Chapter I: Illustrators of Cheap Editions 219 (3)

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 artist." He was born on August 29, 1804, in Bull-and-Mouth Street, St. Martin's-le-Grand, and in due course apprenticed to his father, an enameller and engraver on gold and silver. Like Seymour, he was inoculated with the prevailing mania for "High Art," and this inclination becoming too strong to be thwarted, his indulgent father not only permitted the cancelling of his indentures, but even defrayed the cost of a year's study in Art, placing him under his old friend George Clint, A.R.A. (a landscape painter, and subsequently the President of the Society of British Artists), whose son Alfred married the younger Buss's only sister. Having thus, at the age of twenty-one, gained some practical experience in his adopted profession, Robert Buss thought himself competent to start life on his own account by painting portraits and subject-pictures. In this direction he met with fair success, but it was as a painter of humorous incidents that he first made his reputation, these finding eager purchasers among well-known collectors and _connoisseurs_. Among his earliest achievements was a painting representing "Christmas in the Olden Time," which he exhibited in the gallery of the Society of British Artists in 1838. This work, however, although warmly praised by the critics, proved a most unhappy venture, 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 production.[13]

Footnote 13: The picture afterwards changed hands for six or
seven times the amount originally received by the painter. It
eventually became the property of his daughter, the late Miss
Frances Mary Buss, for many years the Head-mistress of the
North London Collegiate School for Girls, in the
Drawing-School of which institution this interesting canvas
now hangs.

* * * * *

[Sidenote: =The Pickwick Papers, 1836-37.=]

It was doubtless this painting with which Buss was occupied when Mr. Hall (of Chapman & Hall) called upon him respecting the illustrations for "Pickwick." "Taken quite by surprise," relates the artist, when recalling his association with Dickens's famous work, "I told him [Mr. Hall] I had never in the whole course of my life had an etching-needle in my hand, and that I was entirely ignorant of the process of etching, as far as practice was concerned. He assured me it was very easy to do, and that with my talent I was sure to succeed." After some hesitation, overcome by Mr. Hall's promise that consideration would be shown towards his want of experience, Buss yielded to the pressure thus put upon him, and consented to put aside his picture (although most anxious to complete it for exhibition at the Royal Academy), with a view to embarking upon his new undertaking.

In preparing studies for his pictures, Buss had accustomed himself to the use of bold effects, obtained by means of chalk or black-lead pencils of various degrees of hardness, blackness, and breadth of point. 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 steel, and devoted himself almost day and night (as there was really no time to lose) to practice in drawing with pen-and-ink,--a fact (he observes) "of which Mr. Hall was utterly and entirely ignorant." There are still extant a few of these experimental efforts (chiefly figures and faces copied from line engravings), including a sheet containing a dozen sketches of heads--studies of characters in "Pickwick," apparently based upon Seymour's etchings--which testify not only to his energy, but also to his rapidly-acquired skill in the adoption of what was to him a novel medium. In these drawings, by the way, he used ordinary ink for the general design, diluting it for the delicate shades and distant objects, thus assimilating the effect of his pen-and-ink work with the variations resulting from the "biting-in" and "re-biting" of etchings.

PLATE XXIV

"THE BREAK-DOWN"

_Facsimile_ of an Unpublished Drawing by R. W. BUSS

Illustrating an incident in the ninth chapter of "The Pickwick Papers."

After labouring incessantly for a period of three weeks, the artist felt prepared to make his first attempt in etching, taking for his subject "Mr. Pickwick at the Review." Referring to this plate, he says: "Of course it was full of faults, inevitable to any one in the early stage of practice in etching. But it was shown to Messrs. Chapman & Hall, and approved by them, though not as one of the illustrations to be published.[14] All this occupied much time, which was every hour becoming more and more valuable, as the date of publication was close at hand. I had barely time to prepare my two subjects for the next number of 'Pickwick' in pencil and submit them for approval to the publishers, who returned them, being much pleased with my efforts. The subjects I selected were the Fat Boy watching Mr. Tupman and Miss Wardle in the arbour, and the Cricket-Match." Buss now essayed to reproduce his designs upon the plates; but the result proved disastrous, the too violent action of the improperly diluted acid tearing up the etching-ground, which also broke up under the needle, creating sad havoc. Dreading the possible consequences of delay, he placed his original drawings in the hands of an expert engraver, to be copied on the plate and "bitten-in." "This work," remarks the artist, "he did very well indeed, but, as might have been expected, had I had time for thought, the free touch of an original was entirely wanting. The etching itself failed, but the 'biting-in' was admirably done. Time was up. The plates must be placed at once in the printer's hands, and so (there being no help for it) the plates were printed, the numbers stitched and duly published. Thus my name appeared to designs of which not one touch of mine was on the plates." Had opportunities been given, Buss would have cancelled these plates, and prepared fresh ones of his own etching. The immediate effect of this fiasco was the termination of his connection with "The Pickwick Papers," 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 hands. Under the circumstances, it is not surprising that Buss felt this curt dismissal very keenly, for it must be remembered that he ventured upon the undertaking mainly to oblige the publishers, who, it appears, had promised him every consideration on account of his inexperience with the etching-needle.

Footnote 14: This design has been reproduced by
photo-lithography, impressions of which may occasionally be
found in copies of "Pickwick."

Forster disposes of the subject of Buss's association with "Pickwick" in a very few words, merely observing that "there was at first a little difficulty in replacing Seymour, and for a single number Mr. Buss was interposed," thus intimating that the engagement was a temporary one. In commenting upon this, the artist's son, the Rev. Alfred J. Buss, expresses a belief that his father could not certainly have regarded it in this light. "Is it reasonable to suppose," he asks, in _Notes and Queries_, April 24, 1875, "that he would have consented to devote three weeks of his time, at the most valuable season to an artist, to the practice of an entirely new department of art, if it had been clearly stated that his engagement was of the transitory nature Mr. Forster would imply, and the more especially when we bear in mind that the price to be paid for the etchings was only fifteen shillings each?" 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 transpired.

