Chapter I: Illustrators of Cheap Editions 219 (6)

(1.) The child lying dead in the little sleeping-room, which is behind the open screen. It is winter-time, so there are no flowers; but upon her breast and pillow, and about her bed, there may be strips of holly and berries, and such free green things. Window overgrown with ivy. The little boy who had that talk with her about angels may be by the bedside, if you like it so; but I think it will be quieter and more peaceful if she is quite alone. I want it to express the most beautiful repose and tranquillity, and to have something of a happy look, if death can.

(2.) The child has been buried inside the church, and the old man, who cannot be made to understand that she is dead, repairs to the grave and sits there all day long, waiting for her arrival, to begin another journey. His staff and knapsack, her little bonnet and basket, &c., lie beside him. 'She'll come to-morrow,' he says when it gets dark, and goes sorrowfully home. I think an hour-glass running out would help the notion; perhaps her little things upon his knee or in his hand.

"I am breaking my heart over this story, and cannot bear to finish it."

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 Mr. S. J. Davey and Mrs. Edward Franks._

In the first of these two delightful drawings the artist rightly omitted the figure of the boy, and in order to emphasise the sense of repose in that humble death-chamber, he introduced a bird, which is seen perched upon the window-ledge, while the hour-glass (suggested for the second picture) seemed to him more appropriate here. Cattermole made two or three sketches of No. 1 before he quite satisfied the author, who had asked him to carry out certain alterations, these resulting in such a marked improvement that Dickens wrote: "I cannot tell you how much obliged I am to you for altering the child, or how much I hope that my wish in that respect didn't go greatly against the grain."[32] "Will you do me," he asks, in the same letter, "a little tailpiece for the 'Curiosity' story?--only one figure if you like--giving some notion of the etherealised spirit of the child; something like those little figures in the frontispiece." This little allegory formed the closing illustration.

Footnote 32: Macready, upon whom the death of Little Nell had
a painful effect, was much impressed by this illustration, as
an entry in his diary testifies: "Found at home ... an onward
number of 'Master Humphrey's Clock.' I saw one print in it of
the dear dead child that gave a dead chill through my blood.
I dread to read it, but must get it over."

"Barnaby Rudge" immediately followed "The Old Curiosity Shop," under the collective title of "Master Humphrey's Clock." For the first chapter of this stirring romance Cattermole provided a charming illustration, depicting the old "Maypole" Inn, which, however, was not intended to portray the "delicious old inn" opposite Chigwell churchyard, referred to by Dickens in a letter to Forster at this time, it being an entirely fanciful design. When the novelist saw the drawing on wood of this subject he was delighted. "Words cannot say how good it is," he wrote to the artist. "I can't bear the thought of its being cut, and should like to frame and glaze it in _statu quo_ for ever and ever." On January 28, 1841, he queried:--

"I want to know whether you feel ravens in general and would fancy Barnaby's raven in particular? Barnaby being an idiot, my notion is to have him always in company with a pet raven, who is immeasurably more knowing than himself. To this end I have been studying my bird, and think I could make a very queer character of him. Should you like the subject when this raven makes his first appearance?"

Two days later, he again pressed the question:--

"I must know what you think about the raven, my buck; I otherwise am in this fix. I have given Browne no subject for this number, and time is flying. If you would like to have the raven's first appearance, and don't object to having both subjects, so be it. I shall be delighted. If otherwise, I must feed that hero forthwith."

But Cattermole apparently declined the privilege of introducing to the world a presentment of the immortal "Grip,"--an honour which therefore fell to "Phiz's" pencil. On January 30, 1841, Dickens despatched to the artist some printed slips describing Gabriel Varden's house, "which I think [he said] will make a good subject, and one you will like. If you put the ''prentice' in it, show nothing more than his paper cap, because he will be an important character in the story, and you will need to know more about him, as he is minutely described. I may as well say that he is very short. Should you wish to put the locksmith in, you will find him described in No. 2 of 'Barnaby' (which I told Chapman & Hall to send you). Browne has done him in one little thing, but so very slightly that you will not require to see his sketch, I think."

On February 9th the artist received the following request:--

"Will you, for No. 49, do the locksmith's house, which was described in No. 48? I mean the outside. If you can, without hurting the effect, shut up the shop as though it were night, so much the better. Should you want a figure, an ancient watchman in or on his box, very sleepy, will be just the thing for me.

"I have written to Chapman and requested him to send you a block of a long shape, so that the house may come upright, as it were."

