Chapter D: Maclise, R.a

From the Painting by
E. M. WARD. R.A., 1846

RICHARD DOYLE

Inherits a Talent for Drawing--Not Permitted to Study from
Models--No Regular Training in Art--A Skilful
Amateur--Precocious Sense of Humour--Fanciful Designs--Doyle
Joins the _Punch_ Staff--Instructed in Drawing on Wood--His
Sign-manual--Retirement from _Punch_--Not Acquainted with
Dickens--His Illustrations for "THE CHIMES"--Elves and
Goblins--An Oversight by the Artist--"THE CRICKET ON THE
HEARTH" and "THE BATTLE OF LIFE"--Doyle's Original Sketches
for the Christmas Books Dispersed.

With the single exception of John Leech, Richard Doyle contributed the greatest number of illustrations to the Christmas Books, three of these little volumes containing, in the aggregate, ten designs by him. He was born in London in 1824, his father, John Doyle, being the famous caricaturist, "H.B.," whose political cartoons created much sensation in their day. At an early age Richard Doyle proved that he inherited a talent for drawing, and was encouraged in this direction by his father, who (strange to say) would not allow him to study from the living model, preferring that the boy should be taught "to observe with watchful eye the leading features of the object before him, and then some little time after to reproduce them from memory as nearly as he could." He had no regular training in art, except such as he was privileged to enjoy in his father's studio, the result being that (as Mr. M. H. Spielmann reminds us in his "History of _Punch_") he never attained a higher position than that of an extremely skilful amateur, "whose shortcomings were concealed in his charming illustrations and imaginative designs, but were startlingly revealed in his larger work and in his figure-drawing.... He was saved by his charm and sweetness, his inexhaustible fun and humour, his delightful though superficial realisation of character, and his keen sense of the grotesque."

Richard Doyle's precocious sense of humour is exemplified in his illustrations for the Comic Histories, executed by him when fifteen years of age, but which were posthumously published. An extraordinary power of fanciful draughtsmanship distinguishes the majority of his designs, so that his pencil was in frequent request for works which demanded the display of this special faculty, such as Leigh Hunt's "Jar of Honey," Ruskin's "King of the Golden River," "Pictures from the Elf World," Planché's "Old Fairy Tales," &c. In 1843, when the artist was only nineteen, he was installed as a member of the regular pictorial staff of _Punch_, and received instruction in drawing on wood from Joseph Swain, the engraver for that journal. Richard Doyle was familiarly known to his intimate friends as "Dicky Doyle," which probably suggested his sign-manual of a little dicky-bird perched upon his initials, R.D.,--a signature that may be found appended to a very considerable number of cuts designed for _Punch_ during a period of seven years--that is, until his retirement therefrom in 1850.

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[Sidenote: =The Chimes, 1845.=]

Although Doyle furnished illustrations to three of Dickens's Christmas Books, there is no evidence that he was ever personally acquainted with the novelist. No reference is made to the artist by Forster, nor does it appear that any correspondence passed between him and Dickens, the necessary instructions being apparently transmitted through the publishers. The earliest Christmas story with which we find him associated is "The Chimes," to which he supplied four illustrations, viz., "The Dinner on the Steps," "Trotty at Home," "Trotty Veck among the Bells," and "Margaret and her Child." His designs embellish the initial pages of each chapter, and are treated in a decorative and fanciful manner. In the first of these it will be noticed that the upper portion consists of a representation of the tower of St. Dunstan's Church in Fleet Street,--a subject repeated by Clarkson Stanfield, R.A., in a subsequent illustration. In the other woodcuts the artist exhibits his acknowledged skill in delineating elves and goblins, that depicting Trotty among the Spirits of the Bells affording a delightful example of his wonderful power in portraying goblin-like creatures, with their weird expressions and varied postures. _Apropos_ of this engraving, a curious oversight has been discovered by the Rev. H. R. Haweis, for Doyle has introduced only three bells, thus seeming to have forgotten that four are required to ring a quarter! The subject of the remaining design, where Margaret, with her babe, kneels at the river's brink, is replete with pathos, the impression of desolation and despair being admirably rendered by means of a few simple lines.

* * * * *

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

The next Christmas story, "The Cricket on the Hearth," contains three illustrations by Doyle, one for each chapter, as before. The first really comprises two distinct subjects, separated by a quaintly-designed initial letter; in the upper drawing is seen John Peerybingle's cart on its journey, preceded by Boxer, while below we are presented with an ideal scene of domestic happiness, where John and Dot are seated before the fire in their humble home. The first page of "Chirp the Second" contains a capital picture of Caleb Plummer and his blind daughter Bertha, busily at work among the toys; in the last design, illustrating the opening lines of "Chirp the Third," the honest carrier is observed reclining his head upon his hand in silent grief, while comforting spirits hover around him.

