 here silver spoons and wooden ladles1 as embodied in the original title1 play a conspicuous part4 ,the ,chuzzlewit drawings1 all of which have been preserved1 are executed in pencil1 some having washes of neutral tint4 ,they vary but slightly from the etchings1 the greatest differences being noted in the first two designs1 this doubtless arising from the difficulty experienced by the artist in immediately seizing the author's meaning4 ,in one special instance ,dickens favoured his illustrator with very precise instructions4 ,respecting the ,american scenes1 the artist desired more details than usual1 so he received from the novelist the following letter 7now in ,mr4 ,j4 ,f4 ,dexter's collection71 giving particulars for the plate representing ,the ,thriving ,city of ,eden1 as it appeared in ,fact4 ,martin and ,mark are displayed as the tenants of a wretched log hut 7for a pattern whereof see a vignette brought by ,chapman ,hall7 in a perfectly flat1 swampy1 wretched forest of stunted timber in every stage of decay1 with a filthy river running before the door1 and some other miserable log houses distributed among the trees1 whereof the most ruinous and tumble-down of all is labelled ',bank and ,national ,credit ,office4' ,outside their door1 as the custom is1 is a rough sort of form or dresser1 on which are set forth their pot and kettle and so forth1 all of the commonest kind4 ,on the outside of the house1 at one side of the door1 is a written placard1 ',chuzzlewit and ,co41 ,architects and ,surveyors1' and upon a stump of tree1 like a butcher's block1 before the cabin1 are ,martin's instruments--a pair of rusty compasses1 c4 ,on a three-legged stool beside this block sits ,martin in his shirt sleeves1 with long dishevelled hair1 resting his head upon his hands--the picture of hopeless misery--watching the river and sadly remembering that it flows towards home4 ,but ,mr4 ,tapley1 up to his knees in filth and brushwood1 and in the act of endeavouring to perform some impossibilities with a hatchet1 looks towards him with a face of unimpaired good humour1 and declares himself perfectly jolly4 ,mark1 the only redeeming feature4 ,everything else dull1 miserable1 squalid1 unhealthy1 and utterly devoid of hope--diseased1 starved1 and abject4 ,the weather is intensely hot1 and they are but partially clothed4 ,the artist1 naturally bewildered by such elaborate directions1 has written underneath this note3 ,i can't get all this perspective in1 unless you will allow of a long subject--something less than a mile6 ,for the plate1 ,martin ,chuzzlewit ,suspects the ,landlady1 two drawings were prepared1 but the second was probably only to guide the biter-in of the steel as to the effect of light and shade required2 for it occasionally happened that ,phiz had not time to give verbal instructions to his assistant1 when he would send a rough indication of what was needed in the matter of chiaroscuro4 ,in the original drawing representing ,the ,meekness of ,mr4 ,pecksniff and his ,charming ,daughters1 the figure of ,tom ,pinch differs from the plate1 and shows signs of having been quickly sketched in1 as though the first idea was not to introduce him at all2 in a second delineation of the same subject this figure is limned with greater care4 ,the original designs for ,chuzzlewit were disposed of at ,sotheby's in #ahhi for #dcc1 #acs41 the beautifully-finished drawing of the frontispiece realising #ce1 while that of ,mrs4 ,gamp ',propoges' a ,toast1 rightly considered as one of the artist's chef-d'oeuvres1 was purchased for #ce1 #ajs4 ,to the ,library ,edition 7#aheh-ei7 ,phiz contributed a vignette for the title-page of each of the two volumes of ,martin ,chuzzlewit1 which were engraved on steel from the original water-colour drawings4 ,the subject of the first design is almost a repetition of the etching in the original issue1 and depicts the ,meekness of ,mr4 ,pecksniff and his ,charming ,daughters1 the ladies being certainly more attractive in the later conception4 ,in the second vignette we see ,mrs4 ,gamp and ,betsy ,prig1 at the moment when the latter1 in her wrath1 denied the existence of the memorable ,mrs4 ,harris4 99 99 99 99 99 ,sidenote3 ,dombey and ,son1 #ahdf-dh4 ,among the forty illustrations prepared by ,phiz for ,dombey and ,son will be found some of the artist's happiest efforts4 ,by this time his experience with the etching-needle enabled him to execute his designs upon the steel plates with wonderful facility and dexterity1 and continual practice had made him almost perfect in this particular branch of art4 ,all these plates were etched in duplicate2 the greater number were drawn on quarto plates1 having two subjects on each as usual1 but the frontispiece1 the last four illustrations1 and the duplicates of three others were etched singly on steels of octavo size4#be ,footnote #be3 ,an ,american edition 7published in #ahdd7 contains fourteen clever replicas of the ,dombey etchings4 ,the duplicates do not vary much2 that in which an alteration is most noticeable1 although hardly perceptible1 is ,abstraction and ,recognition1 the bills on the wall near ,alice in one plate being less mutilated than in the other4 ,there was such a large circulation of the book in part form that the printing from the plates could not be executed quickly enough1 the etchings being rarely sent in until the last minute2 so that it became necessary to resort to lithographic transfers until the duplicate plates could be etched4 ,in ,dombey and ,son the artist first introduced the oblong form of illustration1 this lending itself more appropriately to the subjects so treated1 and in succeeding novels we find a fair sprinkling of designs of this shape4 ,when nearing the end of the story he essayed1 with considerable success1 a new method of obtaining chiaroscuro1 and he afterwards adopted it whenever striking effects were required4 ,the only plate in ,dombey so treated is ,on the ,dark ,road1 on which1 by means of a ruling-machine1 a tint had been placed before the subject was drawn1 and1 by a process of biting-in1 stopping-out1 and burnishing1 an effect resembling mezzotint was obtained4 ,the machine was kept in ,mr4 ,young's studio at ,furnival's ,inn1 and could be manipulated by a boy1 the operation of ruling being a purely mechanical one2 it was the subsequent treatment by acid and burnisher1 in reproducing the tones of the original drawing1 that required the knowledge of an expert4 ,a few anomalies may be discovered in the ,dombey plates4 ,in the various representations of ,captain ,cuttle the artist has depicted him1 in two instances1 with the hook upon the left arm instead of the right4 ,when comparing the three plates portraying ,sol ,gills's little back-parlour1 certain little discrepancies are apparent1 such as the altered position of the model of a brig1 c4 ,in the plate entitled ,the ,wooden ,midshipman on the ,look-out1 ,florence is delineated as a well-developed young woman1 whereas1 according to the text1 she was then but a mere child of fourteen4 ,in the same illustration the artist has drawn a pair of horses 7or rather their heads7 which can have no possible connection with the omnibus near by1 although they are evidently intended to be associated therewith4 ,in the etching ,abstraction and ,recognition1 ,alice and her mother standing in the archway are much too tall2 it is interesting to note here the advertisement on the wall of ,cruikshank's ,bottle1 which may be considered as denoting the popularity of that remarkable series of pictures1 then being issued4 ,two palpable errors are discoverable in the illustration entitled ,on the ,dark ,road1 for not only does the driver hold the reins in the wrong hand1 but it will be seen that the wheels of the rapidly-moving carriage are really represented as stationary1 while the off wheels are omitted altogether4 ,in the last plate but one1 the figure of ,florence is not sufficiently visionary1 and therefore fails to convey the author's meaning respecting the conscience-stricken ,dombey4 ,hablt ,browne invariably laboured under some disadvantage when designing his illustrations for ,dickens2 indeed1 he was sometimes compelled to draw his inspiration merely from the author's verbal explanation or reading of a particular passage2 so it is not surprising that we discover an occasional discrepancy4 ,in the case of ,dombey1 he experienced a difficulty of another kind1 for during the writing of the story ,dickens was living at ,lausanne in ,switzerland1 and the sketches had to be sent there for his criticism and approval1 which not only caused delay1 but gave the artist some trouble in understanding the suggestions made by the author when returning the drawings4 ,,plate ,,xxxv ,,mr4 ,,chadband ',,improving' ,a ,,tough ,,subject ,facsimile of the ,original ,drawing for ,bleak ,house by ,h4 ,k4 ,,browne 7,,phiz7 ,in the ,etching the figure of ,jo is placed on the opposite side of the picture4 ,lent by ,her ,grace the ,duchess of ,st4 ,albans4 ,illustration ,several letters from ,dickens to ,forster at this time express solicitude concerning these plates4 ,writing from ,lausanne on the #ahth of ,july #ahdf1 he said3 ,the prints for illustration1 and the enormous care required1 make me excessively anxious4 ,a nervous dread of caricature on the face of his merchant-hero had led him to indicate by a living person the type of city gentleman he would have had the artist select4 ,the man for ,dombey1 he explained1 if ,browne could see him1 the class man to a ,t1 is ,sir ,a----,e----1 of ,d----'s2 and this is all he meant by his reiterated urgent request1 ,i do wish he could get a glimpse of ,a41 for he is the very ,dombey4 ,it seems1 however1 that the glimpse of ,a4 was impracticable1 so it was resolved to send1 for selection by himself1 glimpses of other letters of the alphabet--actual heads as well as fanciful ones--and the sheetful of sketches forwarded for this purpose contains no less than twenty-nine typical ,dombey portraits1 comprising full-length and half-length presentments1 as well as studies of heads in various poses1 but with the same hard characteristic expression4#bf ,against four of them ,phiz has placed little arrows1 to indicate that 7in his opinion7 they best accorded with the author's conception4 ,the ,dombey actually etched was not1 after all1 an absolute transcript of these tentative ideas1 but seems to be a combination of several2 and it is curious to note that1 in the various representations of the proud city merchant as seen in the plates1 ,phiz did not keep religiously to the same type4 ,that ,dickens considered the artist's presentment as satisfactory is proved by his remark to ,forster1 ,i think ,mr4 ,dombey admirable1 this doubtless referring to the illustration entitled ,mr4 ,dombey and the ,world4 ,in a fragment of a letter preserved by ,mr4 ,j4 ,f4 ,dexter may be read a few instructions to the artist with reference to the delineation of ,mr4 ,dombey and his second wife3 ,it is a part of his character that he should be just the same as of yore4 ,and in the second subject1 ,i should like ,edith ,granger to possess the reader with a more serious notion of her having a serious part to play in the story4 ,i really hardly know1 however1 what part beyond an expression of utter indifference towards ,mr4 ,dombey4444 ,footnote #bf3 ,in ,mr4 ,andrew ,lang's opinion1 these sketches for ,mr4 ,dombey look like a collection of criminal butlers4 ,in the letter to ,forster already quoted1 the novelist sent 7for transmission to the artist7 a few hints for the earlier designs3 ,great pains will be necessary with ,miss ,tox4 ,the ,toodle family should not be too much caricatured1 because of ,polly4 ,i should like ,browne to think of ,susan ,nipper1 who will not be wanted in the first number4 ,after the second number1 they will all be nine or ten years older1 but this will not involve much change in the characters1 except in the children and ,miss ,nipper4 ,after the completion of the first two plates1 ,dickens seems to have been in better heart about his illustrator1 for1 again writing to ,forster from ,lausanne1 he said3 ,browne seems to be getting on well4 ,he will have a good subject in ,paul's christening4 ,mr4 ,chick is like ,d41 if you'll mention that when you think of it4 ,then1 a little later3 ,browne is certainly interesting himself and taking pains4 ,he seems1 however1 to have been greatly disappointed with the designs in the second number1 viz41 ,the ,christening ,party 7which he anticipated would be a success7 and ,polly ,rescues the ,charitable ,grinder1 declaring them to be so dreadfully bad 7in the sense of not keeping strictly to the text7 that they made him curl his legs up4 ,this failure on the part of the artist caused him to feel unusually anxious in regard to a special illustration on which he had set much store1 intended for the number he then had in hand4 ,communicating with ,forster anent this1 he said3 ,the best subject for ,browne will be at ,mrs4 ,pipchin's2 and if he liked to do a quiet odd thing1 ,paul1 ,mrs4 ,pipchin1 and the ,cat1 by the fire1 would be very good for the story4 ,i earnestly hope he will think it worth a little extra care4 ,on first seeing the etching of this subject1 he was sorely displeased1 and could not refrain from thus expressing himself to ,forster3 ,i am really distressed by the illustration of ,mrs4 ,pipchin and ,paul4 ,it is so frightfully and wildly wide of the mark4 ,good ,heaven6 in the commonest and most literal construction of the text it is all wrong4 ,she is described as an old lady1 and ,paul's 'miniature arm-chair' is mentioned more than once4 ,he ought to be sitting in a little arm-chair down in the corner of the fireplace1 staring up at her4 ,i can't say what pain and vexation it is to be so utterly misrepresented4 ,i would cheerfully have given a hundred pounds to have kept this illustration out of the book4 ,he never could have got that idea of ,mrs4 ,pipchin if he had attended to the text4 ,indeed1 ,i think he does better without the text2 for then the notion is made easy to him in short description1 and he can't help taking it in4 ,it is certainly strange that the sketch for this subject was not submitted to ,dickens for approval before it was etched4 ,we are told by ,forster that the author felt the disappointment more keenly because the conception of the grim old boarding-house keeper had taken back his thoughts to the miseries of his own child-life1 and made her1 as her prototype in verity was1 a part of the terrible reality4 ,in justice to the artist1 it must be conceded that the etching of this subject seems to be an excellent rendering of the description of the scene as conveyed in the letterpress4 ,phiz sometimes complained that ,dickens did not send him more than a few printed lines as a guide to the subject to be illustrated1 and1 being kept in ignorance as to the context1 he found it difficult to delineate the characters as well as the novelist might wish4 ,occasionally1 as we have seen1 he received quite a lengthy note when at work upon the designs1 these communications sometimes being partly literal extracts from the text and partly condensation1 such as the following3-- ,paul 7a year older7 has left ,mrs4 ,pipchin's and gone to ,doctor ,blimber's establishment at ,brighton4 ,the ,doctor only takes ten young gentlemen4 ,doctor ,blimber's establishment is a good hot-house for the young mind1 with a forcing apparatus always at work4 ,mental green peas are produced there at ,christmas1 and intellectual asparagus all the year round4 ,every description of ,greek and ,latin vegetable is got off the driest twigs of boys under the frostiest circumstances4 ,mrs4 ,blimber is fond of the boys not being like boys1 and of their wearing collars and neckerchiefs4 ,they have all blown before their time4 ,the eldest boy in the school--young ,toots by name1 with a swollen nose and an exceedingly large head--left off blowing suddenly one day1 and people do say that the ,doctor rather overdid it with him1 and that when he began to have whiskers he left off having brains4 ,all the young gentlemen have great weights on their minds4 ,they are haunted by verbs1 noun-substantives1 roots1 and syntactic passages4 ,some abandoned hope half through the ,latin ,grammar1 and others curse ,virgil in the bitterness of their souls4 ,classical ,literature in general is an immense collection of words to them4 ,it's all words and grammar1 and don't mean anything else4 ,subject--,these young gentlemen out walking1 very dismally and formally 7observe it's a very expensive school71 with the lettering1 ,doctor ,blimber's young gentlemen as they appeared when enjoying themselves4 ,i think ,doctor ,blimber1 a little removed from the rest1 should bring up the rear1 or lead the van1 with ,paul1 who is much the youngest of the party4 ,i extract the description of the ,doctor4 ,here follows a quotation from the eleventh chapter4 ,paul as last described1 but a twelvemonth older4 ,no collar or neckerchief for him1 of course4 ,i would make the next youngest boy about three or four years older than he4 ,a remarkable oversight on the part of ,phiz with reference to this plate is immediately observable1 for while ,dickens explicitly states the number of ,dr4 ,blimber's pupils as ten1 the artist has introduced no less than seventeen young gentlemen4 ,concerning the illustration1 ,major ,bagstock is ,delighted to have that ,opportunity1 there is extant an interesting letter 7dated ,march #aj1 #ahdg7 from ,dickens to ,phiz 7printed for the first time in ,mr4 ,d4 ,c4 ,thomson's ,memoir of ,h4 ,k4 ,browne71 in which the novelist is very explicit respecting his requirements3-- ,,my ,,dear ,,browne-- 444 ,the occasion of my coming home makes me very late with my number1 which ,i have only begun this morning2 otherwise you should have been fed sooner4444,the first subject ,i am now going to give is very important to the book4 ,i should like to see your sketch of it if possible4 ,i should premise that ,i want to make the ,major1 who is the incarnation of selfishness and small revenge1 a kind of comic ,mephistophilean power in the book2 and the ,no4 begins with the departure of ,mr4 ,dombey and the ,major on that trip for change of air and scene which is prepared for in the last ,number4 ,they go to ,leamington1 where you and ,i were once4 ,in the ,library the ,major introduces ,mr4 ,dombey to a certain lady1 whom1 as ,i wish to foreshadow dimly1 said ,dombey may come to marry in due season4 ,she is about thirty1 not a day more--handsome1 though haughty-looking--good figure1 well dressed1 showy1 and desirable4 ,quite a lady in appearance1 with something of a proud indifference about her1 suggestive of a spark of the ,devil within4 ,was married young4 ,husband dead4 ,goes about with an old mother1 who rouges1 and who lives upon the reputation of a diamond necklace and her family4 ,wants a husband4 ,flies at none but high game1 and couldn't marry anybody not rich4 ,mother affects cordiality and heart1 and is the essence of sordid calculation4 ,mother usually shoved about in a ,bath chair by a page who has rather outgrown and outshoved his strength1 and who butts at it behind like a ram1 while his mistress steers herself languidly by a handle in front4 ,nothing the matter with her to prevent her walking1 only was once when a ,beauty sketched reclining in a ,barouche1 and having outlived the ,beauty and the ,barouche too1 still holds to the attitude as becoming her uncommonly4 ,mother is in this machine in the sketch4 ,daughter has a parasol4 ,the ,major presents them to ,mr4 ,dombey1 gloating within himself over what may come of it1 and over the discomfiture of ,miss ,tox4 ,mr4 ,dombey 7in deep mourning7 bows solemnly4 ,daughter bends4 ,the native in attendance bearing a camp-stool and the ,major's greatcoat4 ,native evidently afraid of the ,major and his thick cane4 ,if you like it better1 the scene may be in the street or in a green lane4 ,but a great deal will come of it2 and ,i want the ,major to express that as much as possible in his apoplectic ,mephistophilean observation of the scene1 and in his share of it4 ,the design was promptly executed and submitted to ,dickens1 who1 in a letter to the artist dated five days later1 expressed his approval thereof3 ,the sketch is admirable1 he wrote1--the women quite perfect4 ,i cannot tell you how much ,i like the younger one4 ,there are one or two points1 however1 which ,i must ask you to alter4 ,they are capital in themselves1 and ,i speak solely for the story4 ,first--,i grieve to write it--that native--who is so prodigiously good as he is--must be in ,european costume4 ,he may wear earrings and look outlandish and be dark brown4 ,in this fashion must be of ,moses1 ,mosesy4 ,i don't mean ,old ,testament ,moses1 but him of the ,minories4 ,secondly1 if you can make the ,major older1 and with a larger face--do4 ,that's all4 ,never mind the pump-room now1 unless you have found the sketch1 as we may have that another time4 ,i shall 'propoge' to you a trip to ,leamington together4 ,we might go one day and return the next4444 ,don't mind sending me the second sketch4 ,it is so late4#bg ,footnote #bg3 ,this letter was by chance preserved from a bonfire made by ,browne of his old letters and unfinished drawings previous to a change of residence4 ,in ,mr4 ,j4 ,f4 ,dexter's collection there is a pencil-sketch by ,phiz for this subject 7evidently an earlier conception than that submitted to ,dickens71 in which the incident is depicted as occurring at the seaside 7probably ,brighton71 while1 curiously enough1 the figure of ,mr4 ,dombey is omitted4 ,another interesting drawing1 also owned by ,mr4 ,dexter1 is a tentative sketch 7in blue ink7 for ,the ,dombey ,family1 under which the artist has written the following query3 ,whether 'twere better to have him ,mr4 ,dombey standing thus1 stiff as a poker1 with a kind of side glance at his daughter--or sitting1 as in the other8 ,in the etching we see that ,mr4 ,dombey is represented as seated1 while ,florence is transferred to the other side of the picture4 ,through the kind courtesy of ,her ,grace the ,duchess of ,st4 ,albans1 ,i have been enabled to examine the original working drawings for ,dombey and ,son1 all of these1 with one exception 7viz4 ,polly ,rescues the ,charitable ,grinder1 which has mysteriously disappeared71 being in the possession of her ,grace4 ,the majority of the designs were not reversed when copied upon the steels1 and this accounts for some of the incongruities already referred to4 ,in certain cases the drawings are sketched with blue ink and the effects lightly washed in2 others are in pencil1 or pencil and brushwork combined4 ,,plate ,,xxxvi ,,dolly ,,varden ,facsimile of an ,original ,drawing by ,h4 ,k4 ,,browne 7,,phiz7 ,this ,drawing1 which was designed for the series of extra plates for ,barnaby ,rudge1 has never been engraved4 ,the published portrait of ,dolly is a reproduction of a subsequent ,drawing4 ,lent by ,mr4 ,j4 ,f4 ,dexter4 ,illustration ,in comparing the drawings with the plates1 certain unimportant variations are discoverable2 for example1 in the drawing of ,paul's ,exercises1 the candlestick is placed on the table1 and more to the right1 instead of being raised on a pile of books2 in ,major ,bagstock is ,delighted to have that ,opportunity1 the figure of the ,native is differently posed1 besides being almost erased1 in consequence1 perhaps1 of ,dickens's criticism2 in ,coming ,home from ,church1 the ringers hold two bells in either hand4 ,on one of the drawings ,dickens has placed his initials1 while in the corner of another1 ,secret ,intelligence1 the artist has written the words1 ,better1 eh8 whence we may infer that a previous sketch had been submitted4 ,it seems likely that ,phiz made two or three trial sketches for every etching in the book1 as there are still in existence other tentative designs for some of the subjects above referred to4 ,writing to the editor of the ,daily ,news 7,december #cj1 #ahhb71 ,dr4 ,edgar ,a4 ,browne1 the artist's son1 says3 ,dickens's delight in the ',dombey' illustrations as a whole was1 as a matter of fact1 very great1 and was expressed 7doubtless with some characteristic exaggeration7 so forcibly1 that my father gave him the original designs1 which were acknowledged in the following letter3-- ',,devonshire ,,terrace1 ,thirteenth ,june1 #ahdh4 ',,my ,,dear ,,browne1--,a thousand thanks for the ,dombey sketches1 which ,i shall preserve and transmit as heirlooms4 ',this afternoon1 on ,thursday1 ,i shall be near the whereabout of the boy in the flannel gown1 and will pay him an affectionate visit4 ,but ,i warn you now and beforehand 7and this is final1 you'll observe7 that you are not agoing to back out of the pigmental finishing said boy2 for if ever ,i had a boy of my own that boy is ,,mine1 and1 as the demon says at the ,surrey1 ',i ,,claim ,,my ,,victim1' ,,ha6 ,,ha6 ,,ha66 at which you will imagine me going down a sulphurous trap1 with the boy in my grasp--and you will please not to imagine him merely in my grasp1 but to hand him over4 ',for which this is your warrant and requirement4 7,signed7 ,,charles ,,dickens4 ',witness--,,william ,,topping1 ,his groom4' ,the allusion to the boy in the flannel gown has reference to a portrait of ,little ,paul1 painted by ,phiz as a present to ,dickens4 ,miss ,hogarth informs me1 however1 that she has no recollection of this picture1 nor of the ,dombey sketches4 ,phiz1 as usual1 designed the pictorial wrapper for the monthly parts1 concerning which ,dickens wrote3 ,i think the cover very good2 perhaps with a little too much in it1 but that is an ungrateful objection4 ,the criticism was justified1 however1 for the design1 though ingeniously conceived1 certainly errs on the side of over-elaboration4 ,the success attending the sale of the extra plates for ,master ,humphrey's ,clock encouraged a repetition of this form of independent publication1 and a similar series of portraits were produced of the principal characters in ,dombey and ,son4 ,four capital plates1 consisting of portraits of ,little ,paul1 ,florence1 ,edith1 and ,alice1 were designed by ,browne1 and engraved on steel 7in stipple and line7 by ,edwards and ,knight1 under the superintendence of the artist and ,robert ,young1 whose joint venture it was4 ,the engravings were published with ,dickens's sanction concurrently with the story2 the original impressions are now very scarce1 but the plates still exist in good condition1 and have recently been reprinted4 ,dickens was much pleased with these delightful portraits1 and in a hitherto unpublished letter to the artist 7dated ,january #e1 #ahdg7 he thus referred to the drawings3 ,i think ,paul very good indeed--a beautiful little composition altogether4 ,the face of ,florence strikes me as being too old1 particularly about the mouth4 ,edith1 not so handsome as in the little drawings1 and something too long and flat in the face4 ,the better ,alice of the two1 decidedly that which is opposite ,edith4 ,there are extant as many as six pencil-sketches for the portrait of ,alice1 presenting slight variations in pose and expression1 and ,mr4 ,dexter owns an interesting study 7in pencil and red chalk7 of ,florence ,dombey1 which has never been engraved4 ,almost simultaneously with the production of the above portraits1 ,phiz designed and etched eight additional plates containing full-length presentments of ,mr4 ,dombey and ,carker1 ,mrs4 ,skewton1 ,old ,sol and ,captain ,cuttle1 ,miss ,tox1 ,mrs4 ,pipchin1 ,major ,bagstock1 ,miss ,nipper1 and ,polly ,toodle4 ,this undertaking was entirely a speculation of the artist1 the plates being also issued in sets by ,chapman ,hall4 ,dr4 ,browne informs me that the original drawings were unexpectedly discovered by him1 rolled up and dirty1 and were afterwards included in the ,memorial ,exhibition of his father's works at the ,liverpool ,art ,club in #ahhc4 ,the first cheap edition of ,dombey and ,son1 #aheh1 includes a frontispiece by ,phiz1 representing the flight of ,carker4 ,the artist also contributed to each of the two volumes of the ,library ,edition 7#aheh-ei7 specially-designed vignettes1 engraved on steel1 the subjects being ,mr4 ,dombey and the second ,mrs4 ,dombey1 and ,paul with ,florence at the seaside4 ,,habl,t ,k4 ,,browne ,,iii ,,david ,,copperfield--,the ,designs prepared in ,duplicate--,phiz's ,portrait of ,mr4 ,micawber--,peggotty's ,hut--,trifling ,errors in the ,plates--,original ,drawings--,designs for ,i ,make myself ,known to my ,aunt--,variations in the ,etchings--,frontispiece for the ,first ,cheap ,edition--,vignettes for the ,library ,edition--,,bleak ,,house--,plates partly ,duplicated--,some ,curious ,inaccuracies--,skimpole successfully ,portrayed--,phiz takes ,mental ,notes--,original ,drawings--,alterations in the ,plates--,the ,bleak ,house ,illustrations ,criticised--,frontispiece for the ,first ,cheap ,edition--,vignettes for the ,library ,edition--,,little ,,dorrit--,illustrations ,unsigned--,machine-ruled ,designs--,a ,letter from ,dickens respecting one of the ,plates--,original ,drawings--,pictorial ,wrapper--,a ,,tale ,,of ,,two ,,cities--,a ,letter from ,phiz to his ,son--,dickens ,forestalled--,an ,unpublished ,design--,last of ,dickens's ,stories ,illustrated by ,phiz--,the ,artist's ,conjectures as to the ,cause of the ,severance--,his ,tender ,regard for the ,novelist--,his ,antecedents--,apprenticeship at ,finden's--,exhibits at the ,royal ,academy--,inability to ,draw from the ,life--,some ,letters to ,dickens--,the ,pic ,nic ,papers--,an ,early ,reminiscence of ,dickens--,phiz's ,remuneration--,from ,prosperity to ,adversity--,serious ,illness--,a ,broken-down ,old ,man--,paralysis--,a ,pathetic ,grievance--,applies for a ,government ,pension--,recognition by the ,royal ,academy--,decline of ,imagination and ,power of ,invention--,death of the ,artist--,mr4 ,j4 ,g4 ,fennell's ,tribute--,phiz's ,shyness--,an ,extraordinary ,commission--,water-colour ,replicas of the ,dickens ,illustrations--,vignettes for the ,library ,edition of ,sketches by ,boz and ,oliver ,twist--,phiz's ,fellow-,apprentice1 ,coadjutor1 and ,friend--,etching the ,plates--,mezzotint ,effects--,furnival's ,inn--,a ,note from ,phiz to his ,colleague--,mr4 ,robert ,young's ,autobiographical ,sketch4 ,sidenote3 ,david ,copperfield1 #ahdi-ej4 ,in ,david ,copperfield1 the most fascinating of ,dickens's novels1 it cannot be said that ,phiz quite rose to the occasion4 ,although some of these plates he never excelled1 the majority are marked by a certain hardness and stiffness of treatment1 and are conspicuously deficient in that vigour and deftness of touch which characterise his previous efforts4 ,as in the case of ,dombey and ,son1 the whole of the designs were etched in duplicate1 the replicas differing but slightly from the originals4 ,about half of the series were executed singly on octavo steels1 instead of in couples on the usual quarto plates4 ,in one of the designs1 viz41 ,the ,river1 the artist has again resorted to the ruling-machine for attaining the desired effect1 but the result is poor and meagre4 ,he has succeeded admirably in his presentment of ,micawber1 respecting which ,dickens wrote to ,forster3 ,browne has sketched an uncommonly characteristic and capital ,mr4 ,micawber for the next number4 ,the most pleasing of all these etchings1 however1 are those in which the boy-hero figures1 such as those depicting him with the friendly waiter at the bar of the public-house1 and as1 with battered hat and ragged raiment1 he makes himself known to his aunt4 ,it has been asserted that ,phiz at this period sometimes grew careless1 and that ,dickens did not exercise that particular surveillance over the artist's work which he customarily bestowed upon it in the early days4 ,for example1 the novelist thus describes ,peggotty's odd residence1 an old boat drawn up on land and fashioned into a house3 ,there was a delightful door cut in the side1 and it was roofed in1 and there were little windows in it4 ,he never refers to it as an inverted boat1 although it is so delineated by ,phiz1--indeed1 the inference is that the vessel stood upon its keel1 for elsewhere it is mentioned as being left high and dry1 as though it were a boat that had been washed ashore4 ,if such was the novelist's conception1 it seems strange and unaccountable that he should have accepted without a protest the artist's misrepresentation of ,peggotty's home4 ,curiously enough1 there might have been seen within recent years1 on the open ,denes at ,yarmouth1 an inverted boat similarly converted into a cosy residence1 the existence of which apparently gives actuality to ,phiz's drawing4 ,in some of the etchings may be discovered a few trivial errors2 for instance1 in the plate entitled ,somebody ,turns ,up1 ,mrs4 ,heep is left-handed1 an oversight which 7as in previous cases7 is doubtless the result of the etching being in reverse of the original design1 although ,phiz was generally careful to remember this when preparing his sketches4 ,strange to relate1 in the scene depicting divine service at ,blunderstone ,church1 he has omitted the officiating clergy6 ,in ,my ,first ,fall in ,life1 the horses 7especially the leaders7 are undoubtedly disproportionate1 and the same criticism applies to the figures in the illustration depicting the unexpected arrival of ,david and his friend at ,peggotty's fireside4 ,in the etching of ,the ,river1 the scene should have been reversed1 and from this point of view 7the river-side at ,millbank7 the dome of ,st4 ,paul's is not visible1 although it is shown in the picture4 ,another curious mistake is apparent in the interesting plate entitled ,our ,housekeeping2 here ,david is seen struggling with a loin of mutton1 whereas in the text the joint is distinctly described as a boiled leg of mutton4 ,it is amusing to note the appropriate character of the pictures adorning the walls of some of ,phiz's interiors4 ,in the etching of ,the ,friendly ,waiter and ,i he has thus introduced the scene illustrating the familiar fable of the ,fox and the ,stork2 in ,changes at ,home we have the ,return of the ,prodigal ,son and the ,finding of ,moses in the bulrushes2 and in the plate delineating ,steerforth and ,miss ,mowcher will be noticed over the fireplace a scene from ,gulliver's adventures in ,brobdingnag1 an allusion to the diminutive proportions of the remarkable dwarf who was so volatile4 ,her ,grace the ,duchess of ,st4 ,albans possesses the complete series of working drawings for ,david ,copperfield4 ,like the ,dombey designs1 these highly-finished drawings are executed chiefly in pencil and the effects washed in with indian-ink1 while a few are in pencil only4 ,of that well-known design1 ,i ,make myself ,known to my ,aunt1 there exist no less than three tentative sketches2 the first 7on which the artist has written ,or--so--so87 represents ,miss ,trotwood sitting flat down on the garden-path1--a pose which1 although accurate enough according to the text1 was rightly deemed inartistic1 whereupon the artist prepared another design1 and submitted it to ,dickens4 ,in the second picture 7where ,phiz has queried1 ,or--so871 the lady stands erect1 but the pathetic appearance of ,david is lost1 and the composition of the background proves less fortunate4 ,in the etching ,phiz combined the two designs1--that is1 he used the first drawing1 but substituted the standing figure of ,miss ,trotwood for the seated one4 ,on the margin of the second design the artist 7in a humorous mood7 has limned an unmerciful caricature of the whole incident4 ,the third tentative drawing for this subject1 believed to be the first sketch1 was sold at ,sotheby's in #ahhg for #f1 #aes42 it is now in the collection of ,mr4 ,thomas ,wright1 of ,paris4 ,with the sketch for ,the ,friendly ,waiter and ,i the novelist was delighted4 ,phiz originally represented ,david as wearing a long jacket1 but this not being quite in accordance with ,dickens's idea1 he wrote asking the artist to put ,davy in a little jacket instead of this coat1 without altering him in any other respect1 which was accordingly done4 ,in the drawing for the plate entitled ,my ,magnificent ,order at the ,public-house1 the form of the two large spirit-vessels behind ,david are more jug-shaped than in the etching4 ,the little white hat1 by-the-way1 as here worn by ,david1 is just such head-gear as ,dickens himself disported when a boy4 ,in the drawing of ,david on the box-seat of the coach1 ,my ,first ,fall in ,life1 the western towers of ,canterbury ,cathedral are indicated in the distance1 but these are omitted in the etching4 ,in the scene1 ,mr4 ,micawber ,delivers some ,valedictory ,remarks1 certain faint lines are observable near the principal figure1 indicating that he was originally delineated in a different attitude4 ,the effective sketch of ,the ,wanderer portrays more of the woman's figure than is visible in the plate4 ,in the design entitled ,our ,housekeeping1 the frame of a mirror or picture is introduced on the wall behind ,david1 but this was afterwards considered superfluous2 and in the drawing of ,the ,emigrants1 ,mr4 ,micawber grasps a telescope1 which does not appear in the plate4 ,the drawing of ,mr4 ,peggotty's ,dream ,comes ,true varies considerably from the etching1 for not only is ,david seen wearing a hat 7which in the etching is placed upon the table71 but the artist has included a fourth figure1 that of ,rosa ,dartle1 who1 seated in the chair1 leans her head upon her arms above the table4 ,the introduction of ,miss ,dartle is1 of course1 incorrect1 as she had left the room before ,mr4 ,peggotty entered2 but the error was detected1 and the necessary alteration effected in the published design4 ,phiz's pictorial wrapper for the monthly parts is replete with detail1 around the title in the centre being displayed various figures apparently exemplifying the ,seven ,ages of ,man1 with ,dame ,fortune crowning the whole4 ,the first cheap edition of ,david ,copperfield1 #aheh1 contained a frontispiece by ,phiz1 engraved on wood by ,swain1 representing ,little ,em'ly and ,david as children on ,yarmouth ,sands2 to the ,library ,edition 7#aheh-ei7 the artist contributed two vignettes 7engraved on steel71 the subject in the first volume being ,little ,em'ly and ,david by the sea1 and for the second1 another version of the etching entitled ,mr4 ,peggotty's ,dream ,comes ,true4 99 99 99 99 99 ,sidenote3 ,bleak ,house1 #aheb-ec4 ,in the forty illustrations for ,bleak ,house the artist introduced a greater variety of subjects1 and resorted more frequently to the use of the ruling-machine1 no less than ten being so treated with considerable success4 ,phiz etched one complete set of the plates and duplicates of the machine-ruled designs1 which were repeated probably because they could not so readily withstand the wear-and-tear of the printing4 ,a very few of the ,bleak ,house illustrations are signed4 ,in some of them the details do not entirely accord with the letterpress1 a noteworthy instance of this inaccuracy being found in the etching entitled ,miss ,jellaby1 who is represented as dipping her forefinger in the egg-cup1 whereas we are told that it was her inky middle finger4 ,a more important oversight in the same picture is the introduction of the infant ,jellaby in the bed1 who was not in the room at all1 as a careful reading of the text readily discloses4 ,in two instances1 ,turveydrop pre is depicted without the false whiskers he customarily wore1 and in the illustration of ,the ,smallweed ,family1 the son is incorrectly omitted4 ,it is perhaps worth noting an odd mistake on the part of the artist--in the etching entitled ,consecrated ,ground he has represented the iron gates in a manner to lead one to suppose they could not be opened2 it is unfortunate1 too1 that1 in this pathetic scene 7in which1 by the way1 the chiaroscuro is curiously forced7 he partly destroys its sentiment by inappropriately introducing on the left the comical shadow of a man in the act of drinking from a tankard4 ,with reference to one of the characters in ,bleak ,house ,dickens wrote to ,forster3 ,browne has done ,skimpole1 and helped to make him singularly unlike the great original4 ,the great original was1 of course1 ,leigh ,hunt1 a fact which the novelist himself did not so successfully disguise1 and subsequently paid the penalty for his indiscretion4 ,phiz invariably depended upon his imagination or memory for his scenes and characters2 as the artist himself expressed it1 he would merely go to have a look at a thing1 and then be able to prepare his picture without further aid4 ,for instance1 before designing the weird illustration of ,the ,lonely ,figure in ,bleak ,house1 he visited a lime-pit1 in order to see what the big crushing-wheels were like that he desired to introduce1 and made a mental note of them without leaving the seat of his trap4 ,besides the original working drawings for ,dombey and ,son and ,david ,copperfield1 ,her ,grace the ,duchess of ,st4 ,albans also possesses those for ,bleak ,house4 ,they vary considerably in treatment1 some being carefully rendered1 while those reproduced with the mezzotint shading are very broadly and vigorously executed by means of a soft lead-pencil1 the lights heightened with chinese-white4 ,in comparing the drawings with the etchings1 slight variations may here and there be noted2 for example1 in the design for ,mr4 ,guppy's ,entertainment1 ,mr4 ,jobling was first seen wearing his hat1 but this was partly obliterated and the contour of the head afterwards drawn in2 in ,visitors at the ,shooting ,gallery1 the figure of ,mr4 ,george is slightly different in pose1 while the sword rests on his shoulder2 in ,mr4 ,smallweed ,breaks the ,pipe of ,peace1 ,miss ,smallweed stands a short distance from her father's chair1 holding his long clay2 in the charming design representing ,lady ,dedlock in the ,wood1 we see ,ada coming up behind her ladyship1 the figure of ,charley 7differently posed7 being transferred to the other side of the picture4 ,a more remarkable alteration1 however1 occurs in the design ,mr4 ,chadband ',improving' a ,tough ,subject4 ,chadband's attitude is entirely changed from that in the etching1 and ,jo is placed on the other side of the drawing1 with his back to ,guster1 while a cat reposes upon an ottoman near ,mrs4 ,snagsby4 ,in the drawing of ,attorney and ,client1 the face of ,mr4 ,vholes is of a type differing from the published version1 and his arms rest upon the desk2 also1 there is no waste-paper basket1 and the deed-box is nearer the table4 ,mr4 ,j4 ,f4 ,dexter has another sketch for this illustration 7presumably an earlier one71 in which ,richard ,carstone stands with his back to the table1 with his right hand pressed despondingly against his forehead4 ,the original drawings for the sombre scenes1 although more effective than the etched reproductions1 are remarkably crude in treatment--a criticism which applies more especially to those depicting1 ,the ,lonely ,figure and ,the ,night4 ,the etchings of these subjects are technically superior to the drawings1 their quality1 however1 being principally owing to the results obtained by means of the ruling-machine4 ,the late ,mr4 ,james ,payn once expressed the belief that it was ,phiz's selection of subjects such as these which made him so acceptable an illustrator to ,dickens4 ,in #ahhb1 a writer in ,the ,academy1 who considered the illustrations in ,bleak ,house as being practically perfect1 said of them3 ,not only is the comic side1 the even fussily comic1 such as ',the ,young ,man of the ,name of ,guppy1' understood and rendered well1 but the dignified beauty of the old country-house architecture1 or the architecture of the chambers of our ,inns-of-court1 is conveyed in brief touches2 and there is apparent everywhere that element of terrible suggestiveness which made not only the art of ,hablt ,browne1 but the art of ,charles ,dickens himself1 in this story of ',bleak ,house1' recall the imaginative purpose of the art of ,mryon4 ,what can be more impressive in connection with the story--nay1 even independently of the story--than the illustration of ,mr4 ,tulkinghorn's chambers in gloom2 than the illustration of the staircase of ,dedlock's own house1 with the placard of the reward for the discovery of the murderer2 than that of ,tom ,all ,alone's2 the dark1 foul darkness of the burial-ground under scanty lamplight1 and the special spot where lay the man who 'wos wery good to me--he wos6'8 ,and then again1 ',the ,ghost's ,walk1' and once more the burial-ground1 with the woman's body--,lady ,dedlock's--now close against its gate4 ,of course it would be possible to find fault with these things1 but they have nothing of the vice of tameness--they deliver their message effectually4 ,it is not their business to be faultless2 it is their business to impress4 ,the design for the monthly wrapper is emblematical of the ,court of ,chancery1 the artist availing himself of this opportunity of indulging in humorous pencillings reflecting upon