From this note, and a subsequent one in which Dickens commands the artist to put "a penny pistol to Chapman's head and demand the blocks of him," we learn that Cattermole had by this time accustomed himself to copying his designs upon wood, and could dispense with that kind of assistance. His drawing of the dilapidated but picturesque old country inn, "The Boot," whither the rioters resorted, is, I believe, a direct transcript from an old print representing the place as it appeared at the time referred to, 1780; the woodcut is in reverse of the print.[33] Here are two letters (dated July 28th and August 6th, 1841, respectively) that fairly bristle with details of scenes, in chapters liv. and lvi., which the artist was desired to depict:--

Footnote 33: A modern public-house still stands upon the
site, in Cromer Street, Gray's Inn Road. It retains the
original sign.

"Can you do for me by Saturday evening--I know the time is short, but I think the subject will suit you, and I am greatly pressed--a party of rioters (with Hugh and Simon Tappertit conspicuous among them) in old John Willet's bar, turning the liquor taps to their own advantage, smashing bottles, cutting down the grove of lemons, sitting astride on casks, drinking out of the best punch-bowls, eating the great cheese, smoking sacred pipes, &c., &c.; John Willet fallen backward in his chair, regarding them with a stupid horror, and quite alone among them, with none of the Maypole customers at his back?

"It's in your way, and you'll do it a hundred times better than I can suggest it to you, I know."

* * * * *

"Here's a subject for the next number.... The rioters went, sir, from John Willet's bar (where you saw them to such good purpose) straight to the Warren, which house they plundered, sacked, burned, pulled down as much of it as they could, and greatly damaged and destroyed. They are supposed to have left it about half-an-hour. It is night, and the ruins are here and there flaming and smoking. I want--if you understand--to show one of the turrets laid open--the turret where the alarm-bell is, mentioned in No. 1; and among the ruins (at some height if possible) Mr. Haredale just clutching our friend, the mysterious file, who is passing over them like a spirit; Solomon Daisy, if you can introduce him, looking on from the ground below.

"Please to observe that the M. F. wears a large cloak and slouched hat. This is important, because Browne will have him in the same number, and he has not changed his dress meanwhile. Mr. Haredale is supposed to have come down here on horseback pell-mell; to be excited to the last degree. I think it will make a queer picturesque thing in your hands.... _P.S._--When you have done the subject, I wish you'd write me one line and tell me how, that I may be sure we agree."

In sending to Dickens for approval a sketch of the ruined home of Mr. Haredale, the artist enclosed the following letter, now printed for the first time:--

"MY DEAR DICKENS,--I cannot hope you will make much out of
the accompanying sketch.[34] I suppose the spectator to be
placed upon the roof of one of the wings of the Warren
House, and towards him are rushing ... [Rudge] and Mr.
Haredale as they issue from a small door in the tower,
whereunto is attached (as part and parcel of the same) the
bell-turret. A small closet through which they pass to the
roof has been dismantled, or rather thrown down and carried
by the fire and the other spoilers; on the grass below is
rooted Solomon Daisy in an ecstasy of wonder, &c., &c.;
beyond are clouds of smoke a-passing over and amongst many
tall trees, and all about are heard the tenants, frightened
rooks, flying and cawing like mad.--In haste, my dear
Charles,

"G. CATTERMOLE."

CLAPHAM, _Aug. 12_ [1841].

Footnote 34: See Plate. Both sketch and letter are in the
collection of Mr. Augustin Daly, of New York, to whom I am
indebted for the opportunity of reproducing them.

PLATE XLI

"THE NIGHT WATCHMAN"

AND

"THE 'MAYPOLE' INN"

_Facsimiles_ of Original Sketches for "Barnaby Rudge" by

GEORGE CATTERMOLE

_Lent by Mr. S. J. Davey._

It will be observed that the incident depicted in this illustration takes place in utter darkness, while the published woodcut represents a daylight scene. This remark also applies to the subject of the next letter (dated August 19, 1841), which was treated by the artist in a similar manner; the effect of torchlight being entirely absent from the picture necessarily deprives it of much dramatic character:--

"When Hugh and a small body of the rioters cut off from the Warren beckoned to their pals, they forced into a very remarkable postchaise Dolly Varden and Emma Haredale, and bore them away with all possible rapidity; one of their company driving, and the rest running beside the chaise, climbing up behind, sitting on the top, lighting the way with their torches, &c., &c. If you can express the women inside without showing them--as by a fluttering veil, a delicate arm, or so forth, appearing at the half-closed window--so much the better. Mr. Tappertit stands on the steps, which are partly down, and, hanging on to the window with one hand and extending the other with great majesty, addresses a few words of encouragement to the driver and attendants. Hugh sits upon the bar in front; the driver sitting postilion-wise, and turns round to look through the window behind him at the little doves within. The gentlemen behind are also anxious to catch a glimpse of the ladies. One of those who are running at the side may be gently rebuked for his curiosity by the cudgel of Hugh. So they cut away, sir, as fast as they can.

"_P.S._--John Willet's bar is noble."