It is not recorded whether Buss and Dickens became personally acquainted, nor, indeed, that they ever met. We may therefore surmise that all business transactions were carried on through the publishers, who probably forwarded to the artist proofs of the letterpress in order that he might select therefrom the subjects for illustration. The third number of "Pickwick" contains the only two published etchings by Buss for that work, viz., "The Cricket-Match" and "The Fat Boy Awake on this Occasion only." These plates, the effect of which was poor and thin, contrasted unfavourably with the Seymour etchings immediately preceding them, and were therefore suppressed as speedily as possible, others by "Phiz" (Hablôt K. Browne) being substituted before many copies had been issued.[15] In one of the latter an entirely different design is given,--that is to say, instead of "The Cricket-Match," we have "Mr. Wardle and his Friends under the Influence of 'the Salmon,'" depicting an incident described in the succeeding chapter.

Footnote 15: The two cancelled etchings by Buss have been
copied on steel, but, being printed on India paper, are not
likely to be mistaken for the original plates. Impressions of
the Buss etchings are exceedingly scarce, only about seven
hundred copies of the number containing them having been
circulated.

The drawings by Buss for "Pickwick" have fortunately been preserved. Besides the original designs for the published etchings, there are still in existence several tentative sketches prepared by the artist in anticipation of future numbers,--those, indeed, upon which he was at work when he received his _congé_. Some of these sketches are vigorously limned with pen-and-ink outlines and the effects laid in with a brush, while others are rendered in pencil supplemented by washes of indian-ink. The following is a complete list of Buss's original drawings for "Pickwick":--

MR. PICKWICK AT THE REVIEW.[16]--_Unused design._--This
subject was etched by the artist as a specimen of his work
to be submitted to Chapman & Hall. Only two impressions are
known to exist, while the plate itself was irretrievably
injured through the surface being scratched with a piece of
coarse emery paper.

THE CRICKET-MATCH.[16]--_Published design._

Footnote 16: Reproduced in _facsimile_ in the Victoria
edition of "Pickwick," 1887.

PLATE XXV

"A SOUVENIR OF DICKENS"

From an Unfinished Painting by R. W. BUSS

_Size of Original Picture, 36 in. by 27 in._

_Lent by the Rev. F. Fleetwood Buss._

THE CRICKET-MATCH.--_First sketch_, varying entirely from
the etching. The wicket-keeper is seen behind the fat man,
receiving the ball full in his face.

THE FAT BOY AWAKE ON THIS OCCASION ONLY.[1]--_Published
design._

THE FAT BOY AWAKE ON THIS OCCASION ONLY.--_First sketch_,
varying from the etching. Tupman is represented on his knees
by the side of Miss Wardle, who is holding a watering-pot,
while the Fat Boy is seen behind, facing the spectator.

THE FAT BOY AWAKE ON THIS OCCASION ONLY.--_Second sketch_,
varying from the etching. Here Tupman is standing, with his
left arm around Miss Wardle's waist, and the Fat Boy is in
front, in much the same attitude as represented in the
published design; indeed, there are very slight differences
between this sketch and the accepted drawing.

MR. WARDLE AND HIS FRIENDS UNDER THE INFLUENCE OF "THE
SALMON."[17]--_Unused design._

Footnote 17: Reproduced in _facsimile_ in the Victoria
edition of "Pickwick," 1887.

THE BREAK-DOWN.--_Unused design._ Pickwick, in an attitude
of despair, stands facing the spectator; behind him Wardle
is seen in the act of shaking his fist at the eloping party
in the retreating chaise; while a postboy on the left holds
the head of one of the horses belonging to the vehicle which
has come to grief.

MR. WINKLE'S FIRST SHOT.--_Unused design._ The central
figure is Winkle, holding his gun; close by stands Snodgrass
in an attitude of fear, while Pickwick and Wardle are
sheltering behind a tree.

STUDY FOR THE TITLE-PAGE.--_Unused design._ In this rough
sketch Pickwick is the prominent personage, as he stands
facing the spectator, with his right hand in the pocket of
his smalls, and his left arm resting on what appears to be a
mound of earth. Separately displayed upon the face of this
mound are medallion portraits, in emblematical frames, of
Pickwick, Snodgrass, Winkle, and Tupman, while above all is
suspended a female figure typical of Fame, blowing a
miniature trumpet and holding a laurel wreath over the head
of Pickwick. The letters forming the words "Pickwick Club"
are made up of various articles suggestive of conviviality
and sport--such as corkscrews, bottles, wine-glasses,
pistol, stirrup, &c.

These drawings sufficiently indicate that the artist possessed a decided power with the pencil, which he turned to good account shortly after the abrupt termination of his connection with "The Pickwick Papers." For example, in 1839 he successfully illustrated, by means of etching, Mrs. Trollope's diverting story, "The Widow Married," then appearing as a serial in the _New Monthly Magazine_, and among the more remarkable of his later efforts with the etching-needle are his designs for novels by Marryat, Ainsworth, and other well-known writers of the day, many of the plates being equal, in the matter of technique, to those by "Phiz," thus denoting that, had an opportunity been afforded him, he might have made his mark with "Pickwick." It may be said of Buss (as is asserted concerning Cruikshank) that his works, whether in colour or black-and-white, are regarded as affording authentic information respecting costumes and other accessories; for he was exceedingly conscientious in matters of detail, preferring to incur infinite trouble to secure accuracy rather than rely upon his imagination.