the integrity of lawyers4 ,phiz contributed the frontispiece to the first cheap edition1 #aheh1 representing ,mr4 ,jarndyce and his friends in ,bell ,yard4 ,he also designed the usual vignettes for the two volumes in the ,library ,edition 7#aheh-ei71 which were engraved on steel2 in the first is delineated ,lady ,dedlock and ,jo1 and in the second we behold ,lady ,dedlock and ,esther ,summerson in the wood1 the latter composition much resembling the original etching of the same incident4 99 99 99 99 99 ,sidenote3 ,little ,dorrit1 #ahee-eg4 ,among the illustrations in ,little ,dorrit there are some as feeble in execution as there are others remarkable for exceptionally vigorous treatment2 and it is worthy of note that1 whereas in ,bleak ,house the artist began partly to relinquish the custom of appending his familiar nom de guerre to the plates1 in ,little ,dorrit not a single design bears his signature4 ,an examination of the ,dorrit etchings discloses the fact that no less than eight are toned by means of the ruling-machine1 the result being even more satisfactory than usual4 ,the first of these ruled plates represents the interior of a ,french prison1 and the effect of deep gloom1 enhanced by a few bright rays of light darting through the barred window1 is remarkable for its ,rembrandt-like chiaroscuro4 ,pleasantly contrasting with this sombre subject there is the plate depicting ,the ,ferry1 a delightfully rural view1 with trees and winding river1 and that entitled ,floating ,away1 where the moon1 rising behind the trees1 imparts a romantic aspect to the scene4 ,the old house in the last illustration but one1 ,damocles1 indicates ,phiz's power in expressing the picturesqueness of ancient architecture1 and his appreciation of the effect of light as it falls upon quaintly-carved door and window4 ,the plate entitled ,mr4 ,flintwinch has a ,mild ,attack of ,irritability is probably one of the most forcible etchings ever executed by ,phiz1 and it is difficult to conceive that the same master-hand was responsible for the apparently inexperienced work to be found in an earlier illustration1 ,little ,mother1 the execution of which is as timid and lifeless as the other is bold and expressive4 ,phiz etched one complete set of the plates1 and duplicated the tinted subjects1 the variations from the originals being slight and unimportant4 ,of the forty illustrations1 thirty-four are on octavo plates containing single subjects1 and three are quarto plates having two subjects on each4 ,,plate ,,xxxvii ,,study ,,for ,,miss ,,haredale ,facsimile of an ,original ,drawing by ,h4 ,k4 ,,browne 7,,phiz7 ,designed for the series of extra plates for ,barnaby ,rudge4 ,this ,drawing differs from the published ,engraving4 ,lent by ,her ,grace the ,duchess of ,st4 ,albans4 ,illustration ,a part of ,little ,dorrit was composed in ,france1 and on ,july #b1 #ahef1 ,dickens informed the artist that he was returning to ,boulogne the next day1 and desired him to make the illustration of ,the ,pensioner ,entertainment as characteristic as ever you please1 my little dear1 but quiet4 ,this plate proved a decided success4 ,when1 early in #aheg1 the novelist was again in ,london1 ,phiz forwarded for his inspection a sketch for the etching entitled ,an ,unexpected ,after-dinner ,speech1 which1 however1 did not quite realise ,dickens's idea2 whereupon the artist received a letter 7printed for the first time in ,mr4 ,thomson's ,memoir7 suggesting certain improvements1 afterwards duly carried out4 ,in the dinner scene1 he wrote1 it is highly important that ,mr4 ,dorrit should not be too comic4 ,he is too comic now4 ,he is described in the text as 'shedding tears1' and what he imperatively wants is an expression doing less violence in the reader's mind to what is going to happen to him1 and much more in accordance with that serious end which is so close before him4 ,pray do not neglect this change4 ,dickens seems to have been much pleased with the artist's original drawings of ,flora's ,tour of ,inspection and ,mr4 ,merdle a ,borrower1 which he characterised as very good subjects--both4 ,of the latter he said3 ,i can't distinctly make out the detail1 but ,i take ,sparkles to be getting the tortoise-shell knife from the box4 ,am ,i right8 ,only a few of the drawings for ,little ,dorrit have been available for my inspection4 ,two of these1 viz41 ,mr4 ,merdle a ,borrower and ,under the ,microscope 7now in ,mr4 ,j4 ,f4 ,dexter's collection71 are executed in pencil and wash1 the second design not being reversed in the etching4 ,as usual1 the pictorial wrapper for the monthly parts was designed by ,phiz4 ,the central picture represents ,little ,dorrit emerging from the gates of the ,marshalsea2 above is placed the despondent figure of ,britannia in a bath-chair1 attended by figures emblematical of the ,circumlocution ,office1 while at the base of the design is seen a mixed assemblage of people1 including some of the more prominent characters in the story4 99 99 99 99 99 ,sidenote3 ,a ,tale of ,two ,cities1 #ahei4 ,although ,a ,tale of ,two ,cities was written specially for the pages of ,all the ,year ,round1 it appeared concurrently in the familiar monthly numbers1 with illustrations by ,phiz4 ,the artist1 in writing to his son ,walter1 said3 ,a rather curious thing happened with this book4 ,watts ,phillips1 the dramatist1 hit upon the very same identical plot3 they had evidently both of them been to the same source in ,paris for their story4 ,watts's play ',the ,dead ,heart' came out with great success1 with stunning climax1 at about the time of ,dickens's sixth number4 ,the public saw that they were identically the same story1 so ,dickens shut up at the ninth number1 instead of going on to the eighteenth as usual4 ,whether this explanation is correct or not1 the fact remains that ,a ,tale of ,two ,cities was brought to a conclusion in the eighth number 7not the ninth1 as stated by ,phiz71 being therefore less than half the usual length of ,dickens's serials4 ,as in the case of ,little ,dorrit1 the artist's signature does not appear in any of the sixteen etchings contributed by ,phiz to this novel4 ,it has been pointed out that the ,french personages in the pictures are not characteristic of the period1 there being but little attempt at archaeological accuracy in the costumes4 ,only one set of the illustrations was prepared1 none being etched in duplicate2 they were executed on eight quarto steels1 each bearing two designs4 ,of the original drawings for ,a ,tale of ,two ,cities ,i have seen only one 7now in ,mr4 ,j4 ,f4 ,dexter's collection71 and this was never etched4 ,the sketch in question1 which is vigorously executed with pencil and brush1 depicts the incident of the stoppage at the ,fountain1 and constitutes an excellent subject for illustration4 ,the artist's design for the monthly wrapper is composed of distinct scenes separated by dividing lines4 ,at the top of the page is ,st4 ,paul's ,cathedral as viewed from the ,thames1 and at the base the ,cathedral of ,ntre ,dame is represented1 while around are displayed some of the prominent characters in the story4 ,a ,tale of ,two ,cities is the last of the novels containing illustrations by ,phiz1 for1 with the completion of the final plate in that story1 there came a severance of that fortuitous collaboration between novelist and artist which had been maintained during a period of twenty-three years4 ,as there is no evidence of any actual rupture between them1 it is fair to surmise that a legitimate desire on the part of ,dickens for a new illustrator constituted the actual reason for that severance4 ,phiz naturally felt aggrieved at ,dickens's strangely silent manner of breaking the connection1 and could only surmise the reason2 for1 in an undated letter to ,mr4 ,robert ,young1 written presumably a short time before the publication of the succeeding story1 he said3 ,marcus ,stone is no doubt to do ,dickens4 ,i have been a 'good boy1' ,i believe4 ,the plates in hand are all in good time1 so that ,i do not know what's 'up1' any more than you4 ,dickens probably thinks a new hand would give his old puppets a fresh look1 or perhaps he does not like my illustrating ,trollope neck-and-neck with him--though1 by ,jingo1 he need fear no rivalry there6 ,confound all authors and publishers1 say ,i4 ,there is no pleasing one or t'other4 ,i wish ,i had never had anything to do with the lot4 ,the amicable relationship that had subsisted between the author and his principal illustrator was not strained by this event4 ,as a matter of fact1 the artist ever entertained a tender regard and admiration for the famous romancer with whom he had so long been associated1 and we may readily believe what a writer in the ,frankfurt ,zeitung tells us when he says3 ,just after the death of ,charles ,dickens1 ',phiz' was considerably affected by the mere mention of the name of that illustrious novelist1 which seemed to stir up in his breast feelings of regret at losing such a friend4 99 99 99 99 99 ,hablt ,knight ,browne1 as designer of the plates for ten of the fourteen principal novels by ,immortal ,boz1 is justly termed the illustrator of ,dickens4 ,his name and fame are similarly identified with the works of ,lever and ,ainsworth1 while1 in addition to this1 his familiar signature 7,fizz1 ,whizz1 or something of that sort1 as ,tom ,hood used to say1 when endeavouring to recall the artist's sign-manual7 may be found appended to innumerable etchings and woodcuts4 ,he was born at ,kennington1 ,london1 in ,july #ahae1 being the ninth son of ,william ,loder ,browne1 who is somewhat indefinitely described as a merchant4 ,the artist's forefathers were of ,french descent1 the original name 7according to tradition7 being ,le ,brun1 a member of which family emigrated to ,england after the ,massacre of ,st ,bartholomew in #aegb4 ,his ancestors lived in ,london in the early part of the last century and adopted the essentially ,english cognomen of ,browne4 ,with regard to the artist's baptismal names1 it is interesting to learn that the first 7,hablt7 was the patronymic of a ,colonel 7or ,captain7 who was engaged to marry a sister of ,phiz1 but was killed in a charge of ,napoleon's ,garde ,impriale at ,waterloo1 while the second 7,knight7 was received from ,admiral ,sir ,john ,knight1 an old friend of the family2 thus1 in respect of names1 was the artist associated with both ,army and ,navy4 ,phiz inherited a strong artistic faculty1 and1 when a boy1 was encouraged to cultivate his wonderful talent for drawing by his brother-in-law1 ,mr4 ,elhanan ,bicknell1 the well-known ,art patron1 who took so keen an interest in his welfare that he offered to defray all expenses of a thorough art education4 ,it was through ,mr4 ,bicknell's generosity that the youth was apprenticed to ,finden1 the engraver1 who1 it appears1 more than once complained that his protg persisted in covering with comic figures the entire margins of the plates entrusted to him1 thus indicating the humorous bent of his mind4 ,in after years he took occasional lessons in painting1 but he never distinguished himself as a painter1 although he occasionally exhibited at the ,royal ,academy and other public galleries4 ,the only regular training he ever had was at ,finden's2 but the work he was required to perform there proved much too irksome and monotonous for one who1 like ,phiz1 possessed ideas so eminently original and fanciful4 ,as in the case of his two famous contemporaries1 ,cruikshank and ,leech1 ,phiz could never accustom himself to draw from the living model1 which accounts1 of course1 for his conventional treatment of the human figure2 his representations of moving crowds1 as well as other scenes of life and character1 being drawn either from recollection or by the aid of a few slightly-pencilled memoranda4 ,it is unfortunate for my present purpose that nearly all the correspondence which passed between author and artist should have been destroyed4 ,i am enabled1 however1 to print one or two brief notes indicating their friendly and familiar relationship4 ,in #ahda1 ,phiz supplied some etchings to ,the ,pic ,nic ,papers1 a collection of essays edited by ,dickens and produced for the benefit of ,mrs4 ,macrone1 the widow of the well-known publisher1 who had been left in impoverished circumstances4 ,in reply to an inquiry on the part of the novelist respecting the illustrations1 the artist wrote3-- ,,my ,,dear ,,dickens1--,i have just got one boot on1 intending to come round to you1 but you have done me out of a capital excuse to myself for idling away this fine morning4 ,i quite forgot to answer your note1 and ,mr4 ,macrone's book has not been very vividly present to my memory for some time past1 for both of which offences ,i beg innumerable pardons4 ,i think by the beginning of next week or the middle 7certain7 ,i shall have done the plates1 but on the scraps of copy that ,i have ,i can see but one good subject1 so if you know of another1 pray send it me4 ,i should like ',malcolm' again1 if you can spare him4--,yours very truly1 ,very short of paper4 ,,habl,t ,k4 ,,browne4 ,the following terse epistle is undated1 which is characteristic of ,phiz's letters3-- ,,my ,,dear ,,dickens1--,i am sorry ,i cannot have a touch at battledore with you to-day1 being already booked for this evening1 but ,i will give you a call to-morrow after church1 and take my chance of finding you at home4--,yours very sincerely1 ,,habl,t ,k4 ,,browne4 ,on ,march #ae1 #ahdg1 when forwarding to the artist some written instructions respecting a ,dombey illustration1 the novelist made an interesting allusion to an early incident in his own life4 ,i wish you had been at poor ,hall's#bh funeral1 and ,i am sure they would have been glad4444 ,he lies in ,highgate ,cemetery1 which is beautiful4444,is it not a curious coincidence1 remembering our connection afterwards1 that ,i bought the magazine ,the ,monthly ,magazine1 ,dec4 #ahcc in which the first thing ,i ever wrote was published ,a ,dinner at ,poplar ,walk from poor ,hall's hands8 ,i have been thinking all day of that1 and of that time when the ,queen went into the ,city1 and we drank claret 7it was in their ,chapman ,hall's earlier days7 in the counting-house4 ,you remember8 ,footnote #bh3 ,partner in the firm of ,chapman ,hall4 ,phiz received fifteen guineas each for his early plates1 but sometimes agreed to accept smaller fees2 he estimated that it took him ten days to prepare and etch four designs4 ,being a bad business man1 he never raised his prices1 the consequence being that his income was not what it should have been for one who so long held a unique position as an illustrator of popular books4 ,during the first ten or twelve years of his professional life he was comparatively prosperous1 but when etching as a means of illustrating went out of favour1 and he became somewhat indifferent concerning this method of work1 his income suffered considerably4 ,the artist did not actually experience financial difficulties1 however1 until he was seized with a serious illness in #ahfg1 said to have been partly caused by his having slept in a draught at a seaside house4 ,after five months of great suffering he again essayed to use his pencil1 but it soon became obvious to his friends that his health was completely shattered1 and that1 in less than six months1 he had become a broken-down old man4 ,the worst trouble of all was a partial paralysis of the right arm and leg1 which he persisted in calling rheumatism1 and in consequence of which his hand lost its cunning4 ,then it was that the demand for his work practically ceased4 ,i don't know where to turn or what to do1 he wrote in #ahgi4 ,i have at last come to a full stop1 and don't see my way just yet to get on again4 ,my occupation seems gone1 extinct2 ,i suppose ,i am thought to be used up1 and ,i have been long enough before the public4 ,i have not had a single thing to do this year1 nor for some months previous in the past year4 ,in #ahgh1 at the suggestion of his friend ,mr4 ,luke ,fildes1 ,r4,a41 ,phiz applied to ,government for a pension4 ,the petition was prepared by ,mr4 ,robert ,young1 but the result was unfavourable4 ,happily he received unexpected assistance from another quarter1 in the shape of a well-deserved annuity from the ,royal ,academy1 awarded in recognition of his distinguished services to ,art4 ,ever hopeful of being restored to health1 he began on his recovery to again use his pencil1 but the crippled condition of his right hand1 together with the rapid decline of his fanciful imagination and power of invention1 made it impossible for him to produce anything worthy of his past reputation4 ,at length his affliction became so pronounced that all hope of recovery was abandoned1 and on the #hth of ,july #ahhb the famous ,phiz breathed his last1 in his sixty-seventh year4 ,he spent the end of his busy life in the quiet seclusion of ,hove1 and his last resting-place is on the summit of a hill on the northern side of the extra-mural cemetery at ,brighton4 ,phiz's many excellent qualities far outweighed any defects in his character4 ,a life-long friend of the artist1 ,mr4 ,john ,greville ,fennell1 writes thus to me3 ,no man knew more of ,hablt ,browne than ,i did1 for though he was very reticent to most1 he never1 ,i believe1 concealed anything from me4 ,we used to wander together in the country for two or three weeks or more at a time1 and a man more full of fun1 when he had thrown off the 'harness1' ,i have not known in my large acquaintance4 ,his naturally modest disposition eventually developed into a remarkable shyness1 and this1 when coupled with a dislike of publicity1 was often misconstrued as pride4 ,even ,dickens had considerable difficulty in persuading him to meet a few friends and spend a pleasant evening4 ,when he did accept such invitations1 he invariably tried to seclude himself in a corner of the room or behind a curtain4 ,in former years he was occasionally prevailed upon to attend certain dinners given by ,dickens to celebrate the completion of his stories2 and the novelist sometimes succeeded in inducing him to accept invitations to join him for a brief holiday by the sea1 as we learn from a communication addressed to ,forster1 and dated from ,bonchurch during the ,copperfield days1 in which ,dickens said3 ,browne is coming down when he has done his month's work4 ,eventually1 all desire for social intercourse ceased1 ,phiz preferring to lead the life of a recluse in his country home4 ,a short time prior to his severe illness in #ahfg1 ,hablt ,browne received an extraordinary commission from ,mr4 ,f4 ,w4 ,cosens1 one of his most liberal patrons1 who solicited the artist to make coloured replicas of the entire series of his published designs for the works of the great novelist4 ,in a letter to me on this subject in #ahhb1 ,mr4 ,cosens said3 ,i remember to have had only two or three interviews with him1 and1 as a stranger1 found him shy and nervous4 ,i desired to secure any sketches he might have of the illustrations to ,dickens1 but understood him to say he had none1 as he drew them on the blocks plates4 ,he evidently did not like the drudgery of reproduction1 and named such terms as he thought would deter me2 but finding the honorarium was of great importance to him1 the bargain was struck4 ,the work extended over some years1 and the later productions evince haste and inferiority4 ,the work can hardly be called water-colour drawing1 as it is simply sketching1 slightly heightened by colour-washing4 ,strange to say1 ,phiz did not possess copies of ,dickens's novels1 so he borrowed ,mr4 ,cosen's set1 and from these he executed the tinted replicas4 ,at the sale of ,mr4 ,cosen's library at ,sotheby's in #ahij1 this interesting collection1 numbering #dje drawings1 was disposed of for the aggregate sum of #fga4 ,it should be mentioned in conclusion1 that1 besides the vignettes already described as having been prepared by ,phiz for the ,library ,edition 7#aheh-ei71 he also designed for that edition the following subjects1 which were executed in water-colours and1 like the rest1 engraved on steel3--,mr4 ,trott and the ,boots1 illustrating ,the ,great ,winglebury ,duel in ,sketches by ,boz2 ,mr4 ,bumble and ,oliver1 for ,oliver ,twist2 ,scrooge and ,marley1 for the series of ,christmas ,books2 and a ,vineyard ,scene1 which appropriately decorates the title-page of ,pictures from ,italy4 99 99 99 99 99 ,although1 as already stated1 ,hablt ,browne was quite capable of biting-in his own designs upon the steel plates1 he had not sufficient time to devote to this part of his work4 ,from the ,pickwick days onward the artist was fortunate in securing the services of his fellow-apprentice in ,finden's studio1 ,mr4 ,robert ,young1 who was afterwards his partner in many artistic ventures1 and always his most intimate friend and admirer4 ,when at ,finden's1 ,mr4 ,young acquired the art of biting-in1 a process which1 although to some extent a mechanical one1 requires a considerable amount of artistic knowledge and manipulative skill1 for there is nothing to guide the etcher as to the required effect1 except in some cases a rough indication on paper4 ,it was ,mr4 ,young's duty1 after each plate was bitten-in1 to go over it with a graver and join any lines which in the etching had become broken or rotten4 ,for biting-in and finishing the two subjects on one plate he received from ,chapman ,hall 7with whom he had a separate account7 the sum of three guineas4 ,browne's ruling-machine for producing the mezzotint effects was kept in his colleague's room at ,furnival's ,inn1 where1 more than half-a-century ago1 he and the artist took chambers for business purposes and to be near the publishers4 ,these quarters1 which were situated in the south-west corner of the ,inn1 have been lately demolished1 together with the chambers at ,no4 #ae1 rendered famous by the fact that the earlier portion of ,pickwick was there written4 ,mr4 ,young acted as ,browne's assistant in the manner described during the greater part of the years of ,phiz's popularity1 and his co-operation extended not only to the ,dickens illustrations1 but to the thousand-and-one designs that embellished the works of other writers4 ,the following brief note 7quoted from ,mr4 ,thomson's ,memoir7 is a specimen of the many communications which constantly passed between the artist and his coadjutor3-- ,circa #ahde4 ,,my ,,dear ',,co1'--,pray help me in an emergency4 ,put a bottle of aquafortis in your pockets1 wax and all other useful adjuncts1 and come to me to-morrow about one or two o'clock1 and bite in an etching for me1 ferociously and expeditiously4 ,can you8--will you8--oblige1 ,yours sincerely1 ,h4 ,k4 ,,browne4 99 99 99 99 99 ,mr4 ,robert ,young1 who is now in his eighty-second year1 has recently favoured me with a few facts concerning himself1 which are not devoid of interest in the present record4 ,writing from ,norham-upon-,tweed1 he says3 ,i was born in ,dalkeith in #ahaf1 educated in ,france1 and1 on leaving school1 was apprenticed to ,finden1 the engraver1 where my friendship with ',phiz' commenced1 which closed with his death4 ,some years ago ,i was presented with a clerkship in the ,admiralty1 and retired on a pension in #ahgh1 which enables me to pass my last days in this humdrum village4 ,i am1 as you see1 very old1 have many infirmities1 and cannot always remember past events4 ,illustration ,,plate ,,xxxviii ,,george ,,cattermole ,from an ,unpublished ,photograph by ,,lake ,,price ,lent by the ,artist's ,daughter1 ,mrs4 ,edward ,franks4 ,,george ,,cattermole ,first ,acquaintance with ,dickens--,declines ,offer of ,knighthood--,favourite ,subjects for ,pictures--,,master ,,humphrey',s ,,clock--,a ,letter from ,dickens respecting the ,illustrations--,cattermole's ,designs ,copied on ,wood by ,phiz and ,samuel ,williams--,some ,dickens ,correspondence--,minute ,directions to the ,artist--,design for ,frontispiece--,useful ,hints and ,suggestions--,the ,maypole ,inn--,grip1 the ,raven--,subjects for ,barnaby ,rudge--,an ,unpublished ,letter from ,cattermole to ,dickens--,closing ,chapters of the ,story--,the ,novelist ,approves of the ,illustrations--,frontispiece for the ,first ,cheap ,edition of ,the ,old ,curiosity ,shop--,water-colour ,drawings of ,little ,nell's ,home and ,little ,nell's ,grave--,dickens's ,gratitude to ,cattermole--,death of the ,artist--,his ,vivacity and ,good-fellowship4 ,born at ,dickleburgh1 ,norfolk1 in the year #ahjj1 ,george ,cattermole was a dozen years the senior of ,charles ,dickens4 ,his acquaintance with the novelist began in #ahch1 and when1 in the following year1 he married ,miss ,elderton1 a distant connection of the author of ,pickwick1 the friendship subsisting between the two men ripened into sincere affection4 ,george ,cattermole had been elected a member of the ,society of ,painters in ,water-,colours as early as #ahcc1 which indicates that his reputation was already well established1 and in #ahci he had achieved such distinction in ,art that he received the offer of knighthood1--an honour he modestly declined4 ,the subjects he loved to portray were scenes from medival history1 fiction1 or ballad literature1 and he revelled in depicting incidents of bygone times1 with their manners and customs1 their architecture and costumes1 in the representation of which he has been considered the chief exponent4 ,it was this antiquarian feeling1 as well as his powerful imagination and vivid fancy1 which excited the admiration of ,john ,ruskin1 whose favourable criticisms of the artist's early productions proved of infinite service4 99 99 99 99 99 ,sidenote3 ,master ,humphrey's ,clock1 #ahdj-da4 ,george ,cattermole had already enjoyed considerable experience as an illustrator of books1 and had made drawings of buildings and scenery described in ,scott's novels1 when1 in #ahdj1 ,dickens invited him to collaborate with ,d4 ,maclise1 ,r4,a41 and ,hablt ,k4 ,browne 7,phiz7 in designing the woodcuts for ,master ,humphrey's ,clock4 ,the earliest intimation received by the artist respecting the projected publication was contained in the following letter1 dated ,january #ac1 #ahdj3-- ,,my ,,dear ,,cattermole1--,i am going to propound a mightily grave matter to you4 ,my new periodical work appears--or ,i should rather say the first number does--on ,saturday1 the #bhth of ,march4444 ,the title is ',master ,humphrey's ,clock4' ,now1 among other improvements1 ,i have turned my attention to the illustrations1 meaning to have woodcuts dropped into the text1 and no separate plates4 ,i want to know whether you would object to make me a little sketch for a woodcut--in indian-ink would be quite sufficient--about the size of the enclosed scrap2 the subject1 an old quaint room with antique ,elizabethan furniture1 and in the chimney-corner an extraordinary old clock--the clock belonging to ,master ,humphrey1 in fact1 and no figures4 ,this ,i should drop into the text at the head of my opening page4 ,i want to know1 besides--as ,chapman ,hall are my partners in the matter1 there need be no delicacy about my asking or your answering the question--what would be your charge for such a thing1 and whether 7if the work answers our expectations7 you would like to repeat the joke at intervals1 and if so1 on what terms8 ,i should tell you that ,i intend to ask ,maclise to join me likewise1 and that the copying1 the drawing on wood1 and the cutting will be done in first-rate style4444 ,i want to talk the matter over with you1 and wish you would fix your own time and place4444--,faithfully yours ,,charles ,,dickens4 ,we gather from this letter that ,cattermole was then unaccustomed to drawing upon the wood block1 and therefore executed his designs upon paper1 to be afterwards copied upon wood by a practical hand4 ,in the next communication1 dated a few days later1 it will be seen that the artist agreed to ,dickens's proposals 7preferring1 however1 to select his own subjects71 and that ,phiz's pencil was made available for copying purposes2 the drawing here referred to being that of the old quaint room which forms the heading of the first chapter of ,master ,humphrey's ,clock4 ,the novelist wrote3-- ,i think the drawing most famous1 and so do the publishers1 to whom ,i sent it to-day4 ,if ,browne should suggest anything for the future which may enable him to do you justice in copying 7on which point he is very anxious71 ,i will communicate with you4 ,it has occurred to me that perhaps you will like to see his copy on the block before it is cut1 and ,i have therefore told ,chapman ,hall to forward it to you4 ,in future1 ,i will take care that you have the number to choose your subject from4 ,i ought to have done so1 perhaps1 in this case2 but ,i was very anxious that you should do the room4444 ,the artistic skill of the eminent draughtsman and engraver1 ,samuel ,williams1 was at first similarly requisitioned for copying purposes1 as proved by the signature appended to the illustration of ,little ,nell's room in the initial chapter of ,the ,old ,curiosity ,shop1 the original drawing of which was undoubtedly supplied by ,cattermole1 who1 before very long1 was enabled to dispense with these professional services4 ,judging from the amount of correspondence still extant1 ,dickens was constantly in communication with ,cattermole respecting the illustrations for ,master ,humphrey's ,clock4 ,in a letter dated ,march #i1 #ahdj1 he said3-- ,i have been induced1 on looking over the works of the ',clock1' to make a slight alteration in their disposal1 by virtue of which the story about ',john ,podgers' will stand over for some little time1 and that short tale will occupy its place which you have already by you1 and which treats of the assassination of a young gentleman under circumstances of peculiar aggravation4#bi ,i shall be greatly obliged to you if you will turn your attention to this last morsel as the feature of ,no4 #c1 and still more if you can stretch a point with regard to time 7which is of the last importance just now71 and make a subject out of it1 rather than find one in it4 ,i would neither have made this alteration nor have troubled you about it1 but for weighty and cogent reasons which ,i feel very strongly1 and into the composition of which caprice or fastidiousness has no part4444 ,footnote #bi3 ,mr4 ,pickwick's ,tale1 in the first chapter4 ,i cannot tell you how admirably ,i think ,master ,humphrey's room comes out1 or what glowing accounts ,i hear of the second design you have done4#cj ,i had not the faintest anticipation of anything so good1 taking into account the material and the despatch4 ,footnote #cj3 ,see headpiece to ,first ,night of the ,giant ,chronicles4 ,the text of ,master ,humphrey's ,clock afforded the artist many congenial themes for his pencil4 ,the story of ,little ,nell evidently fascinated him1 and the various subjects selected for illustration were lovingly dealt with4 ,an interval of several months elapsed before the following instructions were received by him respecting future designs3-- ,i sent the ,,ms4 of the enclosed proof1 marked #b1 up to ,chapman ,hall from ,devonshire1 mentioning a subject of an old gateway1#ca which ,i had put in expressly with a view to your illustrious pencil4 ,by a mistake1 however1 it went to ,browne instead4 ,footnote #ca3 ,see illustration in ,the ,old ,curiosity ,shop1 chap1 xxvii4 ,,plate ,,xxxix ,,quilp',s ,,wharf ,facsimile of the ,original ,sketch for ,the ,old ,curiosity ,shop by ,,george ,,cattermole ,lent by ,mrs4 ,edward ,franks4 ,illustration ,the subject to which ,i wish to call your attention is in an unwritten number to follow this one1 but it is a mere echo of what you will find at the conclusion of this proof marked #b4 ,i want the cart1 gaily decorated1 going through the street of the old town with the wax brigand displayed to fierce advantage1 and the child seated in it also dispersing bills4 ,as many flags and inscriptions about ,jarley's ,wax ,work fluttering from the cart as you please4 ,you know the wax brigands1 and how they contemplate small oval miniatures8 ,that's the figure ,i want4 ,i send you the scrap of ,,ms4 which contains the subject4 ,will you1 when you have done this1 send it with all speed to ,chapman ,hall1 as we are mortally pressed for time4444 ,for some reason1 the drawing of ,mrs4 ,jarley's cart was not executed by ,cattermole2 perhaps he was otherwise occupied at the moment1 so that the work fell to ,browne1 whose initials are appended4 ,concerning the frontispiece the novelist offered some valuable suggestions1 of which the artist readily availed himself3-- ,will you turn your attention to a frontispiece for our first volume1 to come upon the left-hand side of the book as you open it1 and to face a plain printed title8 ,my idea is1 some scene from ',the ,curiosity ,shop1' in a pretty border1 or scroll-work1 or architectural device2 it matters not what1 so that it be pretty4 ,the scene even might be a fanciful thing1 partaking of the character of the story1 but not reproducing any particular passage in it1 if you thought that better for the effect4 ,i ask you to think of this1 because1 although the volume is not published until the end of ,september1 there is no time to lose4 ,we wish to have it engraved with great care and worked very skilfully2 and this cannot be done unless we get it on the stocks soon4 ,they will give you every opportunity of correction1 alteration1 revision1 and all other -ations and -isions connected with the fine arts4 ,in this design will be found ,cattermole's only representations of ,mr4 ,pickwick and the two ,wellers4 ,in the following letter 7dated ,december #ba #ahdj71 some hints were given as to the treatment of one of the most charming illustrations in the series1 viz41 the picturesque parsonage-house which was the temporary home of ,little ,nell and her ,grandfather4 ,the lanthorn here referred to is not only omitted from the drawing1 but we fail to find it mentioned in the text3-- ,kit1 the single gentleman1 and ,mr4 ,garland go down to the place where the child is1 and arrive there at night4 ,there has been a fall of snow4 ,kit1 leaving them behind1 runs to the old house1 and1 with a lanthorn in one hand and the bird in its cage in the other1 stops for a moment at a little distance with a natural hesitation before he goes up to make his presence known4 ,in a window--supposed to be that of the child's little room--a light is burning1 and in that room the child 7unknown1 of course1 to her visitors1 who are full of hope7 lies dead4 ,if you have any difficulty about ,kit1 never mind about putting him in4444 ,the next letter contained useful suggestions for the delineation of the most pathetic scenes in ,the ,old ,curiosity ,shop4 7#a47 ,the child lying dead in the little sleeping-room1 which is behind the open screen4 ,it is winter-time1 so there are no flowers2 but upon her breast and pillow1 and about her bed1 there may be strips of holly and berries1 and such free green things4 ,window overgrown with ivy4 ,the little boy who had that talk with her about angels may be by the bedside1 if you like it so2 but ,i think it will be quieter and more peaceful if she is quite alone4 ,i want it to express the most beautiful repose and tranquillity1 and to have something of a happy look1 if death can4 7#b47 ,the child has been buried inside the church1 and the old man1 who cannot be made to understand that she is dead1 repairs to the grave and sits there all day long1 waiting for her arrival1 to begin another journey4 ,his staff and knapsack1 her little bonnet and basket1 c41 lie beside him4 ',she'll come to-morrow1' he says when it gets dark1 and goes sorrowfully home4 ,i think an hour-glass running out would help the notion2 perhaps her little things upon his knee or in his hand4 ,i am breaking my heart over this story1 and cannot bear to finish it4 ,,plate ,,xl ,,two ,,studies ,,for ,,the ,,death-,,bed ,,of ,,little ,,nell ,facsimile of the ,original ,drawings for ,the ,old ,curiosity ,shop by ,,george ,,cattermole ,lent by ,mr4 ,s4 ,j4 ,davey and ,mrs4 ,edward ,franks4 ,illustration ,illustration ,in the first of these two delightful drawings the artist rightly omitted the figure of the boy1 and in order to emphasise the sense of repose in that humble death-chamber1 he introduced a bird1 which is seen perched upon the window-ledge1 while the hour-glass 7suggested for the second picture7 seemed to him more appropriate here4 ,cattermole made two or three sketches of ,no4 #a before he quite satisfied the author1 who had asked him to carry out certain alterations1 these resulting in such a marked improvement that ,dickens wrote3 ,i cannot tell you how much obliged ,i am to you for altering the child1 or how much ,i hope that my wish in that respect didn't go greatly against the grain4#cb ,will you do me1 he asks1 in the same letter1 a little tailpiece for the ',curiosity' story8--only one figure if you like--giving some notion of the etherealised spirit of the child2 something like those little figures in the frontispiece4 ,this little allegory formed the closing illustration4 ,footnote #cb3 ,macready1 upon whom the death of ,little ,nell had a painful effect1 was much impressed by this illustration1 as an entry in his diary testifies3 ,found at home 444 an onward number of ',master ,humphrey's ,clock4' ,i saw one print in it of the dear dead child that gave a dead chill through my blood4 ,i dread to read it1 but must get it over4 ,barnaby ,rudge immediately followed ,the ,old ,curiosity ,shop1 under the collective title of ,master ,humphrey's ,clock4 ,for the first chapter of this stirring romance ,cattermole provided a charming illustration1 depicting the old ,maypole ,inn1 which1 however1 was not intended to portray the delicious old inn opposite ,chigwell churchyard1 referred to by ,dickens in a letter to ,forster at this time1 it being an entirely fanciful design4 ,when the novelist saw the drawing on wood of this subject he was delighted4 ,words cannot say how good it is1 he wrote to the artist4 ,i can't bear the thought of its being cut1 and should like to frame and glaze it in statu quo for ever and ever4 ,on ,january #bh1 #ahda1 he queried3-- ,i want to know whether you feel ravens in general and would fancy ,barnaby's raven in particular8 ,barnaby being an idiot1 my notion is to have him always in company with a pet raven1 who is immeasurably more knowing than himself4 ,to this end ,i have been studying my bird1 and think ,i could make a very queer character of him4 ,should you like the subject when this raven makes his first appearance8 ,two days later1 he again pressed the question3-- ,i must know what you think about the raven1 my buck2 ,i otherwise am in this fix4 ,i have given ,browne no subject for this number1 and time is flying4 ,if you would like to have the raven's first appearance1 and don't object to having both subjects1 so be it4 ,i shall be delighted4 ,if otherwise1 ,i must feed that hero forthwith4 ,but ,cattermole apparently declined the privilege of introducing to the world a presentment of the immortal ,grip1--an honour which therefore fell to ,phiz's pencil4 ,on ,january #cj1 #ahda1 ,dickens despatched to the artist some printed slips describing ,gabriel ,varden's house1 which ,i think he said will make a good subject1 and one you will like4 ,if you put the ''prentice' in it1 show nothing more than his paper cap1 because he will be an important character in the story1 and you will need to know more about him1 as he is minutely described4 ,i may as well say that he is very short4 ,should you wish to put the locksmith in1 you will find him described in ,no4 #b of ',barnaby' 7which ,i told ,chapman ,hall to send you74 ,browne has done him in one little thing1 but so very slightly that you will not require to see his sketch1 ,i think4 ,on ,february #ith the artist received the following request3-- ,will you1 for ,no4 #di1 do the locksmith's house1 which was described in ,no4 #dh8 ,i mean the outside4 ,if you can1 without hurting the effect1 shut up the shop as though it were night1 so much the better4 ,should you want a figure1 an ancient watchman in or on his box1 very sleepy1 will be just the thing for me4 ,i have written to ,chapman and requested him to send you a block of a long shape1 so that the house may come upright1 as it were4 ,from this note1 and a subsequent one in which ,dickens commands the artist to put a penny pistol to ,chapman's head and demand the blocks of him1 we learn that ,cattermole had by this time accustomed himself to copying his designs upon wood1 and could dispense with that kind of assistance4 ,his drawing of the dilapidated but picturesque old country inn1 ,the ,boot1 whither the rioters resorted1 is1 ,i believe1 a direct transcript from an old print representing the place as it appeared at the time referred to1 #aghj2 the woodcut is in reverse of the print4#cc ,here are two letters 7dated ,july #bhth and ,august #fth1 #ahda1 respectively7 that fairly bristle with details of scenes1 in chapters liv4 and lvi41 which the artist was desired to depict3-- ,footnote #cc3 ,a modern public-house still stands upon the site1 in ,cromer ,street1 ,gray's ,inn ,road4 ,it retains the original sign4 ,can you do for me by ,saturday evening--,i know the time is short1 but ,i think the subject will suit you1 and ,i am greatly pressed--a party of rioters 7with ,hugh and ,simon ,tappertit conspicuous among them7 in old ,john ,willet's bar1 turning the liquor taps to their own advantage1 smashing bottles1 cutting down the grove of lemons1 sitting astride on casks1 drinking out of the best punch-bowls1 eating the great cheese1 smoking sacred pipes1 c41 c42 ,john ,willet fallen backward in his chair1 regarding them with a stupid horror1 and quite alone among them1 with none of the ,maypole customers at his back8 ,it's in your way1 and you'll do it a hundred times better than ,i can suggest it to you1 ,i know4 99 99 99 99 99 ,here's a subject for the next number4444 ,the rioters went1 sir1 from ,john ,willet's bar 7where you saw them to such good purpose7 straight to the ,warren1 which house they plundered1 sacked1 burned1 pulled down as much of it as they could1 and greatly damaged and destroyed4 ,they are supposed to have left it about half-an-hour4 ,it is night1 and the ruins are here and there flaming and smoking4 ,i want--if you understand--to show one of the turrets laid open--the turret where the alarm-bell is1 mentioned in ,no4 #a2 and among the ruins 7at some height if possible7 ,mr4 ,haredale just clutching our friend1 the mysterious file1 who is passing over them like a spirit2 ,solomon ,daisy1 if you can introduce him1 looking on from the ground below4 ,please to observe that the ,m4 ,f4 wears a large cloak and slouched hat4 ,this is important1 because ,browne will have him in the same number1 and he has not changed his dress meanwhile4 ,mr4 ,haredale is supposed to have come down here on horseback pell-mell2 to be excited to the last degree4 ,i think it will make a queer picturesque thing in your hands4444 ,p4,s4--,when you have done the subject1 ,i wish you'd write me one line and tell me how1 that ,i may be sure we agree4 ,in sending to ,dickens for approval a sketch of the ruined home of ,mr4 ,haredale1 the artist enclosed the following letter1 now printed for the first time3-- ,,my ,,dear ,,dickens1--,i cannot hope you will make much out of the accompanying sketch4#cd ,i suppose the spectator to be placed upon the roof of one of the wings of the ,warren ,house1 and towards him are rushing 444 ,rudge and ,mr4 ,haredale as they issue from a small door in the tower1 whereunto is attached 7as part and parcel of the same7 the bell-turret4 ,a small closet through which they pass to the roof has been dismantled1 or rather thrown down and carried by the fire and the other spoilers2 on the grass below is rooted ,solomon ,daisy in an ecstasy of wonder1 c41 c42 beyond are clouds of smoke a-passing over and amongst many tall trees1 and all about are heard the tenants1 frightened rooks1 flying and cawing like mad4--,in haste1 my dear ,charles1 ,g4 ,,cattermole4 ,,clapham1 ,aug4 #ab #ahda4 ,footnote #cd3 ,see ,plate4 ,both sketch and letter are in the collection of ,mr4 ,augustin ,daly1 of ,new ,york1 to whom ,i am indebted for the opportunity of reproducing them4 ,,plate ,,xli ,,the ,,night ,,watchman ,,and ,,the ',,maypole' ,,inn ,facsimiles of ,original ,sketches for ,barnaby ,rudge by ,,george ,,cattermole ,lent by ,mr4 ,s4 ,j4 ,davey4 ,illustration ,illustration ,it will be observed that the incident depicted in this illustration takes place in utter darkness1 while the published woodcut represents a daylight scene4 ,this remark also applies to the subject of the next letter 7dated ,august #ai1 #ahda71 which was treated by the artist in a similar manner2 the effect of torchlight being entirely absent from the picture necessarily deprives it of much dramatic character3-- ,when ,hugh and a small body of the rioters cut off from the ,warren beckoned to their pals1 they forced into a very remarkable postchaise ,dolly ,varden and ,emma ,haredale1 and bore them away with all possible rapidity2 one of their company driving1 and the rest running beside the chaise1 climbing up behind1 sitting on the top1 lighting the way with their torches1 c41 c4 ,if you can express the women inside without showing them--as by a fluttering veil1 a delicate arm1 or so forth1 appearing at the half-closed window--so much the better4 ,mr4 ,tappertit stands on the steps1 which are partly down1 and1 hanging on to the window with one hand and extending the other with great majesty1 addresses a few words of encouragement to the driver and attendants4 ,hugh sits upon the bar in front2 the driver sitting postilion-wise1 and turns round to look through the window behind him at the little doves within4 ,the gentlemen behind are also anxious to catch a glimpse of the ladies4 ,one of those who are running at the side may be gently rebuked for his curiosity by the cudgel of ,hugh4 ,so they cut away1 sir1 as fast as they can4 ,p4,s4--,john ,willet's bar is noble4 ,there were yet a few more illustrations required for the closing chapters of ,barnaby ,rudge1 concerning which the artist received very precise instructions from the author4 ,for example1 on ,september #ad1 #ahda1 ,dickens forwarded to his illustrator the following business letter1 written in a scramble just before post-time1 the directions having reference to incidents in chapters lxxiii41 lxxxi41 and lxxxii43-- ,firstly1 ,will you design1 upon a block of wood1 ,lord ,george ,gordon1 alone and very solitary1 in his prison1 and after your own fancy2 the time1 evening2 the season1 summer8 ,secondly1 ,will you ditto upon a ditto1 a sword-duel between ,mr4 ,haredale and ,mr4 ,chester1 in a grove of trees8 ,no one close by4 ,mr4 ,haredale has just pierced his adversary1 who has fallen1 dying1 on the grass4 ,he 7that is1 ,chester7 tries to staunch the wound in his breast with his handkerchief2 has his snuff-box on the earth beside him1 and looks at ,mr4 ,haredale 7who stands with his sword in his hand looking down on him7 with most supercilious hatred1 but polite to the last4 ,mr4 ,haredale is more sorry than triumphant4 ,thirdly1 ,will you conceive and execute1 after your own fashion1 a frontispiece for ',barnaby'8 ,fourthly1 ,will you also devise a subject representing ',master ,humphrey's ,clock' as stopped2 his chair by the fireside empty2 his crutch against the wall2 his slippers on the cold hearth2 his hat upon the chair-back2 the ,,mss4 of ',barnaby' and ',the ,curiosity ,shop' heaped upon the table2 and the flowers you introduced in the first subject of all withered and dead8 ,master ,humphrey being supposed to be no more4 ,i have a fifthly1 sixthly1 seventhly1 and eighthly2 for ,i sorely want you1 as ,i approach the close of the tale2 but ,i won't frighten you1 so we'll take breath4 ,p4,s4--,i have been waiting until ,i got to subjects of this nature1 thinking you would like them best4 ,owing to an illness from which ,cattermole was then suffering1 the frontispiece here referred to was designed by ,hablt ,browne4 ,a few days later1 the author bethought him of an incident earlier in the story 7chapter lxix471 which required an illustration1 and anent this he despatched the following note3-- ,will you1 before you go on with the other subjects ,i gave you1 do one of ,hugh1 bareheaded1 bound1 tied on a horse1 and escorted by horse-soldiers to jail8 ,if you can add an indication of old ,fleet ,market1 and bodies of foot-soldiers firing at people who have taken refuge on the tops of stalls1 bulk-heads1 etc41 it will be all the better4 ,,plate ,,xlii ,,the ,,murder ,,at ,,the ,,warren ,facsimile of the ,original ,sketch for ,barnaby ,rudge by ,,george ,,cattermole ,lent by ,mr4 ,augustin ,daly4 ,illustration ,this letter is the last 7of those which have been preserved7 having reference to ,george ,cattermole's artistic association with ,master ,humphrey's ,clock4 ,of the one hundred and ninety-four illustrations contained in this work1 thirty-nine were designed by him1 these comprising fourteen for ,the ,old ,curiosity ,shop1 fifteen for ,barnaby ,rudge1 and ten for the ,clock chapters2 his signature1 ,g4,c41 appended thereto has occasionally been mistaken for the initials of ,george ,cruikshank1 to whom some of these designs have been incorrectly attributed4 ,there can be no doubt that ,george ,cattermole's drawings greatly enhanced the popularity of the work1 for nothing could be happier than his facile treatment of such subjects as the ,maypole ,inn1 the interior of the ,old ,curiosity ,shop1 and ,quilp's ,wharf2 while especially effective are his representations of the old church in the village where ,little ,nell died4 ,this picturesque little structure really exists at ,tong1 in ,shropshire1 and1 with its splendid carving and magnificent monuments1 presents the same attractive appearance which inspired both ,dickens and his illustrator4 ,the novelist was so much charmed with ,cattermole's designs in ,the ,old ,curiosity ,shop that he could not refrain from expressing to the artist his warm appreciation of them4 ,i have so deeply felt1 he wrote1 your hearty and most invaluable co-operation in the beautiful illustrations you have made for the last story1 that ,i look at them with a pleasure ,i cannot describe to you in words1 and that it is impossible for me to say how sensible ,i am of your earnest and friendly aid4 ,believe me that this is the very first time that any designs for what ,i have written have touched and moved me1 and caused me to feel that they expressed the idea ,i had in my mind4 ,i am most sincerely and affectionately grateful to you1 and am full of pleasure and delight4 ,in concluding this account of ,george ,cattermole's illustrations for the writings of ,dickens1 it only remains to add that he prepared a special design as the frontispiece for the first cheap edition of ,the ,old ,curiosity ,shop 7#ahdh71 an admirable drawing on wood1 excellently engraved by ,thomas ,williams1 depicting ,little ,nell in the ,church4 ,on the completion of ,master ,humphrey's ,clock1 the author commissioned ,cattermole to make two water-colour drawings of scenes in ,the ,old ,curiosity ,shop1 one representing ,little ,nell's ,home1 while the other 7now in the ,forster ,collection at ,south ,kensington7 portrays ,little ,nell's ,grave in the old church1 this being an enlarged version of the woodcut4 ,these drawings are excellent examples of ,cattermole's work1 and were highly valued by the novelist1 who1 in a letter to the artist 7dated ,december #bj1 #ahdb71 expressed his sincere approval of them4 ,it is impossible1 he said1 for me to tell you how greatly ,i am charmed with those beautiful pictures1 in which the whole feeling1 and thought1 and expression of the little story is rendered1 to the gratification of my inmost heart2 and on which you have lavished those amazing resources of yours with power at which ,i fairly wondered when ,i sat down yesterday before them4 ,i took them to ,mac ,maclise straightway in a cab1 and it would have done you good if you could have seen and heard him4 ,you can't think how moved he was by the old man in the church1 or how pleased ,i was to have chosen it before he saw the drawings4 ,you are such a queer fellow1 and hold yourself so much aloof1 that ,i am afraid to say half ,i would say touching my grateful admiration2 so you shall imagine the rest4444 ,after two years of failing health and much acute suffering1 ,george ,cattermole closed an anxious and laborious life on the #bdth of ,july1 #ahfh1 the end being undoubtedly hastened by the almost simultaneous deaths1 in #ahfb1 of a much-loved son and daughter4 ,dickens1 who sincerely lamented the loss of this cherished friend1 actively interested himself on behalf of his widow and young children 7who were left in a very distressed condition7 by starting a fund for their relief4 ,it needs but an examination of the correspondence that passed between ,charles ,dickens and ,george ,cattermole 7in which1 during later years1 the novelist playfully addressed his friend as ,my dear ,kittenmoles7 to prove how deep was their mutual affection4 ,the artist's natural vivacity and good-fellowship caused him to be a great favourite1 and those of his family who survive recall with delight the red-letter days when ,dickens1 ,thackeray1 ,landseer1 and other kindred spirits foregathered at the ,cattermole residence in ,clapham ,rise1 on which occasions the genial company retired after dinner to brew punch in the studio--a picturesque apartment adorned with armour and tapestry and carved furniture1 indicative of the artist's tastes1 and strongly reminiscent of his most characteristic pictures4 ,,illustrators ,,of ,,the ,,christmas ,,books ,,john ,,leech4 ,,richard ,,doyle4 ,,clarkson ,,stanfield1 ,r4,a4 ,d4 ,,maclise1 ,r4,a4 ,,sir ,,john ,,tenniel4 ,,frank ,,stone1 ,a4,r4,a4 ,,sir ,e4 ,,landseer1 ,r4,a4 ,it was nothing less than an inspiration when1 in #ahdc1 ,dickens conceived the idea of ,a ,christmas ,carol1 the composition of which induced in him such mental excitement1 that when it was completed he broke out like a madman4 ,its extraordinary popularity encouraged him to prepare a similar story for publication at the end of the following year1 this being succeeded by three others1 all of them appearing during the festive season1 in a binding of crimson cloth embellished with gold designs4#ce ,not the least interesting feature of these handsome little volumes is the illustrations1 mainly owing to the fact that they were designed by the leading black-and-white artists of the day1 including three ,royal ,academicians and one ,associate of the ,royal ,academy4 ,of this talented company only one member survives1--,sir ,john ,tenniel1 whose pencil is still actively employed in the pages of ,punch4 ,the following table denotes the number of designs supplied by each artist to the ,christmas ,books4 ,footnote #ce3 ,the first issue of the ,carol was bound in cloth of a brownish colour1 the subsequent issues appearing in crimson4 ,,analysis ,,of ,,illustrations4 ,a ,christmas ,the ,the ,the ,battle ,the ,artist ,carol1 ,chimes ,cricket of ,life ,haunted ,total #ahdc4 #ahde on the #ahdf ,man1 #ahdh ,hearth #ahdf ,leech #h #e #g #c #e #bh ,doyle 444 #d #c #c 444 #aj ,stanfield 444 #b #a #c #c #i ,maclise 444 #b #b #d 444 #h ,tenniel 444 444 444 444 #f #f ,stone 444 444 444 444 #c #c ,landseer 444 444 #a 444 444 #a #h #ac #ad #ac #ag #fe ,the engravers were the ,dalziel ,brothers 7#ad subjects71 ,t4 ,williams 7#aa71 ,w4 ,j4 ,linton 7#aj71 ,martin and ,corbould 7#h71 ,smith and ,cheltnam 7#e71 ,groves 7#c71 ,thompson 7#c71 ,f4 ,p4 ,becker 7#b71 ,gray 7#b71 ,swain 7#b71 ,green 7#a74 ,four designs were etched on steel by ,john ,leech1 thus making up the full complement of illustrations4 ,,john ,,leech ,leech's ,early ,attempts at ,drawing--,medical ,studies--,first ,published ,work--,desires to ,illustrate ,pickwick--,becomes ,acquainted with ,dickens--,a ,,christmas ,,carol--,sale of the ,original ,drawings--,,the ,,chimes--,leech ,misinterprets his ,author--,,the ,,cricket ,,on ,,the ,,hearth--,an ,altered ,design--,the ,artist's ,humour ,exemplified--,,the ,,battle ,,of ,,life--,sale of ,original ,drawings--,unpublished ,letters by ,leech--,a ,grave ,error--,,the ,,haunted ,,man--,leech's ,method of ,work--,artistic ,value of his ,sketches--,ruskin's ,criticism--,leech as an ,actor--,a ,serious ,accident--,dickens as ,nurse--,ill-health--,a ,fatal ,seizure--,sir ,john ,millais' ,portrait of ,leech4 ,john ,leech1 the leading spirit of ,punch for more than twenty years1 was born in ,london in #ahag1 his father 7an ,irishman of culture7 being a vintner1 and at one time the proprietor of the ,london ,coffee-,house on ,ludgate ,hill1 then the most important of the large ,city hotels4 ,as the elder ,leech showed some skill as a draughtsman1 we may reasonably assume that from him the son inherited a talent for drawing1 by means of which he was destined1 before many years had passed1 to astonish the world by his humour and originality4 ,when a mere lad1 he exhibited such aptitude and dexterity with the pencil1 that ,flaxman1 the famous sculptor1 pronounced these precocious efforts to be wonderful1 and exclaimed3 ,that boy must be an artist2 he will be nothing else or less4 ,notwithstanding this recommendation1 young ,leech 7after a course of schooling at the ,charterhouse1 where he had ,william ,makepeace ,thackeray as a fellow-pupil7 was entered by his father at ,st4 ,bartholomew's ,hospital1 with a view to his adopting the medical profession2 but his penchant for drawing and sketching proved irresistible1 and he gained more repute among the students by means of his life-like 7but good-natured7 caricatures1 than for any ability he may have displayed in hospital work4 ,on leaving ,st4 ,bartholomew's1 he was placed under an eccentric practitioner named ,whittle 7whom ,albert ,smith has immortalised as ,mr4 ,rawkins71 and subsequently under ,dr4 ,john ,cockle1 afterwards ,physician to the ,royal ,free ,hospital4 ,,plate ,,xliii ,,john ,,leech ,from the ,water-colour ,drawing by ,,sir ,,john ,e4 ,,millais1 ,p4,r4,a41 #ahed ,illustration ,leech1 however1 gradually relinquished his medical studies1 and resolved to live by his pencil4 ,he was only eighteen years of age when he published his first venture1 ,etchings and ,sketchings1 by ,a4 ,penn1 ,esq41 comprising a collection of slightly caricatured sketches of various odd characters to be met with on the streets of ,london4 ,shortly after this maiden effort there appeared upon the scene the initial number of the celebrated ,pickwick ,papers1 and when1 in the second number1 the sad death was announced of ,robert ,seymour1 the illustrator1 ,leech immediately conceived the idea of seeking election as his successor4 ,boz at this time was absolutely unknown to him except by that strange pseudonym1 so the ambitious young artist communicated his desire to the publishers1 ,chapman ,hall1 to whom he sent as a specimen of his powers a clever drawing1 delicately tinted in colour1 of that familiar scene in ,pickwick where ,tom ,smart sits up in bed and converses with the animated chair4#cf ,thackeray 7it will be remembered7 also aspired to the position coveted by ,leech1 but neither possessed the necessary qualifications4 ,footnote #cf3 ,concerning this design1 of which a facsimile is given in the ,victoria edition of ,the ,pickwick ,papers1 #ahhg1 a correspondent received the following interesting communication from a representative of ,dickens's publishing firm3-- ,may #bnd1 #ahhh4 ,,dear ,,sir1--,the history of the drawing by ,leech of ',tom ,smart and the ,arm-chair' is1 that at the time there was a difficulty about the artist for illustrating ',pickwick1' ,mr4 ,leech sent it in as a specimen of his ability to illustrate the work4 ,this was in the year #ahcf1 and it was in the possession of my predecessor1 ,mr4 ,edward ,chapman1 until twenty-five years ago1 when it came into my possession4--,faithfully yours1 ,,fred ,,chapman4 ,in those early years ,leech designed numerous illustrations for ,bells ,life in ,london1 and concocted schemes of drollery with his literary friends which resulted in the publication of such humorous productions as the ,comic ,latin ,grammar1 ,comic ,english ,grammar1 c4 ,in ,august1 #ahda1 he contributed his first drawing to ,punch 7the fourth number71 this being the forerunner of many hundreds of pictures1 chiefly of life and character1 bearing the familiar sign-manual of a leech wriggling in a bottle4 ,the artist's connection with ,punch gave him a great opportunity1 for he was thus enabled to come before the public1 week after week1 with an endless succession of scenes in high life and low life1 now of the hunting-field and now of the river1--always with something that could not fail to delight the eye and to excite good-natured laughter4 ,his deftness and versatility naturally brought many commissions from publishers anxious to secure the aid of his prolific pencil1 so that besides his weekly contribution to ,punch he was occupied in preparing designs for other works1 notably ,douglas ,jerrold's ,shilling ,magazine1 ,hood's ,comic ,annual1 and ,the ,ingoldsby ,legends4 99 99 99 99 99 ,sidenote3 ,a ,christmas ,carol1 #ahdc4 ,the year #ahdc was memorable to ,john ,leech1 for then he first became acquainted with the author of ,pickwick4 ,by whom the introduction was brought about is not quite clear2 perhaps the credit of it may be awarded to ,douglas ,jerrold or ,thomas ,hood4 ,in the above-mentioned year ,leech's services were obtained for the illustration of ,a ,christmas ,carol1 for which he prepared eight designs2 four of these were etched on steel1 the impressions being afterwards coloured by hand1 while the remaining four were drawn on wood1 and beautifully engraved by ,w4 ,j4 ,linton4 ,the popularity of the ,carol 7the pioneer of all ,dickens's ,christmas ,books1 and1 indeed1 of ,christmas literature generally7 proved enormous1 and much of its success was undoubtedly due to the attractive designs of ,john ,leech1 who entered so thoroughly into the spirit of this charming little allegory4 ,in #ahic the original drawings1 with the exception of that entitled ,scrooge's ,third ,visitor1 were sold at ,sotheby's for #aee guineas1 and afterwards catalogued by a ,london bookseller at #bdj--;a considerable advance on the price paid to the artist and engraver1 which was just under #ej4 ,this interesting series of drawings 7two of them tinted in colours7 had hitherto remained in the possession of a daughter of the artist4 ,,plate ,,xliv ,,richard ,,and ,,margaret ,facsimile of the ,original ,sketch for ,the ,chimes by ,,john ,,leech ,the figure of ,richard was altered in the published design4 ,by ,permission of the ,art ,museum ,committee of the ,corporation of ,nottingham4 99 99 99 99 99 ,sidenote3 ,the ,chimes1 #ahde4 ,to ,the ,chimes ,leech contributed five illustrations1 the original drawings for which realised #ff guineas at ,sotheby's in #ahic4 ,some of these slight pencillings now form part of the ,leech ,collection at ,nottingham ,castle1 including the first sketch for the illustration referred to by ,dickens 7in a letter to his wife7 as being1 together with a sketch by ,doyle for the same story1 so unlike his ideas that he invited both artists to breakfast with him one morning1 and1 with that winning manner which you know of1 got them1 with the highest good-humour1 to do both afresh4 ,the design in question appears in the ,third ,quarter1 in which two scenes are represented1 the upper one depicting ,margaret in her garret1 while in the lower compartment appears ,richard1 with matted hair and unshorn beard1 as he enters ,trotty ,veck's cottage4 ,the artist misunderstood his author1 and delineated1 instead of ,richard as described in the text1 an extremely ragged and dissipated-looking character1 with a battered hat upon his head4 ,when the novelist saw it1 the drawing had already been engraved1 but the woodcut was promptly suppressed2 there still exists1 however1 an impression of the cancelled engraving1 which is bound up with what is evidently a unique copy of ,the ,chimes 7now the property of ,mr4 ,j4 ,f4 ,dexter71 where blank spaces are left for some of the woodcuts2 this particular copy is probably the publishers' make up1 and had accidentally left their hands4 99 99 99 99 99 ,sidenote3 ,the ,cricket on the ,hearth1 #ahdf4 ,the ,cricket on the ,hearth is embellished with seven designs by ,leech4 ,the original sketch for one of these illustrations1 representing ,john and ,dot seated by the fire1 indicates that it was ,leech's intention at first to introduce ,tilly ,slowboy nursing the baby2 but it was apparently considered that her presence in the picture destroyed the domestic harmony of the scene1 so the figure was omitted1 and a separate woodcut made of the subject for a subsequent chapter4 ,it is interesting to compare ,leech's illustration of ,caleb ,plummer and his blind daughter at work with a similar design by ,doyle in the same chapter1 the vigorous character of the former happily contrasting with the more restrained treatment of the latter4 ,in the final woodcut of ,the ,dance1 ,leech's sense of humour 7not always devoid of exaggeration7 has free play1 for here not only do we see the human characters in the story indulging in the pleasant exercise1 but observe that1 in one corner1 the carrier's pets1 ,boxer and the cat1 are similarly disporting themselves1 while even the artist's signature 7in the opposite corner7 of a leech in a bottle is placed upon a couple of lively legs1 and is kicking away with an abandon worthy of the occasion4 99 99 99 99 99 ,sidenote3 ,the ,battle of ,life1 #ahdf4 ,in ,dickens's fourth ,christmas ,book1 ,the ,battle of ,life1 ,john ,leech is represented by three illustrations1 all of which are designed in the manner characteristic of these little volumes1 in having one scene superimposed upon another4 ,the original sketches for two of these woodcuts1 viz41 ,the ,parting ,breakfast and ,the ,night of the ,return1 are in the ,south ,kensington ,museum1#cg while the third drawing has found its way to ,america1 whither so many ,dickens relics have departed4 ,when1 in ,june #ahic1 some highly-finished replicas of these designs were disposed of at ,sotheby's1 they realised the extraordinary sums of #ce1 #ajs41 #ag1 #ajs41 and #bj1 #ajs4 respectively4 ,in the ,forster ,collection at ,south ,kensington there are two very interesting letters1 addressed by ,leech to the biographer of ,dickens1 having special connection with these illustrations4 ,the first 7dated ,november #af1 #ahdf7 refers to the breakfast scene1 and from it we gather that there was a very limited time for preparing the designs3-- ,footnote #cg3 ,facsimiles of these have already appeared in my ,memoir of ,john ,leech4 ,a duplicate sketch 7more completely carried out7 of ,the ,parting ,breakfast will be found in the ,print ,room of the ,british ,museum1 but there is1 ,i believe1 some doubt as to its authenticity4 ,the late ,mr4 ,g4 ,a4 ,sala pointed out that the engraving of this subject contains an astonishingly good likeness of that admired comedian1 ,robert ,keeley1 as the old servant ,britain4 ,,plate ,,xlv ,,john1 ,,dot1 ,,and ,,tilly ,,slowboy ,facsimile of the ,original ,drawing for ,the ,cricket on the ,hearth by ,,john ,,leech ,the figure of ,tilly ,slowboy was omitted in the published ,drawing1 a separate ,illustration being made of that portion of the ,design4 ,lent by ,mr4 ,w4 ,h4 ,lever4 ,illustration ,,my ,,dear ,,forster1--,i really cannot say off-hand how many illustrations ,i can make within the week2 indeed1 ,i am so embarrassed by the conditions under which ,i am to make my share of the drawings that ,i hardly know what to do at all4 ,conscientiously1 ,i could not make ,clemency ,newcome particularly beautiful4 ,if you will read a little beyond the words 'plump and cheerful1' you will find the following3 ',but the extraordinary homeliness of her gait and manner would have superseded any face in the world4 ,to say that she had two left legs and somebody else's arms1 and that all four limbs seemed to be out of joint1 and to start from perfectly wrong places1' c1 c4 ,again1 she is described as having 'a prodigious pair of self-willed shoes1' and a gown of 'the most hideous pattern procurable for money4' ,the impression made upon me by such a description as ,i have quoted certainly is that the character so described is both awkward and comic4 ,of course ,i may be wrong in my conception of what ,dickens intended1 but ,i imagine the lady in question a sort of clean ',slowboy4' ,the blessed public 7if they consider the matter at all7 will hold me responsible for what appears with my name2 they will know nothing about my being obliged to conform to ,maclise's ideas4 ,i cannot tell you how loath ,i should be to cause any delay or difficulty in the production of the book1 or what pain it would give me to cause either ,dickens or yourself any annoyance4 ,i confess ,i am a little out of heart4--,believe me ever yours faithfully1 ,,john ,,leech4 ,,john ,,forster1 ,esq4 ,maclise1 who also provided illustrations to ,the ,battle of ,life1 was anxious that his own type of character for ,clemency ,newcome should be reproduced in the designs by ,leech2 hence that artist's protest4 ,writing again two days later on the subject1 ,leech said3-- ,,my ,,dear ,,forster1--,perhaps ,i was wrong in using the word 'conditions' in my note to you--,i should have said 'circumstances1' and by being 'embarrassed' by them ,i meant that ,i found it very harassing to do work 7that ,i am for several reasons anxious to do well7 under the constant feeling that ,i have too little time to do it in2 and also ,i meant to convey to you that the necessity 7which ,i certainly supposed to exist7 of preserving a sort of resemblance to the characters as conceived by ,mr4 ,maclise made it a rather nervous undertaking to me4 ,it seems ,i expressed myself clumsily1 as the tone of my note appeared to you anything but what ,i intended it to be4 ,any suggestion from you ,i should always consider most valuable4 ,i send you one drawing1 completed this morning at four o'clock1 and ,i assure you ,i would spare neither time nor any personal comfort to show my personal regard for both yourself and ,dickens4 ,i should not like to promise more than two other drawings1 if ,saturday is positively the last day4 ,i might be able to do more1 but ,i should not like to promise1 and fail4 ,pray overlook any glaring defects in the block ,i send1 and believe me yours faithfully1 ,,john ,,leech4 ,,john ,,forster1 ,esq41 c4 c4 ,p4,s4 ,i should like1 if there is no objection1 that ,linton should engrave for me4 ,,plate ,,xlvi ,,caleb ,,at ,,work ,facsimile of the ,original ,drawing for ,the ,cricket on the ,hearth by ,,john ,,leech ,lent by ,mr4 ,w4 ,h4 ,lever4 ,illustration ,it was natural that1 remembering the excellent reproductions of his wood-drawings in the ,carol and ,the ,chimes1 ,leech should express a wish that ,linton#ch might also engrave those in ,the ,battle of ,life2 but the signatures appended to the cuts show that1 doubtless for some sufficient reason1 the artist's wish was not respected4 ,footnote #ch3 ,as ,i write1 the decease of that admirable artist and engraver is reported from ,new ,haven1 ,u4,s4,a4 ,w4 ,j4 ,linton was born in ,london in #ahab1 and had therefore attained a venerable age1 spending the latter portion of his life in ,america4 ,during an extremely active career he produced1 among other literary works1 a valuable and comprehensive history of the art of which he was undoubtedly the most capable exponent4 ,mr4 ,linton1 who may justly be termed the father of modern wood-engraving1 carried on the tradition of ,bewick1 and was a thorough champion of the white-line school4 ,as a zealous ,chartist he took an active and prominent part in politics1 and1 in addition to this1 he was a voluminous writer both in poetry and prose1 his works including ,the ,english ,republic1 ,claribel1 and other ,poems1 ,a ,life of ,whittier1 c4 ,in his third design for ,the ,battle of ,life ,leech committed an extraordinary blunder1 the result 7it must be confessed7 of carelessly studying his author4 ,in this illustration1 where the festivities to welcome the bridegroom at the top of the page contrast with the flight of the bride represented below1 ,leech gravely erred in supposing that ,michael ,warden had taken part in the elopement1 and has introduced his figure with that of ,marion4 ,this curious mistake1 which might have been avoided had the drawing been submitted to ,dickens1 was not discovered until too late for remedy1 and it is highly characteristic of the novelist1 of the true regard he felt for the artist1 that he preferred to pass it silently4 ,the most remarkable thing of all is 7as ,forster has pointed out71 nobody seems to have noticed the unfortunate oversight1 although it must be obvious to every attentive reader that it makes great havoc of one of the most delicate episodes in the story4 ,the feelings of the author1 on realising the seriousness of this terrible misconception on the part of the artist1 may be readily imagined4 ,writing to his biographer1 he said3 ,when ,i first saw it1 it was with a horror and agony not to be expressed4 ,of course ,i need not tell you1 my dear fellow1 ,warden has no business in the elopement scene4 ,he was never there6 ,in the first hot sweat of this surprise and novelty1 ,i was going to implore the printing of that sheet to be stopped1 and the figure taken out of the block4 ,but when ,i thought of the pain this might give to our kind-hearted ,leech1 and that what is such a monstrous enormity to me1 as never having entered my brain1 may not so present itself to others1 ,i became more composed2 though the fact is wonderful to me4 ,no doubt a great number of copies will be printed by the time this reaches you1 and therefore ,i shall take it for granted that it stands as it is4 ,leech otherwise is very good1 and the illustrations altogether are by far the best that have been done for any of my ,christmas ,books4444 ,the ,haunted ,man1 #ahdh4 ,the ,haunted ,man and the ,ghost's ,bargain--the last of the ,christmas stories--contains five designs by ,leech1 and one of the original sketches is here reproduced1 through the courtesy of the ,museum authorities at ,nottingham ,castle4 ,they are not among ,leech's happiest efforts1 and do not compare favourably with the vignettes in ,a ,christmas ,carol4 ,,plate ,,xlvii ,,the ,,tetterbys ,facsimile of the ,original ,drawing for ,the ,haunted ,man by ,,john ,,leech ,by ,permission of the ,art ,museum ,committee of the ,corporation of ,nottingham4 ,illustration ,like ,cruikshank1 ,phiz1 and other contemporary book-illustrators1 ,john ,leech never worked from models1 relying chiefly upon his retentive memory2 he seldom made sketches of any kind1 but merely jotted down such useful memoranda of bits of scenery and character1 details of particular costume1 c1 as could be recorded in a little note-book which he invariably carried about with him4 ,when developing an idea for a drawing1 he would first make a slight outline of the subject upon paper of the size required1 then trace it down upon the wood-block1 and finally complete the picture with care and deliberation4 ,the only lessons in etching he ever had he received from ,george ,cruikshank2 but it was as a draughtsman on wood that he excelled1 his etchings 7of which those in the ,carol are among the best7 not being technically equal to those of either ,cruikshank or ,phiz1 nor do they exhibit that sense of freedom and spontaneity visible in his published drawings4 ,the late ,george du ,maurier1 his friend and colleague on ,punch1 tells us that ,leech drew straight on the wood block1 with a lead-pencil2 his delicate grey lines had to be translated into the uncompromising coarse black lines of printer's ink--a ruinous process2 and what his work lost in this way is only to be estimated by those who know4 ,in giving an account of ,leech's work1 ,professor ,ruskin points out a fact not generally known1 viz41 that from an artistic standpoint his first sketches for the woodcuts are much more valuable than the finished drawings1 even before those drawings sustained any loss in engraving4 ,the first few lines in which he sets down his purpose are invariably1 of all drawing that ,i know1 says the eminent critic1 the most wonderful in their accurate and prosperous haste4 ,dickens remained a constant admirer of ,leech's genius1 and when1 in #ahdh1 there appeared a collection of lithographs1 where the artist humorously depicted ,the ,rising ,generation1 the novelist indited for ,the ,examiner a glowing eulogium upon the work of his friend1 in the course of which he declared that he was the very first ,englishman who had made beauty a part of his art4 ,it was from ,dickens that ,leech occasionally accepted happy thoughts for ,punch1 and it will be remembered that he frequently availed himself 7as did ,sir ,john ,tenniel subsequently7 of ,phiz's designs for ,dickens1 whenever he thought they could be appropriately converted into political cartoons4 ,john ,leech occasionally associated himself with the amateur theatrical performances organised by ,dickens1 but it must be admitted that1 owing to his naturally modest and retiring disposition1 he did not achieve great distinction as an actor4 ,in #ahdi1 while on a visit to the novelist at ,bonchurch1 he was stunned by a huge wave when bathing1 and was put to bed with twenty of his namesakes on his temples4 ,congestion of the brain ensued1 and ,dickens1 who proved one of the most attentive of nurses during this anxious time1 proposed to ,mrs4 ,leech to try magnetism4 ,accordingly1 he wrote to ,forster1 in the middle of the night ,i fell to1 and after a very fatiguing bout of it1 put him to sleep for an hour and thirty-five minutes4 ,a change came on in the sleep1 and he is decidedly better4 ,i talked to the astonished ,mrs4 ,leech across him1 when he was asleep1 as if he had been a truss of hay4 ,incessant brain-work induced in ,john ,leech a peculiar irritability1 and he was so much affected by street noises1 even such as would escape ordinary attention1 that he was compelled at length to resort to the device of double windows4 ,eventually this abnormal sensitiveness told so seriously upon his health that he was ordered to ,homburg for change of scene2 but1 on returning to his ,london home in the autumn of #ahfd1 he was still strangely susceptible to noise of all kinds4 ,in addition to this1 the artist suffered acutely from angina pectoris1 and on ,october #bi1 #ahfd1 he was seized with an attack of that terrible disease1 which1 alas6 proved fatal4 ,dickens was sadly overcome by the death of this kindly man1 and attributed1 thereto his inability to make progress with ,our ,mutual ,friend1 upon which he was then engaged4 ,around the artist's grave there assembled1 on a bright autumn day1 many who were distinguished in ,art and ,literature1 in honour of him they sincerely mourned1 grieving for the loss of a spirit1 so gentle and graceful1 that had just passed away4 99 99 99 99 99 ,the portrait of ,john ,leech reproduced for this work is from a beautiful water-colour drawing by his friend1 the late ,sir ,john ,e4 ,millais1 ,p4,r4,a41 representing the artist in the prime of life4 ,this interesting and valuable presentment of the great pictorial humorist was purchased in #ahib by the ,trustees of the ,national ,portrait ,gallery1 and during the previous year a reproduction of it was given1 at my suggestion1 as the frontispiece to the biography of ,john ,leech by ,mr4 ,w4 ,p4 ,frith1 ,r4,a4 ,another intimate friend of ,leech1 ,mr4 ,holman ,hunt1 informs me that he considers this drawing by ,millais as undoubtedly the best portrait of the artist4 ,illustration3 ,r4 ,doyle ,illustration3 ,d4 ,maclise ,,plate ,,xlviii ,,richard ,,doyle ,from a ,photograph by ,g4 ,,jerrard ,lent by ,mrs4 ,henry ,doyle4 ,d4 ,,maclise1 ,r4,a4 ,from the ,painting by ,e4 ,m4 ,,ward4 ,r4,a41 #ahdf ,,richard ,,doyle ,inherits a ,talent for ,drawing--,not ,permitted to ,study from ,models--,no ,regular ,training in ,art--,a ,skilful ,amateur--,precocious ,sense of ,humour--,fanciful ,designs--,doyle ,joins the ,punch ,staff--,instructed in ,drawing on ,wood--,his ,sign-manual--,retirement from ,punch--,not ,acquainted with ,dickens--,his ,illustrations for ,,the ,,chimes--,elves and ,goblins--,an ,oversight by the ,artist--,,the ,,cricket ,,on ,,the ,,hearth and ,,the ,,battle ,,of ,,life--,doyle's ,original ,sketches for the ,christmas ,books ,dispersed4 ,with the single exception of ,john ,leech1 ,richard ,doyle contributed the greatest number of illustrations to the ,christmas ,books1 three of these little volumes containing1 in the aggregate1 ten designs by him4 ,he was born in ,london in #ahbd1 his father1 ,john ,doyle1 being the famous caricaturist1 ,h4,b41 whose political cartoons created much sensation in their day4 ,at an early age ,richard ,doyle proved that he inherited a talent for drawing1 and was encouraged in this direction by his father1 who 7strange to say7 would not allow him to study from the living model1 preferring that the boy should be taught to observe with watchful eye the leading features of the object before him1 and then some little time after to reproduce them from memory as nearly as he could4 ,he had no regular training in art1 except such as he was privileged to enjoy in his father's studio1 the result being that 7as ,mr4 ,m4 ,h4 ,spielmann reminds us in his ,history of ,punch7 he never attained a higher position than that of an extremely skilful amateur1 whose shortcomings were concealed in his charming illustrations and imaginative designs1 but were startlingly revealed in his larger work and in his figure-drawing4444 ,he was saved by his charm and sweetness1 his inexhaustible fun and humour1 his delightful though superficial realisation of character1 and his keen sense of the grotesque4 ,richard ,doyle's precocious sense of humour is exemplified in his illustrations for the ,comic ,histories1 executed by him when fifteen years of age1 but which were posthumously published4 ,an extraordinary power of fanciful draughtsmanship distinguishes the majority of his designs1 so that his pencil was in frequent request for works which demanded the display of this special faculty1 such as ,leigh ,hunt's ,jar of ,honey1 ,ruskin's ,king of the ,golden ,river1 ,pictures from the ,elf ,world1 ,planch's ,old ,fairy ,tales1 c4 ,in #ahdc1 when the artist was only nineteen1 he was installed as a member of the regular pictorial staff of ,punch1 and received instruction in drawing on wood from ,joseph ,swain1 the engraver for that journal4 ,richard ,doyle was familiarly known to his intimate friends as ,dicky ,doyle1 which probably suggested his sign-manual of a little dicky-bird perched upon his initials1 ,r4,d41--a signature that may be found appended to a very considerable number of cuts designed for ,punch during a period of seven years--that is1 until his retirement therefrom in #ahej4 99 99 99 99 99 ,sidenote3 ,the ,chimes1 #ahde4 ,although ,doyle furnished illustrations to three of ,dickens's ,christmas ,books1 there is no evidence that he was ever personally acquainted with the novelist4 ,no reference is made to the artist by ,forster1 nor does it appear that any correspondence passed between him and ,dickens1 the necessary instructions being apparently transmitted through the publishers4 ,the earliest ,christmas story with which we find him associated is ,the ,chimes1 to which he supplied four illustrations1 viz41 ,the ,dinner on the ,steps1 ,trotty at ,home1 ,trotty ,veck among the ,bells1 and ,margaret and her ,child4 ,his designs embellish the initial pages of each chapter1 and are treated in a decorative and fanciful manner4 ,in the first of these it will be noticed that the upper portion consists of a representation of the tower of ,st4 ,dunstan's ,church in ,fleet ,street1--a subject repeated by ,clarkson ,stanfield1 ,r4,a41 in a subsequent illustration4 ,in the other woodcuts the artist exhibits his acknowledged skill in delineating elves and goblins1 that depicting ,trotty among the ,spirits of the ,bells affording a delightful example of his wonderful power in portraying goblin-like creatures1 with their weird expressions and varied postures4 ,apropos of this engraving1 a curious oversight has been discovered by the ,rev4 ,h4 ,r4 ,haweis1 for ,doyle has introduced only three bells1 thus seeming to have forgotten that four are required to ring a quarter6 ,the subject of the remaining design1 where ,margaret1 with her babe1 kneels at the river's brink1 is replete with pathos1 the impression of desolation and despair being admirably rendered by means of a few simple lines4 99 99 99 99 99 ,sidenote3 ,the ,cricket on the ,hearth1 #ahdf4 ,the next ,christmas story1 ,the ,cricket on the ,hearth1 contains three illustrations by ,doyle1 one for each chapter1 as before4 ,the first really comprises two distinct subjects1 separated by a quaintly-designed initial letter2 in the upper drawing is seen ,john ,peerybingle's cart on its journey1 preceded by ,boxer1 while below we are presented with an ideal scene of domestic happiness1 where ,john and ,dot are seated before the fire in their humble home4 ,the first page of ,chirp the ,second contains a capital picture of ,caleb ,plummer and his blind daughter ,bertha1 busily at work among the toys2 in the last design1 illustrating the opening lines of ,chirp the ,third1 the honest carrier is observed reclining his head upon his hand in silent grief1 while comforting spirits hover around him4 99 99 99 99 99 ,sidenote3 ,the ,battle of ,life1 #ahdf4 ,dickens's fourth ,christmas ,book1 ,the ,battle of ,life1 includes three designs by ,doyle1 which are also introduced as embellishments of the initial pages of the different chapters4 ,they are much bolder in treatment1 however1 than the artist's earlier drawings1 and do not possess the artistic charm appertaining to his illustrations in ,the ,cricket on the ,hearth4 ,the most successful are the vignette subjects at the top of each page1 which are charming little studies4 ,it is unfortunate that no original sketches for these illustrations are available for reproduction4 ,a member of the artist's family declares that they were dispersed1 principally as gifts to friends1 and that their present destination is unknown4 ,on ,december #aj1 #ahhc1 ,richard ,doyle was struck down by apoplexy as he was quitting the ,athenum ,club1 and died on the following day4 ,thus passed away not only one of the most graceful limners of ,fairyland that ,england has produced1 but one who will long be remembered for his many noble qualities of heart and mind4 ,illustration ,illustration ,,plate ,,xlix ,,clarkson ,,stanfield1 ,r4,a4 ,from a ,photograph ,lent by ,mr4 ,field ,stanfield4 ,,frank ,,stone1 ,a4,r4,a4 ,from a ,photograph ,lent by ,mrs4 ,kate ,perugini4 ,,clarkson ,,stanfield1 ,r4,a4 ,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 ,epistle1 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 ,men4 ,first a sailor1 then an artist and a ,royal ,academician1 ,william ,clarkson ,stanfield acquired the reputation of being the greatest marine-painter of his time4 ,born in #agic1 he was brought up to the sea1 and at sea 7curiously enough7 was thrown into the companionship of ,douglas ,jerrold1 who1 like himself1 was ordained to make his mark in a very different profession4 ,when about twelve years old ,clarkson ,stanfield was apprenticed to a heraldic painter in ,edinburgh1 but an intense longing for the career of a sailor resulted in his entering the merchant service in #ahjh4 ,four years later he was pressed into the ,royal ,navy1 and while on board the ,king's ship ,namur in #ahad 7where he first met ,jerrold1 then a midshipman71 his talent for drawing was discovered1 whereupon he was sent ashore at ,sheerness to assist in the painting and decoration of the ,admiral's ball-room1 his work giving so much satisfaction that he was promised his discharge from the ,navy--a promise1 however1 that was not fulfilled4 ,after another interval of three or four years he finally left the sea1 having been temporarily disabled by a fall1 and procured an engagement as scene-painter at the ,east ,london ,theatre1 for he had already essayed this branch of ,art on board ship4 ,so eminently satisfactory were his pictorial achievements in ,east ,london that he obtained a similar position at the ,edinburgh ,theatre1 and thence1 in #ahbb1 in conjunction with his friends ,david ,roberts and ,nasmyth1 he was employed in a like capacity at the ,theatre ,royal1 ,drury ,lane4 ,from that time his success in ,art was assured4 ,stanfield had already exhibited in the ,royal ,academy1 and year by year his work in this and other ,institutions continued to excite interest and admiration1 by reason of the simple truthfulness of all his representations4 ,usually1 but not invariably1 he preferred to depict scenes in which his nautical experience could be made available1 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 productions4 ,in #ahcb ,stanfield was elected an ,associate of the ,royal ,academy1 and three years later he attained full honours4 ,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 public1--as a matter of fact1 the future novelist was at that date writing the earliest of those wonderful sketches which appeared under the nom de guerre of ,boz4 ,clarkson ,stanfield1 who was ,charles ,dickens's senior by about nineteen years1 made the acquaintance of the novelist late in the ,thirties1 when began those affectionate relations subsisting between the two distinguished men4 ,i love you so truly1 observed ,dickens to the artist1 in a letter dated ,august #bd1 #ahdd1 and have such pride and joy of heart in your friendship1 that ,i don't know how to begin writing to you4 ,two years previously ,stanfield joined ,dickens and his friends ,forster and ,maclise in their