There were yet a few more illustrations required for the closing chapters of "Barnaby Rudge," concerning which the artist received very precise instructions from the author. For example, on September 14, 1841, Dickens forwarded to his illustrator the following "business letter, written in a scramble just before post-time," the directions having reference to incidents in chapters lxxiii., lxxxi., and lxxxii.:--

"_Firstly_, Will you design, upon a block of wood, Lord George Gordon, alone and very solitary, in his prison, and after your own fancy; the time, evening; the season, summer?

"_Secondly_, Will you ditto upon a ditto, a sword-duel between Mr. Haredale and Mr. Chester, in a grove of trees? No one close by. Mr. Haredale has just pierced his adversary, who has fallen, dying, on the grass. He (that is, Chester) tries to staunch the wound in his breast with his handkerchief; has his snuff-box on the earth beside him, and looks at Mr. Haredale (who stands with his sword in his hand looking down on him) with most supercilious hatred, but polite to the last. Mr. Haredale is more sorry than triumphant.

"_Thirdly_, Will you conceive and execute, after your own fashion, a frontispiece for 'Barnaby'?

"_Fourthly_, Will you also devise a subject representing 'Master Humphrey's Clock' as stopped; his chair by the fireside empty; his crutch against the wall; his slippers on the cold hearth; his hat upon the chair-back; the MSS. of 'Barnaby' and 'The Curiosity Shop' heaped upon the table; and the flowers you introduced in the first subject of all withered and dead? Master Humphrey being supposed to be no more.

"I have a fifthly, sixthly, seventhly, and eighthly; for I sorely want you, as I approach the close of the tale; but I won't frighten you, so we'll take breath.

"_P.S._--I have been waiting until I got to subjects of this nature, thinking you would like them best."

Owing to an illness from which Cattermole was then suffering, the frontispiece here referred to was designed by Hablôt Browne. A few days later, the author bethought him of an incident earlier in the story (chapter lxix.), which required an illustration, and anent this he despatched the following note:--

"Will you, before you go on with the other subjects I gave
you, do one of Hugh, bareheaded, bound, tied on a horse, and
escorted by horse-soldiers to jail? If you can add an
indication of old Fleet Market, and bodies of foot-soldiers
firing at people who have taken refuge on the tops of
stalls, bulk-heads, etc., it will be all the better."

PLATE XLII

THE MURDER AT THE WARREN

_Facsimile_ of the Original Sketch for "Barnaby Rudge" by

GEORGE CATTERMOLE

_Lent by Mr. Augustin Daly._

This letter is the last (of those which have been preserved) having reference to George Cattermole's artistic association with "Master Humphrey's Clock." Of the one hundred and ninety-four illustrations contained in this work, thirty-nine were designed by him, these comprising fourteen for "The Old Curiosity Shop," fifteen for "Barnaby Rudge," and ten for the "Clock" chapters; his signature, "G.C.," appended thereto has occasionally been mistaken for the initials of George Cruikshank, to whom some of these designs have been incorrectly attributed. There can be no doubt that George Cattermole's drawings greatly enhanced the popularity of the work, for nothing could be happier than his facile treatment of such subjects as the "Maypole" Inn, the interior of the Old Curiosity Shop, and Quilp's Wharf; while especially effective are his representations of the old church in the village where Little Nell died. This picturesque little structure really exists at Tong, in Shropshire, and, with its splendid carving and magnificent monuments, presents the same attractive appearance which inspired both Dickens and his illustrator. 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 them. "I have so deeply felt," he wrote, "your hearty and most invaluable co-operation in the beautiful illustrations you have made for the last story, that I look at them with a pleasure I cannot describe to you in words, and that it is impossible for me to say how sensible I am of your earnest and friendly aid. Believe me that this is the very first time that any designs for what I have written have touched and moved me, and caused me to feel that they expressed the idea I had in my mind. I am most sincerely and affectionately grateful to you, and am full of pleasure and delight."

In concluding this account of George Cattermole's illustrations for the writings of Dickens, it only remains to add that he prepared a special design as the frontispiece for the first cheap edition of "The Old Curiosity Shop" (1848), an admirable drawing on wood, excellently engraved by Thomas Williams, depicting "Little Nell in the Church."

On the completion of "Master Humphrey's Clock," the author commissioned Cattermole to make two water-colour drawings of scenes in "The Old Curiosity Shop," one representing "Little Nell's Home," while the other (now in the Forster Collection at South Kensington) portrays "Little Nell's Grave" in the old church, this being an enlarged version of the woodcut. These drawings are excellent examples of Cattermole's work, and were highly valued by the novelist, who, in a letter to the artist (dated December 20, 1842), expressed his sincere approval of them. "It is impossible," he said, "for me to tell you how greatly I am charmed with those beautiful pictures, in which the whole feeling, and thought, and expression of the little story is rendered, to the gratification of my inmost heart; and on which you have lavished those amazing resources of yours with power at which I fairly wondered when I sat down yesterday before them. I took them to Mac [Maclise] straightway in a cab, and it would have done you good if you could have seen and heard him. You can't think how moved he was by the old man in the church, or how pleased I was to have chosen it before he saw the drawings. You are such a queer fellow, and hold yourself so much aloof, that I am afraid to say half I would say touching my grateful admiration; so you shall imagine the rest...."