* * * * *

[Sidenote: =The Library of Fiction, 1836.=]

Like Seymour, Buss was associated with Dickens in connection with that ephemeral work, "The Library of Fiction." Besides "The Tuggses at Ramsgate," the novelist wrote for its pages a paper called "A Little Talk about Spring and the Sweeps," containing an illustration drawn by Buss and engraved on wood by John Jackson, who, it will be remembered, introduced the artist to Chapman & Hall. This short tale was reprinted in the first complete edition of "Sketches by Boz," 1839, under the title of "The First of May," with an etching by Cruikshank depicting an incident differing entirely from that which forms the subject of Buss's woodcut.

PLATE XXVI

DOLLY VARDEN

From an Original Water-colour Drawing by R. W. BUSS

_Lent by the Rev. A. J. Buss._

* * * * *

As a painter of humorous scenes and historical events, Buss gained considerable popularity. From 1826 to 1859 he contributed nearly every year subject-pictures and portraits to the Exhibitions of the Royal Academy, Suffolk Street Gallery, and British Institution, and among his numerous canvases (many of which have been engraved) may be mentioned:--_Humorous_--"The Biter Bit," "The March of Intellect," "The Monopolist," "An Unexpected Reception," "Soliciting a Vote," "Chairing the Member," "Mob Tyranny," "The Mock Mayor of Newcastle-under-Lyme." _Historical_--"The Introduction of Tobacco by Sir Walter Raleigh," "James Watt's First Experience with Steam," "Hogarth at School," "Chantrey's First Essay in Modelling," "Nelson's First Victory over the French Fleet." The artist was also occasionally inspired by Shakespeare and Dickens, and it is specially interesting to note that he painted at least three pictures of scenes in the novelist's works, viz., "Joe Willet Taking Leave of Dolly Varden" (from "Barnaby Rudge"), exhibited at the Royal Academy in 1844, and now in a South Australian public picture-gallery; "The Cricket's Chirp" (Peerybingle, Dot, and Tilly Slowboy, from "The Cricket on the Hearth," Chirp the First), exhibited at Suffolk Street, 1846; and a representation of Trotty Veck peeping into the basket containing his dinner of tripe which his daughter brings him. In an album of studies and notes for his pictures (arranged by the artist for preservation as an heirloom) may be found several sketches for the first-named subject, and in addition to these are two small water-colour drawings, oval in form, of scenes in "Dombey and Son," representing "Mr. Dombey more Magnificent than Usual," and "Captain Cuttle visited by Florence Dombey," the latter being especially well rendered. Whether these have ever been engraved I am unable to say, but the probability is they have not. Curiously enough, the last picture on Buss's easel purported to represent "A Dream of Dickens." This unfinished canvas (still in the possession of a member of the artist's family) contains a portrait of the novelist seated in his study, with visions of scenes from his various works around him. The portrait is adapted from the well-known photograph by Watkins, while the incidents depicted are taken from the original illustrations.

Although Buss's large picture of "Christmas in the Olden Time" proved, for the artist, a financial failure, it benefited him in being the means of introducing him to Charles Knight (perhaps the most enterprising publisher of that day), who, recognising in the young painter a diligent student of manners and customs, engaged his services on the Pictorial Edition of Shakespeare's Works, "Old England," the _Penny Magazine_, and Chaucer's "Canterbury Tales," all of which were issued under Knight's auspices. The Rev. A. J. Buss well remembers his father making these drawings on wood blocks, which were engraved by Jackson, Sly, and others, and recalls that, some years after, he obtained a commission from Mr. Hogarth, a printseller, to execute some Christmas subjects for reproduction by line-engraving.

After 1854 Buss's pictures were for some reason excluded from the Royal Academy Exhibitions, 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 income. As early as 1843 he had issued circulars announcing a course of lessons in drawing on Dupin's method, having previously purchased many expensive models, and rented a room in Duke Street, Grosvenor Square; but all in vain, for not a single pupil was forthcoming! He then prepared a series of lectures on English Comic and Satiric Art, which he delivered in London and the chief provincial towns in England, these being illustrated by large diagrams.

PLATE XXVII

FLORENCE DOMBEY AND CAPTAIN CUTTLE

From an Original Water-colour Drawing by R. W. BUSS

_Lent by the Rev. A. J. Buss._

During the period of struggle for a livelihood, the artist's wife and daughter came nobly to his assistance by establishing, in 1850, the North London Collegiate School for Ladies (as it was then designated), which developed into the leading school in the cause of Female Education. In order to give it a higher grade than other similar seminaries had then attained, Buss not only became its professor of drawing, but teacher of science too, first devoting himself to the study of Chemistry, Botany, Human Physiology, Mechanics, Hydraulics, &c., and he soon became qualified for his self-imposed responsibilities. His artistic capabilities here stood him in good stead, for they enabled him to prepare large diagrams with which to illustrate his lectures; in addition to this, he made his own models for demonstrating the science of Mechanics--thus proving the power he possessed of adapting himself to circumstances, in the earnest desire to obtain a living and in his love for wife and children. "I do not think," observes the Rev. A. J. Buss, when corresponding with me on this subject, "I ever knew a man so industrious as my father. I have a clear remembrance almost from my childhood of his industry,--early morning in his painting-room--up to late hours drawing on wood and etching. He _deserved_ better fortune than he secured; and I have only learnt to admire him the more, the more I think of his career."

At the death of his wife, the artist led a very retired life, in a studio most picturesquely fitted up with ancient furniture, and here it was that he devoted the latter years of his life in preparing for publication his lectures on Art, being aided and encouraged in his congenial task by his affectionate daughter, the late Frances Mary Buss, who subsequently gained high distinction in connection with Education. This profusely-illustrated volume, printed for private circulation, was issued in 1874, and bore the following title: "English Graphic Satire, and its relation to Different Styles of Painting, Sculpture, and Engraving. A Contribution to the History of the English School of Art."