famous trip to ,cornwall1--three memorable weeks1 overflowing with enjoyment and fun2 the artists made sketches of the most romantic of the halting-places1 one of these being a drawing of the ,logan ,stone by ,stanfield 7now in the ,forster ,collection at ,south ,kensington71 where are seen the figures of himself and his three fellow-travellers4 99 99 99 99 99 ,sidenote3 ,the ,chimes1 #ahde4 ,in #ahdd ,dickens conceived the idea of a second ,christmas ,book1 ,the ,chimes1 and what more natural than that he should desire to enlist the services1 as illustrator1 of so skilled a draughtsman as ,clarkson ,stanfield8 ,it was decided to depart from the plan adopted in regard to the ,carol1 by engaging more than one artist1 thus imparting an agreeable variety to the designs4 ,stanfield1 eager to gratify his friend1 did not require much persuasion to co-operate in the pictorial embellishment of the little volume1 for which he provided two choice drawings1 viz41 ,the ,old ,church1--a faithful representation of the old ,london belfry of ,st4 ,dunstan's in ,fleet ,street1--and ,will ,fern's ,cottage1--a pretty bit of landscape scenery1 such as the artist knew so well how to depict4 ,with these ,dickens was charmed1 and in a letter to his wife he said3 ,stanfield's readiness1 delight1 wonder at my being pleased with what he has done is delicious4 ,stanfield1 it appears1 would not accept payment for these drawings1 preferring that they should be considered as tokens of friendship4 ,dickens1 however1 could not pass over so generous an act without some acknowledgment1 and this took the form of a silver claret-jug1 which was presented 7as the inscription records7 ,in ,memory of ',the ,chimes4' ,accompanying the gift was the following letter1 dated ,october #b1 #ahde1 where allusion is made to the succeeding ,christmas ,story3-- ,,my ,,dear ,,stanny1--,i send you the claret-jug4 ,but for a mistake1 you would have received the little remembrance almost immediately after my return from abroad4 444 ,i need not say how much ,i should value another little sketch from your extraordinary hand in this year's small volume1 to which ,mac again does the frontispiece4 ,but ,i cannot hear of it1 and will not have it 7though the gratification of such aid to me is really beyond all expression71 unless you will so far consent to make it a matter of business as to receive1 without asking any questions1 a cheque in return from the publishers4 ,do not misunderstand me--though ,i am not afraid there is much danger of your doing so1 for between us misunderstanding is1 ,i hope1 not easy4 ,i know perfectly well that no terms would induce you to go out of your way1 in such a regard1 for perhaps anybody else4 ,i cannot1 nor do ,i desire to1 vanquish the friendly obligation which help from you imposes on me4 ,but ,i am not the sole proprietor of these little books2 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 partners1 ten thousand times more monstrous in me if any consideration on earth could induce me to permit it1 which nothing will or shall4 ,so1 see what it comes to4 ,if you will do me a favour on my terms1 it will be more acceptable to me1 my dear ,stanfield1 than ,i can possibly tell you4 ,if you will not be so generous1 you deprive me of the satisfaction of receiving it at your hands1 and shut me out from that possibility altogether4 ,what a stony-hearted ruffian you must be in such a case6--,ever affectionately yours1 ,,charles ,,dickens4 99 99 99 99 99 ,sidenote3 ,the ,cricket on the ,hearth1 #ahdf4 ,the small volume here alluded to was ,the ,cricket on the ,hearth1 for which ,stanfield prepared one illustration1 viz41 ,the ,carrier's ,cart4 99 99 99 99 99 ,sidenote3 ,the ,battle of ,life1 #ahdf4 ,,plate ,l ,,war ,,and ,,peace ,facsimile of the ,original ,sketches for ,the ,battle of ,life by ,c4 ,,stanfield1 ,r4,a4 ,lent by ,mr4 ,field ,stanfield4 ,illustration ,to the fourth ,christmas ,book1 ,the ,battle of ,life1 ,stanfield contributed three beautiful little designs1 representing respectively ,war1 ,peace1 and ,the ',nutmeg ,grater' ,inn4 ,happily1 ,i am enabled to present facsimiles of the original sketches 7very slight in treatment7 of the first two subjects1 through the courtesy of the artist's son1 ,mr4 ,field ,stanfield4 ,the story was written at ,lausanne1 and1 during ,dickens's absence in ,switzerland1 ,forster succeeded in enlisting ,stanfield as one of the illustrators as a glad surprise for the author1 who1 on being informed of the fact1 wrote to his biographer3 ,your ,christmas ,book illustration-news makes me jump for joy4 ,forster intimates that these three morsels of ,english landscape1 delineated by ,stanfield1 had a singular charm for ,dickens at the time1 who referred to the illustrations altogether as by far the best that had been done for any of the ,christmas ,books4 ,it is a delight1 he remarked concerning ,stanfield's designs1 to look at these little landscapes of the dear old boy4 ,how gentle and elegant1 and yet how manly and vigorous they are6 ,i have a perfect joy in them4 99 99 99 99 99 ,sidenote3 ,the ,haunted ,man1 #ahdh4 ,the last of the ,christmas ,books1 viz41 ,the ,haunted ,man1 contains three illustrations by this artist1 viz41 ,the ,lighthouse1 ,the ,exterior of the ,old ,college1 and ,the ,christmas ,party in the ,great ,dinner ,hall4 ,in the first subject1 which is decidedly the most successful1 ,stanfield found a most congenial theme1 for here his knowledge of sailors and of the dangers of the sea proved serviceable4 ,with regard to his designs for these little annuals1 it appears that the artist could not be prevailed upon to accept payment for them1 ,dickens's protests notwithstanding4 ,he consequently became the recipient of another gift--a pair of handsome silver salvers1 bearing the simple inscription1 ,clarkson ,stanfield from ,charles ,dickens1 in recognition of his friendly collaboration1 and these are now in the possession of one of the artist's sons4 99 99 99 99 99 ,sidenote3 ,american ,notes1 #ahej4 ,there is another illustration by ,stanfield to which some allusion must be made4 ,this is an admirable water-colour drawing of the ,britannia1 the steamship that conveyed ,dickens to ,america in #ahdb4 ,the drawing was made with a view to reproduction as the frontispiece for the first cheap edition of ,american ,notes1 and the following hitherto unpublished letter 7dated ,may #aa1 #ahej7 to ,edward ,chapman 7of ,chapman ,hall71 is of interest in this connection3-- ,,dear ,,sir1--,mr4 ,stanfield will draw the packet-ship for the frontispiece to the ',american ,notes4' ,he says lithograph is better than wood for that kind of subject2 please let me know immediately whether it will suit us to lithograph it4--,faithfully yours1 ,,charles ,,dickens4 ,the suggestion was found impracticable1 so it was decided that the drawing should be made on wood4 ,the block was therefore forwarded to the artist1 who complained to ,dickens of its imperfect surface1 whereupon the novelist despatched to ,edward ,chapman this brief missive1 dated ,may #bb3-- ,,dear ,,sir1--,mr4 ,stanfield wonders you didn't send him a paving-stone to draw upon1 as send a block in this unprepared state4 ,i send you his drawing to do the best you can with4 ,it costs nothing1 and ,i wish it to be kept very clean and returned to me4--,faithfully yours1 ,,charles ,,dickens4 ,it may be inferred from this letter that the drawing was copied upon the wood-block by the engraver himself1 whose name 7,t4 ,bolton7 is appended to the frontispiece4 ,the original picture was purchased at the sale of ,dickens's effects in #ahgj for the sum of #aaj1 #es41 by the late ,earl of ,darnley1 for many years the novelist's friend and neighbour4 ,clarkson ,stanfield1 whose intimacy with the ,dickens family was very close1 used to take part in their ,christmas sports and gambols1 and in connection with the private theatricals at ,tavistock ,house his services as scene-painter were invaluable4 ,apropos of this1 the novelist once wrote to ,frank ,stone1 ,a4,r4,a43 ,stanfield bent on desperate effects1 and all day long with his coat off1 up to his eyes in distemper colours4 ,again3 ,if ,stanfield don't astonish 'em the audience1 ,i'm a ,dutchman4 ,o ,heaven1 if you could hear the ideas he proposes to me1 making even my hair stand on end6 ,for ,wilkie ,collins's drama1 ,the ,lighthouse1 produced at ,tavistock ,house1 the artist painted a very remarkable act-drop representing the ,eddystone ,lighthouse1 concerning which it may be observed that1 although it occupied the great painter only one or two mornings1 it realised at the novelist's death nearly a thousand guineas6 ,dickens1 when writing to ,stanfield1 frequently adopted nautical expressions1 in allusion to the artist's experiences as a seaman4 ,he sometimes addressed him as ,old ,tarpaulin1 ,old ,salt1 ,messmet1 c41 and as an example of this ,i here reprint a letter1 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 him3-- ,,my ,,dear ,,stanny1--,in reference to the damage for the candlesticks1 ,i beg to quote 7from ',the ,cricket on the ,hearth1' by the highly popular and deservedly so ,dick7 this reply3 ',i'll damage you if you inquire4' ,ever yours1 ,my block-reeving1 ,main-brace splicing1 ,lead-heaving1 ,ship-conning1 ,stun'sail-bending1 ,deck-swabbing1 ,son of a sea-cook1 ,,henry ,,bluff1 ,h4,m4,s4 ,timber4#ci ,footnote #ci3 ,from ,the ,letters of ,charles ,dickens4 ,mr4 ,field ,stanfield informs me that it is quite certain the candlesticks were not a gift from ,dickens to his father4 ,it would seem most probable that there may have been some accident during theatrical preparations1 for which the artist considered himself responsible1 and that ,dickens undertook to repair the misfortune himself4 ,during the last ten years of his life ,stanfield's health became less strong1 and he was obliged in some measure to retire from the congenial circle of his artistic and literary associates1 continuing1 however1 to take great delight in his art4 ,stanfield breathed his last on ,may #ah1 #ahfg4 ,his death proved a great blow to ,dickens1 who1 in a note of sympathy to ,mr4 ,george ,stanfield1 observed3 ,no one of your father's friends can ever have loved him more dearly than ,i always did1 or can have better known the worth of his noble character4 ,to the famous painter1 for whom he ever entertained a strong affection1 the novelist had dedicated ,little ,dorrit1 and1 as a tribute to his memory1 wrote 7in ,all the ,year ,round7 a sympathetic eulogium upon his departed friend of thirty years1 where1 after alluding to the artist as the ,national historian of the ,sea1 he says3 ,he was a charitable1 religious1 gentle1 truly good man4 ,a genuine man1 incapable of pretence or of concealment4 ,he was the soul of frankness1 generosity1 and simplicity4 ,the most genial1 the most affectionate1 the most loving1 and the most lovable of men4 ,,daniel ,,maclise1 ,r4,a4 ,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 ,st4 ,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 ,memory4 ,among a host of intimate friends1 none was more beloved by ,dickens than the warm-hearted ,irish artist1 ,daniel ,maclise1 whose fine genius and handsome person charmed all who knew him4 ,maclise was the son of a ,scotch soldier quartered at ,cork1 and was born in that city on ,january #be1 #ahaa1 being thus the novelist's senior by about a year4 ,as a child he exhibited great facility in executing caricatures1 and was soon enabled to support himself by the sale of his sketches4 ,it was at first intended that he should adopt the surgical profession1 with which object he studied anatomy under ,dr4 ,woodroffe1 but1 like ,john ,leech1 he did not take kindly to the science of healing1 preferring 7as did ,leech7 the more congenial pursuit of ,art4 ,accordingly1 in #ahbg1 ,maclise entered the ,royal ,academy ,schools1 where he made such rapid progress1 that two years later his work was admitted to the ,exhibition of the ,royal ,academy4 ,although1 in #ahca1 the fortunate young painter received the gold medal entitling him to the ,travelling ,studentship1 he elected to remain in ,england1 having already visited ,paris and studied at the ,louvre and the ,luxembourg4 ,achieving success after success as a painter of ,shakesperian scenes1 portraits1 c41 he became an ,associate of the ,royal ,academy in #ahcf1 and attained full honours in #ahdj4 ,in #ahff he was offered the ,presidency1 but1 as did ,sir ,edwin ,landseer during the previous year1 he declined that distinction4 99 99 99 99 99 ,sidenote3 ,master ,humphrey's ,clock1 #ahdj-da4 ,it was in the year of his election as ,associate that ,maclise was introduced by ,forster to ,charles ,dickens1 and we learn that the tastes and pursuits of the three friends were so congenial that thenceforth they were inseparable1--this affectionate intercourse being maintained without interruption for nearly thirty years4 ,when1 in #ahdj1 ,dickens contemplated the publication of ,master ,humphrey's ,clock1 it was his intention to endeavour to secure the valuable co-operation of ,maclise as an illustrator of that work1 in conjunction with ,george ,cattermole4 ,forster states that there seems to have been a desire on ,maclise's part to try his hand at an illustration1 but he did not remember that it bore other fruit than a very pleasant day at ,jack ,straw's ,castle1 where ,dickens read one of the later numbers to us4 ,that ,maclise's wish was actually realised1 however1 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 ,sexton4 ,why this should have been his only contribution to the pages of ,master ,humphrey's ,clock has never been explained1 but it is not improbable that the artist was too busily occupied with his paintings just at this time1 and therefore unable to devote serious attention to black-and-white work4 99 99 99 99 99 ,sidenote3 ,the ,chimes1 #ahde4 ,,plate ,,li ,,the ,,tower ,,of ,,the ,,chimes ,,and ,,the ,,spirit ,,of ,,the ,,chimes ,facsimiles of the ,original ,drawings for ,the ,chimes by ,d4 ,,maclise1 ,r4 ,a4 ,illustration ,illustration ,maclise had been much engaged in book-illustration 7sometimes signing himself ,alfred ,croquis7 when1 in #ahdd1 it was proposed that he should provide designs for ,dickens's second ,christmas ,book1 ,the ,chimes4 ,this little story was written in ,italy1 and1 during ,dickens's absence1 the necessary arrangements respecting the illustrations were made by ,forster4 ,it may be incidentally mentioned that1 eager to try the effect of the story1 the novelist journeyed to ,england for the express purpose of reading it aloud to his friends at ,forster's residence in ,lincoln's ,inn ,fields1 the memorable incident being depicted by ,maclise in an amusing pencil-sketch1 afterwards reproduced for ,forster's biography4 ,maclise became responsible for the frontispiece and decorative title-page of ,the ,chimes1 both of these fanciful designs gracefully portraying elves and fairies1 spirits of the bells1 and allegorical figures typifying ,love1 ,life1 and ,death4 ,the original drawings1 now in ,south ,kensington ,museum1 were delicately executed in pencil1 and engraved on steel by ,f4 ,p4 ,becker4 ,with reference to these illustrations1 the artist wrote3-- ,,my ,,dear ,,forster1--,i wonder if it would be possible to make the paper of the book an inch bigger1 that is1 to increase the width of margin around the letterpress1 without much additional expense4 ,i wish you to put the question4 ,i do not think my design too large1 but it would marvellously increase the elegance of the look of the book4 ,i must say the ',carol' book is the very climax of vulgarity in its mise en planches4--,au revoir44 ,d4 ,m4#dj ,footnote #dj3 ,this and the succeeding letters from ,maclise to ,forster are now printed for the first time4 ,it was1 of course1 considered inadvisable to depart from precedent by acting upon the above suggestion4 ,dickens was highly pleased with the artist's designs1 and1 writing to his wife on ,december #b1 #ahdd1 he said3 ,mac's frontispiece is charming4 99 99 99 99 99 ,sidenote3 ,the ,cricket on the ,hearth1 #ahdf4 ,to the third ,christmas ,book1 ,the ,cricket on the ,hearth1 ,maclise also contributed the frontispiece and decorative title-page1 which were engraved on wood instead of steel4 ,these designs are replete with quaint fancy1 the frontispiece being especially worthy of attention1 comprising1 as it does1 no less than ten miniature tableaux1 the chief of these representing a homely scene1 where the ,carrier and his wife are seated by the fireside1 their babe being rocked in its cradle by the fairies1 while above the steaming kettle is perched that good spirit1 the ,cricket4 ,the following undated letter is interesting on account of its connection with this ,christmas story3-- ,,my ,,dear ,,forster1-- 444 ,i write to ask if you have a moment to see ,bradbury and ,evans about these blocks for my little designs4 ,i wrote to ,dickens ,saturday1 and there came to me such a small pair that ,i instantly sent them back4 ,then on ,saturday evening two more came2 one of them will do--but as you understand the matter1 and last year even got the book enlarged a little1#da ,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' is4 ,i have made a little sketch to be placed on the wood1 and some of the little shapes come as close to the edge of the page as this line ,i make--,symbol3 long vertical line4 ,i want the wood as high and as wide as that page--but oh6 my ,i--on1 if it could but be--the page ,i mean1 not the wood1--a little--so much larger1 ah6 ,i should be happy for life4 ,tell ,b4 and ,e4 this and ask ,d4 to insist on it4 ,mind1 ,i am not exceeding the present paper of the ',chimes1' but for the look of the book it would be very important--and they have sent me a block much smaller than that page1 whereas ,i cannot afford one-hundredth part of a pin's point4 ,i know 'tis vain to write to them--so trouble you1 and ,i want the blocks--in an hour666--,ever most faithfully1 ,d4 ,m4 ,footnote #da3 ,there was practically no enlargement4 99 99 99 99 99 ,sidenote3 ,the ,battle of ,life1 #ahdf4 ,the artist prepared for ,the ,battle of ,life not only the customary frontispiece and title-page1 but two additional designs for the later portion of the story4 ,dickens1 who was in ,paris at the time1 was delighted when he heard of this1 and in a letter to a friend observed3 ,forster writes me that ,mac has come out with tremendous vigour in the ,christmas ,book1 and took off his coat at it with a burst of such alarming energy that he has done four subjects6 ,of these1 the principal is the frontispiece1 representing the ,dance round the ,appletree1 but the most successful design is that depicting ,the ,sisters1--a graceful composition1 and the last drawing produced by the artist for ,dickens4 ,remembering the novelist's keen appreciation of ,maclise's illustrations in the preceding ,christmas ,books1 it seems somewhat strange that the artist should have thus emphatically expressed himself to ,forster in the following letter1 evidently indited in a moment of pique3-- ,,my ,,dear ,f41--,it is clear to me that ,dickens does not care one damn whether ,i make a little sketch for the book or not4 ,however1 if you think that the appearance of the volume should be as like the former ones as possible1 ,i will with even pleasure gulp down my jealousy and draw on the wood that apple-tree1 c1 for a frontispiece4 ,in which case you must shut up that same subject to ,doyle--as ,i saw in his sketch last night4 ,but ,i do this at your bidding1 and not at all for ,d41 and on the whole would much prefer not engaging in the matter at all4--,yours truly1 ,d4 ,m4 ,apparently some little misunderstanding had hurt the susceptibilities of the artist1 but1 happily1 it was speedily removed1 for he presently wrote in a more conciliatory spirit3-- ,,my ,,dear ,,forster1--,i have received the blocks and will make the design of the apple-tree and the girls dancing--so keep that subject sacred to me4 ,bradbury and ,evans have sent the block as large as the last1 but as ,i do not approve the look of the design without margin1 ,i intend to keep this one within bounds4 ,they have sent me a smaller one for title-page4 ,now ,i propose1 and ,i know it will improve the appearance of the little book1 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 book4 ,that one1 perhaps1 the lover of ,marion's interview with her--and ,clemency4 ,i hope very much you will see no good objection to this proposition--or will you propose a second subject8--,ever yours truly ,d4 ,m4 ,again1 a few days later3-- ,,my ,,dear ,,forster1-- 444 ,i write to say that you will find me at the ,athenum to-morrow at five o'clock4 ,do not be later4 ,i hope then to bring with me the drawing on the block for the frontispiece--the girls dancing2 for the other1 ,i will do what you like1 the girls and the ,doctor1 ,marion reading1 c1 or the lover of ,marion's interview with her1 and ,clemency outside the door1 c4 ,we will agree to-morrow4--,very truly yours1 ,d4 ,,maclise4 ,i hope there may be time enough then not to hurry it4 ,the following letter probably refers to the allegorical design on the title-page1 depicting the triumph of ,virtue over ,vice1 in which the figures 7with one exception7 are nude3 although1 from an allusion to that tree1 it might be suggested that it was the frontispiece3-- ,,my ,,dear ,,forster1--,i suppose the stern moralist1 ,thackeray1 would have described the last design ,i made lecherous1 libidinous1 lustful1 lewd1 and loose2 but ,i meant it to be pure and 'mi-ld as the moo-n-beams4' 444 ,i only write to tell you1 if you can exercise any control over its fate1 that it may be placed in the hands of as good a wood-man as possible1 and that he be recommended to spare that tree-e-4 ,i fear that my character is gone abroad1 and that ,i am a dog with a bad name4444--,ever yours1 ,,daniel ,,maclise4 ,both the frontispiece and title-page were excellently rendered on wood by ,john ,thompson1 one of the foremost engravers of the day4 ,maclise1 however1 had hoped the work would have been entrusted to others1 for he observed to ,forster3 ,i am annoyed that neither ,williams nor ,dalziel are to do that little design4 ,some one called here and took it away on ,monday1 and he said that there was not time 7the old excuse7 to do it justice4 ,judging from the following trenchant remarks1 the artist was anything but gratified by the engraved reproductions of these drawings when they appeared in print3-- ,,my ,,dear ,f41--,i can never hope to get you to understand how ,i am mortified and humiliated by the effect of these damnable cuts4 ,it really is too much to be called upon to submit to1 to be shown up in these little dirty scratches and to have one's name blazoned as if one was proud of them4 ,i wish to ,heaven you would have my name cut out from the corners1 that at least ,i might have the benefit of the doubt as to which of the blots is mine4 ,i would give anything that ,i had kept to my original notion and had nothing to do with the thing4444 ,i wish you had left me that last one2 ,i would have tried to beguile myself with a belief that it might be improved4 ,my curses light upon the miserable dog that produced it--,i don't mean myself4--,ever yours1 ,d4 ,,maclise4 ,and what is the good of employing ,thompson--if the demon printers are to ruin them with their diabolic press8 ,maclise1 like other draughtsmen on wood1 doubtless often experienced a sense of disappointment when their delicately-pencilled drawings were hurriedly engraved and submitted to the arbitrary treatment of printer's ink4 ,in this way those subtle touches upon which the artist prided himself were lost for ever1 so that the designs appear coarse and crude4 ,such was obviously the case with regard to the illustrations now under consideration1 notwithstanding the fact that they bear the signatures of thoroughly experienced engravers4 ,it is a fact worth recording here that ,maclise did not draw from life the figures in his designs for the ,christmas ,books4 ,indeed1 it was a matter of astonishment to his brother artists that1 even when working upon his more important canvases1 he very rarely resorted to the use of the living model1 his singular facility in composition leading him1 perhaps1 too often to dispense with the study of the human form2 yet his works1 although possessing a mannered look1 are distinctively marked by characteristics of individual as well as general nature4 ,as already intimated1 the friendship subsisting between ,dickens and ,maclise was of a kind the most sincere1 and it was naturally coupled with a true admiration which each entertained for the genius of the other4 ,dickens never tired of praising the talent of the artist1 whom he thought a tremendous creature1 who might do anything1 and recalled with delight those halcyon days when ,maclise accompanied ,clarkson ,stanfield1 ,forster1 and himself on that memorable ,cornish trip in #ahdb1 one result of which was a charming painting 7now in the ,forster ,collection at ,south ,kensington7 of the ,waterfall at ,st4 ,nighton's ,keive1 near ,tintagel1 into which the artist introduced as the principal feature a young girl carrying a pitcher1 the model for whom was ,dickens's sister-in-law1 ,miss ,georgina ,hogarth4 ,it should be remembered that one of the finest of the early portraits of ,dickens himself was painted by ,maclise in #ahci1 at the instigation of ,chapman ,hall1 with a view to an engraving for ,nicholas ,nickleby1 the reproduction duly appearing as the frontispiece4 ,the original picture was presented to ,dickens by his publishers1 and at the sale of the novelist's effects in #ahgj this very interesting canvas was purchased for #fic by the ,rev4 ,sir ,e4 ,r4 ,jodrell1 by whom it was bequeathed to the ,national ,gallery1 where it may now be seen4 ,maclise is responsible also for another excellent portrait of the novelist at the same youthful period--a slight pencil-drawing 7executed in #ahdc7 representing him with his wife and her sister4 ,the premature death of ,dickens's raven1 immortalised in ,barnaby ,rudge1 was formally notified to ,maclise by the novelist in the form of a letter narrating the details of that domestic calamity4 ,the artist forwarded the missive to ,forster1 together with a sketch purporting to represent ,grip's apotheosis1 while to ,dickens himself he dispatched 7,march #ac1 #ahda7 the following letter1 which does not appear in the published collection1 and is one of a very few letters extant that were addressed by him to the novelist3#db-- ,footnote #db3 ,replying to ,mr4 ,w4 ,j4 ,o',driscoll's application for the loan of any of the artist's correspondence1 with a view to publishing them in his ,memoir of ,maclise1 ,dickens stated that a few years previously he destroyed an immense correspondence1 expressly because he considered it had been held with him and not with the public4 ,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 contemporaries4 ,,my ,,dear ,,dickens1--,i received the mournful intelligence of our friend's decease last night at eleven1 and the shock was great indeed4 ,i have just dispatched the announcement to poor ,forster1 who will1 ,i am sure1 sympathise with us in our bereavement4 ,i know not what to think of the probable cause of his death1--,i reject the idea of the ,butcher ,boy1 for the orders he must have in his 7the ,raven's7 life-time received on account of the ,raven himself must have been considerable4 ,i rather cling to the notion of felo de se--but this will no doubt come out upon the post-mortem4 ,how blest we are to have such an intelligent coroner as ,mr4 ,wakley4 ,i think he was just of those melancholic habits which are the noticeable signs of your intended suicide1 his solitary life1 those gloomy tones1--when he did speak1 which was always to the purpose4 ,witness his last dying speech1 ',hallo6 old girl1' which breathes of cheerfulness and triumphant recognition1--his solemn suit of raven black1 which never grew rusty4 ,altogether his character was the very prototype of a ,byron hero--and even of a ,scott--a ,master of ,ravenswood4 ,he ought to be glad he had no family4 ,i suppose he seems to have intended it1 however1 for his solicitude to deposit in those ,banks in the garden his savings was always very touching4 ,i suppose his obsequies will take place immediately4 ,it is beautiful1 the idea of his return1 even after death1 to the scene of his early youth and all his associations1 and lie with kindred dusts amid his own ancestral graves after having made such a noise in the world1 having clearly booked his place in that immortality-coach driven by ,dickens4 ,yes1 he committed suicide2 he felt he had done it and done with life4 ,the hundreds of years6 what were they to him8 ,there was nothing more to live for--and he committed the rash act4--,sympathisingly yours1 ,,dan4 ,,maclise4 ,it is evident from the following epistle1 addressed to ,forster at the time when ,dombey and ,son was appearing in monthly numbers1 that ,maclise1 while acknowledging his intense admiration of the novelist's powers1 could not bring himself to appreciate certain of his youthful creations3-- ,,my ,,dear ,,forster1--,i think it very great--the old nautical-instrument-seller novel1 and most promising4 ,i'm never up to his young girls--he is so very fond of the age of ',nell1' when they are most insipid4 ,i hope he is not going to make another ',slowboy'--but ,i am only trying to say something1 and to find fault when there is none to find4 ,he is absolutely alone4--,ever yours1 ,d4 ,m4 ,in #ahgj ,maclise's health began seriously to fail him2 he appeared languid and depressed1 and in ,april of that year he succumbed to an attack of acute pneumonia1 predeceasing the novelist by only a few weeks4 ,dickens experienced a severe shock on hearing of the death of this steadfast and genuine friend1 and when1 three days later1 he returned thanks for ,literature at the ,royal ,academy dinner 7his final appearance in public71 he offered a most affectionate1 graceful1 and eloquent tribute to the memory of him who had just passed away4 ,for many years1 he said1 ,i was one of the two most intimate friends and most constant companions of the late ,mr4 ,maclise4 ,of his genius in his chosen art ,i will venture to say nothing here1 but of his prodigious fertility of mind and wonderful wealth of intellect1 ,i may confidently assert that they would have made him1 if he had been so minded1 at least as great a writer as he was a painter4 ,the gentlest and most modest of men1 the freshest as to his generous appreciation of young aspirants1 and the frankest and largest-hearted as to his peers1 incapable of a sordid or ignoble thought1 gallantly sustaining the true dignity of his vocation1 without one grain of self-ambition1 wholesomely natural at the last as at the first1 'in wit a man1 simplicity a child1' no artist1 of whatsoever denomination1 ,i make bold to say1 ever went to his rest leaving a golden memory more pure from dross1 or having devoted himself with a truer chivalry to the art-goddess whom he worshipped4 ,these were the last public words of ,charles ,dickens1 and they were uttered when the speaker was far from well1 and when1 indeed1 he was himself nearing the brink of the ,great ,unknown4 ,,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--,knighthood4 ,sir ,john ,tenniel1 the doyen of the ,punch staff1 is undoubtedly best known as the designer and draughtsman of the cartoon published weekly in that journal4 ,this famous pictorial satirist succeeded ,richard ,doyle on ,punch in #ahej1 and since #ahfa 7with the exception of a few brief intervals7 he has supplied the subject of the principal engraving with unfailing regularity4 ,confining himself almost entirely to black-and-white drawing1 ,sir ,john has produced1 during a long and active career1 a large number of book-illustrations1 such as those embellishing certain editions of sop's ,fables1 ,the ,ingoldsby ,legends1 ,lalla ,rookh1 and ,the ,arabian ,nights1 while those charming designs in the late ,lewis ,carroll's ,alice in ,wonderland1 with its sequel1 ,through the ,looking-,glass1 will be readily remembered4 ,in ,once a ,week may also be found many of his illustrations4 ,sir ,john ,tenniel was born in ,london in #ahbj4 ,although for a time he attended the ,royal ,academy ,schools1 he is practically a self-taught artist1 and exhibited his first picture when sixteen years of age4 ,after this initial success he continued to paint and exhibit pictures both in oil and water-colours1 but soon realised that he could exercise his facile pencil with greater advantage1 his designs possessing a refinement and good taste1 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 ,art4 99 99 99 99 99 ,sidenote3 ,the ,haunted ,man1 #ahdh4 ,prior to joining the ,punch staff--that is to say1 in #ahdg--,sir 7then ,mr47 ,john ,tenniel became acquainted with ,charles ,dickens1 who invited the young artist to contribute 7in conjunction with ,clarkson ,stanfield1 ,r4,a41 ,john ,leech1 and ,frank ,stone1 ,a4,r4,a47 some designs to ,the ,haunted ,man1 published in #ahdh4 ,accordingly1 in this ,christmas ,book we find him represented by six illustrations1 consisting of the frontispiece1 engraved title-page1 and four other designs1 the latter appearing at the opening of the chapters4 ,the frontispiece is a remarkable achievement in respect to the decorative border surrounding the central picture1--a beautifully-fanciful treatment of elf-like and other figures1 typifying ,good and ,evil1 the drawing being admirably engraved on wood by ,martin and ,corbould4 ,in the second chapter the artist has represented the ,tetterby family1 which it is interesting to compare with a similar group of the ,tetterbys by ,john ,leech in the same chapter4 ,sir ,john ,tenniel's final drawing is a successful attempt to portray1 in the form of allegory1 ,night receding before ,dawn4 ,except in painting1 ,sir ,john ,tenniel never resorts to the use of the living model for his figures1 but depends entirely upon a wonderful memory of observation4 ,apropos of his collaboration with the novelist1 he has favoured me with the following note3-- ,my 'artistic association' with ,charles ,dickens began and ended simply with my poor little contributions towards the illustration of ',the ,haunted ,man4' ,there was no written correspondence between us that ,i can remember1 and ,i believe ,i had but one interview with ,dickens on the subject1 when he gave me certain hints as to treatment1 c4 c4 c4 ,only that1 and nothing more6 ,as to what became of the original sketches ,i have not the remotest idea2 probably ,i gave them away--or1 more probably still1 they were one day consigned to the waste-paper basket4 ,at all events1 and after an interval of about forty-five years1 it is perhaps scarcely surprising that ,i should have long since forgotten all about them4 ,it should be mentioned that1 as in the case of ,leech1 many of ,sir ,john ,tenniel's ,punch cartoons are adapted from illustrations in the works of ,dickens1 these happily suggesting the political situation of the moment4 ,this subject is fully treated in my paper on ,dickens and ,punch in the ,english ,illustrated ,magazine1 ,august #ahia4 ,sir ,john is one of the oldest members of the ,royal ,institute of ,painters in ,water-,colours4 ,in ,june #ahic the distinction of knighthood was conferred upon the veteran artist1 his name having been included in the list of ,royal birthday honours1 at the recommendation of ,mr4 ,gladstone1 whose face and figure he has so frequently delineated2 thus for the first time were the claims of black-and-white draughtsmen deservedly recognised4 ,sir ,john ,tenniel's busy pencil continues to be effectively employed in the pages of ,punch2 but he remains1 alas6 the sole survivor of the band of clever artists whose designs adorn the ,christmas ,books of ,charles ,dickens4 ,,frank ,,stone1 ,a4,r4,a4 ,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 ,price1 ,kate ,nickleby1 and ,madeline ,bray--,his ,frontispiece for the ,first ,cheap ,edition of ,martin ,chuzzlewit--,sudden ,death4 ,frank ,stone1 ,a4,r4,a41 father of ,mr4 ,marcus ,stone1 ,r4,a41 was privileged to join the ranks of ,dickens ,illustrators4 ,this distinguished artist1 born in #ahjj1 was the son of a ,manchester cotton-spinner1 which business he also followed until twenty-four years of age1 when he abandoned mercantile pursuits in favour of ,art4 ,during the early portion of his professional career1 which was begun in ,london under very modest and unassuming conditions1 he made pencil-drawings for ,heath's ,book of ,beauty1 and presently became successful as a painter in water-colours4 ,his engaging personality and innate abilities caused him to be welcomed in both literary and artistic circles1 and in this way he secured the warm friendship of ,dickens1 ,thackeray1 and other celebrities of the day4 99 99 99 99 99 ,sidenote3 ,the ,haunted ,man1 #ahdh4 ,frank ,stone's intimacy with ,charles ,dickens was especially close4 ,in #ahde the artist1 with his family1 went to reside in ,tavistock ,house1 ,tavistock ,square1 remaining there until #ahea1 when it became the home of ,dickens4 ,in the interval the novelist's fourth ,christmas ,book1 ,the ,haunted ,man1 was published1 for which ,frank ,stone prepared three designs1 representing respectively ,milly and the ,old ,man1 ,milly and the ,student1 and ,milly and the ,children4 ,as indicated by the following letter 7dated ,november #ba1 #ahdh71 the novelist dispatched proofs of the letterpress to the artist1 in order that he might select his own subjects3-- ,,my ,,dear ,,stone1--,i send herewith the second part of the book1 which ,i hope may interest you4 ,if you should prefer to have it read to you by the ,inimitable rather than to read it1 ,i shall be at home this evening 7loin of mutton at half-past five71 and happy to do it4 ,the proofs are full of printer's errors1 but1 with the few corrections ,i have scrawled upon it1 you will be able to make out what they mean4 ,i send you on the opposite side a list of the subjects already in hand from the second part4 ,if you should see no other in it that you like 7,i think it important that you should keep ,milly1 as you have begun with her71 ,i will in a day or two describe you an unwritten subject for the third part of the book4 ,subjects in hand for the ,second ,part4 #a4 ,illuminated page4 ,tenniel4 ,representing ,redlaw going upstairs1 and the ,tetterby family below4 #b4 ,the ,tetterby ,supper4 ,leech4 #c4 ,the boy in ,redlaw's room1 munching his food and staring at the fire4 99 99 99 99 99 ,a preliminary sketch 7in pencil and indian-ink7 for the first subject was immediately submitted to the novelist for approval1 and elicited the following reply3-- ,we are unanimous4 ,the drawing of ,milly on the chair is ,,charming4 ,i cannot tell you how much the little composition and expression please me4 ,do that1 by all means4 ,,plate ,,lii ,,milly ,,and ,,the ,,old ,,man ,facsimile of the ,original ,drawing for ,the ,haunted ,man by ,,frank ,,stone1 ,a4,r4,a4 ,lent by ,mr4 ,marcus ,stone4 ,r4,a4 ,illustration ,i fear she must have a little cap on4 ,there is something coming in the last part about her having had a dead child1 which makes it yet more desirable than the existing text does that she should have that little matronly sign about her4 ,unless the artist is obdurate indeed1 and then he'll do as he likes4 ,i am delighted to hear that you have your eye on her in the students' room4 ,you will really1 pictorially1 make the little woman whom ,i love4444 ,the original sketch of ,milly on the chair has fortunately been preserved1 and has been kindly lent for reproduction by ,mr4 ,marcus ,stone1 ,r4,a4 ,the drawing of the old man in the published engraving is hardly so satisfactory as the delineation of him in the sketch4 ,the second illustration1 ,milly and the ,student1 was duly executed2 it is a very graceful design1 the pose of the male figure being excellently rendered4 ,respecting the third illustration1 the novelist communicated to the artist the following facts1 to assist him in realising the principal theme3-- ,there is a subject ,i have written to-day for the third part1 that ,i think and hope will just suit you4 ,scene--,tetterby's4 ,time--morning4 ,the power of bringing back people's memories of sorrow1 wrong1 and trouble has been given by the ghost to ,milly1 though she don't know it herself4 ,as she comes along the street1 ,mr4 and ,mrs4 ,tetterby recover themselves and are mutually affectionate again1 and embrace1 closing rather a good scene of quarrel and discontent4 ,the moment they do so1 ,johnny 7who has seen her in the distance and announced her before1 from which moment they begin to recover7 cries ',here she is6'and she comes in1 surrounded by the little ,tetterbys1 the very spirit of morning1 gladness1 innocence1 hope1 love1 domesticity1 c4 c4 c4 c4 ,i would limit the illustration to her and the children1 which will make a fitness between it and your other illustrations1 and give them all a character of their own4 ,the exact words of the passage ,i enclose on another slip of paper4 ,note3 ,there are six boy ,tetterbys present 7young ',dolphus is not there71 including ,johnny2 and in ,johnny's arms is ,mulock1 the baby1 who is a girl4444 ,don't wait to send me the drawing of this4 ,i know how pretty she will be with the children in your hands1 and should be a stupendous jackass if ,i had any distrust of it4444 7,slip of paper enclosed47 ',hurrah6 here's ,mrs4 ,williams6' cried ,johnny4 ,so she was1 and all the ,tetterby children with her2 and as she came in1 they kissed her and kissed one another1 and kissed the baby1 and kissed their father and mother1 and then ran back and flocked and danced about her1 trooping on with her in triumph4 7,after which she is going to say1 ',what1 are you all glad to see me too6 ,oh1 how happy it makes me to find every one so glad to see me this bright morning6'7 99 99 99 99 99 ,the amateur theatricals brought author and artist constantly together1 ,frank ,stone being an actor of some ability4 ,the immortal ,mrs4 ,gamp1 in describing the members of that famous company of players1 alludes to ,frank ,stone as a fine-looking portly gentleman1 with a face like an amiable full moon4 ,he became the recipient of many nicknames1 that of ,pump 7or ,pumpion7 being one by which ,dickens sometimes addressed him1 and it was both pleasantly intended and jocularly received4 ,in #ahdi the artist painted the portrait of the novelist's fifth son1 ,lieutenant ,sydney ,dickens1 who was buried at sea in #ahgb1 his death being due to a sharp attack of bronchitis when on his way home4 ,frank ,stone exhibited at the ,society of ,painters in ,water-,colours from #ahcc to #ahdf1 and was elected a member of that ,society in #ahdb4 ,he first exhibited at the ,royal ,academy in #ahch1 his election as an ,associate taking place in #ahea4 ,the artist1 on receiving a commission from ,dickens for a picture1 painted a presentment of ',tilda ,price1 the fiance of the genial ,john ,browdie in ,nicholas ,nickleby1 the picture realising the sum of #db at the sale of the novelist's effects in #ahgj4 ,this and two other paintings by ,stone 7portraits of ,kate ,nickleby and ,madeline ,bray7 were engraved on steel by ,finden1 and published 7with the approbation of ,charles ,dickens7 by ,chapman ,hall in #ahdh2 the plates were intended for insertion in the first cheap edition of ,nicholas ,nickleby4 ,besides his illustrations for ,the ,haunted ,man1 he also designed the frontispiece for the first cheap edition of ,martin ,chuzzlewit 7#ahdi71 which depicts ,mark ,tapley on the sick-bed2 this drawing was engraved on wood by ,t4 ,bolton4 ,the sudden death of ,frank ,stone in #ahei caused ,dickens heartfelt sorrow4 ,you will be grieved1 he wrote to ,forster on ,november #ai1 to hear of poor ,stone4 ,on ,sunday he was not well4 ,on ,monday went to ,dr4 ,todd1 who told him he had aneurism of the heart4 ,on ,tuesday went to ,dr4 ,walsh1 who told him he hadn't4 ,on ,wednesday ,i met him in a cab in the ,square here ,tavistock ,square1 and he got out to talk to me4 ,i walked about with him a little while at a snail's pace1 cheering him up2 but when ,i came home1 ,i told them that ,i thought him much changed1 and in danger4 ,yesterday at two o'clock he died of spasm of the heart4 ,i am going up to ,highgate to look for a grave for him4 ,,sir ,,edwin ,,landseer1 ,r4,a4 ,first ,acquaintance with ,dickens--,designs an ,illustration for ,,the ,,cricket ,,on ,,the ,,hearth--,elected a ,royal ,academician--,receives the ,honour of ,knighthood--,declines the ,presidency of the ,royal ,academy--,severe ,illness and ,death4 ,charles ,dickens first became acquainted with ,sir ,edwin ,henry ,landseer during the ,nickleby period1 and ever entertained the highest admiration and personal regard for this famous artist1 to whom ,thackeray once referred as a sort of aristocrat among painters4 ,sir ,edwin was an artist by hereditary right and family instinct1 being the eldest son