After two years of failing health and much acute suffering, George Cattermole closed an anxious and laborious life on the 24th of July, 1868, the end being undoubtedly hastened by the almost simultaneous deaths, in 1862, of a much-loved son and daughter. Dickens, who sincerely lamented the loss of this cherished friend, actively interested himself on behalf of his widow and young children (who were left in a very distressed condition) by starting a fund for their relief.

It needs but an examination of the correspondence that passed between Charles Dickens and George Cattermole (in which, during later years, the novelist playfully addressed his friend as "My dear Kittenmoles") to prove how deep was their mutual affection. The artist's natural vivacity and good-fellowship caused him to be a great favourite, and those of his family who survive recall with delight the "red-letter" days when Dickens, Thackeray, Landseer, and other kindred spirits foregathered at the Cattermole residence in Clapham Rise, 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 furniture, indicative of the artist's tastes, and strongly reminiscent of his most characteristic pictures.

ILLUSTRATORS

OF THE CHRISTMAS BOOKS

JOHN LEECH.
RICHARD DOYLE.
CLARKSON STANFIELD, R.A.
D. MACLISE, R.A.
SIR JOHN TENNIEL.
FRANK STONE, A.R.A.
SIR E. LANDSEER, R.A.

It was nothing less than an inspiration when, in 1843, Dickens conceived the idea of "A Christmas Carol," the composition of which induced in him such mental excitement, that when it was completed he "broke out like a madman." Its extraordinary popularity encouraged him to prepare a similar story for publication at the end of the following year, this being succeeded by three others, all of them appearing during the festive season, in a binding of crimson cloth embellished with gold designs.[35] Not the least interesting feature of these handsome little volumes is the illustrations, mainly owing to the fact that they were designed by the leading black-and-white artists of the day, including three Royal Academicians and one Associate of the Royal Academy. Of this talented company only one member survives,--Sir John Tenniel, whose pencil is still actively employed in the pages of _Punch_. The following table denotes the number of designs supplied by each artist to the Christmas Books.

Footnote 35: The first issue of the "Carol" was bound in
cloth of a brownish colour, the subsequent issues appearing
in crimson.

ANALYSIS OF ILLUSTRATIONS.

____________________________________________________________________ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦A Christmas¦ The ¦ The ¦The Battle¦ The ¦ ¦ ¦ Artist ¦ Carol, ¦ Chimes¦ Cricket¦ of Life ¦Haunted ¦Total ¦ ¦ ¦ 1843. ¦ 1845 ¦ on the ¦ 1846 ¦Man, 1848¦ ¦ ¦ ¦ ¦ ¦ Hearth ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ 1846 ¦ ¦ ¦ ¦ ¦___________¦___________¦_______¦________¦__________¦_________¦______¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ Leech ¦ 8 ¦ 5 ¦ 7 ¦ 3 ¦ 5 ¦ 28 ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ Doyle ¦ ... ¦ 4 ¦ 3 ¦ 3 ¦ ... ¦ 10 ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ Stanfield ¦ ... ¦ 2 ¦ 1 ¦ 3 ¦ 3 ¦ 9 ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ Maclise ¦ ... ¦ 2 ¦ 2 ¦ 4 ¦ ... ¦ 8 ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ Tenniel ¦ ... ¦ ... ¦ ... ¦ ... ¦ 6 ¦ 6 ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ Stone ¦ ... ¦ ... ¦ ... ¦ ... ¦ 3 ¦ 3 ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ ¦ Landseer ¦ ... ¦ ... ¦ 1 ¦ ... ¦ ... ¦ 1 ¦ ¦ ¦___________¦_______¦________¦__________¦_________¦______¦ ¦ ¦ 8 ¦ 13 ¦ 14 ¦ 13 ¦ 17 ¦ 65 ¦ ¦___________¦___________¦_______¦________¦__________¦_________¦______¦

The engravers were the Dalziel Brothers (14 subjects), T. Williams (11), W. J. Linton (10), Martin and Corbould (8), Smith and Cheltnam (5), Groves (3), Thompson (3), F. P. Becker (2), Gray (2), Swain (2), Green (1). Four designs were etched on steel by John Leech, thus making up the full complement of illustrations.

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 Leech.