Robert William Buss died at his residence in Camden Street, Camden Town, on February 26, 1875, in his seventy-first year. The end came very quietly and painlessly to him who had fought the battle of life so honestly and so fearlessly.

HABLÔT K. BROWNE ("PHIZ")

I

An Illustrator required for "Pickwick"--Leech and Thackeray
offer their Services--Thackeray's First Meeting with
Dickens--"Mr. Pickwick's Lucky Escape"--Leech's Specimen
Drawing--HABLÔT K. BROWNE ("Phiz") 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"--Mr. J. G. 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 Mr. 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--Mr. Lloyd's Recollections of William Shaw, 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 Edition.

PLATE XXVIII

HABLÔT K. BROWNE ("PHIZ")

From an Unpublished Photograph

_Lent by Mr. Gordon Browne, R.I._

ROBERT YOUNG

From a Photograph by

W. GREEN

_Lent by Mr. R. Young._

It is certainly extraordinary that within the space of a few weeks two vacancies for the post of illustrator of "Pickwick" should have occurred. It was about the beginning of June 1836 (the date of the publication of the third part, containing his two etchings) when Buss unexpectedly received the intimation that his services would be no longer required, and no sooner had this fact become known than there was quite a rush of aspiring artists eager to offer their professional aid, among them being several who had already made a reputation as draughtsmen--such as "Crowquill" (Alfred Forrester), Lee, and others. It is of special interest to learn that John Leech and William Makepeace Thackeray were also desirous of obtaining the appointment, but the honour was destined for another. Thackeray had practised etching for some years, having, while an undergraduate at Cambridge, taken lessons of an engraver and printseller named Roe, who carried on his profession in the University town, and under that gentleman's superintendence he etched a series of plates illustrative of college life, which were first published in 1878. Possessing a natural gift for drawing, the famous satirist (in his early days) earnestly desired to follow Art as a profession, and so far encouraged his bent by copying pictures in the Louvre; but his studies seem to have been of a desultory character, and of little value in making him a sound draughtsman. When, on returning to London, he heard that a designer was required for the "Pickwick" illustrations, he immediately sought an interview with Dickens at his rooms in Furnival's Inn, taking with him some specimens of his work, and more than twenty years afterwards, in responding to the toast of "Literature" at the Royal Academy banquet, he thus referred to the memorable incident: "I can remember when Mr. Dickens was a very young man, and had commenced delighting the world with some charming humorous works, of which I cannot mention the name, but which were coloured light green and came out once a month, that this young man wanted an artist to illustrate his writings, and I recollect walking up to his chambers with two or three drawings in my hand, which, strange to say, he did not find suitable. But for that unfortunate blight which came over my artistical existence, 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 performances." Although at the time he was doubtless surprised at, and sorely disappointed by, "Boz's" want of appreciation, he afterwards acknowledged there was some justification for it, and good-humouredly alluded to the rejection of his services as "Mr. Pickwick's lucky escape." Who can say whether "Vanity Fair" and "Esmond" would ever have been written had this mighty penman been elected to succeed Buss?[18]

Footnote 18: According to the following anecdote, Thackeray
did not over-estimate his own powers as a draughtsman. Mr. M.
H. Spielmann tells us that after Edmund Yates had started an
illustrated magazine, which had but a brief existence,
Thackeray wrote to him: "You have a new artist on _The
Train_, I see, my dear Yates. I have been looking at his
work, and I have solved a problem. I find there _is_ a man
alive who draws worse than myself!"

Thackeray's schoolfellow and life-long friend, John Leech, also submitted a design to Chapman & Hall, in the hope of being successful where others had failed, but the little drawing, slightly tinted in colours, depicting the amusing scene in the Bagman's story of Tom Smart and the high-backed chair, did not indicate the possession by the artist of the necessary qualifications. He was accordingly dismissed; 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 Dickens, but to be afterwards honoured by the friendship and esteem of England's great novelist.

* * * * *
[Sidenote: =Sunday under Three Heads, 1836.=]

As all the world knows, the privilege of illustrating Dickens's most popular work was secured by Hablôt Knight Browne ("Phiz"), this clever designer being rightly regarded as artistic exponent-in-chief of Dickens's creations. At this time he had barely attained his majority, and, unlike Cruikshank, who came to the pictorial embellishment of "Sketches by Boz" and "Oliver Twist" with a distinct reputation, was an almost untried artist. About his eighteenth year, while serving his apprenticeship with the Findens, the well-known line-engravers, 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 Edmonton. _Apropos_ of this etching Mr. Mason Jackson writes in the _Athenæum_, June 11, 1887: "Mr. Chapman (of Chapman & Hall) was delighted with 'John Gilpin's Ride,' and forthwith applied to Browne, who thus succeeded Seymour and Buss as the illustrator of 'Pickwick.'" After a careful comparison of dates, 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 Browne, as generally supposed, but for the purpose of engaging his services as designer of some woodcuts for a pamphlet which the firm was about to publish, entitled "Sunday under Three Heads--As it is; As Sabbath Bells would make it; As it might be made." This brochure, written by Dickens under the pseudonym of "Timothy Sparks," is prefaced by a Dedication dated June 1836, and was therefore in progress prior to the publication of the fourth number of "Pickwick," containing "Phiz's" first designs, which appeared during the following month. When, in after years, Mr. Morton Brune enquired of the artist concerning his share in this little production, he replied: "The work of Dickens mentioned by you was illustrated by me when quite a youngster, and I am sorry to say I can give no information about it--recollecting nothing whatever."[19] Besides a trio of heads (printed on both wrapper and title-page), there are three full-page illustrations, engraved by C. Gray and Orrin Smith. This excessively scarce pamphlet was issued as a protest against the extreme views of Sir Andrew Agnew and the Sabbatarian party, and had immediate reference to a Bill "for the better observance of the Sabbath," then recently rejected in the House of Commons by a small majority. "Sunday under Three Heads" was originally published at two shillings, and now realises as much as £10 in the auction-room. There are two or three _facsimile_ reprints in existence, but the reproductions of the woodcuts are comparatively poor.