of the well-known engraver1 ,john ,landseer1 ,a4,r4,a4 ,he was born in ,london in #ahjb1 and at the age of thirteen exhibited two pictures at the ,royal ,academy1 thus proving that he possessed most exceptional powers as a draughtsman even at this early period4 99 99 99 99 99 ,sidenote3 ,the ,cricket on the ,hearth1 #ahdf4 ,it is perhaps not generally remembered that ,sir ,edwin ,landseer has a just claim to be numbered among the ,illustrators of ,dickens4 ,though he made but a single design1 it is indubitably a masterpiece1 and suffices to indicate the admirable skill acquired by this great painter in depicting what may be considered his favourite subject--the dog4 ,the charming little woodcut of ,boxer--the irrepressible companion of ,john ,peerybingle1 in ,the ,cricket on the ,hearth--defies criticism4 ,,plate ,,liii ,,sir ,,john ,,tenniel1 ,r4,i4 ,from a ,photograph by ,,messrs4 ,,bassano ,lent by the ,artist4 ,,sir ,,edwin ,,landseer1 ,r4,a4 ,from the ,painting by ,,sir ,,francis ,,grant1 ,p4,r4,a4 ,the dog's head was added by ,sir ,edwin himself4 ,illustration ,illustration ,in #ahbe1 ,sir ,edwin 7then ,mr47 ,landseer was elected an ,associate of the ,royal ,academy1 and five years later he attained the full honours1 from which date might be chronicled a long and regular catalogue of pictures exhibited by him1 year by year1 either at the ,british ,institution or on the walls of the ,royal ,academy4 ,in #ahej he received the honour of ,knighthood1 and1 at the death of ,sir ,charles ,eastlake in #ahfe1 was offered the ,presidency of the ,royal ,academy1--a distinction which he could not be induced to accept4 ,in #ahga a severe illness paralysed his powerful pencil2 from this illness the artist never recovered1 and two years later the mournful intelligence of his death was announced1 his mortal remains being interred in ,st4 ,paul's ,cathedral4 ,in private life ,sir ,edwin was one of the most kind and courteous of men and warmest of friends1--qualities of mind and heart which endeared him to all with whom he came in contact4 ,,samuel ,,palmer ,a ,self-taught ,artist--,exhibits at the ,british ,institution and the ,royal ,academy--,marriage with ,john ,linnell's ,daughter--,visits ,italy--,his ,sketches of ,italian ,scenery--,elected an ,associate1 and afterwards a ,member1 of the ,society of ,painters in ,water-,colours--,an ,etcher and ,draughtsman on ,wood--,his ,designs for ,,pictures ,,from ,,italy--,a ,letter from ,dickens--,the ,artist's ,method of ,work--,the ,villa ,d',este--,his ,drawings ,difficult to ,reproduce--,elaborate ,instructions to ,engravers--,literature a ,favourite ,amusement--,fondness for ,reading ,aloud--,admires the ,novels of ,dickens--,illness and ,death4 ,during ,charles ,dickens's very brief connection with the ,daily ,news1 at the time of its foundation in #ahdf1 he contributed to its columns a series of ,travelling ,sketches1 descriptive of his experiences in ,italy1 and of his impressions concerning the scenery1 institutions1 and social aspects of the people in that beautiful country4 ,shortly after the publication of the concluding paper1 these ,sketches were re-issued in book form1 under the title of ,pictures from ,italy1 with vignette illustrations on wood by ,samuel ,palmer4 ,,plate ,,liv ,f4 ,w4 ,,topham ,from a ,photograph by ,,messrs4 ,,elliott ,,fry ,lent by ,mr4 ,f4 ,w4 ,w4 ,topham4 ,,samuel ,,palmer ,from a ,photograph ,lent by ,mr4 ,a4 ,h4 ,palmer4 ,illustration ,illustration ,samuel ,palmer1 who was born in ,newington1 ,london1 in #ahje1 was to a great extent a self-taught artist1 his first successes dating from his fourteenth year1 when he was represented by two pictures at the ,british ,institution and three at the ,royal ,academy1 his work from that time being frequently seen at one or the other gallery4 ,in #ahcg 7that is1 while ,pickwick was in course of publication7 he married the eldest daughter of ,john ,linnell1 the famous portrait and landscape painter1 leaving ,england soon afterwards with his young wife for ,italy4 ,here they stayed two years--years of such persistent and enthusiastic study that the sketches and elaborate drawings of some of the finest ,italian scenery which the artist brought back1 very numerous though they were1 are no measure of the influence which the sojourn in the land of his favourite poet1 ,virgil1 had upon his after-life and upon his artistic labours4 ,samuel ,palmer is chiefly remembered by his charming water-colour drawings1 but it seems that in his early years he preferred painting in oils1 whence he afterwards gradually drifted into the use of the former medium1 his election as ,associate of the ,society of ,painters in ,water-,colours in #ahdcdc determining his future career4 ,he was a most successful etcher1 his plates being admired by the connoisseur for the beauty of technique therein displayed4 ,concerning his efforts with the needle1 ,mr4 ,p4 ,g4 ,hamerton says that ,samuel ,palmer was one of the most accomplished etchers who ever lived1 and that there is more feeling1 and insight1 and knowledge in one twig drawn by his hand than in the life's production of many a well-known artist4#dd ,it must be admitted1 however1 that the occasional drawings executed by him for the wood-engraver do not indicate equal ability as a draughtsman on wood4 ,in early days he actually attempted1 in emulation of his intimate friend ,edward ,calvert1 to engrave upon wood some of his own designs1 this fact testifying to the extraordinary influence exercised by ,william ,blake over the contemporary work of such young artists as ,palmer1 ,calvert1 and the rest of the ,ancients1 as they jocosely dubbed themselves4 ,footnote #dc3 ,palmer was elected a ,member of this ,society in #ahed4 ,footnote #dd3 ,etching and ,etchers1 #crd edition1 #ahhj4 99 99 99 99 99 ,sidenote3 ,pictures from ,italy1 #ahdf4 ,the first drawings executed upon the wood-block by ,palmer and intended as book-illustrations were apparently the designs for ,pictures from ,italy2 these are four in number1 representing the ,street of the ,tombs1 ,pompeii2 the ,villa ,d',este at ,tivoli1 from the ,cypress ,avenue2 the ,colosseum of ,rome2 and a ,vineyard ,scene4 ,one of the artist's memorandum-books contains an entry recording the receipt from the publishers of twenty guineas for these drawings4 ,samuel ,palmer and ,charles ,dickens were never on terms of intimacy2 however the acquaintance originated has never transpired1 nor does the artist's son1 ,mr4 ,a4 ,h4 ,palmer1 remember his father ever referring to the subject4 ,it is probable that the novelist's attention had been directed to ,palmer's excellent rendering of ,italian scenery1 which had attracted considerable notice among artists1 and that1 having met him1 he found a degree of warm enthusiasm for that scenery which was so unusual1 that he felt convinced that the illustrating of the ,pictures could not be placed in better hands4 ,palmer accepted the commission1 but1 like all his drawings that were destined to be engraved on wood1 it somewhat perplexed him1 for reasons presently to be explained4 ,a correspondence of a formal business character ensued1 and of the few letters still extant ,i am enabled to print the following1 which endorses the belief that an interview had taken place between author and artist4 ,,devonshire ,,terrace1 ,wednesday1 ,thirteenth ,may1 #ahdf4 ,,dear ,,sir1--,i beg to assure you that ,i would on no account dream of allowing the book to go to press without the insertion of your name in the title-page4 ,i placed it there myself1 two days ago4 ,i have not seen the designs1 but ,i have no doubt whatever 7remembering your sketches7 that they are very good4 ,dear sir1 faithfully yours1 ,,charles ,,dickens4 ,,samuel ,,palmer1 ,esq4 ,two of the woodcuts1 viz41 those printed on the first and last pages of the little book1 were designed to allow the text to be dropped in4 ,sketches 7or rather finished drawings7 were made on paper before the subjects were copied by the artist upon the wood-blocks1 which drawings1 by the way1 are much inferior to the artist's water-colours of the same or similar subjects4 ,it seems evident1 from the word ,on being tentatively introduced at the top of the original sketch of the ,villa ,d',este1 that this illustration was at first intended to be placed at the beginning of the chapter entitled ,going through ,france1 instead of appearing 7as it eventually did7 in conjunction with the opening lines of the preliminary chapter1--,the ,reader's ,passport4 ,it was apparently ,palmer's proposal to insert on the block a decorative letter ,s1 but ,dickens1 in a letter to the artist1 says1 ,i am afraid ,i cannot comfortably manage an ,s4 ,what do you say to the word ',on'8 ,could you possibly do that8 ,with regard to the treatment of these illustrations1 there is no doubt that they are faithful representations of ,nature1 adapted from sketches made on the spot4 ,as a matter of fact1 it was directly contrary to the artist's habit and principles to transcribe a sketch detail for detail4 ,although the character of his drawing was somewhat involved1 rendering more difficult the work of the engraver1 the woodcuts 7which bear no signature7 are most carefully executed4 ,notwithstanding this1 ,mr4 ,a4 ,h4 ,palmer assures me that these designs1 and the rendering of them by the wood-engraver1 were not of a kind to which the artist could look back with much satisfaction4 ,mr4 ,a4 ,h4 ,palmer still retains in his possession a drawing on wood by his father of the ,villa ,d',este1 the second illustration in ,pictures from ,italy1 which was apparently discarded because the artist had omitted to reverse his design1 and therefore could not be properly adapted to the particular page for which it was prepared4 ,those who are familiar with the freedom and vigour of ,samuel ,palmer's work from ,nature will realise at a glance that he was not at his ease upon wood4 ,in the margin of this drawing the artist pencilled the following instructions to the engraver1 who had not entirely succeeded in producing the more subtle effects3-- ,i wish the thin cypress to be very much as it appears upon the block--not lighter4 ,now that the trees have been darkened1 it will be necessary to leave the lines of the building quite as thick as they are drawn1 letting them gradually gain more strength as they come downwards towards the steps4 ,the degree of sharpness with which the drawing terminates toward the letterpress is just what ,i wish4 ,from this and the following notes1 minutely written upon the two retouched proofs of the engraving of this subject1 we discover how very much too sanguine the artist was as to the result of the translation of his work1 the voluminous directions clearly indicating his solicitude respecting the treatment of microscopic details in his design1 the alleged importance of which would be quite beyond the comprehension of an ordinary engraver4 ,palmer subsequently learnt by experience that his drawing on wood was practically untranslatable as he preferred to offer it for engraving4 ,,ms4 ,notes on the ,first ,proof4 7#a47 ,in both proofs the top of the cypress is very indistinct1 which greatly injures the design4 7#b47 ,from ,a to ,b the illuminated side of the cypress has lost its tint in both impressions1 which is ruinous to the effect1 as the eye can no longer follow it as a simple object distinct from the building from the top to the bottom of the design4 ,the top of the building1 too1 in both impressions1 is nearly invisible1 as if the inking had failed4 ,it is very important that this should be rectified1 so as not to appear in the printing of the work1 as otherwise it will spoil the whole work4 ,i have worked upon building and cypress a little in pencil to show how they ought to have come even in a faint impression4 7#c47 ,opposite this mark the light on the cypress stems has been carried down a little lower1 and two or three fine threads of light have been introduced into the shadowed side 7which are intended to be scarcely perceptible7 to remove a blottiness in the dark4 7#d47 ,the touches on the steps1 the statue1 and the whole of the lower part of the trees and ground1 though not very numerous1 are very important to the finish of the foreground4 ,,plate ,,lv ,,the ,,villa ,d',,este ,facsimile of an ,original ,design for ,pictures from ,italy by ,,samuel ,,palmer ,lent by ,mr4 ,a4 ,h4 ,palmer4 ,illustration 7#e47 ,the darkest lines in the great vase have been thinned in the slightest degree4 7#f47 ,close to ,c the thickness of a black line on the edge of the cypress has been split4 7#g47 ,from ,e down to ,f a minute speck of light has here and there been inserted on the outline of the cypress foliage to split some blots of dark which will be seen on the untouched proofs1 and which were rather harsh4 7#h47 ,the light flashing on the steps ought to make thinner without removing the outline of the arm of the statue4 ,the foot resting upon the pedestal should be indicated4 ,the action of the other leg thrown back is shown in the retouching by the removal of the black line4 7#i47 ,the getting the upper part of the slender cypress of as full a tint as ,i have given it here seems to me so important that if it can be done in no other way1 ,i think a piece should be inserted into the block to effect it4 ,in the drawing on the block it was like this1 which ,i have retouched with pencil4 ,second ,proof4 7#a47 ,opposite are a few touches on the slender cypress--two very thin lines of light on the stem4 ,specks of light on the foliage4 7#b47 ,there is a thick black line on the block1 thus ,symbol3 left-bowing arc which ,i have here crossed with specks of white2 although it is in the body of the tree1 it kills the fine work on the ,villa4 7#c47 ,the thickness of outline on the light side of this vase unfinishes the foreground4 ,i have altered it4 7#d47 ,the thick outline on this leaf unfinishes everything about it4 99 99 99 99 99 ,thus we discover how fastidious to a degree was the artist in his desire that every subtle touch of his poetic pencil should be reproduced--a result which1 as he quickly perceived1 it was impossible to achieve4 ,samuel ,palmer took a still keener delight in ,literature than he did in ,art4 ,an insatiable but punctilious reader1 the novels of ,dickens and ,scott were among the very few works of fiction which he read aloud to members of his own household4 ,mr4 ,a4 ,h4 ,palmer informs me that he has known his father to be so engrossed by reading aloud one of ,dickens's finer and more exciting passages1 that the announcement and entry of a visitor served to stop the reading only for a few moments2 the crisis past1 he laid down the book and apologised4 ,literature1 indeed1 constituted the chief pleasure of his simple life--a life that1 at one period at least1 would have been almost insupportable without the consolation afforded by books4 ,early in ,may1 #ahha1 he became1 alas6 too ill to work1 and on the twenty-fourth of that month he passed peacefully away1 leaving behind him a reputation which is blameless4 ,f4 ,w4 ,,topham ,illustrations for ,a ,,child',s ,,history ,,of ,,england--,begins ,life as a ,writing-,engraver--,designs for ,books--,exhibits at the ,royal ,academy--,elected an ,associate of the ,new ,society of ,painters--,retires from the ,society--,elected a ,member of the ,old ,society of ,painters in ,water-,colours--,first ,visit to ,spain--,fatal ,illness--,some ,pictures ,inspired by ,dickens's ,stories--,histrionic ,ability--,the ,artist as a ,juggler4 ,sidenote3 ,a ,child's ,history of ,england1 #aheb-ec-ed4 ,during the years #ahea-eb-ec1 there appeared in the pages of ,household ,words one of ,charles ,dickens's less familiar writings1 ,a ,child's ,history of ,england4 ,on its completion as a serial1 the little work was issued in three #afmo volumes1 each containing a frontispiece by ,f4 ,w4 ,topham4 ,these illustrations were engraved on wood1 each consisting of a circular design1 printed in black1 and surrounded by an ornamental border of a light mauve colour1 the latter enclosing familiar scenes from ,english ,history1 viz41 ,alfred in the ,neatherd's ,cot2 ,canute reproving his ,courtiers2 ,edwy and ,elgiva2 ,eleanor and ,fair ,rosamond4 ,the decorative border with its four tableaux remained unchanged1 but the subject of the central illustration varied1 that in the first volume depicting a girl reading to two children2 in the second1 ,alfred the ,great receiving instruction in reading from his mother1 ,queen ,osburgha2 while in the third there is a more modern representation of a similar incident4 ,francis ,william ,topham1 who was born at ,leeds in #ahjh1 enjoyed the privilege of being numbered among the personal friends of ,charles ,dickens4 ,he entered professional life as a writing-engraver1 and his first design was for a label required by a well-known firm of pin manufacturers4 ,from this modest beginning he advanced to more artistic work1 and was soon busily engaged in engraving plates for pocket-books1 c4 ,during the several years he was thus occupied he engraved many original designs for book-illustrations1 and in #ahcb began to exhibit pictures2 his works after this date being frequently seen at the ,royal ,academy and other ,london galleries4 ,in #ahdb he was elected an ,associate of the ,new ,society of ,painters in ,water-,colours1 of which body he became a full member in the following year4 ,he1 with several other members1 left the ,new ,society after a comparatively short time1 and was immediately elected into the ,old ,society of ,painters in ,water-,colours--the present ,royal ,water-,colour ,society--to the ,exhibitions of which the majority of his more important productions were contributed4 ,it was in ,spain1 whither he first went in #aheb-ec1 that he found subjects most congenial to his tastes1 and there1 in that land of sunny skies1 he was seized with a fatal illness in #ahgg1 expiring at ,cordova on ,march #cast of that year4 ,topham was a great admirer of the works of ,charles ,dickens1 and selected from them the subjects of some of his most successful pictures4 ,one of these--a water-colour drawing executed in #ahea--;illustrates a scene in ,barnaby ,rudge1 where children flock round the half-witted hero as he and his mother pass through her native village2 the drawing was presented by the artist to ,dickens1 and realised at the sale of the novelist's effects the sum of #aae1 #ajs4 ,this picture was followed by another from ,the ,old ,curiosity ,shop1 representing ,little ,nell and her ,grandfather in the tent1 making bouquets for the racecourse1 which was also a gift to ,dickens1 being subsequently disposed of at the above-mentioned sale for #bhh1 #aes4 ,it is also recorded that the artist1 in #ahef1 produced a drawing portraying ,little ,nell in the ,churchyard1 which some five years after the novelist's death found a purchaser for #cbe1 #ajs4 ,f4 ,w4 ,topham proved a welcome addition to ,dickens's company of distinguished amateur actors1 and concerning his histrionic ability the artist's son1 ,mr4 ,frank ,w4 ,w4 ,topham 7himself an eminent painter71 thus writes3 ,my father had1 from quite a young man1 a great love of acting1 at which he was considered unusually good4 ,one of my earliest recollections of a play was one acted at the ,st4 ,james's ,theatre1 in which my father1 ,sir ,john ,tenniel1 the late ,francis ,holl1 ,a4,r4,a4 7the engraver71 and others took part1 for the benefit of the ,artists' ,benevolent ,fund4 ,i do not know if my father owed his introduction to ,dickens to his acting1 but have an impression that he did1--certainly it was the cause of their after intimacy4 ,apropos of their splendid strolling1 and the fun incidental thereto1 ,dickens observed to his wife1 in a letter dated from ,clifton1 ,november #ac1 #ahea3 ,i forgot to say that ,topham has suddenly come out as a juggler1 and swallows candles1 and does wonderful things with the poker very well indeed1 but with a bashfulness and embarrassment extraordinarily ludicrous4 ,,marcus ,,stone1 ,r4,a4 ,the ,artist's ,boyish ,admiration of ,dickens's ,stories--,his ,delineation of ,jo1 the ,crossing-,sweeper--,a ,present and a ,letter from ,dickens--,first ,success as a ,painter--,death of his ,father--,desires to ,become an ,illustrator of ,books--,befriended by ,dickens--,initial ,attempt at ,drawing upon ,wood--,frontispiece for the ,first ,cheap ,edition of ,little ,dorrit--,the ,artist's ,dbut as a ,black-and-,white ,draughtsman--,his ,designs for ,,our ,,mutual ,,friend--,the ,pictorial ,wrapper--,suggestions from ,dickens--,portrait of ,silas ,wegg--,preliminary ,sketches for the ,illustrations--,valuable ,hints for the ,artist--,realism in his ,designs--,the ,prototype of ,mr4 ,venus--,photography upon ,wood--,defective ,engraving--,sale of the ,original ,sketches--,illustrations for ,cheap ,editions--,relinquishes ,black-and-,white ,drawing--,elected a ,royal ,academician--,popularity of his ,pictures--,intimacy with ,dickens--,private ,theatricals4 ,it will be remembered that ,a ,tale of ,two ,cities1 the last of ,dickens's novels containing ,hablt ,browne's designs1 was succeeded by ,our ,mutual ,friend1 the initial number of which appeared on ,may #a1 #ahfd4 ,in this story ,dickens repeated an early experience in having woodcut illustrations instead of the customary etchings1 availing himself of the services of an artist whose style and method of work differed very considerably from those of ,phiz4 ,the new recruit was ,mr4 ,marcus ,stone1 who now holds high rank among ,royal ,academicians4 ,,plate ,,lvi ,,marcus ,,stone1 ,r4,a4 ,from a ,photograph specially taken for this ,work by ,,james ,,hyatt ,illustration ,as the son of the novelist's cherished friend1 ,frank ,stone1 ,a4,r4,a41 who partly illustrated ,the ,haunted ,man1 ,mr4 ,marcus ,stone was brought by force of circumstances into early communication with the author of ,pickwick4 ,born in #ahdj1 he soon indicated by his penchant for ,art that he inherited his father's talent1 becoming in course of time a painter even more distinguished2 for ,frank ,stone did not live to attain full honours of the ,royal ,academy4 ,mr4 ,marcus ,stone proudly confesses that1 even as a mere lad1 ,charles ,dickens's romances proved most fascinating to him1 and he recalls an interesting incident as evidence of this influence4 ,when1 in #aheb-ec1 the dramatic story of ,bleak ,house appeared in serial form1 he eagerly read each number as it came out1 and was much attracted by the novelist's rendering of ,jo1 the crossing-sweeper1 being quick to perceive the artistic capabilities of the scenes in which that pathetic character is introduced4 ,in the eleventh chapter a specially touching reference is made to the poor outcast--that memorable occasion when he softly sweeps the step of the gateway leading to the loathsome graveyard in which was buried the man who had been wery good to him4 ,dickens's vivid description of the weird picture at once induced ,marcus ,stone 7then twelve years of age7 to try his hand at depicting it with his pencil4 ,while so engaged the novelist entered the room1 and1 looking over his shoulder1 he immediately recognised the subject of the sketch1 whereupon he encouragingly observed1 ,well1 now1 that is very good4 ,you will have to give that to me4 ,accordingly1 on completion1 the little drawing was sent to ,tavistock ,house4#de ,about a year afterwards the young artist received a copy of ,a ,child's ,history of ,england1 containing the author's autograph1 and accompanied by the following note1 dated ,december #ai1 #ahec3-- ,,my ,,dear ,,marcus1--,you made an excellent sketch from a book of mine which ,i have received 7and preserved7 with great pleasure4 ,will you accept from me this little book8 ,i believe it to be true1 though it may be sometimes not as genteel as history has a habit of being4--,faithfully yours1 ,,charles ,,dickens4 ,footnote #de3 ,curiously enough1 ,phiz had already selected the same subject as an illustration for the succeeding number1 an early proof of which was forwarded by ,dickens to ,mr4 ,marcus ,stone1 in order to direct his attention to the coincidence4 ,even at the early age of three or four1 ,mr4 ,marcus ,stone evinced a desire to become an artist1--a wish that was never discountenanced4 ,in his seventeenth year he ostensibly began his career as a painter1 but his father1 who was then an invalid1 could not for that reason efficiently direct the course of his son's studies4 ,indeed1 ,mr4 ,marcus ,stone never had any systematic training in the details of his profession1 and what he learnt during his boyhood was1 for the most part1 casually picked up in his father's studio4 ,at this time he painted a picture called ,rest1 representing a knight in armour lying under a tree1 and this1 the first of his productions accepted by the ,royal ,academy1 excited much favourable comment1 the work being especially remarkable on account of the juvenility of the artist1 who1 as he himself intimates1 was really ten years before his time4 ,in ,november #ahei1 shortly after his initial success in the world of ,art1 ,mr4 ,marcus ,stone mourned the death of his father1 an event rendering it imperative that1 in entering upon a career which not unfrequently fails to yield a golden harvest1 he should have a powerful helping hand4 ,among those of his father's friends who recognised this necessity was ,charles ,dickens1 who1 with characteristic promptitude and energy1 exerted his influence on behalf of the young man4 ,besides other kind actions1 the novelist introduced him to ,thomas ,longman1 the publisher1 to whom he wrote3 ,i am very anxious to present to you1 with the earnest hope that you will hold him in your remembrance1 young ,mr4 ,marcus ,stone1 son of poor ,frank ,stone1 who died suddenly but a little week ago4 ,you know1 ,i daresay1 what a start this young man made in the last ,exhibition1 and what a favourable notice his picture attracted4#df ,he wishes to make an additional opening for himself in the illustration of books4 ,he is an admirable draughtsman1 has a most dexterous hand1 a charming sense of grace and beauty1 and a capital power of observation4 ,these qualities in him ,i know well to my own knowledge4 ,he is in all things modest1 punctual1 and right2 and ,i would answer for him1 if it were needful1 with my head4 ,if you will put anything in his way1 you will do it a second time1 ,i am certain4 ,footnote #df3 ,this picture was entitled ,silent ,pleading and represents a tramp with a child in his arms1 who are discovered asleep in a shed by the squire and the village constable4 ,,plate ,,lvii ,,studies ,,for ,,mr4 ,,venus ,,surrounded ,,by ,,the ,,trophies ,,of ,,his ,,art ,facsimile of ,original ,sketches for ,our ,mutual ,friend by ,,marcus ,,stone1 ,r4,a4 ,lent by the ,artist4 ,illustration ,sidenote3 ,little ,dorrit1 #ahfa4 ,the opportunity soon arrived when the novelist's interest in the son of poor ,frank ,stone assumed a very practical form1 for at this juncture it occurred to him to test the artistic capabilities of ,marcus ,stone1 probably without any intention of permanently ousting ,phiz4 ,the young protg1 however1 possessed no knowledge of etching1 and1 indeed1 had gained but little experience in any other form of illustration4 ,fortunately1 the art of drawing upon wood 7then much in vogue1 but now practically obsolete7 needed very little training in the hands of one skilled in the use of the pencil1 so that ,dickens was induced to favour ,marcus ,stone by agreeing to the adoption of the readiest means of producing his designs for the engraver4 ,it is not generally known that the artist's first attempt at drawing on wood was the frontispiece for the first cheap edition of ,little ,dorrit 7#ahfa71 which1 although showing marked ability1 is by no means equal to his subsequent efforts4 ,marcus ,stone was fortunate in making his dbut as a black-and-white draughtsman at the time when a remarkable array of talent presented itself in the pages of the ,cornhill ,magazine1 just then launched by ,thackeray1 the illustrations for which were supplied by ,millais1 ,fred4 ,walker1 ,sandys1 and ,leighton--a new school of designers1 whose admirable pencillings could not fail to inspire the younger members of the craft4 ,sidenote3 ,our ,mutual ,friend1 #ahfd-fe4 ,mr4 ,marcus ,stone1 who was scarcely twenty-one years of age when he first essayed the art of book-illustration1 rightly considers that one of the most important events of his life was the receipt of the commission to illustrate ,our ,mutual ,friend1 and1 doubtless1 he fully realised at the time how valuable was the prestige arising from such collaboration with so popular a writer as ,charles ,dickens4 ,this story1 like those which preceded it1 was issued in monthly parts1 the first instalment appearing in ,may #ahfd4 ,at the beginning the novelist was about four numbers in advance1 but he lost his advantage as the tale progressed1 until at length he found himself in a position necessitating the preparation of each number month by month1 as required by the exigencies of publication4 ,before the initial number could be circulated1 a pictorial wrapper was requisitioned1 for which ,mr4 ,stone designed a series of tableaux embodying somewhat allegorically the leading characters and incidents1 and displaying prominently in the centre the title of the story1 the word ,our being dropped in over one of the subjects4 ,a preparatory sketch was submitted to ,dickens1 who1 while thoroughly approving thereof1 made certain proposals tending to its improvement4 ,writing to the artist 7,february #bc1 #ahfd7 he said3 ,i think the design for the cover excellent1 and do not doubt its coming out to perfection4 ,the slight alteration ,i am going to suggest originates in a business consideration not to be overlooked4 ,the word ',our' in the title must be out in the open like ',mutual ,friend1' making the title three distinct large lines--',our' as big as ',mutual ,friend4' ,this would give you too much design at the bottom4 ,i would therefore take out the dustman1 and put the ,wegg and ,boffin composition 7which is capital7 in its place4 ,i don't want ,mr4 ,inspector or the murder reward bill1 because these points are sufficiently indicated in the river at the top4 ,therefore you can have an indication of the dustman in ,mr4 ,inspector's place4 ,note1 that the dustman's face should be droll1 and not horrible4 ,twemlow's elbow will still go out of the frame as it does now1 and the same with ,lizzie's skirts on the opposite side4 ,with these changes1 work away6444 ,,plate ,,lviii ,,monsieur ,,defarge ,,and ,,doctor ,,manette ,facsimiles of the ,original ,studies by ,,marcus ,,stone1 ,r4,a4 ,these ,studies were prepared for the ,first ,cheap ,edition of ,a ,tale of ,two ,cities4 ,lent by the ,artist4 ,illustration ,before executing this drawing for the wrapper1 the artist had received from ,dickens a few general hints as to the points to be illustrated1 beyond which he had little to guide him4 ,give a vague idea1 said the novelist1 the more vague the better4 ,mr4 ,stone desired to introduce ,silas ,wegg into his composition1 but the description of the mercenary old ballad-monger was so indefinite that he was compelled to ask ,dickens if he had absolutely decided in his own mind whether ,silas's wooden leg was the right or the left one4 ,judging by his reply1 the novelist had evidently overlooked this detail1 for he said1 ,it's all right--please yourself2 whereupon the doubtful point was settled by the artist1 who placed the timber limb on ,wegg's left side4 ,mr4 ,stone recalls an interesting circumstance in the fact that ,dickens laid special stress upon a certain incident which he desired should be hinted at by the artist in his design for the monthly cover4 ,one of the strongest features of the story1 observed the novelist1 will be the death of ,eugene ,wrayburn after the assault by the schoolmaster4 ,i think1 he added1 it will be one of the best things ,i have ever done4 ,dickens1 however1 changed his mind1 for ,wrayburn does not die4 ,it is a recognised fact among illustrators of works of fiction that authors are usually devoid of what ,mr4 ,stone aptly designates a sense of pictorialism1--that is to say1 the subjects selected by them for illustration invariably prove to be unsuitable4 ,charles ,dickens 7according to ,mr4 ,stone's experience7 was a noteworthy exception to the rule1 although he usually afforded the artist free scope in this matter1 sending him the revised proof-sheets of each number1 that he might make his own choice of the incidents to be depicted2 and it is worthy of remark that in no instance did the novelist question the propriety of his selection4 ,a preliminary sketch for each illustration was forwarded to ,dickens1 who returned it to the artist with suggestions1 and with the title inscribed by him in the margin4 ,the finished drawings upon the wood were never seen by the novelist1 as they were dispatched by ,mr4 ,stone to the engravers immediately on completion4 ,mr4 ,marcus ,stone affirms that he was much hampered by ,dickens with respect to these designs1 for the novelist1 hitherto accustomed to the diminutive scale of the figures in ,hablt ,browne's etchings1 was somewhat imperative in his demand for a similar treatment of the illustrations for ,our ,mutual ,friend4 ,the author1 it seems1 was usually in an appreciative mood whenever a sketch was submitted for approval1 now and then favouring his illustrator with information that often proved indispensable4 ,with reference to the drawing entitled ,the ,boffin ,progress1 he wrote3 ,mrs4 ,boffin1 as ,i judge of her from the sketch1 'very good indeed4' ,i want ,boffin's oddity1 without being at all blinked1 to be an oddity of a very honest kind1 that people would like4 ,concerning a second sketch for another proposed illustration1 he observed3 ,the doll's dressmaker is immensely better than she was4 ,i think that she should now come extremely well4 ,a weird sharpness not without beauty is the thing ,i want4 ,towards the close of the first volume ,dickens wrote to the artist from ,paris the following letter respecting subsequent designs3--,the sooner ,i can know about the subjects you take for illustration the better1 as ,i can then fill the list of illustrations to the second volume for the printer1 and enable him to make up his last sheet4 ,necessarily that list is now left blank1 as ,i cannot give him the titles of the subjects1 not knowing them myself4444 ,i think the frontispiece to the second volume should be the dustyard with the three mounds1 and ,mr4 ,boffin digging up the ,dutch bottle1 and ,venus restraining ,wegg's ardour to get at him4#dg ,or ,mr4 ,boffin might be coming down with the bottle1 and ,venus might be dragging ,wegg out of the way as described4 ,footnote #dg3 ,this subject was chosen4 ,the story1 when concluded1 was issued in two volumes1 each containing twenty illustrations1 engraved by ,dalziel ,brothers and ,w4 ,t4 ,green in almost equal proportions4 ,mr4 ,marcus ,stone regards these early efforts in black-and-white art as very immature1 and believes he could have achieved greater results if he had been less handicapped by certain harassing restrictions4 ,that these clever designs possess the charm of unconventionality is undeniable1 while in addition to this they are marked by an originality of treatment which may be attributed to the fact that each drawing is the fruit of many careful studies of figures and accessories1 these imparting an air of reality to the scenes depicted4 ,notable instances of this may be observed in the first frontispiece1 entitled ,the ,bird of ,prey1 in which is represented a characteristic portion of the river-bank below ,london ,bridge 7probably ,rotherhithe71 and in the last engraving ,not to be ,shaken ,off1 the snow-covered lock-gates in this illustration having been drawn from a sketch of the gates still existing on the ,regent's ,canal1 ,hampstead ,road4 ,,plate ,,lix ,,black ,,and ,,white ,facsimile of the ,original ,drawing by ,,marcus ,,stone1 ,r4,a4 ,this ,study was prepared for the ,library ,edition of ,american ,notes4 ,lent by the ,artist4 ,illustration ,mr4 ,stone enjoys the distinction of having introduced to ,dickens's notice the original of that remarkable personage1 ,mr4 ,venus4 ,early in #ahfd1 the artist was engaged upon a painting representing a loafing deserter being marched off under arrest1 while some busy workmen temporarily suspend their labours in order to watch the military procession as it wends its way along a public thoroughfare4#dh ,the artist desired to introduce into the composition a begging dog1 but1 not succeeding to his own satisfaction1 he consulted a brother-artist 7well known for his clever delineation of animals71 who said1 ,why don't you go to ,willis8 ,he will soon find you a dog1 and 'set him up' for you4 ,willis was a taxidermist1 who lived on the north side of ,st4 ,andrew's ,street1 near ,seven ,dials1 and to him ,mr4 ,stone at once stated his requirements1 with the result that in the course of a few days the stuffer of skins went to ,mr4 ,stone's studio accompanied by a dog such as the artist had described4 ,the animal being deemed suitable1 its fate was sealed1 and there is a touch of pathos in the recollection that the little creature made such friendly overtures to the artist during the interview that he felt very much averse to authorising its destruction4 ,however1 sad to relate1 he hardened his heart1 and the poor beast was set up accordingly4 ,on the evening of the day when ,mr4 ,stone first called upon ,willis1 and observed the strange environment resulting from the man's occupation1 he was invited by ,dickens to go with him to the play1 and between the acts the novelist enquired if he knew of any peculiar avocation1 as he wished to make it a feature of his new story1--it must be something very striking and unusual1 he explained4 ,the artist immediately recalled ,willis as he appeared when surrounded by the trophies of his art1 and informed ,dickens that he could introduce him to the very thing4 ,delighted with the suggestion1 the novelist appointed two o'clock sharp on the following day1 for a visit to ,willis4 ,it happened that the man was absent when they called1 but ,dickens1 with his unusually keen power of observation1 was enabled during a very brief space to take mental notes of every detail that presented itself1 and his readers were soon enjoying his vivid portrayal of that picturesque representative of a curious profession1 ,mr4 ,venus4 ,the novelist was so elated by the discovery that he could not refrain from confiding the secret to ,forster3 ,while ,i was considering what it should be1 he wrote1 ,marcus1 who has done an excellent cover1 came to tell me of an extraordinary trade he had found out1 through one of his painting requirements4 ,i immediately went with him to ,st4 ,giles's to look at the place1 and found--what you will see4 ,footnote #dh3 ,this picture1 called ,working and ,shirking1 was exhibited at the ,royal ,academy during the same year4 ,mr4 ,stone visited ,willis's shop two or three times for the purpose of sketching1 in order that he might effectively introduce the more salient features into his drawing4 ,the illustration gives an approximate representation of that dingy interior1 with its bones warious2 bottled preparations warious2 dogs1 ducks1 glass eyes1 warious2 but1 in delineating the proprietor1 the artist did not attempt to give a true presentment of ,willis1 whom1 by the way1 ,dickens never saw1 and who never suspected that it was his own establishment which figures in the story4 ,in all the illustrations there is that happy delineation of character which indicates how admirably the artist understood his author4 ,perhaps the most successful designs are those where ,rogue ,riderhood appears1 particularly that in which we behold the thankless ruffian at the moment of his recovery from that little turn-up with ,death2 while among other drawings deserving attention special mention must be made of those containing the quaint and pathetic figure of ,jenny ,wren1 and of that entitled ,the ,boofer ,lady1 the latter denoting ,mr4 ,stone's ability1 even at this early date1 in depicting a pretty woman1--an art in which he has since displayed such consummate skill4 ,,plate ,,lx ,,taking ,,leave ,,of ,,joe ,facsimile of the ,original ,drawing for the ,library ,edition of ,great ,expectations by ,,marcus ,,stone1 ,r4,a4 ,in the engraved version of this ,design1 ,pip is seen wearing a bowler hat4 ,lent by the ,artist4 ,illustration ,mr4 ,marcus ,stone claims the credit of bringing into repute the now universal custom of duplicating drawings upon wood-blocks by means of photography1 his illustrations for ,anthony ,trollope's story1 ,he ,knew ,he was ,right1 being the first thus treated4 ,the adoption of this plan secures the preservation of the original designs1 and therefore renders them available for comparison with the engraved reproductions4 ,mr4 ,stone1 nevertheless1 is by no means satisfied with the engraver's treatment of his work1 nor is this surprising when we critically examine such deplorable examples of wood-engraving as instanced in the illustrations entitled ,the ,garden on the ,roof and ,eugene's ,bedside4 ,in one of the designs1 that representing ,the ,boffin ,progress1 it will be noticed that the wheels on the off- side of the ,boffin chaise are omitted1 an oversight 7explains ,mr4 ,stone7 for which the engraver is really responsible4 ,the original sketches for ,our ,mutual ,friend were disposed of by the artist1 many years ago1 to the late ,mr4 ,f4 ,w4 ,cosens1 who desired to add them to his collection of ,dickensiana4 ,at the sale in #ahij of that gentleman's effects at ,sotheby's1 the series of forty drawings 7some of which were executed in pen-and-ink and others in pencil7 sold for #ff1 the purchaser acting for a well-known firm of ,american publishers4 ,the drawings were subsequently bound up in a copy of the first edition of the story1 and the treasured volume now reposes in the library of a ,new ,york collector4 ,sidenote3 ,illustrations for ,cheap ,editions4 ,mr4 ,stone is naturally best known as a ,dickens illustrator through his designs for ,our ,mutual ,friend4 ,in addition to these1 however1 he has essayed some illustrations 7engraved on wood by ,dalziel ,brothers7 for cheap issues of the works of the great novelist1 of which the following is a complete list3-- ,,little ,,dorrit--,first ,cheap ,edition1 #ahfa4 ,frontispiece4 ,,great ,,expectations--,library ,edition1 #ahfb4 ,eight ,illustrations4 ,,pictures ,,from ,,italy--,library ,edition1 #ahfb4 ,four ,illustrations4 ,,american ,,notes--,library ,edition1 #ahfb4 ,four ,illustrations4 ,a ,,child',s ,,history ,,of ,,england--,library ,edition1 #ahfb4 ,eight ,illustrations4 ,a ,,tale ,,of ,,two ,,cities--,first ,cheap ,edition1 #ahfd4 ,frontispiece4 ,from this record it will be seen that 7with the exception1 perhaps1 of the frontispiece for ,a ,tale of ,two ,cities7 all the above-mentioned designs were executed prior to those for ,our ,mutual ,friend4 ,it was hardly to be anticipated that ,mr4 ,stone's pencil would rival the work of his more experienced contemporaries1 yet it will be seen that these illustrations are characterised by the very essential quality of always telling their story4 ,mr4 ,stone much regrets that he never had the opportunity of doing himself justice in black-and-white ,art4 ,needless to say1 he revels in subjects appertaining to a bygone age1 as they afford considerable scope for pictorial treatment1 and one of the novels he would have most enjoyed to illustrate is ,barnaby ,rudge1 because of the picturesque period in which the story is laid4 ,in response to my enquiry why he did not undertake the illustration of ,dickens's next and final romance1 ,the ,mystery of ,edwin ,drood1 ,mr4 ,stone explains3 ,i had entirely given up black-and-white work when ',edwin ,drood' was written1 and was making an ample income by my pictures4 ,i was not in the field at all4 ,indeed1 black-and-white drawing possessed little to attract the young artist1 who1 preferring the more alluring charm of colour1 had already begun to acquire a reputation as a painter4 ,in #ahgg he was elected an ,associate of the ,royal ,academy1 and ten years later was advanced to the full rank of ,academician4 ,during the last twenty years his most popular pictures have been his groups of interesting lovers and pathetic maidens2 for1 after exhibiting in eighteen ,academy ,exhibitions various presentments of human passion1 he at last decided to limit himself to the one which makes the widest appeal to all sorts and conditions of men and women1 such as those subtle domestic dramas in which love plays the leading rle4 ,mr4 ,marcus ,stone's intimacy with ,charles ,dickens originated while his father1 ,frank ,stone1 and the novelist were living not more than a couple of houses apart2 but it should be understood that the elder artist and the author of ,pickwick were friends many years before they were neighbours4 ,from the