John Leech, the leading spirit of _Punch_ for more than twenty years, was born in London in 1817, his father (an Irishman of culture) being a vintner, and at one time the proprietor of the London Coffee-House on Ludgate Hill, then the most important of the large City hotels. As the elder Leech showed some skill as a draughtsman, we may reasonably assume that from him the son inherited a talent for drawing, by means of which he was destined, before many years had passed, to astonish the world by his humour and originality. When a mere lad, he exhibited such aptitude and dexterity with the pencil, that Flaxman, the famous sculptor, pronounced these precocious efforts to be wonderful, and exclaimed: "That boy must be an artist; he will be nothing else or less." Notwithstanding this recommendation, young Leech (after a course of schooling at the Charterhouse, where he had William Makepeace Thackeray as a fellow-pupil) was entered by his father at St. Bartholomew's Hospital, with a view to his adopting the medical profession; but his _penchant_ for drawing and sketching proved irresistible, and he gained more repute among the students by means of his life-like (but good-natured) caricatures, than for any ability he may have displayed in hospital work. On leaving St. Bartholomew's, he was placed under an eccentric practitioner named Whittle (whom Albert Smith has immortalised as Mr. Rawkins), and subsequently under Dr. John Cockle, afterwards Physician to the Royal Free Hospital.

PLATE XLIII

JOHN LEECH

From the Water-colour Drawing by

SIR JOHN E. MILLAIS, P.R.A., 1854

Leech, however, gradually relinquished his medical studies, and resolved to live by his pencil. He was only eighteen years of age when he published his first venture, "Etchings and Sketchings, by A. Penn, Esq.," comprising a collection of slightly caricatured sketches of various odd characters to be met with on the streets of London. Shortly after this maiden effort there appeared upon the scene the initial number of the celebrated "Pickwick Papers," and when, in the second number, the sad death was announced of Robert Seymour, the illustrator, Leech immediately conceived the idea of seeking election as his successor. "Boz" at this time was absolutely unknown to him except by that strange pseudonym, so the ambitious young artist communicated his desire to the publishers, Chapman & Hall, to whom he sent as a specimen of his powers a clever drawing, delicately tinted in colour, of that familiar scene in "Pickwick" where Tom Smart sits up in bed and converses with the animated chair.[36] Thackeray (it will be remembered) also aspired to the position coveted by Leech, but neither possessed the necessary qualifications.

Footnote 36: Concerning this design, of which a _facsimile_
is given in the Victoria edition of "The Pickwick Papers,"
1887, a correspondent received the following interesting
communication from a representative of Dickens's publishing
firm:--

"_May 2nd, 1888._

"DEAR SIR,--The history of the drawing by Leech of 'Tom
Smart and the Arm-chair' is, that at the time there was a
difficulty about the artist for illustrating 'Pickwick,' Mr.
Leech sent it in as a specimen of his ability to illustrate
the work. This was in the year 1836, and it was in the
possession of my predecessor, Mr. Edward Chapman, until
twenty-five years ago, when it came into my
possession.--Faithfully yours,

"FRED CHAPMAN."

In those early years Leech designed numerous illustrations for _Bells Life in London_, and concocted schemes of drollery with his literary friends which resulted in the publication of such humorous productions as the "Comic Latin Grammar," "Comic English Grammar," &c. In August, 1841, he contributed his first drawing to _Punch_ (the fourth number), this being the forerunner of many hundreds of pictures, chiefly of "life and character," bearing the familiar sign-manual of a leech wriggling in a bottle. The artist's connection with _Punch_ gave him a great opportunity, for he was thus enabled to come before the public, week after week, with an endless succession of scenes in high life and low life, now of the hunting-field and now of the river,--always with something that could not fail to delight the eye and to excite good-natured laughter. His deftness and versatility naturally brought many commissions from publishers anxious to secure the aid of his prolific pencil, so that besides his weekly contribution to _Punch_ he was occupied in preparing designs for other works, notably _Douglas Jerrold's Shilling Magazine_, _Hood's Comic Annual_, and "The Ingoldsby Legends."

* * * * *

[Sidenote: =A Christmas Carol, 1843.=]

The year 1843 was memorable to John Leech, for then he first became acquainted with the author of "Pickwick." By whom the introduction was brought about is not quite clear; perhaps the credit of it may be awarded to Douglas Jerrold or Thomas Hood. In the above-mentioned year Leech's services were obtained for the illustration of "A Christmas Carol," for which he prepared eight designs; four of these were etched on steel, the impressions being afterwards coloured by hand, while the remaining four were drawn on wood, and beautifully engraved by W. J. Linton. The popularity of the "Carol" (the pioneer of all Dickens's Christmas Books, and, indeed, of Christmas literature generally) proved enormous, and much of its success was undoubtedly due to the attractive designs of John Leech, who entered so thoroughly into the spirit of this charming little allegory. In 1893 the original drawings, with the exception of that entitled "Scrooge's Third Visitor," were sold at Sotheby's for 155 guineas, and afterwards catalogued by a London bookseller at £240--a considerable advance on the price paid to the artist and engraver, which was just under £50. This interesting series of drawings (two of them tinted in colours) had hitherto remained in the possession of a daughter of the artist.