Footnote 19: As early as 1837 Browne designed (as an
advertisement for Bentley) a little woodcut (now very rare)
in which he depicted Charles Dickens leading by the lappel of
his waistcoat a burly and perspiring porter, who is seen
carrying a huge bale of copies of _Bentley's Miscellany_, of
which magazine the novelist was then the editor.

It should be mentioned that "Phiz" (together with Seymour and Buss) assisted in the illustration of "The Library of Fiction," published by Chapman & Hall in 1836-37, so that his artistic efforts were by no means unfamiliar to the firm at this time. In his design facing page 293 of the first volume of that work there may be discovered the figure of an obese individual who is the very counterpart of Tony Weller.

* * * * *

[Sidenote: =The Pickwick Papers, 1836-37.=]

An intimate friend of Hablôt K. Browne, Mr. John Greville Fennell (formerly of the _Field_ journal), confirms my opinion that the artist's earliest association with the writings of Dickens was his connection with "Sunday under Three Heads"; but, as the engravings in that pamphlet only bore the designer's initials, it is more than probable that Browne himself was then an absolute stranger to the future novelist. Within a very brief period, however, certain events conspired to bring about the beginning of an acquaintance which ripened into a friendship that never ceased during Dickens's life-time. Mr. Fennell writes: "It was I who, while superintending E. & W. Finden's establishment, sold his first drawing to Adolphus Ackermann, and induced him (H. K. B.) to reproduce Buss's two illustrations (viz., The Cricket-Match[20] and The Fat Boy Awake on this Occasion only), which I sent down to Chapman & Hall." It was apparently through Mr. Fennell's intervention that the publishers were enabled to recognise Browne's ability as an etcher, and to discover in the specimens submitted to them that he was the very man to occupy the position then recently vacated by Buss. He first heard of his appointment from his generous rival, Thackeray, who at once made his way to the artist's abode in Newman Street for the purpose of congratulating him, and it is said that they immediately repaired to a neighbouring public-house, where a banquet consisting of sausages and bottled stout was held in honour of the occasion.

Footnote 20: So far as I am aware, no illustration by "Phiz"
of this subject is extant.

At this juncture, Browne (who considered line-engraving too tedious a process) suspended operations at Finden's establishment, and, through the friendly auspices of Mr. Fennell, his indentures were cancelled two years before they had expired. In conjunction with a kindred spirit, he hired a modest room as a studio, and employed his time in the more congenial pursuit of water-colour drawing. As the result of a solemn compact between them to produce three drawings daily, Browne, who worked very rapidly, was enabled to pay his share of the rent by the proceeds of his labours. In order to familiarise himself with the human form, he attended the evening class at the "Life" School in St. Martin's Lane, having as a fellow-pupil that famous painter of the "nude," William Etty, who afterwards joined the ranks of the Royal Academicians.

In 1836 (when in his twenty-first year) Browne had acquired considerable facility with his pencil, and soon proved that his selection as the illustrator of "Pickwick" was thoroughly justified. By means of the training he had undergone at the Findens, he had obtained a mastery over the difficulties and mysteries of etching, which now proved eminently serviceable. Buss declared that "Phiz" was by no means an expert when he commenced working for "Pickwick," being compelled to obtain help from an experienced engraver named Sands, who "touched up the drawings with his own needle, adding shade where required, and then applied the acid and did all the necessary 'biting-in' and 'stopping-out.'" The facts, however, are rather over-stated, as witness that early effort (perhaps unknown to Buss), viz., the etching of John Gilpin, which was undoubtedly unaided work, testifying that the artist was then quite capable of running alone. It is acknowledged, however, that, so far as the "biting-in" was concerned, he invariably secured co-operation, not on account of his own incapacity, but merely to save time, and for this purpose he generally sought and obtained the requisite help of his quondam fellow-apprentice, Robert Young.

Browne speedily communicated to Mr. Young the welcome intelligence respecting the "Pickwick" appointment; indeed, we are told that he went at once to his friend's chambers, and on entering said, "Look here, old fellow: will you come to my rooms to assist me with a plate I have to etch?" Mr. Young, who was still in the employ of Finden, had acquired such a thorough knowledge of the art of biting-in designs upon steel plates, that Browne realised the importance of securing his co-operation without delay, and, happily for him, his friend readily acceded to his wish; whereupon "Phiz" suggested that he should take his key with him, as they might be late. The design having already been drawn upon the plate, the two conspirators devoted the entire night to the operation of biting-in, the outcome of which was the production of the plate depicting the eventful meeting of Mr. Pickwick and Sam Weller at the old White Hart Inn, perhaps the most notable illustration in the book. Mr. Young's share of the undertaking consisted in the application and manipulation of acid, which corroded the plate where exposed by the needle--a troublesome and delicate operation, requiring considerable experience, as, by too lengthy or too brief a subjection of the metal to the action of the acid, the plate would be ruined, and the labour of the artist rendered of no avail.