days of his childhood until the famous writer breathed his last1 ,mr4 ,stone spent a portion of every year of his life at ,dickens's abode4 ,i saw him1 he observes1 under the most natural and simple conditions1 and my affection and regard for him were intense4 ,dickens was one of the shyest and most sensitive of men1 as ,i have reason to know1 for ,i saw him constantly at his own home1 often for weeks together4 ,he used to treat me as though ,i were his son4 ,nothing was more delightful than the way in which he shared our pleasures and pursuits4 ,his influence was like sunshine in my life whilst his own lasted4 ,mr4 ,stone occasionally took part in private theatricals at ,tavistock ,house1 where the novelist had installed ,the ,smallest ,theatre in the ,world1 and the artist has pleasant recollections of his own share in the various plays1 such as ,planch's fairy extravaganza1 ,fortunio1 in which he impersonated the ,captain of the ,guard1 and ,wilkie ,collins's ,the ,frozen ,deep1 where1 as an ,officer in the ,british ,navy1 he had but three words to say4 ,,luke ,,fildes1 ,r4,a4 ,an ,illustrator ,required for ,,the ,,mystery ,,of ,,edwin ,,drood--,charles ,alston ,collins ,offers his ,services--,his ,design for the ,wrapper--,he ,prepares ,sketches for the ,first ,number--,ill-,health--,the ,project abandoned--,death of ,mr4 ,collins creates a ,dilemma--,the ,fellow for ',edwin ,drood' ,discovered--,luke ,fildes1 ,r4,a4--,his ,drawing of ,houseless and ,hungry--,specimens of his ,black-and-,white ,drawings ,submitted to ,dickens--,a ,complimentary ,letter from the ,novelist--,mr4 ,fildes ,elected to ,illustrate ,edwin ,drood--,first ,meeting of ,author and ,artist--,a ,pen-,portrait of ,dickens--,a ,memorable ,interview--,pictorial ,exactness--,working under ,difficulties--,studies from the ,life--,successful ,realisation of ,types--,the ,opium-,smokers' ,den--,cloisterham--,the ,artist's ,method of ,executing his ,designs--,the ,engraved ,reproductions--,the ,finale of the ,story ,hinted at--,mr4 ,fildes ,invited to ,gad's ,hill--,suggestion for the ,last ,drawing--,death of ,dickens--,the ,empty ,chair--,a ,visit to ,john ,forster--,a ,curious ,coincidence--,pleasing ,reminiscences of ,dickens--,mementoes of the ,novelist--,unpublished ,drawings for ,edwin ,drood4 ,,plate ,,lxi ,,luke ,,fildes1 ,r4,a4 ,from a ,photograph specially taken for this ,work by ,,james ,,hyatt ,illustration ,when ,mr4 ,marcus ,stone1 ,r4,a41 had completed his designs for ,our ,mutual ,friend1 he determined to relinquish black-and-white drawing and to concentrate his energy upon painting2 but for this1 it is probable that his skilled pencil would have been requisitioned for ,charles ,dickens's last story1 ,the ,mystery of ,edwin ,drood4 ,that the re-engagement of ,hablt ,browne as illustrator of that unfinished romance was not contemplated may be attributed chiefly to the fact that1 in #ahfg1 the clever artist whose name and fame will ever be associated with the writings of ,dickens was unhappily struck with severe paralysis1 and consequently his hand had lost its cunning4 ,the assistance of either of these draughtsmen being1 therefore1 out of the question1 the novelist was compelled to seek a new illustrator1 and at this crisis his son-in-law1 ,charles ,alston ,collins 7brother of ,wilkie ,collins71 intimated that he would like to undertake the necessary designs for ,edwin ,drood1 or rather to test his powers in that direction4 ,although he occupied himself1 in a desultory fashion1 with both ,literature and ,art1 ,charles ,collins had been bred a painter1 and achieved a notable position among the young artists of the ,pre-,raphaelite ,school4 ,he favoured the pen1 however1 rather than the pencil1 his fugitive pieces being distinguished for the most part by humour of a charming quality4 ,dickens had great faith in his artistic talent1 and accordingly 7on ,september #ad1 #ahfi7 sent his publishers the following note3 ,charles ,collins wishes to try his hand at illustrating my new book4 ,i want him to try the cover first4 ,please send down to him at ,gad's ,hill any of our old green covers you may have by you4 ,the pictorial wrapper was satisfactorily completed1 whereupon ,charles ,collins began to prepare sketches for the first number1 an undertaking which he looked upon rather as an experiment4 ,ill-health1 alas6 proved a serious obstacle1 and1 after making a futile endeavour to realise his conceptions1 he was compelled to abandon the project altogether4 ,it has been suggested that1 as the leading incidents portrayed by him on the cover were intended to prefigure the course of the narrative1 ,charles ,collins must have obtained a clue to the mystery involved in the story4 ,as a matter of fact1 there is no evidence that he had the faintest notion of the meaning of the enigmatical little tableaux of which his design consists2 on the contrary1 it is asserted that he merely received the novelist's verbal directions without obtaining any hint as to their real significance4 ,charles ,alston ,collins died in #ahgc in his forty-fifth year1 having borne much suffering1 through many trying years1 with uncomplaining patience4 ,he was a son-in-law of ,charles ,dickens1 whose younger daughter1 ,kate1 he married in #ahfj1 the occasion being signalised by much rejoicing on the part of the novelist's friends and neighbours at ,gad's ,hill4 99 99 99 99 99 ,the speedy relinquishment by ,charles ,collins of the illustrating of ,edwin ,drood caused something of a dilemma4 ,dickens being again without an illustrator1 he appealed for advice to his friends ,mr4 7afterwards ,sir ,john7 ,millais1 ,r4,a41 and ,mr4 ,w4 ,p4 ,frith1 ,r4,a41 who promised to aid him in searching for a suitable artist4 ,shortly afterwards there was published in the initial number of ,the ,graphic an engraving entitled ,houseless and ,hungry1 depicting a crowd of vagrants of both sexes awaiting admission to the workhouse1--a picture at once so powerfully conceived and so pathetic in sentiment that it immediately attracted the attention of ,sir ,john ,millais1 who immediately hastened in a cab to ,dickens's rooms at ,hyde ,park ,place1 bearing in his hand a copy of the new journal4 ,striding into the study1 and waving ,the ,graphic above his head1 the famous painter exclaimed1 ,i've got him6 ,got whom8 inquired the novelist4 ,the fellow for ',edwin ,drood1' replied ,millais1 as he threw the paper down on the table4 ,no sooner had ,dickens examined the picture than he became similarly enthusiastic in his praise1 and wrote forthwith to his publishers1 requesting them to communicate with the artist1 ,mr4 ,samuel ,luke ,fildes1 now a popular ,royal ,academician1 but who was then comparatively unknown in the world of ,art4 ,at the period referred to1 ,mr4 ,fildes was a young man of five-and-twenty1 who had but just begun to make his mark as a draughtsman in black-and-white4 ,after some desultory study of drawing and painting at ,chester and ,warrington1 he came to ,london in #ahfb for the purpose of seeing the ,great ,exhibition1 and was so impressed that he determined to make his future home in the ,metropolis4 ,in the following year he gained a scholarship at the ,south ,kensington ,schools1 and afterwards became a student of the ,royal ,academy4 ,the ,cornhill1 ,once a ,week1 and other magazines then in the ascendant1 owed much of their popularity to the beautiful designs by ,millais1 ,leighton1 and similarly distinguished artists1 and these remarkable productions inclined ,mr4 ,fildes to adopt book-illustration as a stepping-stone towards painting4 ,good-fortune attended his efforts1 and in ,june #ahfi1 by which time he had achieved a position as a black-and-white draughtsman1 he received an intimation from ,mr4 ,w4 ,l4 ,thomas that he had conceived the idea of publishing a new illustrated paper1 eventually called ,the ,graphic1 and suggested that he should draw something effective1 the subject to be the artist's own choice1 for publication therein4 ,,plate ,,lxii ,,study ,,for ,,the ,,head ,,of ,,neville ,,landless ,facsimile of an ,original ,sketch for ,the ,mystery of ,edwin ,drood by ,,luke ,,fildes1 ,r4,a4 ,lent by the ,artist4 ,illustration ,i went home1 says ,mr4 ,fildes1 and1 at ten o'clock on a terribly hot night1 ,i sat with a piece of paper and sketched out the idea for ',the ,casuals4' ,some few years before1 when ,i first came to ,london1 ,i was very fond of wandering about1 and remember beholding somewhere near the ,portland ,road1 one snowy winter's night1 the applicants for admission to a casual ward4 ,recollecting the incident1 ,mr4 ,fildes endeavoured to reproduce this scene as a subject likely to prove acceptable to the manager of ,the ,graphic1 and it was that very picture which1 as already related1 led to the artist's introduction to the famous novelist4 ,messrs4 ,chapman ,hall1 who had been authorised to write to ,mr4 ,fildes respecting the illustration of ,edwin ,drood1 desired him to submit specimens of his black-and-white work1 and at the same time expressed a hope that1 as they had no recollection of having seen representations of beautiful women in any of his drawings1 he would enclose a few examples of his ability in that direction1 for the very important reason that in ,charles ,dickens's new story would appear two attractive heroines4 ,mr4 ,fildes immediately dispatched a parcel containing various illustrations designed by him for the magazines1 and promised to execute1 for the novelist's inspection1 two or three drawings of scenes from one of his stories4 ,a few days later the artist became the recipient of a very complimentary letter1 in which ,dickens said3 ,i beg to thank you for the highly meritorious and interesting specimens of your art that you have had the kindness to send me4 ,i return them herewith1 after having examined them with the greatest pleasure4 ,i am naturally curious to see your drawing from ',david ,copperfield1' in order that ,i may compare it with my own idea4 ,in the meanwhile1 ,i can honestly assure you that ,i entertain the greatest admiration for your remarkable powers4 ,in accordance with his own proposal1 ,mr4 ,fildes prepared two or three designs from ,copperfield1 one of which fulfilled the requisite condition that it should contain a representation of a pretty girl1 the subject selected being the scene depicting ,peggotty embracing ,little ,em'ly after the announcement of her betrothal to ,ham4 ,dickens considered these drawings so eminently satisfactory that he desired the artist to call upon him at his temporary residence1 ,no4 #e ,hyde ,park ,place1 for the purpose of consulting him regarding the illustrations for ,edwin ,drood4 ,the eventful day at length arrived when author and artist met for the first time1 and the auspicious occasion is thus pleasantly recalled in the following note from ,mr4 ,fildes 7written for ,charles ,dickens by ,pen and ,pencil71 in response to my inquiry respecting his earliest impressions of the novelist's personality3-- ,i can tell you so little of ,dickens that is 'terse1 graphic1 or vivid4' ,it's so long ago6 ,he passed by me so like a vision4 ,at least it seems so to me now4 ,when ,i first saw him1 ,i felt a little oppressed--,i don't know why--he loomed so large1 and was so great in my imagination4 ,he rose from his writing-table to greet me4 ,he was dressed in dark clothes2 ,i cannot quite recall the cut of coat1 but it was loose and unbuttoned1--a black silk neckerchief was loosely tied1 with hanging ends1 round his throat4 ,his general appearance1 with the 'cut' of his head1 gave me the idea--perhaps reminded me somehow--of one who was1 or had been1 connected with the sea4 ,but ,i thought so much of the ,man1 and had so affectionate a respect1 that it never occurred to me then nor since to take an inventory of his features or the details of his clothes4 ,i could possibly be contradicted on nearly every point were ,i to attempt it4 ,what ,i do remember--and it is as clear to me as yesterday--is the indescribable sweetness and kindness of manner--a frank affectionate way that drew me towards him the moment ,i saw him4 ,i don't know what it was1 or how--perhaps his smile1 the clasp of his hand1 the drawing me down to sit beside him--but ,i felt like one does with one's own father1 that you 'get on with' when a boy4 ,that impression never left me4 ,,plate ,,lxiii ,,studies ,,for ,,edwin ,,drood ,facsimile of ,original ,sketches by ,,luke ,,fildes1 ,r4,a4 ,this figure appears in the ,illustration entitled ',at the ,piano4' ,vide ,the ,mystery of ,edwin ,drood4 ,lent by the ,artist4 ,illustration ,when1 at this memorable interview1 ,dickens had expressed his requirements1 ,mr4 ,fildes 7as he himself informs me7 explained to the novelist that1 while fully appreciating the honour of being selected as illustrator of ,edwin ,drood1 he would be compelled most reluctantly to forego the privilege if it were really a sine qua non that the designs should be of a humorous character1 following the lead of the versatile ,phiz4 ,he conceived it advisable to make it clearly understood1 there and then1 that comic drawing was not his metier1 and ventured to remind the novelist that his stories1 in view of the fact that they possessed an intensely serious side as well as a jocular one1 lent themselves admirably to a graver style of ,art4 ,after pondering for a moment1 ,dickens observed that he was a little tired of being regarded by his illustrators mainly as a humorist1--a remark1 however1 which he qualified in a manner that did not at all suggest dissatisfaction with those artists1 but implied1 rather1 that he was not averse to the more solemn incidents in his writings being considered by his pictorial interpreters2 his agreement with ,mr4 ,fildes in this respect might well have arisen from what he knew would be the leading characteristic of his last romance 7certainly not humorous71 which would give scope only to the serious artist4 ,the interview resulted in the appointment of ,mr4 ,fildes as illustrator of the forthcoming story1 and in a letter to ,james ,t4 ,fields 7of ,boston1 ,u4,s4,a47 the novelist said3 ,at the very earnest representations of ,millais 7and after having seen a great number of his drawings71 ,i am going to engage with a new man2 retaining1 of course1 ,c4 ,c4's ,charles ,collins's cover4 ,so content was ,dickens with his choice of this artist1 that he could not refrain from expressing his satisfaction to his friends4 ,sidenote3 ,the ,mystery of ,edwin ,drood1 #ahgj4 ,as the date fixed for the publication of the first number of ,edwin ,drood was rapidly approaching1 it became necessary that ,mr4 ,fildes should immediately begin to prepare his designs4 ,receiving the proof-sheets of each number1 he studied them so diligently and carefully that he allowed no incident or personal trait to escape him4 ,indeed1 ,dickens himself 7as ,mrs4 ,meynell tells us in ,the ,century of ,february #ahhd7 was astonished at the way in which his mind found itself mirrored in that of his coadjutor1 both as regards the pictorial exactness of inanimate things and the appreciation of individual human character4 ,the artist1 however1 was at first considerably perplexed in being kept in total ignorance of the plot1 as ,dickens volunteered no information respecting either the characters or the various parts they played1 and although ,mr4 ,fildes was much puzzled1 before the plot began to develop1 in discovering who was the hero and who the villain of the story1 he hesitated to interrogate the novelist1 because he surmised that there was a particular motive for his reticence4 ,he did1 at my solicitation1 observes ,mr4 ,fildes1 occasionally tell me something--at first charily--for he said it was essential to carefully preserve the 'mystery' from general knowledge to sustain the interest of the book1 and later he appeared to have complete confidence in my discretion4 ,dickens1 it seems1 was seldom in advance with his manuscript1 and each number was barely completed in time for the printers1 thus necessitating excessive promptitude on the part of the engravers as well as the designer4 ,the subjects of the earlier illustrations were selected by the author1 who marked on the proofs the particular incidents to be depicted4 ,in thus trotting after the novelist1 the artist experienced a sense of restraint1 and felt unable to do himself justice4 ,at length1 when ,dickens proposed that one of the incidents to be delineated should be that in which ,john ,jasper steals up a winding staircase in absolute darkness with murder on his face1 ,mr4 ,fildes courteously protested by pointing out the artistic disadvantages of illustrating such a scene1 adding that it was already so graphically recounted that further elucidation became superfluous4 ,apropos of this1 ,mr4 ,m4 ,h4 ,spielmann remarks3 ,it is curious to observe how ,dickens's dramatic sense obtruded itself when arranging for the drawings4 ,he would always wish that scene or tableau to be illustrated on which he had lavished the whole force and art of his descriptive powers--naturally the one that least required or justified illustration4 ,by this time the novelist realised the advisability of leaving the responsibility of selection in the hands of the artist1 who thenceforth was relieved of the limitations and restrictions hitherto imposed upon him4 ,,plate ,,lxiv ,,studies ,,for ,,mr4 ,,jasper ,facsimile of ,original ,sketches by ,,luke ,,fildes1 ,r4,a4 ,the figure on the right was introduced in the ,illustration entitled ,on ,dangerous ,ground4 ,vide ,the ,mystery of ,edwin ,drood4 ,lent by the ,artist4 ,illustration ,the requisite consultations between ,dickens and his illustrator were invariably held at ,hyde ,park ,place4 ,whenever practicable1 ,mr4 ,fildes made sketches from the life of suitable types for the characters in the story1 and was fortunate in securing living models for the principal personages4 ,over the type of ,jasper there was much discussion1 the artist making several attempts before he obtained an exact portrait of the choirmaster2 and so successful and sympathetic were this and other delineations of character1 that ,dickens was delighted with them1 declaring them to be like veritable photographs of the people themselves4 ,the backgrounds1 too1 were drawn from actual scenes1 as1 for example1 the opium-smokers' den which figures in the first and last illustrations2 this was discovered by the artist somewhere in the ,east ,end of ,london2 the exact spot he cannot recall1 nor does he believe that ,dickens had any particular den in his mind1 but merely described from memory the general impression of something of the kind he had observed many years before4 ,the architectural details introduced in the illustration1 ,durdles ,cautions ,mr4 ,sapsea against ,boasting1 were drawn from a careful sketch made within the precincts of ,rochester ,cathedral1 although in the published design there is substituted a gateway different from that existing at this spot1 in order to assist1 no doubt1 in promoting the novelist's obvious intention of disguising the identity of ,cloisterham4 ,in the engraving entitled ,good-bye1 ,rosebud1 darling6 it is very easy to recognise the quaint courtyard of ,eastgate ,house in ,rochester ,high ,street4 ,in the river scene we obtain a glimpse of ,putney ,church and of the picturesque wooden bridge which1 until a few years ago1 spanned the ,thames at that point2#di while in a third illustration1 ,under the ,trees1 the artist availed himself of a sketch 7made some time previously7 of the cloisters at ,chester ,cathedral4 ,footnote #di3 ,by a curious coincidence1 this scene is almost identical with that depicted by ,seymour on the wrapper for the monthly parts of ,pickwick4 ,concerning another of these designs1 viz41 ,mr4 ,grewgious ,experiences a ,new ,sensation1 it may be mentioned that not only was this cosy interior actually drawn from a room in ,staple ,inn1 but that the original of the capacious arm-chair in which ,rosa is seated still remains in the artist's possession1 it being almost the sole survivor of the furnishing items which formed part of his bachelor establishment4 ,it is interesting to learn that ,dickens1 who placed such great confidence in his illustrator1 did not consider it essential that preliminary sketches should be submitted to him4 ,mr4 ,fildes's original studies for his designs were vigorously executed with chalk upon tinted paper1 the high-lights being emphasized with chinese-white2 the finished drawings were made upon paper and then photographed upon boxwood blocks4 ,the engraving was at first entrusted to ,dalziel ,brothers1 one of the best-known firms of wood-engravers of that day1 but after the first two engravings were completed1 ,mr4 ,fildes intimated to the novelist a wish that the work of reproduction might be transferred to a former colleague of his1 ,charles ,roberts1 whereupon ,dickens thus wrote to the late ,frederick ,chapman1 of ,chapman ,hall3 ,mr4 ,fildes has been with me this morning1 and1 without complaining of ,dalziel1 or expressing himself otherwise than as being obliged to him for his care in ,no4 #a1 represents that there is a brother-student of his1 a wood-engraver1 perfectly acquainted with his style and well understanding his meaning1 who would render him better4 ,i have replied to him that there can be no doubt that he has a claim beyond dispute to our employing whomsoever he knows will present him in the best aspect4 ,therefore1 we must make the change2 the rather because the fellow-student in question has engraved ,mr4 ,fildes's most successful drawings hitherto4 ,,plate ,,lxv ,,study ,,for ,,good-,,bye1 ,,rosebud1 ,,darling ,facsimile of the ,original ,sketch for ,the ,mystery of ,edwin ,drood by ,,luke ,,fildes1 ,r4,a4 ,lent by the ,artist4 ,illustration ,an examination of the illustrations discloses the fact that ten out of the full complement of twelve bear the signature of ,c4 ,roberts4 ,in some instances1 however1 the result is disappointing1 for the delicate tone-values which mark the original drawings are not apparent in the reproductions4 ,this defect is chiefly due to the technical difficulties caused by the thick photographic film covering the surface of the wood-blocks1 which curled up under the point of the graver2 unengraved portions of the picture were thus lost1 and the engraver1 although carefully copying the missing portions1 seldom succeeded in reproducing the characteristic touch of the artist4 ,mr4 ,fildes1 perhaps1 is hypercritical1 for those who had not compared the engraved replicas with the original designs were delighted with these decidedly effective illustrations1 while ,mr4 ,w4 ,p4 ,frith1 ,r4,a41 quick to recognise the unusual ability displayed in them1 wrote to the novelist complimenting him on securing so facile and graceful an interpreter of his text1--a comment with which ,dickens was much gratified4 ,as events proved1 ,mr4 ,fildes was as receptive as ,dickens was impressive1 and vividly as ,dickens saw the creatures of his brain1 he saw them no otherwise than as they lived by this quick and sympathetic pencil4 ,for reasons already explained1 ,dickens never wholly confided to his illustrator his intentions respecting the plot of the story4 ,a part of the mystery1 however1 was 7in a sense7 surprised out of him by the keenness and care with which the artist took up a suggestion4 ,mr4 ,fildes informs me that it happened in this way3 ,i noticed in the proof of the forthcoming number a description of ,jasper's costume so markedly different from what ,i had been accustomed to conceive him as likely to wear1 that ,i went at once to ,dickens to ask him if he had any special reason for so describing him4 ,it was a matter of a neck-scarf4 ,whereupon ,dickens1 after some little cogitating1 said he had a reason1 and that he wished the scarf to be retained1 and1 after some hesitation1 told me why4 ,he seemed to be rather troubled at my noticing the incident1 and observed that he feared he was 'paying out' the 'mystery' too soon1 unconsciously doing so2 for1 he said1 he trusted to the 'mystery' being maintained until the end of the book4 ,he seemed to me to think it was essential to do so1 and especially enforced me to secrecy respecting anything ,i knew or might divine4 ,this description of my interview with the novelist on the occasion in question gives1 of course1 only the sense of what transpired1 and ,i do not pretend to quote exactly any of his words1 or any phrase he may have used4 ,the scarf was1 in fact1 the instrument of murder1 employed by ,jasper as the means of strangling the young breath of ,edwin ,drood on the night of the great gale4 ,mr4 ,luke ,fildes having made so shrewd a guess respecting the important part to be played by ,jasper in the story1 ,dickens thought fit to confide in him some details concerning the final scene4 ,principally1 perhaps1 with this object in view1 he invited the artist to spend a few days with him at ,gad's ,hill1 in order that he might become familiar with the neighbourhood in which many of the scenes in ,edwin ,drood are laid4 ,the novelist promised him that1 if he were a good pedestrian1 he would introduce him to some of the most charming scenes in ,kent1 and they would visit together the picturesque ,hall at ,cobham with its famous gallery of paintings1 ,cobham ,park and village1 and other interesting places in that locality4 ,in the course of conversation during this interview1 ,dickens 7who evidently anticipated much enjoyment from the little holiday7 recalled that1 when a boy1 he had seen in ,rochester a gaol or lock-up1 and significantly added that ,mr4 ,fildes should make a note of one of the prison cells1 which would do admirably to put ,jasper in for the last illustration--thus pretty clearly foreshadowing the conclusion of the story4 ,i want you to make as good a drawing1 said ,dickens1 as ,cruikshank's ',fagin in the ,condemned ,cell1'--a suggestion which ,mr4 ,fildes did not approve1 as any attempt on his part to treat the subject in the ,cruikshankian manner might be resented as an obvious plagiarism1 although a comparison of the two designs would have proved interesting4 ,,plate ,,lxvi ,,study ,,for ,,mr4 ,,grewgious ,facsimile of the ,original ,sketch by ,,luke ,,fildes1 ,r4,a4 ,this figure appears in the ,illustration entitled ,mr4 ,grewgious has his ,suspicions4 ,vide ,the ,mystery of ,edwin ,drood4 ,lent by the ,artist4 ,illustration ,it was decreed1 alas6 that ,mr4 ,fildes's visit to ,charles ,dickens's little ,kentish freehold would never be realised while the great writer lived4 ,on the morning of the appointed day1 ,dickens intended making his usual weekly call at the office of ,all the ,year ,round1 and was to have been accompanied on his return by ,mr4 ,fildes4 ,that very day1 however1 the artist 7whose luggage was packed ready for departure7 took up the newspaper1 and was startled to read the melancholy intelligence that ,dickens was no more4 ,this terribly sudden death changed everything2 but in order to fulfil the novelist's express desire1 the artist was invited 7after the funeral7 to stay with the ,dickens family4 ,it was then1 remarks ,mr4 ,fildes1 while in the house of mourning1 ,i conceived the idea of ,the ,empty ,chair1 and at once got my colours from ,london1 and made the water-colour drawing a very faithful record of his library4#ej ,footnote #ej3 ,an engraved reproduction of this picture appeared in ,the ,graphic ,christmas number1 #ahgj4 ,the death of ,dickens had an extraordinary effect on ,mr4 ,fildes1 for it seemed as though the cup of happiness had been dashed from his lips4 ,following the example of ,mr4 ,marcus ,stone1 he decided to abandon black-and-white illustration and direct his entire attention to painting1 with what success all the world knows4 ,in #ahgi he was elected an ,associate of the ,royal ,academy1 and attained full honours eight years later4 ,the first picture that brought him into notice was ,applicants for ,admission to a ,casual ,ward 7exhibited at the ,royal ,academy in #ahgd71 this being elaborated from ,the ,graphic drawing1 ,houseless and ,hungry1 which1 as already described1 led to his acquaintance with the author of ,pickwick4 ,while occupied with this important canvas1 ,mr4 ,fildes was desired by ,forster to call upon him1 and1 on entering the study1 he was interrogated respecting his welfare2 for ,forster apparently opined that the demise of the novelist1 and the consequent termination of his illustration-work for ,edwin ,drood1 might have caused the young artist some embarrassment4 ,after listening intently to ,mr4 ,fildes's description of the subject he was then painting1 ,forster suddenly exclaimed1 ,how very strange6 ,you are exactly depicting a scene witnessed by ,dickens himself many years ago4 ,i have just copied his letter referring to it1 which has never been out of my possession2 and from an accumulation of papers on his desk 7for he was then preparing his biography of the novelist7 he abstracted the missive in which the novelist alluded to the unfortunate outcasts as dumb1 wet1 silent horrors--sphinxes set up against that dead wall1 and none likely to be at the pains of solving them until the general overthrow4 ,mr4 ,fildes was so struck by this coincidence1 that he sought and obtained permission to quote ,dickens's forcible sentence under the title of his picture when printed in the ,academy ,catalogue4 ,mr4 ,luke ,fildes has many pleasant recollections of ,charles ,dickens to impart4 ,he was extremely kind to me1 observes the artist1 and1 when living in ,hyde ,park ,place1 asked me to many of his entertainments4 ,he was almost fatherly1 seeming to throw a protecting air over me1 and always elaborately introducing me to his guests4 ,the artist still cherishes1 as valued mementoes1 a little memorandum porcelain slate bound in leather1 a quill pen with the blue ink dried upon it1 and a square sheet of blue paper1 which were given to him by ,miss ,hogarth1 who found them on the novelist's desk just as he had left them4 ,when ,dickens died1 only three numbers of ,the ,mystery of ,edwin ,drood had been published4 ,the illustrations for the ensuing portion of the story1 as completed up to the time of his brief but fatal illness1 had yet to be executed1 and it is interesting to know that the titles for these were composed by the artist4 ,with a view to future numbers1 ,mr4 ,fildes had made several drawings in ,rochester1 including the choir of the ,cathedral and the exterior of ,eastgate ,house 7i4e4 ,the ,nuns' ,house71 which were never utilised2 he also painted a view of ,rochester ,castle and ,cathedral as seen from the ,medway1 this being reproduced as a vignette for the engraved title-page4 ,the artist invariably signed his drawings ,s4 ,l4 ,fildes2 but in the vignette here referred to the signature incorrectly appears as ,j4 ,l4 ,fildes4 ,,plate ,,lxvii ,,study ,,for ,,mr4 ,,grewgious ,facsimile of the ,original ,sketch by ,,luke ,,fildes1 ,r4,a4 ,this figure appears in the ,illustration entitled ,up the ,river4 ,vide ,the ,mystery of ,edwin ,drood4 ,lent by the ,artist4 ,illustration ,it will readily be conceded that ,mr4 ,fildes's illustrations for ,dickens's final romance are remarkable for a serious and sound draughtsmanship1 while the life-like delineation of the various characters1 as well as the pictorial exactitude of backgrounds and accessories1 invite careful study and examination4 ,without unduly disparaging the excellent etchings by ,cruikshank and ,phiz1 it must be admitted that there is a vitality appertaining to ,mr4 ,fildes's designs which imparts to them a reality not always discoverable in the illustrations produced by those admirable artists4 ,,appendix ,i ,,illustrators ,,of ,,cheap ,,editions ,c4 ,r4 ,,leslie1 ,r4,a4--,design for ,pickwick--,washington ,irving's ,tribute to the ,artist--,portrait of ,dickens as ,captain ,bobadil--,t4 ,,webster1 ,r4,a4--,his ,picture of ,dotheboys ,hall--,a4 ,,boyd ,,houghton--,illustrations for ,hard ,times and ,our ,mutual ,friend--,g4 ,j4 ,,pinwell--,illustrations for ,the ,uncommercial ,traveller--,interesting ,portrait of the ,novelist--,f4 ,,walker1 ,a4,r4,a4--,illustrations for ,reprinted ,pieces and ,hard ,times--,illustrators of the ,household ,edition--,c4 ,,green1 ,f4 ,,barnard1 ,j4 ,,mahoney1 ,e4 ,g4 ,,dalziel1 ,f4 ,a4 ,,fraser1 ,g4 ,,thomson1 ,h4 ,,french1 ,a4 ,b4 ,,frost1 and ,j4 ,m,,cl4 ,,ralston--,charles ,green's ,illustrations for ,the ,old ,curiosity ,shop1 ,great ,expectations1 and the ,christmas ,books--,f4 ,,barnard1 the ,premier ,illustrator of ,dickens--,the ,novels ,illustrated by him--,his ,favourite ,model--,tragic ,death of the ,artist--,an ,american ,household ,edition--,new ,designs by ,c4 ,s4 ,,reinhart1 ,t4 ,,worth1 ,w4 ,l4 ,,sheppard1 ,e4 ,a4 ,,abbey1 ,a4 ,b4 ,,frost1 and ,t4 ,,nast--,illustrations by ,j4 ,m,,clenan--,f4 ,o4 ,c4 ,,darley--,his ,reputation as a ,draughtsman--,his ,designs for an ,american ,household ,edition ,engraved on ,steel--,independent ,illustrations--,death of the ,artist--,sir ,,john ,,gilbert',s ,designs for ,holiday ,romance--,g4 ,g4 ,,white--,s4 ,,eytinge--,prolific ,contributor to ,books and ,periodicals--,his ,picture of ,mr4 ,pickwick's ,reception--,designs for the ,diamond ,edition1 c4--,character ,sketches--,dickens's ,admiration of the ,artist's ,conceptions--,gives a ,sitting for his ,portrait--,a ,unique ,print--,eytinge ,visits ,gad's ,hill--,illustrations by ,h4 ,,billings for ,a ,child's ,dream of a ,star--,the ,christmas ,carol ,designs by ,,gaugengigl and ,,chominski--,the ,cricket on the ,hearth ,designs by ,,marold and ,,mittis1 and ,l4 ,,rossi--,some ,dickens ,illustrations by ,j4 ,,nash1 ,t4 ,w4 ,,wilson1 ,j4 ,e4 ,,christie1 and ,g4 ,,browne--,designs by ,e4 ,j4 ,,wheeler for ,tales from ,pickwick--,illustrations by ,,phil ,,may1 ,,maurice ,,greiffenhagen1 and ,,harry ,,furniss--,coloured ,frontispieces for the ,temple ,library ,edition4 ,sidenote3 ,c4 ,r4 ,leslie1 ,r4,a4 ,besides the illustrators of the original issues of ,charles ,dickens's novels there are other distinguished artists concerning whose designs for the cheaper editions some mention should be made in the present work4 ,besides ,clarkson ,stanfield1 ,r4,a41 who has already been referred to as supplying the frontispiece to the first cheap issue of ,american ,notes1 ,dickens was under a similar obligation to two other ,royal ,academicians1 ,leslie and ,webster1 for frontispieces to the first cheap edition of ,pickwick 7#ahdg7 and ,nicholas ,nickleby 7#ahdh7 respectively4 ,charles ,robert ,leslie1 of whom ,thackeray once said that no artist possessed so much as he the precious quality of making us laugh kindly1 found a suitable subject in the twelfth chapter of ,the ,pickwick ,papers1 his illustration representing ,mrs4 ,bardell fainting in the arms of ,mr4 ,pickwick1--an incident that had already been depicted by ,phiz4 ,the original picture by ,leslie--which was a commission from ,dickens--is a cabinet-painting in grisaille or monochrome2 it realised #acg1 #aas4 at the sale of the novelist's effects in #ahgj1 and is now the property of ,mr4 ,william ,wright1 of ,paris4 ,it seems probable that ,dickens owed his introduction to this artist through the friendly intervention of ,washington ,irving1 who1 in ,may #ahda1 thus wrote to the novelist3 ,do you know ,leslie the painter1 the one who has recently painted a picture of ,queen ,victoria8 ,if you do not1 ,i wish you would get acquainted with him4 ,you would like one another4 ,he is full of talent and right feeling4 ,he was one of my choice and intimate companions during my literary sojourn in ,london4 ,while ,i was making my early studies with my pen1 he was working with his pencil4 ,we sympathised in tastes and in feelings1 and used to explore ,london together1 and visit the neighbouring villages1 occasionally extending our researches into different parts of the country4 ,he is one of the purest and best of men1 with a fine eye for nature and character1 and a true ,addisonian humour4 ,in #ahdf ,leslie produced his well-known picture of ,dickens as ,captain ,bobabil1 in ,ben ,jonson's play1 ,every ,man in his ,humour1 which was exhibited in the ,royal ,academy the same year2 shortly afterwards the painting was reproduced in lithography by ,t4 ,h4 ,maguire1 impressions of which 7especially those that were coloured7 are now very scarce4 99 99 99 99 99 ,sidenote3 ,t4 ,webster1 ,r4,a4 ,the first cheap edition of ,nicholas ,nickleby was embellished by means of a frontispiece engraved on wood by ,t4 ,williams from the picture by ,t4 ,webster1 ,r4,a41 which 7like ,leslie's7 was painted for the novelist4 ,this exquisite painting 7measuring only ten inches by seven inches7 depicts the familiar scene at ,dotheboys ,hall1 where ,mrs4 ,squeers administers the much-dreaded brimstone and treacle2 at the ,dickens sale the interesting little picture realised the substantial sum of #ece1 #ajs4 ,it is said that the artist was so thorough and so persistent in illustrating the humours of boys' schools that he earned the sobriquet of ,dotheboys ,webster4 99 99 99 99 99 ,sidenote3 ,a4 ,b4 ,houghton and ,g4 ,j4 ,pinwell ,sidenote3 ,f4 ,walker1 ,a4,r4,a4 ,the first cheap editions of later works were graced with frontispieces from the pencils of two artists better known as draughtsmen than as painters4 ,these were ,a4 ,boyd ,houghton1 who designed the frontispiece for ,hard ,times 7#ahfe7 and ,our ,mutual ,friend 7#ahfg71 and ,g4 ,j4 ,pinwell1 who furnished an illustration for ,the ,uncommercial ,traveller 7#ahfe7--;all of which were engraved on wood by the ,dalziel ,brothers4 ,in #ahfh ,pinwell likewise contributed four excellent woodcut illustrations to the ,library ,edition of the same work1#ea and it is interesting to note that in one of these1 ,leaving the ,morgue1 he has introduced a full-length presentment of the novelist4#eb ,associated with the ,library ,edition we find the name of ,fred4 ,walker1 ,a4,r4,a41 whose position as a designer in black-and-white stands high in the first rank of ,english masters4 ,this clever artist prepared four illustrations respectively for ,reprinted ,pieces and ,hard ,times 7#ahfh71 and for refinement of execution they have probably never been excelled4 ,fred4 ,walker1 the painter of those world-famous pictures known as ,the ,harbour of ,refuge1 ,the ,bathers1 ,the ,lost ,path1 c41 died prematurely of consumption in #ahge1 at the age of thirty-five1 a loss which all artists and art-lovers have never ceased to deplore4 ,the ,library ,edition of the ,christmas ,stories is illustrated by ,f4 ,a4 ,fraser1 ,h4 ,french1 ,e4 ,g4 ,dalziel1 ,j4 ,mahoney1 ,townley ,green1 and ,charles ,green1 fourteen woodcuts in all4 ,footnote #ea3 ,the later volumes of the ,library ,edition were issued at intervals during #ahfb-ahfh4 ,footnote #eb3 ,the ,library ,edition of ,the ,uncommercial ,traveller also contains four illustrations signed ,w4,m41 which are much inferior to ,pinwell's designs4 ,after ,dickens's death1 that is1 during #ahga-gi1 ,chapman ,hall issued a ,household ,edition of his novels1 ensuring their further popularity by inserting entirely fresh illustrations4 ,the artists selected for this undertaking were ,charles ,green1 ,fred4 ,barnard1 ,j4 ,mahoney1 ,e4 ,g4 ,dalziel1 ,f4 ,a4 ,fraser1 ,gordon ,thomson1 ,h4 ,french1 ,a4 ,b4 ,frost1 and ,j4 ,mc,l4 ,ralston1 nearly all of whom had already been represented in the ,library ,edition4 ,in commenting upon these designs1 it may be remarked that1 of his numerous illustrators1 ,dickens has never been more sympathetically interpreted than by ,charles ,green and ,fred4 ,barnard4 99 99 99 99 99 ,sidenote3 ,charles ,green4 ,the thirty-two illustrations contributed by ,charles ,green to the ,household ,edition of ,the ,old ,curiosity ,shop contrast most favourably with those by ,phiz in the original issue2 these drawings1 which1 for the most part1 were made upon paper by means of the brush-point1 are entirely free from the gross exaggeration and caricature which impart such grotesqueness to the majority of the figure subjects by ,hablt ,browne for this story4 ,mr4 ,green's design for the wrapper enclosing each part of the ,crown ,edition of the novelist's works 7subsequently published by ,chapman ,hall7 is cleverly conceived1 for here he has introduced all the leading personages1 happily grouped around the principal figure1 ,mr4 ,pickwick1 who occupies an elevated position upon a pile of books representing the novels of ,dickens4 ,a few years ago ,messrs4 ,a4 ,f4 ,pears commissioned ,mr4 ,green to design a number of illustrations for a series of their ,annuals1 the artist's services being specially retained for the following reprints of ,dickens's ,christmas ,books3 ,a ,christmas ,carol 7#ahib71 twenty-seven drawings2 ,the ,battle of ,life 7#ahic71 twenty-nine drawings2 ,the ,chimes 7#ahid71 thirty drawings2 and ,the ,haunted ,man 7#ahie71 thirty drawings4 ,his latest productions as a ,dickens illustrator consist of a series of ten new designs1 reproduced by photogravure for the ,gadshill ,edition of ,great ,expectations1 recently published by ,chapman ,hall4 ,undoubtedly ,mr4 ,green's most important work in connection with ,dickens is to be found in his water-colour drawings of scenes from the novels1 of which a complete list is given in the chapter entitled ,dickens in ,art4#ec ,footnote #ec3 ,during the printing of this work1 the death was announced of ,mr4 ,charles ,green1 ,r4,i41 who succumbed to a painful illness of long standing4 99 99 99 99 99 ,sidenote3 ,fred4 ,barnard4 ,fred4 ,barnard has come to be considered1 par excellence1 the illustrator of the famous novelist2 indeed1 he has been not inaptly termed the ,charles ,dickens among black-and-white artists4 ,like ,dickens himself1 he was essentially a humorist1 and his designs1 although never lacking in infectious humour1 had always something in them which raised them above the commonplace4 ,to his skilful and vigorous pencil the ,household ,edition is indebted for the majority of the illustrations appearing therein1 as the following list testifies3 ,sketches by ,boz1 ,nicholas ,nickleby1 ,martin ,chuzzlewit1 ,barnaby ,rudge1 ,master ,humphrey's ,clock 7incidental chapters71 ,david ,copperfield1 ,dombey and ,son1 ,bleak ,house1 ,christmas ,books1 ,a ,tale of ,two ,cities1 ,hunted ,down1 ,holiday ,romance1 and ,george ,silverman's ,explanation1--making a grand total of nearly four hundred and fifty drawings4 ,there is no doubt that ,fred4 ,barnard knew his ,dickens as well as any man1 and he produced 7independently of the foregoing designs7 a number of pictures and drawings of characters and scenes from the novels1 to which special reference is made in the next chapter4 ,mr4 ,m4 ,h4 ,spielmann informs me that1 for the purposes of his ,dickensian subjects1 the model who sat to ,barnard was the late well-known ,french4 ,the tragic death 7in his fiftieth year7 of this popular artist in ,september #ahif is not yet forgotten4 ,he had accustomed himself to the pernicious habit of smoking in bed1 and falling asleep 7under the influence of a powerful drug7 while his pipe was yet alight1 the bedding caught fire1 with the result that he was suffocated by the smoke1 his body being much burned4 ,sidenote3 ,american ,household ,edition4 ,the ,household ,edition was simultaneously published in ,london and ,new ,york1 ,harper ,brothers having arranged with ,chapman ,hall to be supplied with clichs of the illustrations4 ,for some reason1 however1 the ,english engravings do not appear in several of the volumes thus issued in ,america1 there being substituted for them a similar number of entirely new designs by the following ,american artists3 ,c4 ,s4 ,reinhart 7,nicholas ,nickleby1 ,the ,uncommercial ,traveller1 and ,hard ,times71 ,thomas ,worth 7,the ,old ,curiosity ,shop71 ,w4 ,l4 ,sheppard ,dombey and ,son71 ,e4 ,a4 ,abbey1 ,r4,a4 7,christmas ,stories71 ,a4 ,b4 ,frost ,sketches by ,boz71 and ,thomas ,nast 7,pickwick and ,american ,notes74 ,mr4 ,nast has also illustrated various ,dickens subjects for ,american magazines1 and independent works such as ,gabriel ,grub 7from ,pickwick71 issued by ,mc,loughin as a ,christmas book4 ,mr4 ,frost is likewise responsible for twelve illustrations engraved on wood for an edition of ,pickwick published a few years ago by ,ward1 ,lock ,co41 of ,london and ,new ,york2 and there is a design by him in ,scribner's ,magazine1 ,december #ahig1 entitled ,that ,slide1 and depicting the familiar scene described in the thirtieth chapter of ,pickwick4 ,in #ahei ,harper ,brothers printed ,a ,tale of ,two ,cities as a serial in ,harper's ,weekly1 with thirty-four woodcut illustrations by a ,new ,york artist1 ,j4 ,mc,lenan1 and in the following year the same firm similarly produced ,great ,expectations1 with twenty-seven illustrations by that artist1 the first chapter appearing in ,november #ahfj4 ,both stories were subsequently issued in volume form by ,t4 ,b4 ,peterson ,brothers1 of ,philadelphia4 99 99 99 99 99 ,sidenote3 ,f4 ,o4 ,c4 ,darley4 ,perhaps the best of ,dickens's ,american illustrators was ,felix ,octavius ,carr ,darley1 a most eminent and successful character draughtsman1 whose productions are both original and clever4 ,when1 in #ahfj1 an octavo edition 7also designated the ,household ,edition7 was prepared by ,w4 ,a4 ,townsend ,co4 of ,new ,york1 it was proposed that the services of ,darley and ,mr4 7afterwards ,sir7 ,john ,gilbert should be secured as illustrators for the new venture1 this resulting in the ,american artist executing nearly the whole of the vignette designs1 all of which assumed the form of frontispieces4 ,he had already prepared more than five hundred illustrations for an edition of ,cooper's novels1 so it is probable that the excellence of those drawings led to his engagement in a like capacity for this ,household ,edition of ,dickens4 ,his designs1 which were beautifully engraved on steel1 are very refined both as regards conception and execution1 and are especially interesting as indicating an intelligent appreciation1 on the part of a ,transatlantic artist1 of the novelist's characterisation1 the extravagant and grotesque being instinctively avoided4 ,darley1 although born in ,philadelphia in #ahbb1 was the son of an ,english actor2 his natural gift for drawing was properly encouraged1 and he developed into one of the most efficient book-illustrators of his time2 in addition to this he achieved a distinct reputation through the production of large prints1 such as ,the ,village ,blacksmith1 ,the ,unwilling ,labourer1 ,the ,wedding ,procession1 ,washington's ,entry into ,new ,york1 and other popular subjects4 ,the ,dickens series of designs have recently been reprinted by ,houghton1 ,mifflin ,co4 7,boston and ,new ,york7 for their ,standard ,library ,edition4 ,darley also prepared six drawings for a little work entitled ,children from ,dickens's ,novels1 and subsequently painted a series of eight familiar scenes from ,dickens1 which were reproduced as photo-etchings and issued in sets2 these afterwards appeared in an ,imperial ,edition of the novelist's works by ,estes ,lauriat1 ,boston1 ,u4,s4,a4 ,darley continued to occupy himself with his art up to the end of his life1 but withdrew in his latter years from the cities to his home at ,clayton1 ,delaware1 where he died1 ,march #bg1 #ahhh4ed ,footnote #ed3 ,for many of these particulars ,i am indebted to ,messrs4 ,houghton1 ,mifflin ,co4's ,standard ,library ,edition of ,dickens's ,works4 99 99 99 99 99 ,sidenote3 ,sir ,john ,gilbert1 ,r4,a4 ,the small number of frontispieces furnished by ,sir ,john ,gilbert to ,w4 ,a4 ,townsend ,co4's ,household ,edition are reprinted1 with those of ,darley1 in ,houghton1 ,mifflin ,co4's ,standard ,library ,edition4 ,it is perhaps not generally known that1 in #ahfh1 four woodcut illustrations were specially designed by ,sir ,john for one of ,dickens's minor productions1 ,holiday ,romance1--a short story written expressly for ,our ,young ,folks1 a magazine published by ,ticknor ,fields1 of ,boston1 ,u4,s4,a4 ,in the original announcement we read that the artist had consented to waive his decision not to draw again on wood1 in order to give additional interest to ,mr4 ,dickens's ',romance1' by which it may be inferred that these are among the last examples of ,sir ,john's skill in that direction4 ,for the initials in ,holiday ,romance1 a ,transatlantic artist1 ,g4 ,g4 ,white1 was responsible4 ,sir ,john ,gilbert1 ,r4,a41 ,p4,r4,w4,s41 also produced a series of ,pickwick illustrations1 now exceedingly rare1 particulars of which will be found in the next chapter4 ,this accomplished painter and prolific designer died so recently as ,october #e1 #ahig1 in his eightieth year1 and of him it has been truly observed that in his most distinctive line--viz41 illustration--we can look in vain for his equal4 ,it is recorded that he must have contributed no fewer than thirty thousand subjects to the pages of ,the ,illustrated ,london ,news alone1 besides supplying innumerable designs to ,the ,london ,journal and other publications4 ,it is therefore no exaggeration to say that ,sir ,john ,gilbert stands out pre-eminently the great popular illustrator of the ,victorian era4 99 99 99 99 99 ,sidenote3 ,sol4 ,eytinge4 ,among the ,american illustrators of the writings of ,dickens1 an important place must be conceded to ,sol4 ,eytinge1 who was born in ,new ,york in #ahcc4 ,he began to draw at a very early age1 and for forty years was a most industrious illustrator of books1 papers1 and magazines4 ,for a long time he was connected with ,harper ,brothers1 but subsequently became the chief artist of ,every ,saturday1 published by ,fields1 ,osgood ,co41 to which he contributed many ,dickensian subjects1 notably a large picture entitled ,mr4 ,pickwick's ,reception1 representing ,sam ,weller introducing to ,pickwick the leading characters in the various novels4 ,to the ,diamond ,edition of ,dickens's works1 launched by ,ticknor ,fields in #ahfg1 ,eytinge made several full-page drawings1 each of the principal stories containing sixteen illustrations1 all of which were engraved on wood4 ,he also made some drawings for a volume of ,the ,readings of ,mr4 ,charles ,dickens1 and subsequently prepared a series of character sketches1 which were etched for the ,dickens ,dictionary of ,characters1 published by ,houghton1 ,mifflin ,co4 in their ,standard ,library ,edition4 ,concerning ,sol4 ,eytinge's illustrations ,dickens said3 ,they are remarkable alike for a delicate perception of beauty1 a lively eye for character1 a most agreeable absence of exaggeration1 and a general modesty and propriety which ,i greatly like4 ,on the whole these pictures are well done1 although it must be admitted that the artist has not always succeeded in satisfactorily interpreting his author4 ,when the novelist last visited ,america 7#ahfg-fh71 his portrait was painted by ,eytinge1 probably from sittings1 and it is now in the possession of ,mr4 ,w4 ,e4 ,benjamin of ,new ,york4 ,a lithographic reproduction of this painting1 by the artist himself1 was published by ,ticknor ,fields of ,boston and ,new ,york in #ahfh1 copies of which are now seldom met with4 ,i am enabled1 through the kindness of ,mr4 ,stuart ,m4 ,samuel1 to include in this volume a replica of a particularly interesting impression of this rare print1 on which ,dickens has written the concluding words of ,a ,christmas ,carol3 ,and so1 as ,tiny ,tim observed1 ,god ,bless ,us1 ,every ,one4 ,in the summer of #ahfi ,eytinge visited the novelist at ,gad's ,hill1 in company with ,lowell and ,fields1 on which occasion they together explored the slums of ,east ,london1 including the opium-dens so faithfully described in ,edwin ,drood4 ,the artist has now been dead for some years2 during the latter part of his career he lived in retirement1 on account of ill-health4 ,i have not attempted to enumerate all the illustrators who have executed drawings for the innumerable editions of the works of ,charles ,dickens1 produced by various publishing houses both at home and abroad1 as their name is ,legion4 ,there are1 however1 two or three artists1 not already mentioned1 to whom a slight reference may fittingly be made4 ,in #ahga1 ,fields1 ,osgood ,co4 reprinted ,dickens's beautiful and pathetic sketch entitled ,a ,child's ,dream of a ,star1 with ten full-page drawings by an ,american artist1 ,hammatt ,billings1 which were engraved on wood by ,w4 ,j4 ,linton4 ,the imprint of another ,transatlantic publisher1 ,s4 ,e4 ,cassino1 appears on the title-page of a choice edition of ,a ,christmas ,carol1 #ahhg1 quarto size1 containing twenty-four photogravure reproductions of new designs by ,j4 ,m4 ,gaugengigl and ,t4 ,v4 ,chominski1 which forms an attractive item for the collector of fine books4 ,this work was also on sale in ,england by ,g4 ,routledge ,sons1 who1 in #ahid1 brought out a diminutive edition of ,the ,cricket on the ,hearth1 very tastefully printed by ,guillaume of ,paris1 and containing several little woodcuts designed by ,marold and ,mittis4 ,the same story was included in the reprints of ,dickens's ,christmas ,books published by ,a4 ,f4 ,pears1 having twenty-five clever illustrations by ,lucius ,rossi1 carried out in a style somewhat similar to those by ,charles ,green4 ,particular interest attaches to certain volumes published by ,cassell ,co41 entitled ,gleanings from ,popular ,authors 7#ahhb1 c471 as they contain several illustrations of ,dickens scenes by ,joseph ,nash1 ,fred4 ,barnard1 ,t4 ,walter ,wilson1 ,j4 ,e4 ,christie1 and ,gordon ,browne1 the son of the famous ,phiz4 ,to a booklet entitled ,tales from ,pickwick 7,g4 ,routledge ,sons1 #ahhh71 ,mr4 ,e4 ,j4 ,wheeler contributed seven original and well-executed designs4 ,messrs4 ,chapman ,hall's recently-published ,gadshill ,edition of ,hunted ,down and ,george ,silverman's ,explanation contains three designs by ,mr4 ,maurice ,greiffenhagen1 who1 like ,mr4 ,phil ,may1 now figures as an illustrator of ,dickens for the first time4 ,mr4 ,greiffenhagen is also preparing six original drawings for ,american ,notes and ,pictures from ,italy1 which will be reproduced by photogravure for the same ,edition1 while another well-known artist1 ,mr4 ,harry ,furniss1 has been commissioned to provide four illustrations of a like character for ,the ,uncommercial ,traveller4 ,as ,i write1 another edition of ,david ,copperfield is announced for early publication by ,mr4 ,george ,allen1 the special feature of which will be the thirty-six designs by a new ,dickens illustrator1 ,mr4 ,phil ,may1 whose admirable draughtsmanship is familiar to us2 there will also be issued a limited number of sets of the illustrations1--full-size facsimiles of the drawings1 signed by the artist and accompanied by descriptive text4 ,messrs4 ,j4 ,m4 ,dent ,co4 are preparing an edition of ,dickens's ,works for their ,temple ,library1 an interesting feature of which will be a series of coloured frontispieces1 from original drawings by ,miss ,l4 ,m4 ,fisher1 ,mr4 ,f4 ,c4 ,tilney1 and ,w4 ,c4 ,cooke4 ,,appendix ,,ii ,,concerning ,,extra ,,illustrations ,independent ,publications--,unauthorised ,designs--,list of ,additional ,illustrations--,dickens's ,calendars1 ,relief ,scraps1 c4--,,alfred ,,crowquill--,his ,etchings in ,bentley's ,miscellany--,an ,admirable ,vocalist--,his ,illustrations for ,pickwick ,abroad--,,kenny ,,meadows--,the ,nestor of ,punch's ,staff--,his ,drawings in the ,illustrated ,london ,news--,his ,work ,criticised--,a ,civil-,list ,pension--,a ,delightful ,raconteur--,t4 ,,onwhyn--,his ,signatures of ,sam ,weller1 ,junr41 and ,peter ,palette--,illustrates ,cockton's ,novels--,plates for ,pickwick ,recently ,discovered--,,jacob ,,parallel--,a ,punning ,advertisement--,his ,designs for ,charley ,chalk--,f4 ,w4 ,,pailthorpe--,the only ,survivor of the ,old ,school--,a ,friend of ,george ,cruikshank--,coloured ,plates--,c4 ,d4 ,,gibson--,his ,drawing of the ,pickwick ,club--,his ,individuality of ,style4 ,since the publication of ,the ,pickwick ,papers there have appeared1 from time to time1 a number of designs illustrating the novels of ,charles ,dickens which were issued independently of the particular stories that inspired them1 and generally without letterpress4 ,artists and publishers alike thus availed themselves of the enormous popularity achieved by ,dickens's writings1 confident in the belief that financial success would attend their efforts4 ,among those responsible for the designing of what are usually termed ,extra ,illustrations were many well-known draughtsmen of the day1 including ,hablt ,k4 ,browne 7,phiz71 ,sir ,john ,gilbert1 ,r4,a41 ,onwhyn1 ,kenny ,meadows1 ,alfred ,forrester 7,crowquill71 and1 more recently1 ,fred4 ,barnard and ,f4 ,w4 ,pailthorpe4 ,it must1 however1 be admitted that1 with regard to certain productions by artists less skilled in the use of the pencil or etching-needle1 such attempts to interpret ,dickens's conceptions conspicuously fail4 ,in particular instances the publication of supplementary plates was approved by ,dickens1 but1 for the most part1 these independent illustrations were really unauthorised1 the booksellers merely trading on the popularity of the novels 7especially the earlier ones71 which afforded unlimited scope for pictorial treatment4 ,that there must have been a fairly constant demand for them is proved by their number and variety1 nearly every form of reproductive art being made available for these designs1 including steel-engraving1 etching1 wood-engraving1 lithography1 chromo-lithography1 photogravure1 c4 ,some of the scarcer sets realise high prices1 and are naturally much in request4 ,in the following list1 which1 ,i believe1 is practically complete1 ,i have included a few ,dickens illustrations that were published in periodicals1 in some cases with letterpress2 although these cannot strictly be regarded as ,extra ,illustrations1 they are not without interest to the collector of such ephemeral productions4 ,the names of the artists are alphabetically arranged4 ,j4 ,,absolon ,,and ,f4 ,,corbeaux4 ,,barnaby ,,rudge4--,four engravings on steel by ,finden1 from drawings by ,absolon and ,corbeaux4 ,crown #hvo1 green wrapper1 price one shilling4 ,to accompany the first ,cheap ,edition1 #ahdi4 ,london3 ,chapman ,hall1 #ahf ,strand1 ,n4,d4 ,these designs were portraits of the principal characters1 viz41 ,dolly ,varden and ,barnaby ,rudge1 by ,j4 ,absolon2 ,emma ,haredale and ,miss ,miggs1 by ,f4 ,corbeaux--the latter plate forming the frontispiece4 ,f4 ,,barnard4 ,,character ,,sketches ,,from ,,dickens4--,six lithographs1 portraits of ,mrs4 ,gamp1 ,alfred ,jingle1 ,bill ,sikes and his ,dog1 ,little ,dorrit1 ,sidney ,carton1 ,pickwick4 ,elephant folio4 ,london3 ,cassell1 ,petter ,galpin1 ,n4,d4 #ahgi4 ,afterwards issued as photogravures 7#bj in4 by #ad-a_/b in471 price one guinea4 ,reproductions on a reduced scale1 etched by ,c4 ,w4 ,walker1 were published by ,estes ,lauriat1 ,new ,york1 ,n4,d4 ,,character ,,sketches ,,from ,,dickens4--,second ,series4 ,six photogravures4 ,portraits of the two ,wellers1 ,caleb ,plummer and his ,blind ,daughter1 ,rogue ,riderhood1 ,mr4 ,peggotty1 ,little ,nell and her ,grandfather1 ,mr4 ,pecksniff4 ,same publishers1 #ahhd4 ,,character ,,sketches ,,from ,,dickens4--,third ,series4 ,six photogravures4 ,bob ,cratchit and ,tiny ,tim1 ,uriah ,heep1 ,dick ,swiveller and the ,marchioness1 ,betsy ,trotwood1 ,captain ,cuttle1 ,mr4 ,micawber4 ,same publishers1 #ahhe4 ,the entire series of eighteen plates were republished in ,mr4 ,thomas ,archer's ,charles ,dickens3 ,gossip about his ,life1 ,works1 and ,characters1 issued by the same firm4 ,sixteen of these ,character ,sketches were subsequently reproduced in a cheap form1 and presented to the readers of ,cassell's ,family ,magazine upon the occasion of its enlargement in ,december #ahif4 ,,plate ,,lxviii ,,alfred ,,crowquill 7,a4 ,h4 ,,forrester7 ,from a ,photograph by ,j4 ,f4 ,,knights ,,frederick ,,barnard1 ,r4,i4 ,from a ,photograph by ,j4 ,w4 ,,roller ,lent by ,mrs4 ,f4 ,barnard4 ,illustration ,illustration ,two series of ,character ,sketches1 reproduced by photogravure1 were included in ,gebbie's ,select ,portfolios of ,literature and ,art1 ,gebbie ,husson ,co4 7,limited71 ,philadelphia1 #ahhh-hi4 ,eighteen of these were executed from the above designs by ,f4 ,barnard1 five from drawings by other artists1 and one from a photograph1 the six additional subjects being portraits of characters not comprised in ,barnard's gallery1 viz41 ,henry ,irving as ,jingle1 ,mr4 ,toole as the ,artful ,dodger1 ,lotta as the ,marchioness1 ,jo the ,crossing-,sweeper1 ,newman ,noggs1 ,mr4 ,squeers and ,mr4 ,snawley1 ,montagu ,tigg introduces himself to ,martin ,chuzzlewit and ,tom ,pinch4 ,the ,india-,proof ,edition was issued in portfolios1 green and buff1 with embossed design in gold and colour4 ,,the ,,shakespeare-,,dickens ,,combination ,,company4--,published in ,lika ,joko1 an ,illustrated ,weekly ,conducted by ,harry ,furniss1 from ,november #ag1 #ahid1 to ,february #bc1 #ahie4 ,w4 ,g4 ,,baxter4 ,,studies ,,from ,,charles ,,dickens4 ,two series of portraits of the principal characters1 twenty-two in each series4 ,published in ,momus1 an illustrated comic weekly periodical1 ,manchester1 from ,september #be1 #ahgi1 to ,february #b1 #ahhb4 ,a selection from these portraits were reprinted in ,c4 ,h4 ,ross's ,variety ,paper1 ,february #ahhh4 ,c4 ,b4 ,,bracewell4 ,,barnaby ,,rudge4--,etching of ,barnaby1 with a view of the ,boot ,inn4 7,the only impression ,i have seen is in ,mr4 ,j4 ,f4 ,dexter's ,collection47 ,h4 ,k4 ,,browne 7,phiz74 ,,pickwick4--,illustrations to the ,cheap ,edition of the ,works of ,mr4 ,charles ,dickens4 ,six ,illustrations to ,the ,posthumous ,papers of the ,pickwick ,club1 ,engraved on wood from the ,original ,drawings by ,phiz4 ,green wrapper1 small #hvo1 price one shilling1 ,n4,d4 #ahdg4 ,london3 ,darton ,clark1 ,holborn ,hill2 ,joseph ,cundall1 #ab ,old ,bond ,street2 ,john ,menzies1 ,edinburgh2 ,cumming ,ferguson1 ,dublin2 ,james ,macleod1 ,glasgow4 ,and sold by all ,booksellers in ,town and ,country4 ,the word misletoe is mis-spelt in the title on one of the woodcuts4 7,see p4 #gb47 ,,the ,,old ,,curiosity ,,shop4--,four ,plates1 engraved in stipple under the superintendence of ,hablt ,k4 ,browne and ,robert ,young1 to illustrate the first ,cheap ,edition of ',the ,old ,curiosity ,shop4' ,price one shilling4 ,green wrapper4 ,the subjects are3 ,little ,nell and her ,grandfather1 the ,marchioness1 ,barbara1 and ,the ,death of ,little ,nell4 ,published with the ,approbation of ,mr4 ,charles ,dickens4 ,london3 ,chapman ,hall1 #ahdh4 ,also proofs on india-paper1 one shilling each portrait4 ,a few sets coloured1 now very scarce4 7,see p4 #he47 ,,barnaby ,,rudge4--,four ,plates1 engraved in stipple under the superintendence of ,hablt ,k4 ,browne and ,robert ,young1 to illustrate the ,cheap ,edition of ',barnaby ,rudge4' ,portraits of ,emma ,haredale1 ,dolly ,varden1 ,barnaby and ,hugh1 ,mrs4 ,varden and ,miggs4 ,published with the ,approbation of ,mr4 ,charles ,dickens4 ,london3 ,chapman ,hall1 #ahf ,strand1 #ahdi4 ,issued in green wrapper1 price one shilling4 ,a few sets coloured1 now very scarce4 ,these and the preceding designs were re-engraved by ,e4 ,roffe in #ahhi4 7,see p4 #he47 ,,little ,,nell and ,,dolly ,,varden4 ,engraved on steel by ,edwin ,roffe1 from hitherto unpublished drawings by ,hablt ,k4 ,browne4 ,on india-paper1 the impression limited to #ajj proofs1 with remarques printed in black1 and #ajj with remarques in brown1 after which the remarques were cancelled4 ,these plates were accompanied by explanatory text1 and issued in a leatherette case1 price #ajs4 #f;d4 ,published by ,frank ,t4 ,sabin1 #c ,garrick ,street1 ,w4,c41 and ,john ,f4 ,dexter1 #af ,minford ,gardens1 ,west ,kensington1 #ahhi4 ,,dombey ,,and ,,son4--,the ,four ,portraits of ,edith1 ,florence1 ,alice1 and ,little ,paul4 ,engraved on steel under the superintendence of ,r4 ,young and ,h4 ,k4 ,browne4 ,from ,designs by ,hablt ,k4 ,browne4 ,and ,published with the ,sanction of ,mr4 ,charles ,dickens4 ,london3 ,chapman ,hall1 #ahf ,strand1 #ahdh4 ,in green wrapper1 price one shilling4 ,these engravings were also published as proofs on india-paper1 #dto1 price one shilling each portrait4 ,some sets coloured4 ,,dombey ,,and ,,son4--,full-length ,portraits of ,dombey and ,carker1 ,miss ,tox1 ,mrs4 ,skewton1 ,mrs4 ,pipchin1 ,old ,sol and ,captain ,cuttle1 ,major ,bagstock1 ,miss ,nipper1 and ,polly4 ,in ,eight ,plates1 ,designed and ,etched by ,hablt ,k4 ,browne1 and published with the ,sanction of ,mr4 ,charles ,dickens4 ,london3 ,chapman ,hall1 #ahf ,strand1 #ahdh4 ,in green wrapper1 price two shillings4 ,some sets coloured4 ,the series of twenty plates1 viz41 ,the ,old ,curiosity ,shop1 ,barnaby ,rudge1 and ,dombey and ,son1 were recently reprinted on india-paper1 and issued by ,f4 ,t4 ,sabin in a portfolio1 price #b1 #ajs4 7,see pp4 #ajj-aja47 ,,brush4 ,,master ,,humphrey',s ,,clock4--,no4 #a4 ,portraits of ,master ,humphrey1 ,little ,nell1 and the ,old ,man1 with remarks on each character1 and an address1 stating that ,the following sketches are the commencement of a series illustrating the principal characters in ',master ,humphrey's ,clock1' to appear at monthly intervals1 in parts similar to the present4 ,etchings by ,brush4 ,london1 printed for the proprietor by ,w4 ,t4 ,davey1 #af ,great ,sutton ,street1 ,clerkenwell2 published by ,w4 ,britain1 #aa ,paternoster ,row1 #ahdj4 ,price one shilling4 ,,alfred ,,bryan4 ,,characters ,,from ,,dickens4--,full-length studies of the principal characters4 ,published in ,jack and ,jill1 #ahhf4 ,,christopher ,,coveny4 ,,twenty ,,scenes ,,from ,,the ,,works ,,of ,,dickens4--,designed and etched by ,christopher ,coveny1 with letterpress descriptions4 ,sydney3 ,printed for ,thos4 ,h4 ,fielding by ,john ,sands1 #cgd ,george ,street1 #ahhc4 #dto4 ,the subjects of eleven of these plates are taken from ,pickwick4 ,a duplicate plate 7,no4 #g71 representing ,mr4 ,pickwick and his friends on the ice1 is also included1 the subject being re-etched and the design altered because the first plate too much resembled ,phiz's rendering of this scene4 ,,alfred ,,crowquill 7,alfred ,henry ,forrester74 ,,pictures ,,picked ,,from ,,the ,,pickwick ,,papers4--,forty lithographs 7etchings on stone7 by ,standidge ,co41 from drawings by ,alfred ,crowquill1 comprising nearly two hundred subjects4 ,issued in ten parts 7or sheets71 buff illustrated wrappers1 from ,may #a to ,november #i1 #ahcg4 ,price of each part1 one shilling plain1 two shillings coloured4 ,published complete in lavender-tinted wrapper1 demy #hvo1 and in cloth4 ,london3 ,ackermann ,co41 #if ,strand #ahcg4 ,the plates in ,part ,i4 only are signed4 ,reproductions have also been issued1 etched on copper by ,f4 ,w4 ,pailthorpe and published by ,f4 ,t4 ,sabin1 #ahhj4 ,price1 coloured1 #b1 #aes41 uncoloured1 #a1 #ahs4 ,within the last few years sets of the ,crowquill plates have been catalogued at twenty guineas4 7,see also ,thomas ,onwhyn47 ,f4 ,o4 ,c4 ,,darley4 ,,scenes ,,from ,,dickens4--,eight photo-etchings1 from original paintings--the last productions of this ,american artist4 ,issued in a portfolio1 and afterwards printed in the ,imperial ,edition of the novelist's works by ,estes ,lauriat1 ,boston1 ,u4,s4,a4 ,a4 ,,dulcken4 ,,scenes ,,from ,,the ,,pickwick ,,papers4--,designed and drawn on stone by ,augustus ,dulcken4 ,four plates1 oblong folio1 illustrated wrapper4 ,under each plate is a descriptive quotation4 ,london3 ,bickers ,bush1 #a ,leicester ,square1 ,n4,d4 #ahfa4 ,proofs1 #ajs4 #f;d4 ,very scarce4 ,the subjects of the designs are3 7#a7 ,death of the ,chancery ,prisoner2 7#b7 ,meeting of the ,ebenezer ,temperance ,association2 7#c7 ,the ,leg of ,mutton ,swarry2 7#d7 ,the ,old ,man's ,tale about a ,queer ,client4 ,on the wrapper are depicted portraits of ,pickwick1 ,sam ,weller1 and ,alfred ,jingle2 and scenes representing the ,shooting ,party at ,wardle's1 and ,mrs4 ,weller entertaining ,stiggins4 ,j4 ,w4 ,,ehninger4 ,,dickens ,,characters4--,photographic reproductions of drawings by ,j4 ,w4 ,ehninger4 ,cabinet size1 price one shilling each portrait4 ,published by ,w4 ,a4 ,mansell ,co41 #caf1 #cag 7now #dje71 ,oxford ,street1 ,london1 #ahgf4 ,the series included the following3 ,mr4 ,pickwick1 ,sam ,weller1 ,the ,fat ,boy1 ,rev4 ,stiggins1 ,mrs4 ,gamp1 ,mr4 ,pecksniff1 ,little ,nell and her ,grandfather1 ,dolly ,varden1 ,florence and ,paul ,dombey1 ,edith ,dombey 7two versions71 ,little ,em'ly1 and ,little ,dorrit4 ,c4 ,d4 ,,gibson4 ,,the ,,people ,,of ,,dickens4--,six large photogravures from original drawings4 ,issued in a portfolio1 proofs1 #bjs4 ,london3 ,john ,lane2 ,new ,york3 ,r4 ,h4 ,russell1 #ahig4 ,these drawings were originally made for an ,american publication called ,the ,ladies' ,home ,journal1 and were reprinted in ,black and ,white at intervals during #ahif-ig4 ,,sir ,,john ,,gilbert1 ,r4,a4 ,,pickwick4--,appleyard's ,edition4 ,price #b;d4 ,plates to illustrate the ,cheap ,edition of the ,works of ,mr4 ,charles ,dickens4 ,from original designs by ,john ,gilbert1 ,esq4 ,engraved on wood by ,messrs4 ,greenaway ,wright4 ,eight monthly parts1 post #hvo1 each containing four plates engraved on wood4 ,buff illustrated wrappers4 ,part #d was issued with ,part #e in one wrapper1 and the same condition was observed regarding ,parts #g and #h1 the price of these double numbers being fourpence4 ,some of the designs are printed on the front of the wrappers1 and on the inside of the back of the last wrapper appears a list of the thirty-two plates1 with pagination4 ,a limited number were printed on india-paper4 ,london3 ,e4 ,appleyard1 #hf ,farringdon ,street1 ,n4,d4 #ahdg4 ,these excellent plates are extremely rare4 ,,nicholas ,,nickleby4--,appleyard's ,edition4 ,price #b;d4 ,plates to illustrate the ,cheap ,edition of the ,works of ,mr4 ,charles ,dickens4 ,thirty-two designs1 engraved on wood by ,greenaway ,wright1 and published in parts4 ,post #hvo4 ,the first instalment 7with portrait of ,squeers on a buff illustrated wrapper7 contains four designs1 which were all that ,gilbert produced1 the remainder 7unsigned7 being by inferior artists1 the majority engraved by ,c4 ,m4 ,gorway4 ,published complete in a yellow illustrated wrapper by ,e4 ,appleyard1 #hf ,farringdon ,street1 ,london4 ,price #as4 #f;d4 ,,plate ,,lxix ,f4 ,w4 ,,pailthorpe ,from a ,photograph by ,f4 ,w4 ,,clark ,lent by the ,artist4 ,,charles ,,green1 ,r4,i4 ,from a ,photograph ,lent by ,mr4 ,townley ,green1 ,r4,i4 ,illustration ,illustration ,,the ,,cricket ,,on ,,the ,,hearth4--,six woodcut ,portraits of the ,principal ,characters4 ,unsigned4 ,the ,pictorial ,times1 ,dec4 #bg1 #ahde4 ,w4 ,,heath4 ,,pickwickian ,,illustrations4-,twenty etched designs1 demy #hvo4 ,ornamental paper wrapper1 having title printed in gold on a black label4 ,price #es4 ,london3 ,t4 ,mc,lean1 ,haymarket1 #ahcg4 ,all the plates bear the title1 ,pickwickian ,illustrations as a headline1 and1 with the exception of the last four1 are numbered2 the last four bear the publisher's imprint4 ,a set of these scarce etchings was recently catalogued at twenty guineas4 ,,kyd 7,j4 ,clayton ,clarke74 ,,the ,,characters ,,of ,,charles ,,dickens4--,a series of original water-colour drawings1 signed with monogram1 ,j4,c4,c4 ,a collection of these1 #bda in number1 realised ten guineas at the ,cosens sale in #ahij4 ,mr4 ,thomas ,wilson possesses #cca drawings by ,kyd1 which probably include those formerly owned by the late ,mr4 ,f4 ,w4 ,cosens4 ,a series of twenty-four of these drawings were reproduced by chromo-lithography1 small #dto1 illustrated boards1 and published by ,raphael ,tuck ,sons1 ,london1 ,paris1 and ,new ,york1 ,n4,d4 ,,the ,,characters ,,of ,,dickens4--,studies of a few of the leading personages in the novels4 ,the ,fleet ,street ,magazine1 #ahhg4 ,w4 ,,maddox and ,h4 ,,warren4 ,,little ,,nell and ,,mrs4 ,,quilp4--,engraved by ,finden from drawings by ,w4 ,maddox and ,h4 ,warren respectively1 for the first ,cheap ,edition of ,the ,old ,curiosity ,shop1 #ahdh4 ,london3 ,chapman ,hall4 ,kenny ,meadows designed a portrait of ,barbara for the same work4 ,,kenny ,,meadows4 ,,dickens ,,characters4--,gallery of ,comicalities4--,london ,particulars4 ,this series of portraits 7some of which are signed with the artist's initials7 include ,fagin1 the ,artful ,dodger1 ,charley ,bates1 ,sam ,weller1 ,oliver ,twist1 ,mr4 ,bumble4 ,each portrait is accompanied by a poem of forty lines4 ,published in ,bell's ,life in ,london1 #ahch4 ,,heads ,,from ,,nicholas ,,nickleby4--,portraits of twenty-four of the principal characters1 from drawings by ,miss ,la ,creevy4 ,six parts1 demy #hvo1 price #f;d4 each4 ,london3 ,robert ,tyas1 ,cheapside1 ,n4,d4 #ahci4 ,the separate parts were enclosed in a buff illustrated wrapper1 having at each corner a portrait of a member of the ,nickleby family1 and in the centre a representation of ,miss ,la ,creevy1 seated before a portrait of ,boz 7after ,s4 ,laurence74 ,included among the advertisements in the first number is an announcement of this production1 with an engraving depicting ,miss ,la ,creevy at work4 ,the illustrations are here said to be etched by ,a4 ,drypoint1 but they are really woodcuts4 ,the following explanatory statement1 which forms part of the announcement1 is not without interest3 ,these ',heads' will comprise ,portraits of the most interesting individuals that appear in ',the ,life and ,adventures of ,nicholas ,nickleby1' selected at the period when their very actions define their true character1 and exhibit the inward mind by its outward manifestations4 ,each ,portrait will be a literal transcript from the accurate and vividly minute descriptions of this able and graphic author1 and will present to the eye an equally faithful version of the maiden simplicity of ,kate ,nickleby--the depravity of ,sir ,mulberry ,hawk--the imbecility of his dupe--the heartless villainy of the calculating ,ralph--the generosity of the noble-minded ,nicholas--the broken spirit of poor ,smike--and the brutality of ,squeers4 ,these and many others furnish subjects for the display of the ,artist's genius1 and will form an interesting and most desirable addition to the work4 ,the ,heads were also issued in a collected form1 in a green wrapper and in cloth1 and were republished in ,the ,scrap ,book of ,literary ,varieties1 the names of the characters being changed into brief descriptive titles1 such as ,miniature ,painter instead of ,miss ,la ,creevy4 ,cloth1 #hvo4 ,london3 ,edward ,lacy1 #gd ,st4 ,paul's ,churchyard1 ,n4,d4 ,,barbara4--,engraved by ,finden1 and published with two plates by ,w4 ,maddox and ,h4 ,warren to illustrate the first ,cheap ,edition of ,the ,old ,curiosity ,shop1 #ahdh4 ,price #g;d4 ,london3 ,chapman ,hall4 ,,thomas ,,onwhyn 7,sam ,weller1 ,peter ,palette74 ,,illustrations ,,to ,,the ,,pickwick ,,club4--,thirty-two plates by ,samuel ,weller4 ,the local scenery sketched on the spot ,the majority are signed ,samuel ,weller1 delt42 a few bear the artist's initials1 ,t4,o41 while others have no signature appended4 ,issued in eight monthly parts1 green wrappers1 demy #hvo1 one shilling each1 and published complete in one volume1 boards1 price #is4 ,london3 ,e4 ,grattan1 #ea ,paternoster ,row1 #ahcg4 ,according to the announcement on the cover of ,part ,i41 there were to have been ten parts1 and india-proof impressions1 #dto1 price #bs4 ,some of the unsigned plates are much inferior to those bearing ,onwhyn's signature4 ,a set of these ,pickwick plates1 in the original parts1 have been catalogued at fifteen guineas4 ,lithographic replicas were issued in small #hvo by ,j4 ,newman1 #dh ,watling ,street1 #ahdh1 for insertion in the first ,cheap ,edition of ,pickwick4 ,twelve of these plates 7etched by ,j4 ,yeager7 were included in a new edition of ,pickwick published by ,carey1 ,lea1 ,blanchard1 ,philadelphia1 #ahch1 and reprinted in #ahej4 7,see also ,alfred ,crowquill47 ,,illustrations ,,to ,,the ,,pickwick ,,club4--,twelve etchings on steel1 #ahdg4 ,published in green wrapper by ,a4 ,jackson1 #bbd ,great ,portland ,street1 in #ahid4 ,prices1 per set1 india-proofs #cjs42 coloured by ,pailthorpe1 #bes42 plain1 #ahs4 ,,illustrations ,,to ,,nicholas ,,nickleby4--,edited by ',boz4' ,by ,peter ,palette1 ,esq4 ,forty etchings1 comprising ten portraits and thirty scenes4 ,issued in nine parts1 demy #hvo1 price one shilling each1 green and buff wrappers1 having a design representing an easel with a palette affixed4 ,published at intervals from ,june #cj1 #ahch1 to ,october #ca1 #ahci1 and subsequently as a volume4 ,london3 ,e4 ,grattan1 ,paternoster ,row1 #ahci4 ,the publisher1 when launching these designs1 seemed unable to determine the exact number of parts in which they should appear4 ,on the wrappers of ,parts #a to #e it is stated that they would be completed in eight parts2 on the wrappers of ,parts #f and #g1 in ten parts2 and on that of ,part #h1 in nine parts4 ,parts #a to #e contain four plates each1 #f to #h contain five plates each1 and #i contains five plates1 thus making the full complement of forty designs4 ,the work was afterwards republished by ,grattan ,gilbert1 #ea ,paternoster ,row1 and again reprinted 7circa #ahdg7--thirty-two plates only1 which were styled proofs--in small #dto1 on buff paper4 ,about the same time a similar number of these designs were issued as lithographs1 in eight parts1 small #dto4 ,newman1 ,n4,d4 ,in #ahig1 ,mr4 ,george ,allen1 of #aef ,charing ,cross ,road1 issued india-proof impressions from the thirty-two original steel plates for ,pickwick1 and from thirty-eight for ,nickleby1 the edition being strictly limited to #bej sets for each work4 ,price #e1 #es4 per set4 ,cloth portfolio1 #ab by #i inches1 with title-page and list of subjects4 ,the plates have been well preserved4 ,h4 ,m4 ,,paget4 ,,pickwick ,,pictures4--,six character sketches1 printed in colours1 with letterpress4 ,crown #hvo4 ,illustrated wrapper4 ,london3 ,ernest ,nister1 #bd ,st4 ,bride ,street1 ,e4,c4 ,new ,york3 ,e4 ,p4 ,dutton ,co41 #ca ,west ,twenty-,third ,street1 ,n4,d4 ,f4 ,w4 ,,pailthorpe4 ,,pickwick4--,twenty-four etchings1 from original drawings1 of scenes not previously illustrated4 ,impl4 #hvo4 ,illustrated wrapper4 ,london3 ,robson ,kerslake1 #ahhb4 ,price two guineas the set1 proofs on india-paper 7before letters71 three guineas4 ,,pickwick4--,three vignette titles1 etched in #ahib for an extended version of the ,victoria ,edition4 ,an original tinted drawing 7unpublished7 of ,gabriel ,grub and the ,goblin is included in ,mr4 ,thomas ,wilson's ,collection4 ,,oliver ,,twist4--,twenty-one etchings4 ,london3 ,robson ,kerslake1 #bc ,coventry ,street1 ,haymarket1 #ahhf4 ,only fifty sets printed1 a few of which were coloured by the artist1 also proofs on india-paper1 in portfolio4 ,,great ,,expectations4--,twenty-one etchings4 ,london3 ,robson ,kerslake1 #bc ,coventry ,street1 ,haymarket1 #ahhe4 ,only fifty sets printed1 a few of which were coloured by the artist2 also proofs on india-paper1 in portfolio4 ,mr4 ,pailthorpe has designed and etched frontispieces 7some coloured7 for reprints of the following3 ,the ,strange ,gentleman and ,the ,village ,coquettes1 #ahhj 7,c4 ,hindley72 ,is ,she ,his ,wife8 ,mr4 ,nightingale's ,diary1 and ,the ,lamplighter1 #ahhg 7,robson ,kerslake74 ,the first set of impressions of the frontispiece for ,the ,village ,coquettes was coloured1 after which the plate disappeared1 so that no plain impressions could be issued4 ,the only uncoloured print1 taken before the completion of the etching1 is included in ,mr4 ,thomas ,wilson's ,collection4 ,this plate was the artist's second attempt at designing4 ,mr4 ,pailthorpe has etched a portrait of ,samuel ,weller writing his love-letter1 for ,the ,origin of ,sam ,weller 7,jarvis ,son71 #ahhc2 the frontispiece and vignette-title for ,a ,new ,piljian's ,projiss1 written by ,mrs4 ,gamp1 edited by ,charles ,dickens1 #ahij 7unpublished72 etched borders containing characters and scenes from ,dickens1 for ,mr4 ,william ,wright1 of ,paris4 ,the artist also designed six new plates for the ,memoirs of ,grimaldi1 which1 however1 were only edited by ,dickens4 ,,jacob ,,parallel4 ,,jacob ,,parallel',s ,,hands ,,to ,,humphrey',s ,,clock2 or1 ,sketches from the ,clock ,case4--,twelve etchings on steel1 illustrating ,the ,old ,curiosity ,shop and ,barnaby ,rudge4 ,two parts1 ,impl4 #hvo1 green illustrated wrappers1 price two shillings each4 ,london3 ,g4 ,berger1 ,holywell ,street1 ,strand1 ,n4,d #ahdj-da4 ,a series of illustrations of the principal scenes and portraits of the characters1 ten for the first story and two for the second4 ,the design on the wrapper represents ,master ,humphrey standing on a chair winding up the clock1 against which rests a framed portrait of ,boz4 ,e4 ,,richardson4 ,,barnaby ,,rudge',s ,,portrait ,,gallery4--,during the serial issue of ,barnaby ,rudge1 ,mr4 ,w4 ,britain1 #aa ,paternoster ,row1 advertised on one of the weekly wrappers 7,august #bh1 #ahda7 a series of twenty splendid engravings by this artist1 price twopence1 but ,i have never seen them4 ,,thomas ,,sibson4 ,,sibson',s ,,racy ,,sketches ,,of ,,expeditions1 ,,from ,,the ,,pickwick ,,club4--,ten etchings1 with letterpress1 demy #hvo1 green illustrated wrappers1 price #bs4 #f;d4 ,london3 ,sherwood1 ,gilbert ,piper1 #ahch4 ,the design on the wrapper depicts ,dickens standing on ,mr4 ,pickwick's head1 holding aloft an enormous quill pen1 the pseudonym ,boz appearing on his coat-sleeves4 ,the above title is printed on the wrapper1 but on the title-page it runs thus3 ,sketches of ,expeditions1 from the ,pickwick ,club4 ,the ,preface reads as follows3 ,originally the ,pickwick ,club appeared with four ,illustrations3 but since ,death chilled the life-depicting hand of poor ,seymour1 two ,embellishments have disappeared1 while eight pages of letterpress have been added4 ,these papers1 thus arranged1 bursting as they do with incident1 and intoxicated as they are with wit1 must have come before the public without ,illustrations for many of their most striking scenes4 ,reader1 were it not so1 these ,sketches had never seen the light of your eyes4 ,the artist's hope is 7may you find it not a vain one7 that these humble efforts may afford some of the pleasure he enjoyed when imagining them4--#aa ,buckingham ,st41 ,portland ,place1 ,london4 ,january #ast1 #ahch4 ,a copy of this scarce work realised #ah at ,sotheby's in #ahie4 ,,illustrations ,,of ,,master ,,humphrey',s ,,clock4--,seventy-two etchings1 issued during the publication of this work1 #ahdj-da4 ,eighteen parts1 each containing four plates1 some with remarques4 ,impl4 #hvo1 green wrappers1 price one shilling each part4 ,afterwards issued in two volumes4 ,london3 ,robert ,tyas1 ,paternoster ,row1 #ahdb4 ,only seventy plates are mentioned on the title-page and in the index4 ,on some of the wrappers is a vignette of a clock1 and on others we find a representation of ,master ,humphrey sitting on a chair4 ,these plates are exceedingly scarce in the original parts as issued1 sets having been catalogued at twenty-five guineas4 ,copies of some of the ,sibson designs were etched by ,j4 ,yeager for contemporary publication in a ,philadelphia edition of ,barnaby ,rudge1 together with similar replicas of a few of ,phiz's woodcuts which appeared in the authorised ,english edition4 ,f4 ,,stone1 ,a4,r4,a4 ,,nicholas ,,nickleby4--,three ,portraits of ,kate ,nickleby1 ',tilda ,price1 and ,madeline ,bray1 from original paintings by ,frank ,stone1 engraved on steel by ,edward ,finden1 and published with the approbation of ,mr4 ,charles ,dickens4 ,for the first ,cheap ,edition of ,nicholas ,nickleby4 ,crown #hvo1 green wrappers1 price one shilling4 ,proofs on india-paper1 #dto1 one shilling each portrait4 ,london3 ,chapman ,hall1 #ahf ,strand1 #ahdh4 ,the engraved titles are as follow3 ,kate ,nickleby sitting for her ,portrait1 ',tilda ,price dressing for the ,tea ,party1 and ,madeline ,bray pausing in her ,work4 7,see pp4 #agh-i74 ,,stylus4 ,,the ,,dickens ,,aquarelles4 ,,first ,,series4--,twelve ,original ,character ,illustrations of the ,pickwick ,papers4 ,portfolio1 illustrated boards4 ,new ,york4 ,j4 ,w4 ,bouton1 #aaeb and #gjf ,broadway1 #ahhh4 ,,the ,,dickens ,,aquarelles4 ,,second ,,series4--,twelve ,original ,character ,illustrations of ',the ,old ,curiosity ,shop4' ,portfolio1 illustrated boards4 ,same publisher and date4 ,these inferior drawings are crudely coloured by hand1 the name of each ,character being written in the margin4 ,,weld ,,taylor4 ,,nicholas ,,nickleby4--,the ,baron von ,grogzwig4 ,lithograph1 ,impl4 #hvo4 ,sketches by ,weld ,taylor1 ,no4 #a4 ,london3 ,j4 ,mitchell1 #cc ,old ,bond ,street1 ,n4,d4 ,in #ahch ,weld ,taylor reproduced by lithography the beautiful portrait of ,boz by ,s4 ,laurence4 ,c4 ,h4 ,,wall4 ,,martin ,,chuzzlewit4--,four woodcuts1 #hvo1 green illustrated wrapper1 price sixpence4 ,london3 ,hexall ,wall1 #aac ,strand4 ,,nelson ,p4 ,,whitlock4 ,,dickens ,,illustrations4--,twenty-four ,original ,sketches from the ,writings of ,charles ,dickens4 #dto4 ,no publisher's imprint1 ,n4,d4 ,t4 ,c4 ,w4 ,,illustrations ,,to ,,master ,,humphrey',s ,,clock4--,four lithographs1 illustrating the first portion of the story4 ,impl4 #hvo4 ,no publisher's imprint1 ,n4,d4 ,issued without a wrapper4 ,only two of these plates are signed 7,t4 ,c4 ,w471 and under each appears a descriptive quotation4 ,w4 ,c4 ,w4 ,,pickwick4--,twelve woodcut portraits of ,pickwick characters1 first published in ,sam ,weller's ,jest ,book1 issued in penny numbers1 and afterwards in ,nos4 #dh1 #ea1 #eb of a weekly paper called ,the ,casket 7,dec4 #b1 #bc1 #cj1 #ahcg7 in twopenny numbers4 ,london3 ,berger ,co41 ,holywell ,street1 and ,piggott ,co41 ,fleet ,street1 #ahcg4 ,,anonymous4 ,,original ,,illustrations ,,to ,,the ,,pickwick ,,papers4--,four parts1 each containing four designs4 ,price #b;d4 each part4 ,small #hvo4 ,green illustrated wrapper1 depicting portraits of fourteen ,pickwickian characters4 ,london3 ,w4 ,strange1 ,paternoster ,row1 ,n4,d4 #ahdg4 ,these woodcuts were intended for binding in the first ,cheap ,edition4 ,on the wrapper of ,part ,i4 it is announced that the work would be completed in eight parts1 and that four engravings would be issued monthly2 but it is believed that the fourth part was the final one4 ,in #ahch1 a number of woodcut portraits of ,dickens ,characters were published in ,the ,penny ,satirist and in ,cleave's ,penny ,gazette of ,variety 7,late the ,london ,satirist71 afterwards called ,cleave's ,gazette of ,varieties4 ,these woodcuts consist of a series of twelve ,portraits of ,oliver ,twist and twelve ,characters from ',nicholas ,nickleby1' with descriptive quotations1 c41 and were enlarged copies of the figures in the original etchings by ,cruikshank and ,phiz4 ,they were afterwards re-issued on a broad sheet1 with the title1 ,cleave's ,twelfth-,night ,characters1 and sold by ,j4 ,cleave1 #a ,shoe ,lane1 ,fleet ,street4 ,in #ahda1 ,cleave issued a work called ,parley's ,penny ,library1 in which were introduced selections 7in the form of dialogues7 from ,the ,old ,curiosity ,shop and ,barnaby ,rudge1 then in course of publication4 ,they were illustrated by means of wood-engravings1 the majority of those in ,barnaby ,rudge being enlarged copies from ,phiz's original designs4 ,these woodcuts 7twelve in number7 were also reprinted1 with the title1 ,cleave's ,gallery of ,comicalities--,recollections of ,barnaby ,rudge4 ,on the wrapper of the fourth weekly number of ,master ,humphrey's ,clock 7,april #be1 #ahdj7 appears the following announcement3 ,cheap illustrations of ,boz4 ,now publishing1 on a broad-sheet1 nearly as large as ,the ,times1 price #b;d4 ',the ,twist and ,nickleby ,scrap ,sheet1' with twenty-four engraved portraits4 ,also1 price #b;d41 ',sam ,weller's ,scrap ,sheet1' containing forty portraits of all the ,pickwick characters4 ,the above sheets are enriched with poetic effusions by ,a4 ,snodgrass1 ,esq41 ,m4,p4,c41 and will be found worthy the attention of all who desire 'to laugh and grow fat2' they are alike fit for the scrap-book of the mansion or the walls of the cottage4 ,these scarce sheets were issued by ,cleave1 having doubtless first been published in his ,gazette4 ,certain dramatised versions of ,dickens's stories1 by ,e4 ,stirling and others 7published by ,john ,duncombe ,co41 #aj ,middle ,row1 ,holborn71 contain frontispieces etched by ,findlay1 which are worthy of the ,collector's attention4 ,besides these1 innumerable ,dickens illustrations have appeared from time to time1 embracing every form of reproductive art4 ,calendars1 relief scraps1 booklets1 c1 c1 both in colour and in black-and-white1 are brought out by enterprising firms year by year1 and merely to catalogue them would now be practically impossible4 ,,notes ,,on ,,some ,,of ,,the ,,artists4 ,,alfred ,,crowquill4--,the actual name of the artist who favoured this pseudonym was ,alfred ,henry ,forrester4 ,born in #ahjd1 he began his career as a draughtsman when eighteen years of age1 distinguishing himself rather by his correctness than by serious forms of illustration4 ,at the death of ,seymour in #ahcf1 he competed with ,phiz1 ,thackeray1 ,leech1 and others for the vacant post as illustrator of ,pickwick1 but without success4 ,for a time he belonged to the staff of ,bentley's ,miscellany1 and many of his etchings appeared in that journal during #ahdj-dc4 ,he was able to use his pen and pencil with equal facility and ability2 in addition to this he was an admirable vocalist1 and we are told that most of the ,christmas pantomimes of his day were indebted to him for clever designs1 devices1 and effects4 ,forrester was also a member of the ,punch staff1 where1 owing to his happy and genial disposition1 he was highly popular4 ,besides his ,pickwick ,pictures1 there are other designs by him possessing a ,dickensian interest1 viz41 the illustrations which he supplied to a curious production entitled ,pickwick ,abroad2 or1 ,the ,tour in ,france1 which was launched by ,g4 ,w4 ,m4 ,reynolds in #ahci4 ,alfred ,crowquill died in #ahgb1 aged sixty-eight4 ,,kenny ,,meadows4--,this clever draughtsman 7who abandoned the use of his first ,christian name1 ,joseph71 was the son of a retired naval officer1 and was born at ,cardigan in #agij4 ,he has been described as the ,nestor of ,punch's staff1 and not only did he contribute many humorous designs to the pages of the ,fleet ,street journal during the 'forties1 but he frequently prepared elaborate drawings for the ,illustrated ,london ,news1 in the early volumes of which may be found his most successful delineations4 ,his representations of fairy subjects1 although marked by mannerisms1 were in great request4 ,his work is hardly remembered in this generation1 but to speak of ,kenny ,meadows is to recall the typical art of the illustrator and 7such as it was7 of the comic draughtsman of the first half of the century4 ,during his last years ,kenny ,meadows's services as an illustrator of books were rewarded by a pension from the ,civil ,list of #hj per annum4 ,he was a boon companion1 a delightful raconteur when at the club1 and a jovial1 roystering ,bohemian when he left it4 ,this generous and kind-hearted man died in #ahgd1 when he had almost completed his eighty-fifth year4 ,it is worth recording that a highly-finished drawing1 in pen and ink and sepia1 of ,ralph ,nickleby1 designed by ,kenny ,meadows as an illustration for his series of ,heads from ',nicholas ,nickleby1' realised #g1 #ajs4 at ,sotheby's in #ahic1 the drawing being about twice the size of the engraving4 ,t4 ,,onwhyn4--,this artist1 best known perhaps by his ,extra ,illustrations to ,pickwick and ,nicholas ,nickleby1 was the son of a bookseller in ,catherine ,street1 ,strand4 ,he signed his ,dickens etchings with a pseudonym1 adopting in the one instance that of ,sam ,weller1 ,junr41 and in the other that of ,peter ,palette4 ,onwhyn also prepared several plates for ,valentine ,vox and other novels by ,cockton4 ,he occasionally contributed to ,punch1 but was more accustomed to the etching-needle than the pencil1 his drawing on wood being hard and unsympathetic4 ,this popular book-illustrator died in #ahhf1 having then relinquished drawing for a period of sixteen years4 ,the twelve plates etched by ,onwhyn in #ahdg to illustrate the first ,cheap ,edition of ,pickwick were intended for independent publication1 to compete with the series of extra engravings by ,gilbert2 but before there was time to complete the necessary arrangements the set of etchings produced by him in #ahcg were re-issued4 ,this took the artist by surprise1 and he therefore abandoned the idea of circulating the new designs4 ,the plates were put aside1 and their existence forgotten until #ahic1 when they were unearthed by the ,onwhyn family1 and subsequently purchased by ,mr4 ,albert ,jackson1 of ,great ,portland ,street1 who published them in #ahid4 ,,jacob ,,parallel4--,the etched illustrations by this artist for ,master ,humphrey's ,clock are decidedly crude1 contemporary criticisms notwithstanding4 ,their publication was announced in a somewhat original manner on the wrappers of ,dickens's work1 when the latter was launched in weekly numbers4 ,one of these advertisements begins thus3 ,a clock is of no use without hands6 ,then1 buy ',hands to ,master ,humphrey's ,clock4' ,concerning these curious illustrations a contemporary critic punningly observed3 ,these ',hands' are1 upon the face of them1 a very striking matter1 and no clock ought to be wound up without them4444 ,they give the finish that was wanted to the ',clock1' and the public will1 we have no doubt1 keep them going4 ,in #ahdj1 a book was published in parts 7by ,g4 ,berger1 ,holywell ,street71 entitled ,charley ,chalk2 or1 ,the ,career of an ,artist1 with illustrations by ,parallel4 ,these designs were declared to be superior to many in ',nickleby1' while the volume itself was described by reviewers as another ',pickwick1' and as the only work fit to stand by the side of ',boz4' ,f4 ,w4 ,,pailthorpe4--,this essentially humorous artist and etcher1 who is still living1 may be correctly designated the only survivor of the old school of book-illustrators1 as represented by ,cruikshank and ,phiz4 ,mr4 ,pailthorpe was a personal friend of the former1 to whom he sometimes alludes as dear old ,george ,cruikshank1 and doubtless this association with the famous designer considerably influenced the style and manner of ,mr4 ,pailthorpe's work4 ,indeed1 this seems obvious to any one who compares the many ,dickens plates drawn and etched by him with similar designs by the illustrator of ,sketches by ,boz and ,oliver ,twist4 ,a noteworthy feature of ,mr4 ,pailthorpe's illustrations for ,dickens's works is that a limited number of impressions have been coloured by his own hand1 and the designs so treated are1 in that respect1 reminiscent of ,john ,leech's plates for ,a ,christmas ,carol4 ,mr4 ,pailthorpe1 by reason of his unique position as the sole representative of the old school of book-illustrators1 has received commissions from publishers to copy the etched designs by other artists1 in cases where the original plates have been lost or are otherwise inaccessible4 ,he has thus reproduced ,crowquill's ,pickwick illustrations1 the two cancelled designs by ,buss for the same work1 two of ,onwhyn's illustrations for ,nickleby1 and1 quite recently1 the two etchings by ,cruikshank for the ,mudfog ,papers2 these replicas have just appeared in the ,gadshill ,edition now being issued by ,chapman ,hall4 ,,charles ,,dana ,,gibson4--,this young ,american artist1 who has frequently contributed to a ,new ,york journal called ,life1 recently essayed to illustrate ,dickens by means of a series of cleverly-executed drawings representing some of the principal characters and incidents4 ,the most satisfactory is his picture of the ,pickwick ,club1 the portrait of ,mr4 ,pickwick himself being capitally depicted4 ,there is a distinct individuality of style in ,mr4 ,gibson's work1 rendered for the most part in pen-and-ink1 and marked by a simplicity of treatment which is eminently attractive and effective4 ,although great ability in draughtsmanship distinguishes all his drawings1 it may be contended that he is not invariably fortunate in realising the novelist's conceptions4 ,mr4 ,gibson's drawings of ,dickens subjects have been excellently reproduced on both sides of the ,atlantic4 ,,appendix ,,iii ,,dickens ,,in ,,art ,paintings of ,scenes and ,characters in ,dickens's ,novels--,portraits of ,dolly ,varden and ,kate ,nickleby ,painted for the ,novelist by ,mr4 ,w4 ,p4 ,frith1 ,r4,a4--,a ,humorous ,advertisement--,sale of the ,two ,pictures--,mr4 ,frith's ,recollections--,mr4 ,james ,hamilton ,presents to ,dickens his ,sketch of ,what are the ,wild ,waves ,saying8--,the ,artist ,rewarded for his ,generosity--,water-,colour ,drawings by ,charles ,green--,how they ,originated--,an ,interesting ,series4 ,the novels of ,charles ,dickens are an interminable storehouse of subjects for pictures1 so it is not surprising that they have always exercised a fascination over painters4 ,the following is a list merely of those pictures that have come under my notice1--a collection which1 doubtless1 could be much amplified by reference to the catalogues of the ,royal ,academy and other important ,art galleries4 ,w4 ,a4 ,,atkinson4--,little ,nell and the two ,gravediggers 7,the ,old ,curiosity ,shop74 ,royal ,academy1 #ahef4 ,,fred4 ,,barnard4--,sidney ,carton 7,a ,tale of ,two ,cities74 ,exhibited at the ,royal ,academy1 #ahhb4 ,horatio ,sparkins 7,sketches by ,boz74 ,institute of ,painters in ,water-,colours1 #ahhe4 ,w4 ,h4 ,,bartlett4--',the sea1 ,floy1 what is it always ,saying8' 7,dombey and ,son74 ,,edgar ,,bundy1 ,r4,i4--,barnaby ,rudge at the ,country ,justice's4 ,institute of ,painters in ,oil-,colours1 #ahif4 ,r4 ,w4 ,,buss4--,peerybingle1 ,dot1 and ,tilly ,slowboy 7,the ,cricket on the ,hearth74 ,joe ,willet taking leave of ,dolly ,varden 7,barnaby ,rudge74 ,trotty ,veck and his ,dinner 7,the ,chimes74 7,see p4 #ee47 ,g4 ,,cattermole4--,little ,nell's ,home 7,the ,old ,curiosity ,shop71 #ahdb4 ,little ,nell's ,grave 7companion picture71 #ahdb4 7,see p4 #acd47 ,,horace ,h4 ,,cauty4--,bebelle looking out for the ,corporal 7,somebody's ,luggage74 ,society of ,british ,artists1 #ahhj4 ,,herbert ,,dicksee4 ,the ,grandfather at the ,grave of ,little ,nell4 ,royal ,academy1 #ahhg4 ,w4 ,,maw ,,egley4--,the ,marchioness ,playing ,cribbage in ,dick ,swiveller's ,sick-,room 7,the ,old ,curiosity ,shop74 ,royal ,academy1 #ahih4 ,f4 ,,edwin ,,elwell4--,charles ,dickens and ,little ,nell4 ,a bronze group1 purchased by the ,fairmount ,park ,art ,association for the ,fairmount ,park1 ,philadelphia1 ,u4,s4,a4 ,the figure of ,little ,nell was exhibited at the ,art ,club1 ,philadelphia1 and awarded the ,gold ,medal1 while the entire group obtained a prize at the ,columbian ,exhibition4 ,when exhibited in ,england1 this work of ,art met with warm approval1 and the sculptor offered it to the ,london ,county ,council1 but the emphatic wish of ,dickens 7as expressed in his ,will7 prohibited their acceptance of this interesting memorial4 ,w4 ,p4 ,,frith1 ,r4,a4--,dolly ,varden1 #ahdc4 ,also replicas and other portraits1 including one representing her with ,emma ,haredale4 7,see pp4 #bdf-g47 ,kate ,nickleby at ,madame ,mantalini's4 ,royal ,academy1 #ahdc4 ,the ,jailer's ,little ,daughter ,feeding 'the ,birds in the ,cage4' 7,little ,dorrit74 ,little ,dorrit ,visits ,arthur ,clennam at the ,marshalsea4 ,the first portrait of ,dolly ,varden was engraved by ,c4 ,e4 ,wagstaffe in #ahdc2 the third 7now in ,south ,kensington ,museum7 was reproduced in mezzotint by ,s4 ,w4 ,reynolds2 the fourth1 ,dolly ,varden and ,emma ,haredale1 was engraved by ,s4 ,w4 ,reynolds and ,g4 ,s4 ,shury in #ahde4 ,the second portrait of ,dolly1 which was painted for ,dickens1 has never been engraved2 there are in existence1 however1 a few impressions of a chromo-lithographic reproduction 7now very scarce7 of ,mr4 ,frith's original sketch for the picture1 the publication of which was unauthorised4 ,the portrait of ,kate ,nickleby was engraved by ,w4 ,holl1 ,a4,r4,a41 and published in #ahdh exclusively for the members of the ,national ,art ,union for ,ireland4 ,the ,dorrit pictures were painted in #ahei1 and engraved on steel by ,lumb ,stocks1 ,r4,a41 as vignettes for the ,library ,edition1 then in course of publication4 ,w4 ,,gale4--,mr4 ,f4's ,aunt 7,little ,dorrit74 ,royal ,academy1 #aheg4 ,when ,wilkie ,collins saw this clever picture at the ,academy1 he was so much impressed that he wrote at once concerning it to ,dickens1 who replied 7,may #bb1 #aheg73 ,i am very much excited by what you tell me of ,mr4 ,f4's ,aunt4 ,i already look upon her as mine4 ,will you bring her with you8 ,the painting was purchased by ,dickens through ,collins1 and realised at the sale of the novelist's effects the sum of sixty guineas4 ,,florence ,,graham4--,little ,nell seated in the ,old ,curiosity ,shop4 ,engraved in mezzotint by ,edward ,slocombe1 and published by ,buck ,reid1 #agi ,new ,bond ,street1 #ahhh4 ,large ,drawings in ,water-,colours4 ,,charles ,,green1 ,r4,i4--,gabriel ,varden ,preparing to go on ,parade 7,barnaby ,rudge74 ,tom ,pinch and ,ruth 7,martin ,chuzzlewit74 ,nell and her ,grandfather at the ,races 7,the ,old ,curiosity ,shop74 ,captain ,cuttle and ,florence ,dombey4 ,little ,dorrit's ,visit to her ,sister at the ,theatre4 ,mr4 ,turveydrop's ,dancing ,academy 7,bleak ,house74 ,mr4 ,mantalini and the ,brokers 7,nicholas ,nickleby74 ,the ,pickwick ,club4 ,small ,drawings in ,water-,colours4 ,barnaby ,rudge with the ,rioters4 ,simon ,tappertit addressing the ,rioters at the ',boot' ,tavern 7,barnaby ,rudge74 ,dolly ,varden's ,visit to ,miss ,haredale 7,barnaby ,rudge74 ,dick ,swiveller and the ,marchioness 7,the ,old ,curiosity ,shop74 ,dick ,swiveller and ,fred4 ,trent in the ,old ,curiosity ,shop4 ,sam ,weller's ,valentine4 ,,james ,,hamilton4--,what are the ,wild ,waves ,saying8 7,dombey and ,son74 ,,edgar ,,hanley4--,dolly ,varden4 ,royal ,academy1 #ahhc4 ,e4 ,,hunter4--,little ,charlotte's ,writing-,lesson 7,bleak ,house74 ,royal ,academy1 #aheh4 ,c4 ,r4 ,,leslie1 ,r4,a4--,mr4 ,pickwick and ,mrs4 ,bardell4 ,painted for ,dickens and engraved for the first ,cheap ,edition of the ,pickwick ,papers4 7,see p4 #bbj47 ,,eleanor ,e4 ,,manly4--',it's ,cobbs6 ,it's ,cobbs6' cries ,master ,harry4 ',we are going to be married1 ,cobbs1 at ,gretna ,green4 ,we have run away on purpose' 7,boots at the ,holly ,tree ,inn74 ,royal ,institute of ,painters in ,water-,colours1 #ahic4 ,,mrs4 ,m,,cian4--,little ,nell ,reading ,inscription on the ,tombstone4 ,presented to ,dickens by the artist4 ,,fred4 ,,morgan4--,little ,nell and her ,grandfather4 ,royal ,academy1 #ahhc4 ,r4 ,h4 ,,nibbs4--,peggotty's ,hut 7,david ,copperfield74 ,royal ,academy1 #aheb4 ,,charles ,w4 ,,nicholls4--,what are the ,wild ,waves ,saying8 7,dombey and ,son74 ,engraved by ,g4 ,h4 ,every1 and published by ,a4 ,lucas1 #cg ,duke ,street1 ,piccadilly1 #ahha4 ,,kate ,,perugini4--,brother and ,sister4--',oh1 ,floy6' cried her brother1 'how ,i love you6 how ,i love you1 ,floy6' ',and ,i you1 dear4' ',oh1 ,i am sure of that1 ,floy' 7,dombey and ,son74 ,royal ,academy1 #ahic4 ,little ,nell4 ,institute of ,painters in ,water-,colours1 #ahhe4 ,,mary ,s4 ,,pickett4--,little ,nell in the ,old ,church4 ,royal ,academy1 #ahih4 ,a4 ,j4 ,,raemaker4--,what are the ,wild ,waves ,saying8 ,sculpture4 ,j4 ,,halford ,,ross4--,our ,mutual ,friend4 ,eight ,original ,drawings in ,water-,colour1 illustrating incidents in the story4 ,h4 ,r4 ,,steer1 ,r4,i4--,the ,ball at ,dr4 ,blimber's ,establishment 7,dombey and ,son74 ,little ,nell and her ,pet ,bird4 ,royal ,institute of ,painters in ,water-,colours1 #ahhh4 ,nicholas ,nickleby ,interposes on ,smike's ,behalf4 ,royal ,institute of ,painters in ,water-,colours1 #ahig4 ,,lawson ,,stewart4--',a ,quiet ,happy ,place--,a ,place to ,live and ,learn to ,die ,in4' ,the ,graveyard in ,the ,old ,curiosity ,shop4 ,institute of ,painters in ,water-,colours1 #ahhe4 ,,frank ,,stone1 ,a4,r4,a4--',tilda ,price1 ,madeline ,bray1 and ,kate ,nickleby4 ,these three pictures were painted for ,dickens4 7,see pp4 #agh-i47 ,f4 ,w4 ,,topham4--,barnaby ,rudge and his ,mother4 ,presented to ,dickens by the artist4 7,see p4 #aij47 ,little ,nell and her ,grandfather in the ,tent1 making ,bouquets for the ,racecourse4 ,presented to ,dickens by the artist4 7,see p4 #aij47 ,h4 ,,wallis4--,the ,devotion of ,sydney ,carton 7,a ,tale of ,two ,cities74 ,t4 ,,webster1 ,r4,a4--,dotheboy's ,hall3 ,the ,brimstone and ,treacle ,scene4 ,painted for ,dickens1 and engraved for the first ,cheap ,edition of ,nicholas ,nickleby4 7,see p4 #bbj47 ,in the above list the most interesting picture1 in many respects1 is ,mr4 ,frith's ,dolly ,varden4 ,the artist was quite a young man1 just rising into fame1 when 7in #ahdc7 he made great success with several charming presentments of the locksmith's bewitching daughter1 and on seeing one of these 7described by ,dickens as ,dolly with the bracelet71 the novelist so much admired it that he commissioned ,mr4 ,frith to paint another portrait of her1 together with a companion picture of ,kate ,nickleby4 ,writing shortly afterwards to the artist1 whose acquaintance ,dickens then made1 he said1 in reference to an engraving of the subject by ,c4 ,e4 ,wagstaffe3 ,i saw an unfinished proof of ,dolly at ,mitchell's some two or three months ago3 ,i thought it was proceeding excellently well then4 ,it will give me great pleasure to see her when completed4 ,the two pictures1 when finished1 were hung in the dining-room of the novelist's house4 ,at the expiration of a few years1 the portrait of ,kate ,nickleby was sent to ,ireland 7by ,mr4 ,frith's desire7 for the purpose of being engraved1 and was delayed there so long that ,dickens began to feel impatient4 ,accordingly1 one morning he forwarded to the artist the following document1 indited by himself3-- ,,advertisement4--,to ,k--e ,n--y4--,the ,young ,lady in ,black1 ,k4,n4--,if you will return to your disconsolate friends in ,devonshire ,terrace your absence in ,ireland will be forgotten and forgiven1 and you will be received with open arms4 ,think of your dear sister ,dolly1 and how altered her appearance and character are without you4 ,she is not the same girl4 ,think1 too1 of the author of your being1 and what he must feel1 when he sees your place empty every day6 ,october ,tenth1 #ahdh4 ,for each of these remarkable canvases ,mr4 ,frith received the by no means extravagant sum of twenty pounds1 that being the price demanded by him4 ,at the sale of ,dickens's effects1 however1 the portrait of ,dolly ,varden realised a thousand guineas1 while that of ,kate ,nickleby found a purchaser1 on the same eventful occasion1 for two hundred guineas--a tribute alike to author and artist4 ,mr4 ,frith has favoured me with some interesting information respecting his presentments of ,dolly ,varden3-- ,the picture of ',dolly ,varden' which ,i painted for ,dickens was never engraved4 ,before ,i began it ,i made a study of the figure1 but only the half-length1 down to below the waist4 ,this study was bought by ,sir ,r4 ,rawlinson1 who allowed 7without asking my permission7 a most villainous chromo-lithograph to be made from it1 and one day to my horror ,i saw it in a shop-window4 ,for anything ,i know to the contrary1 many of these things may have been sold4#ee ,the original completed picture never left ,dickens's possession from the time it was finished till he died1 nor was it ever exhibited4 ,the portrait of ,dolly 7the 'laughing' ,dolly7 now in the ,south ,kensington ,museum1 was bequeathed by ,forster1 who had it from ,frank ,stone1 for whom ,i painted it4 ,i painted two copies of the 'laughing' ,dolly1 but ,i don't know what became of them4 ,i also painted two pictures in which ,dolly figures in company with ,emma ,haredale--in one she is feeling in her pocket for a letter addressed to ,miss ,haredale1 and in the other she is disdainfully treating ,miss ,haredale's hints about ,joe ,willet--she throws up her head and 'hopes she can do better than that1 indeed6' ,i have just remembered another--a small half-length--in which she is looking at herself in a mirror and giving her curls a 'killing twist4' ,i have no idea where these pictures are4 ,i may add that when ,dickens came to see 7on completion7 my portraits of ,dolly ,varden and ,kate ,nickleby1 which ,i painted expressly for him1 he told me they were 'exactly what he meant4' ,this1 of course1 delighted me4 ,they led to a friendship which lasted till his death4 ,it will be remembered that in #ahei the novelist gave sittings for his portrait by ,mr4 ,frith1 which was painted as a commission from ,forster1 by whom it was bequeathed to the ,nation4 ,this portrait1 now at ,south ,kensington1 occupies the most important place between the earlier portraits of ,dickens by ,samuel ,laurence1 ,maclise1 and ,r4 ,j4 ,lane1 and the later presentments of him by photography4 ,footnote #ee3 ,that ,mr4 ,frith did not always entertain such an absolute objection to this reproduction is testified by the following memorandum written by him on a copy of the print now in the collection of ,mr4 ,w4 ,r4 ,hughes3--,this is a very good chromo-lithograph from the first study for the picture painted by me for the late ,charles ,dickens4 7,signed7 ,w4 ,p4 ,,frith1 ,december #bc1 #ahhd4 ,it is not generally known that ,mr4 ,frith once had the privilege of illustrating a ,dickens novel1 propos of which the artist writes3 ,i told ,dickens one day when he was sitting for his likeness that ,i should like to be allowed to illustrate one of his books4 ,he seemed pleased1 and proposed ',little ,dorrit4' ,i forget to whom ,i sold the pictures1 and where they are now ,i know not4 ,the two paintings were beautifully engraved on steel by ,lumb ,stocks1 ,r4,a41 as vignettes for the ,library ,edition1 #aheh-ei4 ,the sketch by an ,american artist1 ,mr4 ,james ,hamilton1 of ,what are the ,wild ,waves ,saying8 has a little history attached to it4 ,while ,dickens was in ,philadelphia1 during his last visit to ,america1 he expressed a wish to purchase a painting of this subject1--one of the artist's most successful productions1--but1 much to the novelist's regret1 it had already been sold4 ,the original sketch was still available1 however1 and with this ,dickens was so greatly pleased that he immediately offered to buy it2 whereupon the artist insisted on presenting it to the famous author of ,dombey and ,son4 ,soon afterwards1 ,mr4 ,hamilton was agreeably surprised to receive a set of ,dickens's novels1 containing a pleasant inscription in the novelist's autograph4 ,the titles of ,mr4 ,charles ,green's admirable series of ,dickens pictures were supplied to me by the artist himself1 who favoured me with a complete list shortly before his death4 ,in reference to these remarkable drawings ,i have received the following communication from ,mr4 ,william ,lockwood1 of ,apsley ,hall1 ,nottingham1 for whom they were painted on commission3 ,the first work of ,mr4 ,green's that really attracted my attention was his famous water-colour ,race drawing1 entitled1 ,i believe1 ',here they come6' ,i saw that at a friend's house1 and was so struck with admiration of ,mr4 ,green's delicate sense of humour1 subtle rendering of character1 and fine drawing1 that ,i at once told my friend of my great appreciation of ,charles ,dickens1 and saw that1 in my opinion1 ,mr4 ,charles ,green would make the very best illustrator of his day of that great man's work4 ,i then sought an introduction to ,mr4 ,green1 which resulted not only in my beautiful series of drawings1 but in a warm friendship with the artist4 ,in the execution of these pictures ,mr4 ,green found most congenial work1 and ,i think fully justified my judgment of his special power4 ,when the series was exhibited at our local museum1 it attracted universal admiration and the delighted appreciation of all classes4 ,mr4 ,lockwood has generously lent these pictures to many ,london galleries1 including the ,english ,humorists' ,exhibition1 held at the ,royal ,institute of ,painters in ,water-,colours in #ahhi4 ,,index ,abbey1 ,e4 ,a41 ,r4,a41 #bbb4 ,absolon1 ,j41 #bbh4 ,ainsworth1 ,h41 #ba1 #bc1 #bd1 #ed1 #fe1 #aac4 ,all the ,year ,round1 #aaa1 #afj1 #bae4 ,american ,notes1 designs for1 #aeg-aeh1 #bjb1 #bai1 #bba1 #bbb1 #bbf4 ,artist and the ,author1 ,the1 #bb4 ,athenum1 ,the1 #cc1 #dc1 #dd1 #fj1 #gf4 ,atkinson1 ,w4 ,a41 #bdc4 ,barnard1 ,fred1 #bba1 #bbb1 #bbf1 #bbg2 character sketches1 #bbh-bbi2 pictures1 #bdc4 ,bartlett1 ,w4 ,h41 #bdc4 ,battle of ,life1 ,the1 designs for1 #adb-ade1 #aea1 #aef-aeg1 #afd-afh1 #bba4 ,baxter1 ,w4 ,g41 #bbi4 ,becker1 ,f4 ,p41 #acg1 #afc4 ,bell1 ,mackenzie1 #cc4 ,bell's ,life in ,london1 #c1 #cj1 #aci1 #bcc4 ,benjamin1 ,w4 ,e41 #bbe4 ,bentley1 ,richard1 #i1 #fa4 ,bentley's ,miscellany1 #i-aj1 #aa1 #ag1 #ai1 #ba1 #be-bf1 #fa1 #bdj2 designs by ,g4 ,cruikshank1 #be1 #bdb4 ,bicknell1 ,e41 #aad4 ,billings1 ,h41 #bbe4 ,bolton1 ,t41 #aeh4 ,bonchurch1 #aah1 #adg4 ,bracewell1 ,c4 ,h41 #bbi4 ,browne1 ,dr4 ,e4 ,a41 #ii1 #aja4 ,browne1 ,gordon1 #bbf4 ,browne1 ,hablt ,k4 7,phiz71 #be1 #eb1 #ed1 #ei-abj1 #abb1 #abc1 #abd1 #acb1 #adf1 #adg1 #aib1 #aic1 #aie1 #aig1 #bjd1 #bji1 #bag1 #bba1 #bbf1 #bbg1 #bbi-bcj1 #bci1 #bdj1 #bdb2 biographical sketch1 #aac-aah2 remuneration1 #aaf2 illness1 #aaf2 applies for pension1 #aag2 death1 #aag2 personal characteristics1 #aag-aah2 water-colour replicas of ,dickens illustrations1 #aah2 extra illustrations1 #bbi-bcj4 ,browne1 ,hablt ,k41 ,life and ,labours of1 #if1 #aaa1 #aai-abj4 ,browne1 ,w4 ,g4 ,r41 #aaa4 ,brune1 ,morton1 #fa4 ,brush1 #bcj-bca4 ,bryan1 ,alfred1 #bca4 ,bull and ,mouth ,street1 ,st4 ,martin's le ,grand1 #dh4 ,bundy1 ,e41 #bdc4 ,burnett1 ,h41 #dg4 ,buss1 ,frances ,mary1 #di1 #eg4 ,buss1 ,rev4 ,a4 ,j41 #ea1 #ef1 #eg4 ,buss1 ,robert ,w41 #dg-eg1 #eh1 #fj1 #fb1 #fc1 #fd2 remuneration for the ,pickwick designs1 #ea2 his pictures1 #ee-ef1 #bdc2 his illustrations1 #ef2 death1 #eg4 ,calvert1 ,e41 #ahc4 ,cambridge1 #ei4 ,camden ,street1 ,camden ,town1 #eg4 ,cancelled designs--by ,g4 ,cruikshank1 #af-ag1 #bb2 by ,r4 ,w4 ,buss1 #ej-ea1 #bdb2 by ,j4 ,leech1 #ada4 ,canonbury ,tower1 #cj4 ,canterbury ,cathedral1 #aje4 ,casket1 ,the1 #bci4 ,caswell1 ,e41 #gd4 ,cattermole1 ,g41 #hj1 #hb1 #hc1 #aba-ace1 #afb2 pictures1 #acd1 #bdc2 illness and death1 #acd4 ,cauty1 ,h4 ,h41 #bdc4 ,century1 ,the1 #baj4 ,chapman1 ,e41 #cb1 #cg1 #ch1 #db1 #dd1 #de1 #dg1 #fa1 #hc1 #abh1 #aci1 #aeh4 ,chapman1 ,f41 #aci1 #bab4 ,character ,studies--by ,f4 ,barnard1 #bbh-bbi2 by ,w4 ,g4 ,baxter1 #bbi2 by ,a4 ,bryan1 #bca2 by ,j4 ,w4 ,ehninger1 #bcb2 by ,c4 ,d4 ,gibson1 #bcb1 #bci1 #bdb2 by ,kyd1 #bcc2 by ,stylus1 #bch 7and see #bdc-bdh47 ,charles ,dickens by ,pen and ,pencil1 #bjh4 ,charles ,dickens3 ,gossip about his ,life1 ,works1 and ,characters1 #bbh4 ,charley ,chalk3 or the ,career of an ,artist1 #bdb4 ,charterhouse1 ,the1 #ach4 ,cheap editions1 illustrators of1 #bai-bbf4 ,cheltnam 7engraver71 #acg4 ,children from ,dickens's ,novels1 designs by ,f4 ,o4 ,c4 ,darley1 #bbc4 ,child's ,dream of a ,star1 ,a1 designs by ,h4 ,billings1 #bbe4 ,child's ,history of ,england1 ,a1 designs for1 #ahi1 #aic1 #bjb1 #bba4 ,chominski1 ,t4 ,v41 #bbe4 ,chimes1 ,the1 designs for1 #ada1 #add1 #aej-aea1 #aee-aef1 #afb-afc1 #bba2 picture by ,buss1 #ee1 #bdc4 ,christie1 ,j4 ,e41 #bbf4 ,christmas ,books1 designs for1 #aai1 #bbb4 ,christmas ,carol1 ,a1 designs for1 #adj1 #add1 #adf1 #bba1 #bbe1 #bdb4 ,christmas ,stories1 designs for1 #bba1 #bbb4 ,clarke1 ,j4 ,clayton4 ,see ,kyd4 ,clint1 ,g41 ,a4,r4,a41 #dh4 ,colborn1 ,henry1 #be4 ,collins1 ,c4 ,alston1 #bjd1 #bje1 #bji4 ,collins1 ,wilkie1 #aei1 #bjc1 #bjd1 #bdd4 ,cooke1 ,w4 ,c41 #bbf4 ,corbeaux1 ,f41 #bbh4 ,corbould 7engraver71 #acg1 #agc4 ,cornwall1 ,logan ,stone in1 #aed2 ,st4 ,nighton's ,keive in1 #afh4 ,cosens1 ,f4 ,w41 #ac1 #gg1 #hf1 #aah1 #bja1 #bcc4 ,coveny1 ,c1 #bca4 ,cricket on the ,hearth1 ,the1 designs for1 #ada-adb1 #aea1 #aef1 #afc-afd1 #ahj1 #bbe1 #bcc2 picture by ,r4 ,w4 ,buss1 #ee1 #bdc4 ,crowquill1 ,alfred1 see ,a4 ,h4 ,forrester4 ,cruikshank1 ,george1 #a-bh1 #cc1 #dg1 #ed1 #ee1 #fj1 #fh1 #ia1 #aad1 #acc1 #adf1 #bad1 #bag1 #bci1 #bdb2 portraits of1 #e-f2 ,fairy ,tales1 #bf-bg2 described by ,mrs4 ,gamp1 #bg-bh2 as an actor1 #bh2 remuneration1 #bh2 death1 #bh2 bust by ,adams1 #bh4 ,daily ,news1 #ii1 #ahb4 ,daly1 ,augustin1 #cg1 #ch4 ,dalziel ,brothers1 #acg1 #afg1 #aih1 #bja1 #bab4 ,dalziel1 ,e4 ,g41 #bba4 ,darley1 ,f4 ,o4 ,c1 #bbc-bbd1 #bca2 pictures by1 #bbc4 ,devonshire ,terrace1 ,regent's ,park1 #bdf4 ,dexter1 ,j4 ,f41 #he1 #hf1 #hi1 #ic1 #ih1 #ajj1 #ajh1 #aaa1 #aab1 #ada1 #bbi4 ,dickens and ,punch1 #agd4 ,dickens1 ,charles1 portraits of1 #e-f1 #ef1 #gd1 #afh1 #bbj1 #bba1 #bbe1 #bcf1 #bcg1 #bch1 #bdg4 ,dickens1 ,frederick1 #dd1 #de4 ,dickens1 ,kate1 #bje 7and see ,kate ,perugini74 ,dickens1 ,lieut4 ,sydney1 #agh4 ,dickens1 ,mrs4 ,charles1 #dd1 #de1 #aia4 ,dickleburgh1 #aba4 ,dicksee1 ,h41 #bdd4 ,dobson1 ,austin1 #ae4 ,dolly ,varden1 notes on portraits by ,w4 ,p4 ,frith1 ,r4,a41 #bdf-bdg4 ,doyle1 ,j4 7,h4 ,b471 #adi4 ,doyle1 ,r41 #acg1 #ada1 #adb1 #adi-aeb1 #afe1 #agb4 ,drury ,lane1 ,theatre ,royal1 #aed4 ,duchess of ,st4 ,albans1 ,the1 #he1 #ih1 #ajd1 #ajg4 ,duke ,street1 ,grosvenor ,square1 #ef4 ,dulcken1 ,a41 #bca-bcb4 ,du ,maurier1 ,g41 #adf4 ,eastlake1 ,sir ,c41 #aha4 ,east ,london ,theatre1 #aec4 ,eddystone ,lighthouse1 ,c4 ,stanfield's act-drop1 #aei4 ,edinburgh1 #aec2 theatre1 #aed4 ,edwards 7engraver71 #he1 #ajj4 ,egley1 ,w4 ,m41 #bdd4 ,ehninger1 ,j4 ,w41 #bcb4 ,elderton1 ,miss1 #aba4 ,elwell1 ,f4 ,e41 #bdd4 ,empty ,chair1 ,the #bae4 ,english ,graphic ,satire1 #eg4 ,etchings and ,sketchings1 by ,john ,leech1 #ci4 ,etty1 ,william1 ,r4,a41 #fc4 ,everitt1 ,graham1 #bf4 ,eytinge1 ,sol41 #bbd-bbe4 ,fagin in the ,condemned ,cell1 #ae-af1 #ba-bb1 #bc1 #bad4 ,fairy ,library1 ,the1 #bg4 ,fennell1 ,j4 ,g41 #fb1 #aag4 ,field ,lane1 #ba4 ,fields1 ,j4 ,t41 #bji1 #bbe4 ,fildes1 ,luke1 ,r4,a41 #aag1 #bjd-bag2 recollections of ,dickens1 #bjh1 #baf2 his drawing of ,the ,empty ,chair1 #bae4 ,finden1 ,e4 ,w41 #fj1 #fb1 #fc1 #fd1 #gd1 #aad1 #aai1 #abj1 #agi1 #bbh1 #bcc4 ,findlay 7engraver71 #aj1 #bdj4 ,fisher1 ,miss ,l4 ,m41 #bbf4 ,flaxman1 #ach4 ,fleet ,market1 #acb4 ,forrester1 ,a4 ,h4 7,alfred ,crowquill71 #ei1 #bbg1 #bca1 #bdj4 ,forster1 ,john1 #ah1 #ai1 #bb1 #bd1 #ea1 #ib1 #ic1 #id1 #ajg1 #aah1 #abg1 #acd1 #adc1 #add1 #ade1 #adg1 #aej1 #aed1 #aef1 #aeg1 #afb1 #afc1 #afd1 #afe1 #afh1 #afi1 #agj1 #bjj1 #bae1 #bdg4 ,fortunio1 #bjc4 ,fraser1 ,f4 ,a41 #bba4 ,frauds on the ,fairies1 #bf4 ,french1 #bbb4 ,french1 ,h41 #bba4 ,frith1 ,w4 ,p41 ,r4,a41 #adh1 #bje1 #bac2 pictures1 #bdd4 ,frost1 ,a4 ,b41 #bba1 #bbb1 #bbc4 ,frozen ,deep1 ,the1 #bjc4 ,furniss1 ,h41 #bbf4 ,furnival's ,inn1 #cf1 #ci1 #de1 #ei1 #ia1 #aai4 ,gabriel ,grub1 7,pickwick71 designs by ,t4 ,nast1 #bbc4 ,gad's ,hill1 #bje1 #bad1 #bbe4 ,gale1 ,w41 #bdd4 ,gaugengigl1 ,j4 ,m41 #bbe4 ,george ,silverman's ,explanation1 designs by ,f4 ,barnard1 #bbb2 by ,m4 ,greiffenhagen1 #bbf4 ,gibson1 ,c4 ,d41 #bcb1 #bdb4 ,gilbert1 ,sir ,john41 ,r4,a41 #bbc1 #bbd1 #bbg1 #bcb-bcc1 #bda4 ,gleanings from ,popular ,authors1 ,dickens illustrations by ,j4 ,nash1 ,f4 ,barnard1 ,t4 ,w4 ,wilson1 ,j4 ,e4 ,christie1 and ,g4 ,browne1 #bbf4 ,gorway1 ,c4 ,m41 #bcc4 ,graham1 ,florence1 #bdd4 ,graphic1 ,the1 #bjf1 #bjg1 #bae4 ,gray1 ,c41 #fa1 #hj1 #acg4 ,great ,expectations1 designs for1 #bja1 #bba1 #bbb1 #bbc1 #bcf4 ,greenaway 7engraver71 #bcb4 ,green1 ,charles1 #bba-bbb1 #bbe2 pictures1 #bde1 #bdh4 ,green1 ,townley1 #bba4 ,green1 ,w4 ,t41 #he1 #acg1 #aih4 ,greiffenhagen1 ,m41 #bbf4 ,groves 7engraver71 #acg4 ,hablt1 ,colonel1 #aad4 ,hall1 ,mr4 7,chapman ,hall71 #dd1 #di1 #aaf4 ,hamerton1 ,p4 ,g41 #b1 #ahc4 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,london ,news1 #bbd1 #bdj4 ,irving1 ,washington1 #bbj4 ,islington1 #ca1 #ce1 #ch4 ,is ,she ,his ,wife8 design by ,f4 ,w4 ,pailthorpe1 #bcf4 ,italy1 #afb1 #ahb4 ,jack ,ketch1 #cc4 ,jackson1 ,john1 #d1 #cf1 #da1 #dh1 #ed1 #ef4 ,jackson1 ,mason1 #fj4 ,jacob ,parallel1 #bcf1 #bda-bdb4 ,jack ,straw's ,castle1 ,hampstead1 #afb4 ,jerrold1 ,blanchard1 #bd4 ,jerrold1 ,douglas1 #adj1 #aec4 ,jodrell1 ,rev4 ,sir ,e4 ,r41 #afh4 ,kate ,nickleby1 notes on the portraits by ,w4 ,p4 ,frith1 ,r4,a41 #bdf-bdg4 ,keeley1 ,robert1 #adb4 ,kennington1 #aac4 ,kensal ,green1 #bh4 ,ketch ,papers1 ,the1 #cc4 ,knight 7engraver71 #he1 #ajj4 ,knight1 ,admiral ,sir ,john1 #aad4 ,knight1 ,charles1 #ef4 ,kyd 7pseudonym of ,j4 ,clayton ,clarke71 #bcc4 ,lamplighter1 ,the1 #be2 design by ,f4 ,w4 ,pailthorpe1 #bcf4 ,lamplighter's ,story1 ,the1 #be-bf4 ,landells1 ,e41 #df1 #hj4 ,landseer1 ,sir ,e41 ,r4,a41 #ace1 #acg1 #afb1 #ahj-aha4 ,lane1 ,r4 ,j41 ,a4,r4,a41 #bdg4 ,lang1 ,a41 #ib4 ,laurence1 ,s41 #bch1 #bdg4 ,leamington1 #if4 ,lee1 #ei4 ,leech1 ,john1 #ei1 #fj1 #aad1 #ach-adh1 #afa1 #agc1 #agf1 #bdj2 extraordinary blunder in ,the ,battle of ,life by1 #ade2 ,the ,rising ,generation1 #adg2 as an actor1 #adg2 accident to1 #adg2 death1 #adh2 portrait by ,sir ,j4 ,e4 ,millais1 ,p4,r4,a41 #adh4 ,leighton1 ,lord1 ,p4,r4,a41 #aie1 #bjf4 ,leslie1 ,c4 ,r41 ,r4,a41 #bai-bbj1 #bde4 ,letters3-- ,browne 7,h4 ,k47 to ,w4 ,g4 ,r4 ,browne1 #aaa-aab2 to ,morton ,brune1 #fa2 to ,dickens1 #hc1 #hd1 #aae2 to ,r4 ,young1 #aac1 #abj4 ,cattermole 7,g47 to ,dickens1 #acj4 ,chapman 7,e47 to ,dickens1 #dc4 ,chapman 7,f47 to ,anon41 #aci4 ,cosens 7,f4 ,w47 to author1 #aah4 ,cruikshank 7,g47 to ,dickens1 #ad2 to ,the ,times1 #ai-bb4 ,dickens 7,c47 to ,anon41 re ,pickwick1 #cf-cg2 to ,the ,athenum1 #dc-dd2 to ,h4 ,k4 ,browne1 #hh-hi1 #ic1 #id1 #if-ig1 #ii1 #ajj1 #aaa1 #aae-aaf2 to ,g4 ,cattermole1 #abb-acd2 to ,chapman ,hall1 #bje2 to ,e4 ,chapman1 #hc-hd1 #aeh2 to ,f4 ,chapman1 #bab2 to ,g4 ,cruikshank1 #af-ag2 to ,c4 ,dickens the 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,cruikshank1 #ed-ee4 ,liverpool ,road1 ,islington1 #ce4 ,lockwood1 ,w41 #bdh4 ,mackenzie1 ,dr4 ,s41 #ag-ah1 #ai4 ,maclise1 ,d41 ,r4,a41 #gd1 #abb1 #acd1 #acg1 #adc1 #add1 #aed1 #afa-aga1 #bdg2 amusing sketch by1 #afc2 portrait of ,dickens by1 #afh2 letter re ,grip1 #afi-agj2 death1 #agj2 ,dickens's tribute1 #agj-aga4 ,macready1 ,w41 #abg4 ,macrone1 ,j41 #c1 #d1 #be1 #aae4 ,maddox1 ,w41 #bcc4 ,maguire1 ,t4 ,h41 #bbj4 ,mahoney1 ,j41 #bba4 ,manly1 ,eleanor ,e41 #bde4 ,marold1 #bbe4 ,marshalsea1 ,the1 #aaa4 ,martin 7engraver71 #acg1 #agc4 ,maxims and ,hints for an ,angler1 #ca1 #ch4 ,mayhew1 ,horace1 #ae1 #cb4 ,mc,ian1 ,mrs41 #bde4 ,mc,lean1 #cb4 ,mc,lenan1 ,j41 #bbc4 ,meadows1 ,kenny1 #bbg1 #bcc-bcd1 #bdj-bda4 ,memoirs of ,grimaldi1 designs by ,g4 ,cruikshank1 #bd2 by ,f4 ,w4 ,pailthorpe1 #bcf4 ,meynell1 ,mrs41 #baj4 ,millais1 ,sir ,j4 ,e41 ,p4,r4,a41 #adh1 #aie1 #bje1 #bjf4 ,minories1 ,the1 #ig4 ,mittis1 #bbe4 ,monthly ,magazine1 ,the1 #c1 #aaf4 ,morgan1 ,f41 #bde4 ,morning ,chronicle1 ,the1 #c1 #d1 #cc4 ,mr4 ,nightingale's ,diary1 design by ,f4 ,w4 ,pailthorpe1 #bcf4 ,mudfog ,papers1 ,the1 designs by ,g4 ,cruikshank1 #be1 #bdb4 ,nash1 ,j41 #bbf4 ,nasmyth1 #aed4 ,nast1 ,t41 #bbb1 #bbc4 ,nemo 7pseudonym of ,h4 ,k4 ,browne71 #fe4 ,newman ,street1 #fb4 ,new ,piljian's ,projiss1 ,a1 #bg2 designs by ,f4 ,w4 ,pailthorpe1 #bcf4 ,nibbs1 ,r4 ,h41 #bde4 ,nicholls1 ,c4 ,w41 #bde4 ,nickleby1 ,kate1 ,notes on the ,portraits by ,w4 ,p4 ,frith1 ,r4,a41 #bdf-bdg4 ,onwhyn1 ,t41 #bbg1 #bcd-bce1 #bda4 ,origin of ,sam ,weller1 ,the1 design by ,f4 ,w4 ,pailthorpe1 #bcf4 ,our ,young ,folks1 #bbd4 ,paget1 ,h4 ,m41 #bce4 ,pailthorpe1 ,f4 ,w41 #f1 #gc1 #bbg1 #bca1 #bce-bcf1 #bdb4 ,palmer1 ,a4 ,h41 #ahd1 #ahe1 #ahh4 ,palmer1 ,samuel1 #ahb-ahh2 his water-colour drawings1 #ahc1 #ahd2 etchings1 #ahc4 ,parallel1 ,jacob1 #bcf1 #bda-bdb4 ,payn1 ,james1 #ajh4 ,peggotty's ,boat1 #ajc4 ,perugini1 ,kate1 #bde 7and see ,kate ,dickens74 ,peter ,palette 7pseudonym of ,thomas ,onwhyn71 #bbg1 #bcd-bce4 ,phillips1 ,watts1 #aaa4 ,phiz1 #fe 7and see ,hablt ,k4 ,browne74 ,pickett1 ,mary ,s41 #bde4 ,pickwick1 ,mr41 prototype of1 #ch-ci2 ,sketches by ,h4 ,k4 ,browne1 #gb2 by ,c4 ,d4 ,gibson1 #bdb4 ,pickwick ,papers1 ,the1 ,an ,account of the ,origin of1 #db4 ,pickwick1 ,tales from1 designs by ,e4 ,j4 ,wheeler1 #bbf4 ,pic ,nic ,papers1 ,the1 #be1 #aae4 ,pictures of ,dickens subjects1 #bdc-bdh4 ,pictures from ,italy1 #ahb2 designs by ,h4 ,k4 ,browne1 #aai2 by ,s4 ,palmer1 #ahc-ahg2 by ,m4 ,stone1 ,r4,a41 #bjb2 by ,g4 ,thomson 7,household ,edition71 #bba2 by ,m4 ,greiffenhagen1 #bbf4 ,pinwell1 ,g4 ,j41 #bbj4 ,planch1 #aej1 #bjc4 ,portraits3-- ,cruikshank 7,g47 #e-f1 #bh2 ,dickens 7,c471 #e-f1 #ef1 #gd1 #afh1 #bbj1 #bba1 #bbe1 #bcf1 #bcg1 #bch1 #bdg2 ,dickens 7,lieut4 ,sydney71 #agh2 ,leech 7,j471 #adh2 ,seymour 7,r47 #cg4 ,punch1 #ge1 #acf1 #ach1 #aci1 #adj1 #adg1 #aej1 #agb1 #agc1 #agd1 #bdj1 #bda4 ,punch's ,valentines1 #ge4 ,putney ,bridge1 #baa2 church1 #db1 #baa4 ,quiz 7pseudonym of ,dickens71 #gd4 ,raemaker1 ,a4 ,j41 #bdf4 ,ralston1 ,j4 ,mc,l41 #bba4 ,readings of ,mr4 ,charles ,dickens1 ,the1 designs by ,s4 ,eytinge1 #bbd4 ,regent's ,canal1 #aii4 ,reinhart1 ,c4 ,s41 #bbb4 ,reprinted ,pieces1 designs by ,f4 ,walker1 ,a4,r4,a41 #bba2 by ,e4 ,g4 ,dalziel 7,household ,edition71 #bba4 ,richardson1 ,e41 #bcf4 ,rising ,generation1 ,the1 by ,john ,leech1 #adg4 ,roberts1 ,c41 #bab4 ,roberts1 ,d41 ,r4,a41 #aed4 ,rochester1 #bad2 ,castle1 #baf2 ,cathedral1 #baa1 #baf2 ,eastgate ,house1 #baa1 #baf2 ,high ,street1 #baa4 ,roe 7engraver71 #ei4 ,roffe1 ,e41 #bcj4 ,ross1 ,j4 ,halford1 #bdf4 ,rotherhithe1 #aih4 ,ruskin1 ,prof4 ,john1 #a1 #af1 #hb1 #aba1 #adf1 #aej4 ,sala1 ,g4 ,a41 #d1 #bh1 #fg1 #adb4 ,sam ,weller 7pseudonym of ,thomas ,onwhyn71 #bbg1 #bcd-bce2 ,the origin of1 #bcf4 ,sam ,weller's ,jest ,book1 #bci4 ,sands 7engraver71 #fc4 ,sandys1 ,f41 #aie4 ,scenes 7various7 from ,dickens1 depicted by ,c4 ,coveny1 #bca2 by ,f4 ,o4 ,c4 ,darley1 #bca2 by ,n4 ,p4 ,whitlock1 #bch2 by 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,james's ,theatre1 #gc1 #aia4 ,st4 ,james's1 ,westminster1 #bj1 #ba4 ,st4 ,martin's ,lane1 #fc4 ,st4 ,nighton's ,keive1 near ,tintagel1 #afh4 ,st4 ,paul's ,cathedral1 #bh1 #aha4 ,stanfield1 ,c41 ,r4,a41 #acg1 #aej1 #aec-afj1 #afh1 #agc1 #bai2 presents from ,dickens1 #aee1 #aeg1 #aei2 drawing of ,s4,s4 ,britannia1 #aeh2 ,eddystone ,lighthouse1 act drop1 #aei2 nicknames1 #aei2 death1 #afj2 ,dickens's tribute1 #afj4 ,stanfield1 ,f41 #aef1 #aei4 ,stanfield1 ,g41 #afj4 ,staple ,inn1 #bab4 ,steer1 ,h4 ,r41 #bdf4 ,stewart1 ,lawson1 #bdf4 ,stone1 ,f41 ,a4,r4,a41 #acg1 #aeh1 #agc1 #age-agi1 #aib1 #aid1 #aie1 #bjc1 #bcg-bch1 #bdg2 as an actor1 #agh2 ,mrs4 ,gamp's description of1 #agh2 nicknames1 #agh2 his portrait of ,lieut4 ,sydney ,dickens1 #agh2 death1 #agi2 pictures1 #bdf4 ,stone1 ,marcus1 ,r4,a41 #aac1 #age1 #agg1 #aib-bjc1 #bjd1 #bae2 his first design for ,dickens1 #aie2 his drawings for ,our ,mutual ,friend1 #aie-bja2 the prototype of ,mr4 ,venus1 #aii-bjj2 private theatricals1 #bjc4 ,strange ,gentleman1 ,the1 #gc2 designs by ,h4 ,k4 ,browne1 #gc2 by ,f4 ,w4 ,pailthorpe1 #bcf4 ,stroller's ,tale1 ,the 7,pickwick71 #cf1 #ci-dj4 ,stylus1 #bch4 ,sunday ,under ,three ,heads1 #fa-fb4 ,swain1 ,joseph1 #ajf1 #acg1 #aej4 ,talfourd1 ,sergeant1 #hd4 ,tavistock ,house1 #aeh1 #aei1 #age1 #bjc2 ,square1 #agi4 ,taylor1 ,weld1 #bch4 ,tenniel1 ,sir ,john1 #acf1 #acg1 #adg1 #agb-agd1 #agf1 #aia4 ,thackeray1 ,w4 ,m41 #ab-ac1 #ae1 #bh1 #ei1 #fb1 #ace1 #ach1 #aci1 #aff1 #age1 #ahj1 #aie1 #bai1 #bdj4 ,theatrical entertainments1 #bg1 #aeh-aei1 #agh1 #aij1 #aia1 #bjc4 ,thomas1 ,w4 ,l41 #bjf4 ,thomson1 ,d4 ,c1 #if1 #aaa1 #aai4 ,thomson1 ,gordon1 #bba4 ,thompson1 ,j41 #acg1 #aff4 ,tilney1 ,f4 ,c41 #bbf4 ,timothy ,sparks 7,dickens's pseudonym71 #fa4 ,topham1 ,f4 ,w41 #ahi-aia2 pictures of scenes in ,master ,humphrey's ,clock1 #aij1 #bdf2 love of acting1 #aij-aia2 ability as a juggler1 #aia4 ,topham1 ,f4 ,w4 ,w41 #aij4 ,travelling ,sketches 7,pictures from ,italy71 #ahb4 ,trollope1 ,anthony1 #aac1 #bja4 ,tuggses at ,ramsgate1 ,the1 #cc1 #ed2 designs by ,seymour and ,cruikshank1 #df4 ,uncommercial ,traveller1 ,the1 designs for1 #bbj1 #bba1 #bbb1 #bbf4 ,varden1 ,dolly1 notes on portraits by ,w4 ,p4 ,frith1 ,r4,a41 #bdf-bdg4 ,vasey 7engraver71 #hj4 ,village ,coquettes1 ,the1 design by ,f4 ,w4 ,pailthorpe1 #bcf4 ,walker1 ,c4 ,w41 #bbh4 ,walker1 ,f41 ,a4,r4,a41 #aie1 #bba2 pictures by1 #bba4 ,wall1 ,c4 ,h41 #bch4 ,wallis1 ,h41 #bdf4 ,warren1 ,h41 #bcc4 ,weatherhead 7engraver71 #fd4 ,webster1 ,t41 ,r4,a41 #bai1 #bbj1 #bdf4 ,wedmore1 ,f41 #f1 #g4 ,weller1 ,sam 7pseudonym of ,thomas ,onwhyn71 #bbg1 #bcd-bce2 ,the ,origin of1 #bcf4 ,wheeler1 ,e4 ,j41 #bbf4 ,white1 ,g4 ,g41 #bbd4 ,whitehead1 ,c41 #cc1 #de4 ,whole ,hogs1 #bc4 ,williams1 ,s41 #hj1 #abc4 ,williams1 ,t41 #acc1 #acg1 #afg1 #bbj4 ,willis 7prototype of ,mr4 ,venus71 #aii-bjj4 ,wilson1 ,thomas1 #bcc1 #bcf4 ,wilson1 ,t4 ,walter1 #bbf4 ,worth1 ,t41 #bbb4 ,wright 7engraver71 #bcb4 ,wright1 ,w41 #d1 #aje1 #bbj1 #bcf4 ,w41 ,t4 ,c41 #bch4 ,w41 ,w4 ,c41 #bci4 ,yarmouth ,denes1 #ajc1 #ajf4 ,yates1 ,edmund1 #fj4 ,yeager1 ,j41 #bce1 #bcg4 ,young1 ,robert1 #fc1 #fd1 #he1 #hg1 #ajj1 #aac1 #aag1 #aai-abj1 #bbi4 ,,references ,,to ,,the ,,principal ,,works ,barnaby ,rudge1 #ha-hf1 #abg-acc1 #afi1 #bjb4 ,designs by ,hablt ,k4 ,browne1 #he-hf1 #bcj2 by ,george ,cattermole1 #abg-acc2 by ,frederick ,barnard1 #bbb2 by ,absolon and ,corbeaux1 #bbh2 by ,c4 ,b4 ,bracewell1 #bbi2 by ,e4 ,richardson1 #bcf2 by ,t4 ,sibson1 #bcg2 ,anon41 #bci4 ,pictures by ,e4 ,bundy1 #bdc2 by ,r4 ,w4 ,buss1 #ee1 #bdc2 by ,w4 ,f4 ,frith1 ,r4,a4 #bdd1 #bdf-bdg2 by ,c4 ,green1 #bde2 by ,e4 ,hanley1 #bde2 by ,f4 ,w4 ,topham1 #aij1 #bdf 7and see ,master ,humphrey's ,clock74 ,bleak ,house1 #ajf-aji1 #aic4 ,designs by ,h4 ,k4 ,browne1 #ajf-aji2 by ,f4 ,barnard1 #bbb4 ,pictures by ,c4 ,green1 #bde2 by ,e4 ,hunter1 #bde4 ,david ,copperfield1 #ajb-ajf1 #bjg1 #bjh4 ,designs by ,h4 ,k4 ,browne1 #ajb-ajf2 by ,f4 ,barnard1 #bbb2 by ,phil ,may1 #bbf4 ,picture by ,r4 ,h4 ,nibbs1 #bde4 ,dombey and ,son1 #ij-aja1 #agj4 ,unpublished designs by ,r4 ,w4 ,buss1 #ee2 designs by ,h4 ,k4 ,browne1 #ij-aja1 #bcj2 by ,f4 ,barnard1 #bbb2 by ,w4 ,l4 ,sheppard1 #bbb4 ,pictures by ,h4 ,k4 ,browne1 #ii2 by ,w4 ,h4 ,bartlett1 #bdc2 by ,c4 ,green1 #bde2 by ,j4 ,hamilton1 #bde1 #bdh2 by ,c4 ,w4 ,nicholls1 #bde2 by ,k4 ,perugini1 #bde2 by ,a4 ,j4 ,raemaker 7sculpture71 #bdf2 by ,h4 ,r4 ,steer1 #bdf4 ,little ,dorrit1 #aji-aaa1 #afj4 ,designs by ,h4 ,k4 ,browne1 #aji-aaa2 by ,m4 ,stone1 ,r4,a4 #aie1 #bja2 by ,j4 ,mahoney 7,household edition71 #bba2 by ,w4 ,p4 ,frith1 ,r4,a41 #bdd1 #bdg4 ,pictures by ,w4 ,p4 ,frith1 ,r4,a41 #bdd2 by ,w4 ,gale1 #bdd2 by ,c4 ,green1 #bde4 ,martin ,chuzzlewit1 #hf-ij4 ,designs by ,h4 ,k4 ,browne1 #hf-ij2 by ,f4 ,stone1 ,a4,r4,a41 #agi2 by ,f4 ,barnard1 #bbb2 by ,c4 ,h4 ,wall1 #bch4 ,picture by ,c4 ,green1 #bde4 ,master ,humphrey's ,clock1 #gi-hf1 #bci-bdj4 ,designs by ,h4 ,k4 ,browne1 #gi-hf2 by ,g4 ,cattermole1 #abb-acd1 #afb2 by ,d4 ,maclise1 ,r4,a41 #afb2 by ,f4 ,barnard1 #bbb2 by ,brush1 #bcj-bca2 by ,jacob ,parallel1 #bcf1 #bda-bdb2 by ,t4 ,sibson1 #bcg2 by ,t4 ,c4 ,w41 #bch 7and see ,the ,old ,curiosity ,shop and ,barnaby ,rudge74 ,mystery of ,edwin ,drood1 ,the1 #bjb1 #bjd1 #bje1 #bjf1 #bjg1 #bjh1 #bji-baf1 #bbe4 ,c4 ,a4 ,collins's design for wrapper1 #bje2 designs by ,l4 ,fildes1 ,r4,a41 #bjh-bag4 ,nicholas ,nickleby1 #gd-gh1 #afh1 #ahj4 ,designs by ,h4 ,k4 ,browne1 #gf-gh2 by ,f4 ,stone1 ,a4,r4,a41 #agh-agi1 #bcg-bch2 by ,t4 ,webster1 ,r4,a41 #bbj2 by ,f4 ,barnard1 #bbb2 by ,c4 ,s4 ,reinhart1 #bbb2 by ,sir ,john ,gilbert1 ,r4,a41 #bcb2 by ,k4 ,meadows1 #bcc-bcd1 #bda2 by ,t4 ,onwhyn1 #bce1 #bdb2 by ,w4 ,taylor1 #bch2 ,anon41 #bci4 ,pictures by ,w4 ,p4 ,frith1 ,r4,a41 #bdd1 #bdf-bdg2 by ,c4 ,green1 #bde2 by ,h4 ,r4 ,steer1 #bdf2 by ,f4 ,stone1 ,a4,r4,a41 #agh-agi1 #bdf2 by ,t4 ,webster1 ,r4,a41 #bbj1 #bdf4 ,old ,curiosity ,shop1 ,the1 #hj-ha1 #abc-abg2 ,designs by ,h4 ,k4 ,browne1 #hj-ha1 #he1 #bba1 #bbi-bcj2 by ,g4 ,cattermole1 #abc-abg1 #acc2 by ,d4 ,maclise1 ,r4,a41 #afb2 by ,c4 ,green1 #bba2 by ,t4 ,worth1 #bbb2 by ,w4 ,maddox and ,h4 ,warren1 #bcc2 by ,k4 ,meadows1 #bcd2 by ,stylus1 #bch2 ,anon41 #bci2 ,water-colour drawings by ,h4 ,k4 ,browne1 #hf4 ,pictures by ,g4 ,cattermole1 #acd1 #bdc2 by ,w4 ,a4 ,atkinson1 #bdc2 by ,h4 ,dicksee1 #bdd2 by ,w4 ,m4 ,egley1 #bdd2 by ,f4 ,e4 ,elwell 7sculpture71 #bdd2 by ,f4 ,graham1 #bdd2 by ,c4 ,green1 #bde2 by ,mrs4 ,mc,ian1 #bde2 by ,f4 ,morgan1 #bde2 by ,m4 ,s4 ,pickett1 #bde2 by ,k4 ,perugini1 #bde2 by ,h4 ,r4 ,steer1 #bdf2 by ,l4 ,stewart1 #bdf2 by ,f4 ,w4 ,topham1 #aij1 #bdf 7and see ,master ,humphrey's ,clock74 ,oliver ,twist1 #i-bd1 #fj4 ,designs by ,g4 ,cruikshank1 #i-bd2 sale of original drawings1 #ac2 water-colour replicas1 #ac2 ,edition de luxe1 #ac2 ,the ,cancelled ,plate1 #af-ag1 #bb2 ,cruikshank's ,account of the ,origin of the ,story1 #ag-bd4 ,designs by ,h4 ,k4 ,browne1 #aai2 by ,j4 ,mahoney 7,household edition71 #bba2 by ,f4 ,w4 ,pailthorpe1 #bcf2 ,anon41 #bci4 ,our ,mutual ,friend1 #adh1 #aib1 #aie-bja1 #bjd4 ,designs by ,a4 ,b4 ,houghton1 #bbj2 by ,j4 ,mahoney 7,household edition71 #bba4 ,pictures by ,j4 ,h4 ,ross1 #bdf4 ,pickwick ,papers1 ,the1 #bi1 #cb-de1 #dg1 #dh1 #di-ed1 #eh-fa1 #aci1 #ahb1 #baa1 #bac1 #bdj4 ,designs by ,r4 ,seymour1 #cf-cg1 #da1 #ej1 #fd2 by ,r4 ,w4 ,buss1 #ej-ed1 #fb1 #fd1 #bdb2 by ,j4 ,leech1 #fj1 #aci2 by ,h4 ,k4 ,browne1 #fb-gc1 #bbi2 by ,c4 ,r4 ,leslie1 ,r4,a41 #bai1 #bbj2 by ,t4 ,nast1 #bbb2 by ,a4 ,b4 ,frost1 #bbc2 by ,e4 ,j4 ,wheeler1 #bbf2 by ,c4 ,coveny1 #bca2 by ,crowquill1 #bca1 #bdb2 by ,a4 ,dulcken1 #bca-bcb2 by ,sir ,john ,gilbert1 ,r4,a41 #bcb1 #bda2 by ,w4 ,heath1 #bcc2 by ,t4 ,onwhyn1 #bcd-bce2 by ,h4 ,m4 ,paget1 #bce2 by ,f4 ,w4 ,pailthorpe1 #bce-bcf2 by ,t4 ,sibson1 #bcg2 by ,stylus1 #bch2 by ,w4 ,c4 ,w41 #bci2 ,anon41 #bci4 ,pictures by ,c4 ,green1 #bde2 by ,c4 ,r4 ,leslie1 ,r4,a41 #bjj1 #bde4 ,sketches by ,boz1 #c-i1 #bc1 #bd1 #cb1 #df1 #fj1 #gc4 ,designs by ,g4 ,cruikshank1 #c-i1 #ed2 by ,h4 ,k4 ,browne1 #aah-aai2 by ,f4 ,barnard1 #bbb2 by ,a4 ,b4 ,frost1 #bbb4 ,picture by ,f4 ,barnard1 #bdc4 ,tale of ,two ,cities1 ,a1 #aaa-aac1 #aib4 ,designs by ,h4 ,k4 ,browne1 #aab-aac2 by ,m4 ,stone1 ,r4,a41 #bjb2 by ,f4 ,barnard1 #bbb2 by ,j4 ,mc,lenan1 #bbc4 ,pictures by ,f4 ,barnard1 #bdc2 by ,h4 ,wallis1 #bdf4 ,,the ,,end ,printed by ,,ballantyne1 ,,hanson ,,co4 ,edinburgh ,london 99 99 99 99 99 ,,transcriber ,,notes3 ,missing punctuation has been added and obvious punctuation errors have been corrected without note4 ,archaic words and alternate spellings have been retained with the exception of those noted below4 ,page #ac3 ,syke's changed to ,sykes's for spelling consistentcy 7,sykes's#c farewell to his dog274 ,page #fg3 especally changed to especially 7the original designs1 especially if he saw an opportunity for improving them47 ,page #gc3 than changed to that 7,it was under such distressing conditions that in #ahgc-gd he executed a commision74 ,page #ha and #hh3 apropos changed to propos for consistentcy 7,phiz was often propos7 and 7sly touches of humour peculiarly propos of the principal theme47 ,page #acf3 encourged changed to encouraged 7,its extraordinary popularity encouraged him to prepare a similar story74