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 design.

_By Permission of the Art Museum Committee of the
Corporation of Nottingham._
* * * * *

[Sidenote: =The Chimes, 1845.=]

To "The Chimes" Leech contributed five illustrations, the original drawings for which realised 66 guineas at Sotheby's in 1893. Some of these slight pencillings now form part of the Leech Collection at Nottingham Castle, including the first sketch for the illustration referred to by Dickens (in a letter to his wife) as being, together with a sketch by Doyle for the same story, so unlike his ideas that he invited both artists to breakfast with him one morning, and, "with that winning manner which you know of, got them, with the highest good-humour, to do both afresh." The design in question appears in the "Third Quarter," in which two scenes are represented, the upper one depicting Margaret in her garret, while in the lower compartment appears Richard, with "matted hair and unshorn beard," as he enters Trotty Veck's cottage. The artist misunderstood his author, and delineated, instead of Richard as described in the text, an extremely ragged and dissipated-looking character, with a battered hat upon his head. When the novelist saw it, the drawing had already been engraved, but the woodcut was promptly suppressed; there still exists, however, an impression of the cancelled engraving, which is bound up with what is evidently a unique copy of "The Chimes" (now the property of Mr. J. F. Dexter), where blank spaces are left for some of the woodcuts; this particular copy is probably the publishers' "make up," and had accidentally left their hands.

* * * * *

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

"The Cricket on the Hearth" is embellished with seven designs by Leech. The original sketch for one of these illustrations, representing John and Dot seated by the fire, indicates that it was Leech's intention at first to introduce Tilly Slowboy nursing the baby; but it was apparently considered that her presence in the picture destroyed the domestic harmony of the scene, so the figure was omitted, and a separate woodcut made of the subject for a subsequent chapter. 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 chapter, the vigorous character of the former happily contrasting with the more restrained treatment of the latter. In the final woodcut of "The Dance," Leech's sense of humour (not always devoid of exaggeration) has free play, for here not only do we see the human characters in the story indulging in the pleasant exercise, but observe that, in one corner, the carrier's pets, Boxer and the cat, are similarly disporting themselves, while even the artist's signature (in the opposite corner) of a leech in a bottle is placed upon a couple of lively legs, and is kicking away with an _abandon_ worthy of the occasion.

* * * * *

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

In Dickens's fourth Christmas Book, "The Battle of Life," John Leech is represented by three illustrations, all of which are designed in the manner characteristic of these little volumes, in having one scene superimposed upon another. The original sketches for two of these woodcuts, viz., "The Parting Breakfast" and "The Night of the Return," are in the South Kensington Museum,[37] while the third drawing has found its way to America, whither so many Dickens relics have departed. When, in June 1893, some highly-finished _replicas_ of these designs were disposed of at Sotheby's, they realised the extraordinary sums of £35, 10s., £17, 10s., and £20, 10s. respectively. In the Forster Collection at South Kensington there are two very interesting letters, addressed by Leech to the biographer of Dickens, having special connection with these illustrations. The first (dated November 16, 1846) refers to the breakfast scene, and from it we gather that there was a very limited time for preparing the designs:--

Footnote 37: _Facsimiles_ of these have already appeared in
my Memoir of John Leech. A duplicate sketch (more completely
carried out) of "The Parting Breakfast" will be found in the
Print Room of the British Museum, but there is, I believe,
some doubt as to its authenticity. The late Mr. G. A. Sala
pointed out that the engraving of this subject contains an
astonishingly good likeness of that admired comedian, Robert
Keeley, as the old servant Britain.

PLATE XLV

"JOHN, DOT, 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 Drawing, a separate Illustration being made of that portion of the Design.

_Lent by Mr. W. H. Lever._

"MY DEAR FORSTER,--I really cannot say off-hand how many
illustrations I can make within the week; indeed, 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 all.
_Conscientiously_, I could not make Clemency Newcome
particularly beautiful. If you will read a little beyond the
words 'plump and cheerful,' you will find the following:
'But the extraordinary homeliness of her gait and manner
would have superseded any face in the world. To say that she
had two left legs and somebody else's arms, and that all
four limbs seemed to be out of joint, and to start from
perfectly wrong places,' &c, &c. Again, she is described as
having 'a prodigious pair of self-willed shoes,' and a gown
of 'the most hideous pattern procurable for money.' The
impression made upon me by such a description as I have
quoted certainly is that the character so described is both
awkward and comic. Of course I may be wrong in my conception
of what Dickens intended, but _I_ imagine the lady in
question a sort of clean 'Slowboy.' The blessed public (if
they consider the matter at all) will hold me responsible
for what appears with my name; they will know nothing about
my being obliged to conform to Maclise's ideas. I cannot
tell you how loath I should be to cause any delay or
difficulty in the production of the book, or what pain it
would give me to cause either Dickens or yourself any
annoyance. I confess I am a little out of heart.--Believe me
ever yours faithfully,

"JOHN LEECH."