Mr. Young writes in reply to my enquiry respecting this and subsequent collaboration: "I did not bite-in the whole of 'Phiz's' etchings. I was some years abroad, during which he had assistance from two engravers, Sands and Weatherhead. 'Phiz' was quite capable of doing this part of the work himself, for he had two or three years' practice during his apprenticeship at Finden's; but he had no time for such work, being always fully occupied in etching or drawing on wood."

PLATE XXIX

"A SUDDEN RECOGNITION, UNEXPECTED ON BOTH SIDES"

_Facsimile_ of the Original Drawing for "Nicholas Nickleby" by

H. K. BROWNE ("PHIZ")

Above the Sketch is written the following, in the autograph of Dickens:--"I don't think that Smike is frightened enough [or that Squeers is] earnest enough, for my purpose."

_Lent by Mr. M. H. Spielmann._

The title-page of "Pickwick" intimates that the volume contains "Forty-three illustrations by R. Seymour and Phiz," thus ignoring Buss's contributions. The fact is (as stated in the preceding chapter) that only a few copies of Part III., containing the two plates by Buss, were issued, these being quickly superseded by a couple of new designs by Browne; therefore, a copy of an absolutely first edition of the book should include seven etchings by Seymour, two by Buss, and thirty-four by "Phiz." Two plates, viz., "The Fat Boy Awake on this Occasion only" and "Mr. Wardle and his Friends under the Influence of 'the Salmon'" were etched for Part III. (after those in Part IV.), to take the place of Buss's cancelled designs. In early copies of the first edition all the plates were printed without titles, and throughout the first twelve numbers each plate bore only a reference in figures to the page which it was intended to illustrate. In the remaining numbers (Parts XIII. to XX.) the reference figures were withheld, the plates showing in the first published copies neither figures, titles, nor publishers' imprint.

For the first three parts of "The Pickwick Papers" there was so limited a demand that the publishers seriously contemplated a discontinuance of the work, a fate which, from the same cause, threatened Thackeray's famous novel, "Vanity Fair," in the early stages of its career. Happily, such a disaster was averted by the appearance in the fourth part of Sam Weller, who at once achieved such enormous popularity that the sale went up by leaps and bounds, the number of copies disposed of increasing from a few hundreds to several thousands. This was an extremely happy augury, not only for author and publishers, but for the young artist whose connection with the book began at this critical time, and the extraordinary circulation so suddenly imparted to the work was doubtless principally instrumental in obtaining for him other commissions, with which he was soon overflowing. Browne's earliest printed plates are signed "Nemo," and referring to this he says: "I think I signed myself as 'Nemo' to my first etchings (those of No. 4) before adopting 'Phiz' as my _sobriquet_, to harmonise--I suppose--better with Dickens's 'Boz.'" The third and succeeding plates bear the signature of "Phiz," a sign-manual which presently became well known to all readers of the novels of Dickens, Ainsworth, and Lever. Although he seldom appended his surname to his designs, we not unfrequently find (in his woodcuts especially) the initials "H.K.B.," in lieu of the more familiar pseudonym. It seems the public could never quite realise that the different signatures were those of the same artist, and were wont to remark that "Browne's work was better than Phiz's."

The "Pickwick" illustrations were produced in couples, that is, two subjects were etched on one plate, this being printed at a single operation and the sheets afterwards divided. "Phiz" was exceedingly rapid in his work when time was limited, and could design and etch a plate in the course of a day, and have it bitten-in and ready for the printer by the next morning. Unlike Seymour, he almost invariably drew his subjects on the steel without reversing them, so that they appeared reversed in the printing; it is evident, however, that he sometimes failed to remember this when preparing his designs, so that occasionally we find that his figures are left-handed, and other similar incongruities. Doubtless, the artist's motive in thus copying his drawings directly upon the plate was to facilitate operations, for in this way he could dispense with the aid of a mirror.

A noteworthy consequence of the increased sale of the "Pickwick" numbers was the serious deterioration of the plates caused by friction in printing, as for every impression the plate must be inked and the superfluous ink removed by wiping with the hand. In those days the process called "steel-facing," by means of which the etched or engraved surface is hardened, was unknown, so that, comparatively, only a few impressions could be struck off before the plate indicated any appreciable sign of wear-and-tear. The designs were therefore etched in duplicate, and this appears to have commenced at the date of the publication of the tenth part of "Pickwick." The system of duplicating the plates readily accounts for the interesting variations observable in different copies of the first issue; as, for example, the faces in the illustration delineating Mr. Pickwick's first meeting with Sam Weller are much improved in the _replica_, while other details are greatly altered; in the original plate portraying Mr. Pickwick in the pound, there are two donkeys and four pigs, while the later impression has but one donkey and two pigs; in the etching where Master Bardell is seen kicking Mr. Pickwick, the boy was first drawn with his head down, but was subsequently represented with it raised, the attitudes of Snodgrass and Winkle being also slightly changed; the second version of the plate entitled "The Break-down" (which, by the way, bears a remarkable resemblance to Buss's unused drawing of the same subject) differs considerably from the first, and this remark applies to many of the other designs; but it is chiefly in the earlier plates that these variations are particularly noticeable. It is by no means surprising that such unimportant alterations exist, for an artist like "Phiz" would find it infinitely tiresome to slavishly copy, line for line, the original designs, especially if he saw an opportunity for improving them.

The late George Augustus Sala held the opinion that Hablôt Browne's earlier illustrations to "Pickwick" are "exceedingly humorous, but exceedingly ill-drawn," and believed that it was the amazing success of the author which spurred the artist to sedulous study, thus conducing in a remarkable degree towards the development of his faculties. Remembering, however, that "Phiz" had only just attained his majority, we cannot but admire the deftness and skill he then displayed in so difficult an art as etching, for, although some of the illustrations are marked by a certain grotesqueness, these plates are marvels of _technique_.

In the preface to the first edition of "The Pickwick Papers" we read: "It is due to the gentleman, whose designs accompany the letterpress, to state that the interval has been so short between the production of each number in manuscript and its appearance in print, 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 write." It was customary at this time for Dickens to call upon Browne, and hastily explain his intentions respecting the chapters to be illustrated, and from notes then made by the artist the requisite designs were evolved. This satisfactorily accounts for certain inaccuracies in the plates, for which, however, "Phiz" cannot justly be censured; for example, in the etching representing Mr. Pickwick hiding behind the door of the young ladies' seminary, the cook should have been the only person shown beyond the threshold; and in the plate depicting the discovery of Jingle in the Fleet, we see Job Trotter standing behind Mr. Pickwick, whereas, according to the text, he had not entered the room at that precise moment. On the other hand, we may detect some defects for which "Phiz" must be held responsible; as, for instance, the inaccurate perspective of the mantelshelf in the plate entitled "The Red-nosed Man Discourseth," and the absence of proportion in the size of the figures of Mr. Pickwick and the old lady in the etching portraying Christmas Eve at Mr. Wardle's, a similar anomaly appearing in the etching of Mr. Pickwick's encounter with Mrs. Bardell in the Fleet. Again, there surely never existed so enormous a sedan-chair as that from the roof of which Mr. Pickwick expostulates with Sam Weller when he attacks the executive of Ipswich, or that into which Mr. Winkle bolts in his _robe de nuit_. In the skating scene, curiously enough, there is no indication of skates being worn by any member of the company. "Phiz" sometimes posed his figures in attitudes which, if not physically impossible, are unnatural and unpicturesque; it must be admitted, however, that he usually succeeded where George Cruikshank invariably failed, that is, in delineating pretty women, of whom his skilled pencil has given us quite an extensive gallery.

A set of proofs of "Phiz's" plates sold for twenty guineas at Sotheby's in 1889. A reprint of "Pickwick," published at Launceston, Van Diemen's Land, in 1838-39, was illustrated by means of lithographic copies (signed "Tiz") of some of the original etchings. At the same time there appeared an American edition, issued in parts by Turney, New York, with _facsimiles_ of the plates engraved on steel.

PLATE XXX

STUDIES FOR

THE CHEERYBLE BROTHERS

_Facsimile_ of Original Drawings by

H. K. BROWNE ("PHIZ")

_Lent by Mr. J. F. Dexter._

It fortunately happens that, with two exceptions, the original drawings by "Phiz" for "The Pickwick Papers" have been preserved; the missing designs are "Mr. Wardle and his Friends under the Influence of 'the Salmon'" and the vignette for the title-page, where Tony Weller is seen ducking Stiggins in the horse-trough. Photogravure reproductions of all the existing designs (some having Dickens's autograph) were published in the Victoria edition by Chapman & Hall in 1887. The majority of the drawings were executed in pencil or pen-and-ink, the effects washed in with a brush, the remainder being entirely brushwork. The following is a list of "Pickwick" designs by "Phiz" such as were merely tentative, and therefore never etched:--

MR. WINKLE'S FIRST SHOT.--_Trial sketch_, illustrating an
incident in the seventh chapter. A sketch of the same
subject was made by Buss.

CHRISTMAS EVE AT MR. WARDLE'S.--_Trial sketch_, varying but
slightly from the approved design.

THE GOBLIN AND THE SEXTON.--_First sketch_, in pencil,
varying considerably from the etching. An attenuated sprite,
with sugar-loaf hat and arms akimbo, is seated on the top of
a flat gravestone beside Gabriel Grub, who, pausing in the
act of raising a bottle to his lips, gazes with astonishment
at his uncanny visitor. Behind is seen a church porch.

THE GOBLIN AND THE SEXTON.--_Second sketch_, similar in
character, but more complete. Positions of figures reversed,
and the goblin more robust. In the published etching the
artist has introduced as a background a view of an
ecclesiastical building, which bears some resemblance to St.
Alban's Abbey.

THE WARDEN'S ROOM.--_Trial sketch_, varying considerably
from the approved design. The attitudes of dancer and seated
figure are different, the man in the bed adjoining Mr.
Pickwick's throws up both arms and one leg, while in either
hand he holds a nightcap and beer-jug. Other figures are
introduced on the right.

In comparing the drawings with the plates, important variations are sometimes apparent. In the remarkable etching, "The Election at Eatanswill," the artist has introduced fresh figures, while others are altered; in "Mr. Pickwick in the Pound," we see in the first state of the etching two donkeys and four pigs, instead of one donkey and three pigs, as in the drawing; in "Job Trotter encountering Sam in Mr. Muzzle's Kitchen," the pretty housemaid was originally represented sitting on Sam Weller's knee; in "The Valentine," the artist's first intention was to portray Tony Weller without hat and cape; and in "Conviviality at Bob Sawyer's," a human skeleton is visible behind Mr. Ben Allen, which was omitted in the etching.