"JOHN FORSTER, Esq."

Maclise, who also provided illustrations to "The Battle of Life," was anxious that his own type of character for Clemency Newcome should be reproduced in the designs by Leech; hence that artist's protest. Writing again two days later on the subject, Leech said:--

"MY DEAR FORSTER,--Perhaps I was wrong in using the word
'conditions' in my note to you--I should have said
'circumstances,' and by being 'embarrassed' by them I meant
that I found it very harassing to do work (that I am for
several reasons anxious to do well) under the constant
feeling that I have too little time to do it in; and also I
meant to convey to you that the necessity (which I certainly
supposed to exist) of preserving a sort of resemblance to
the characters as conceived by Mr. Maclise made it a rather
nervous undertaking to me. It seems I expressed myself
clumsily, as the tone of my note appeared to you anything
but what I intended it to be. Any suggestion from you I
should always consider most valuable. I send you one
drawing, completed this morning at four o'clock, and I
assure you I would spare neither time nor any personal
comfort to show my personal regard for both yourself and
Dickens.

"I should not like to promise more than two other drawings,
if Saturday is positively the last day. I might be able to
do more, but I should not like to promise, and fail. Pray
overlook any glaring defects in the block I send, and
believe me yours faithfully,

"JOHN LEECH.

"JOHN FORSTER, Esq., &c. &c.

"_P.S._ I should like, if there is no objection, that Linton
should engrave for me."

PLATE XLVI

"CALEB AT WORK"

_Facsimile_ of the Original Drawing for "The Cricket on the Hearth" by

JOHN LEECH

_Lent by Mr. W. H. Lever._

It was natural that, remembering the excellent reproductions of his wood-drawings in the "Carol" and "The Chimes," Leech should express a wish that Linton[38] might also engrave those in "The Battle of Life;" but the signatures appended to the cuts show that, doubtless for some sufficient reason, the artist's wish was not respected.

Footnote 38: As I write, the decease of that admirable artist
and engraver is reported from New Haven, U.S.A. W. J. Linton
was born in London in 1812, and had therefore attained a
venerable age, spending the latter portion of his life in
America. During an extremely active career he produced, among
other literary works, a valuable and comprehensive history of
the art of which he was undoubtedly the most capable
exponent. Mr. Linton, who may justly be termed the father of
modern wood-engraving, carried on the tradition of Bewick,
and was a thorough champion of the "white-line school." As a
zealous Chartist he took an active and prominent part in
politics, and, in addition to this, he was a voluminous
writer both in poetry and prose, his works including "The
English Republic," "Claribel, and other Poems," "A Life of
Whittier," &c.

In his third design for "The Battle of Life" Leech committed an extraordinary blunder, the result (it must be confessed) of carelessly studying his author. In this illustration, where the festivities to welcome the bridegroom at the top of the page contrast with the flight of the bride represented below, Leech gravely erred in supposing that Michael Warden had taken part in the elopement, and has introduced his figure with that of Marion. This curious mistake, which might have been avoided had the drawing been submitted to Dickens, was not discovered until too late for remedy, and it is highly characteristic of the novelist, of the true regard he felt for the artist, that he preferred to pass it silently. The most remarkable thing of all is (as Forster has pointed out), nobody seems to have noticed the unfortunate oversight, although it must be obvious to every attentive reader that it makes great havoc of one of the most delicate episodes in the story. The feelings of the author, on realising the seriousness of this terrible misconception on the part of the artist, may be readily imagined. Writing to his biographer, he said: "When I first saw it, it was with a horror and agony not to be expressed. Of course I need not tell _you_, my dear fellow, Warden has no business in the elopement scene. _He_ was never there! In the first hot sweat of this surprise and novelty, I was going to implore the printing of that sheet to be stopped, and the figure taken out of the block. But when I thought of the pain this might give to our kind-hearted Leech, and that what is such a monstrous enormity to me, as never having entered my brain, may not so present itself to others, I became more composed; though the fact is wonderful to me. No doubt a great number of copies will be printed by the time this reaches you, and therefore I shall take it for granted that it stands as it is. Leech otherwise is very good, and the illustrations altogether are by far the best that have been done for any of my Christmas Books...."