The interest of a few of these drawings is considerably enhanced by the fact that they contain instructions and suggestions in the autograph of Dickens. The first so treated is "Mrs. Leo Hunter's Fancy-dress Déjeuné," the drawing differing in many respects from the etching, chiefly in the attitudes and arrangement of the figures; under it the author has written: "I think it would be better if Pickwick had hold of the Bandit's arm. If Minerva _tried_ to look a little younger (more like Mrs. Pott, who is perfect), I think it would be an additional improvement." The design was altered in accordance with the spirit of the criticism, and we find Minerva, instead of a plump and matronly personage, the very opposite in the matter of physique. 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 Brougham, the subsequent change in his appearance being due to some remonstrance against the artist's freedom. The drawing depicting Mr. Pickwick's first interview with Serjeant Snubbin contains the following hint from the author: "I think the Serjeant should look younger, and a great deal more sly and knowing; he should be looking at Pickwick too, smiling compassionately at his innocence. The other fellows are noble.--C. D." As a matter of fact, the drawing is more successful than the etching, the Serjeant's face in the former indicating that it had been obliterated and altered to suit Dickens's idea. In the original design for the etching representing "Mr. Winkle's Situation when the Door 'Blew to,'" the artist portrayed Mr. Winkle holding the candlestick in front of him; but Dickens objected to this, and wrote at the top of the drawing: "Winkle should be holding the candlestick above his head, I think. It looks more comical, the light having gone out" The change was made, but the curious thing is, neither author nor artist remembered the fact that at the moment depicted Mr. Winkle had actually discarded the useless candlestick. Under the same drawing Dickens penned the following comment: "A _fat_ Chairman so short as our friend here, never drew breath in Bath;" "Phiz" has also written in the margin: "Shall I leave Pickwick where he is or put him under the bed-clothes? I can't carry him so high as the second floor.--H. K. B." (Mr. Pickwick's rooms are described as being in the "upper portion" of the house, but it would seem that Dickens had originally placed him on the "second floor," which suggests that the text was altered to suit the illustration. In reply to this query the author wrote: "I would leave him where he is decidedly. Is the lady full dressed? She ought to be.--C. D." Mr. Pickwick was left accordingly; likewise the fat chairman, whose abnormal obesity was reproduced in the etching as it appears in the drawing. In the sketch of "Mr. Winkle Returns under Extraordinary Circumstances," the artist had not made Sam Weller and the housemaid quite as Dickens desired, whereupon the novelist appended the following queries: "Are Sam and the housemaid clearly made out; and [would it not be be]tter if he was looking on with his arm roun[d Mary?] I rayther question the accuracy of the housemaid."[21] As the sketch, in its present state, realises Dickens's ideas, we may assume that it was altered by the artist before he transferred his design to the plate; indeed, there seems to be evidence of this in the blurred appearance of the young couple in the drawing, in the margin of which "Phiz" has written the following instructions about the biting-in: "The outlines of the figures I have etched with a broad point unintentionally; bite them slightly, that they may not be too hard, especially Pickwick." The last of the drawings containing the novelist's handwriting is that illustrating "The Ghostly passengers in the Ghost of a Mail," this bearing the unusual signature, "Charles {his} + {mark} Dickens," by which the novelist evidently meant to express his satisfaction with the artist's treatment of the subject. In the "English Humorists" Exhibition held in London a few years since, there was a capital study by "Phiz" of Mr. Pickwick, apparently an enlarged _replica_ of the familiar figure and pose as seen in Seymour's illustration of him as he appeared when addressing the Club; it is a water-colour drawing on buff paper, supplemented by marginal sketches of the head and bust of Pickwick with his hat on, together with two studies of hats; upon the side of the drawing is inscribed the following memorandum: "Nankeen tights, black cloth gaiters, _white_ waistcoat, blue coat, brass buttons, square cut in the tails."

Footnote 21: The words in brackets are unfortunately cut off
the sketch.

PLATE XXXI

MASTER HUMPHREY AND THE DEAF GENTLEMAN

_Facsimile_ of the Original Drawing for "Master Humphrey's Clock" by

H. K. BROWNE ("PHIZ")

Beneath the Sketch is written the following, in the autograph of Dickens:--"Master Humphrey ADMIRABLE. Could his stick (with a crooked top) be near his chair? I misdoubt the deaf gentleman's pipe, and wish he could have a better one."

_Lent by Mr. J. F. Dexter._

In 1847 "Phiz" prepared six new designs for "The Pickwick Papers," which were delicately engraved on wood; the series was issued independently, and simultaneously with the first cheap edition of the book. These drawings are undoubtedly superior to the etchings, being the more matured work of the artist. The following were the subjects chosen: "Mr. Winkle's First Shot," "The Effects of Cold Punch," "Mr. Pickwick at Dodson and Fogg's," "The Kiss under the Mistletoe," "Old Weller at the Temperance Meeting," "The Leg of Mutton 'Swarry.'" "Phiz" also contributed to each of the two volumes of the Library Edition (1858-59)[22] a vignette illustration for the title-page, the subjects being Mr. Pickwick and the Wellers, and Sam Weller with the Pretty Housemaid; they were engraved on steel from the original drawings in water-colours. In 1867 the artist was seized with a form of paralysis, the use of the right hand being so greatly impaired that he was unable to make the forefinger and thumb meet; this compelled him to hold the pencil or brush in a clumsy fashion, and to draw with a sort of sweeping movement of the whole arm. It was under such distressing conditions that in 1873-74 he executed a commission to illustrate Chapman & Hall's Household Edition of "The Pickwick Papers." These fifty-seven designs are necessarily extremely poor in treatment, and painfully indicate the effect of the injury his hand had sustained; indeed, the wonder is that he could draw at all. It must be admitted, however, that much of the feebleness of the woodcuts is due to the engraver, as the original outline sketches (which were transferred to the boxwood blocks and there developed) exhibit in a wonderful degree both freedom and precision of touch. A small collection of these drawings was sold at Sotheby's in December 1887, each drawing realising the average price of seven pounds. Sets of the "Pickwick" designs in the Household Edition, coloured by F. W. Pailthorpe, have been issued as "extra" illustrations.

Footnote 22: The early volumes in the Library Edition, issued
during 1858-59, have only vignettes on the title-pages. The
later issues of this edition (1862-68) contain several
illustrations, some of these being reprints of the plates in
the first edition, while others were specially designed.

* * * * *

[Sidenote: =The Strange Gentleman, 1837.=]