The Haunted Man, 1848.

"The Haunted Man and the Ghost's Bargain"--the last of the Christmas stories--contains five designs by Leech, and one of the original sketches is here reproduced, through the courtesy of the Museum authorities at Nottingham Castle. They are not among Leech's happiest efforts, and do not compare favourably with the vignettes in "A Christmas Carol." 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 Nottingham._

Like Cruikshank, "Phiz," and other contemporary book-illustrators, John Leech never worked from models, relying chiefly upon his retentive memory; he seldom made sketches of any kind, but merely jotted down such useful memoranda of bits of scenery and character, details of particular costume, &c, as could be recorded in a little note-book which he invariably carried about with him. When developing an idea for a drawing, he would first make a slight outline of the subject upon paper of the size required, then trace it down upon the wood-block, and finally complete the picture with care and deliberation. The only lessons in etching he ever had he received from George Cruikshank; but it was as a draughtsman on wood that he excelled, his etchings (of which those in the "Carol" are among the best) not being technically equal to those of either Cruikshank or "Phiz," nor do they exhibit that sense of freedom and spontaneity visible in his published drawings. The late George du Maurier, his friend and colleague on _Punch_, tells us that Leech "drew straight on the wood block, with a lead-pencil; his delicate grey lines had to be translated into the uncompromising coarse black lines of printer's ink--a ruinous process; and what his work lost in this way is only to be estimated by those who know." In giving an account of Leech's work, Professor Ruskin points out a fact not generally known, viz., that from an artistic standpoint his first sketches for the woodcuts are much more valuable than the finished drawings, even before those drawings sustained any loss in engraving. "The first few lines in which he sets down his purpose are invariably, of all drawing that I know," says the eminent critic, "the most wonderful in their accurate and prosperous haste." Dickens remained a constant admirer of Leech's genius, and when, in 1848, there appeared a collection of lithographs, where the artist humorously depicted "The Rising Generation," the novelist indited for _The Examiner_ a glowing eulogium upon the work of his friend, in the course of which he declared that he was "the very first Englishman who had made beauty a part of his art." It was from Dickens that Leech occasionally accepted happy thoughts for _Punch_, and it will be remembered that he frequently availed himself (as did Sir John Tenniel subsequently) of "Phiz's" designs for Dickens, whenever he thought they could be appropriately converted into political cartoons.

John Leech occasionally associated himself with the amateur theatrical performances organised by Dickens, but it must be admitted that, owing to his naturally modest and retiring disposition, he did not achieve great distinction as an actor. In 1849, while on a visit to the novelist at Bonchurch, he was stunned by a huge wave when bathing, and was put to bed with "twenty of his namesakes on his temples." Congestion of the brain ensued, and Dickens, who proved one of the most attentive of nurses during this anxious time, proposed to Mrs. Leech to try magnetism. "Accordingly," he wrote to Forster, "in the middle of the night I fell to, and after a very fatiguing bout of it, put him to sleep for an hour and thirty-five minutes. A change came on in the sleep, and he is decidedly better. I talked to the astonished Mrs. Leech across him, when he was asleep, as if he had been a truss of hay."

Incessant brain-work induced in John Leech a peculiar irritability, and he was so much affected by street noises, even such as would escape ordinary attention, that he was compelled at length to resort to the device of double windows. Eventually this abnormal sensitiveness told so seriously upon his health that he was ordered to Homburg for change of scene; but, on returning to his London home in the autumn of 1864, he was still strangely susceptible to noise of all kinds. In addition to this, the artist suffered acutely from _angina pectoris_, and on October 29, 1864, he was seized with an attack of that terrible disease, which, alas! proved fatal. Dickens was sadly overcome by the death of this kindly man, and attributed, thereto his inability to make progress with "Our Mutual Friend," upon which he was then engaged. Around the artist's grave there assembled, on a bright autumn day, many who were distinguished in Art and Literature, in honour of him they sincerely mourned, grieving for the loss of a spirit, so gentle and graceful, that had just passed away.

* * * * *

The portrait of John Leech reproduced for this work is from a beautiful water-colour drawing by his friend, the late Sir John E. Millais, P.R.A., representing the artist in the prime of life. This interesting and valuable presentment of the great pictorial humorist was purchased in 1892 by the Trustees of the National Portrait Gallery, and during the previous year a reproduction of it was given, at my suggestion, as the frontispiece to the biography of John Leech by Mr. W. P. Frith, R.A. Another intimate friend of Leech, Mr. Holman Hunt, informs me that he considers this drawing by Millais as undoubtedly the best portrait of the artist.

PLATE XLVIII

RICHARD DOYLE

From a Photograph by
G. JERRARD

_Lent by Mrs. Henry Doyle._