* * * * *

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

Dickens's fourth Christmas Book, "The Battle of Life," includes three designs by Doyle, which are also introduced as embellishments of the initial pages of the different chapters. They are much bolder in treatment, however, than the artist's earlier drawings, and do not possess the artistic charm appertaining to his illustrations in "The Cricket on the Hearth." The most successful are the vignette subjects at the top of each page, which are charming little studies.

It is unfortunate that no original sketches for these illustrations are available for reproduction. A member of the artist's family declares that they were dispersed, principally as gifts to friends, and that their present destination is unknown.

On December 10, 1883, Richard Doyle was struck down by apoplexy as he was quitting the Athenæum Club, and died on the following day. Thus passed away not only one of the most graceful limners of Fairyland that England has produced, but one who will long be remembered for his many noble qualities of heart and mind.

PLATE XLIX

CLARKSON STANFIELD, R.A.

From a Photograph

_Lent by Mr. Field Stanfield._

FRANK STONE, A.R.A.

From a Photograph

_Lent by Mrs. Kate Perugini._

CLARKSON STANFIELD, R.A.

Apprenticed to a Heraldic Painter--Goes to Sea--Meets
Douglas Jerrold--Scene-painting--Exhibits at the Royal
Academy--Becomes Acquainted with Dickens--A Memorable Trip
to Cornwall--The Logan Stone--Illustrations for "The
Chimes"--A Labour of Love--A Present and a Letter from
Dickens--Illustration for "The Cricket on the Hearth"--A
Quaint Epistle, signed "Henry Bluff"--Illustrations for "The
Battle of Life"--Dickens's Opinion of Stanfield's
Designs--Illustration for "The Haunted Man"--Another Gift
from Dickens to the Artist--A Drawing of the "Britannia"
Steam-ship--Private Theatricals--A Remarkable
Act-Drop--Declining Health--Death of the Artist--Dickens's
Eulogium--"The Most Lovable of Men."

First a sailor, then an artist and a Royal Academician, William Clarkson Stanfield acquired the reputation of being the greatest marine-painter of his time. Born in 1793, he was brought up to the sea, and at sea (curiously enough) was thrown into the companionship of Douglas Jerrold, who, like himself, was ordained to make his mark in a very different profession.

When about twelve years old Clarkson Stanfield was apprenticed to a heraldic painter in Edinburgh, but an intense longing for the career of a sailor resulted in his entering the merchant service in 1808. Four years later he was pressed into the Royal Navy, and while on board the King's ship _Namur_ in 1814 (where he first met Jerrold, then a midshipman), his talent for drawing was discovered, whereupon he was sent ashore at Sheerness to assist in the painting and decoration of the Admiral's ball-room, his work giving so much satisfaction that he was promised his discharge from the Navy--a promise, however, that was not fulfilled. After another interval of three or four years he finally left the sea, having been temporarily disabled by a fall, and procured an engagement as scene-painter at the East London Theatre, for he had already essayed this branch of Art on board ship. So eminently satisfactory were his pictorial achievements in East London that he obtained a similar position at the Edinburgh Theatre, and thence, in 1822, in conjunction with his friends David Roberts and Nasmyth, he was employed in a like capacity at the Theatre Royal, Drury Lane. From that time his success in Art was assured.

Stanfield had already exhibited in the Royal Academy, and year by year his work in this and other Institutions continued to excite interest and admiration, by reason of the simple truthfulness of all his representations. Usually, but not invariably, he preferred to depict scenes in which his nautical experience could be made available, and his natural gifts permitted him to combine with the genuine sailor-like feeling displayed in the treatment of his subjects a poetical sentiment which considerably enhanced the charm of his productions. In 1832 Stanfield was elected an Associate of the Royal Academy, and three years later he attained full honours. It will thus be seen that he had gained a very dignified position in the world of Art before even the name of Charles Dickens became known to the reading public,--as a matter of fact, the future novelist was at that date writing the earliest of those wonderful sketches which appeared under the _nom de guerre_ of "Boz."

Clarkson Stanfield, who was Charles Dickens's senior by about nineteen years, made the acquaintance of the novelist late in the "Thirties," when began those affectionate relations subsisting between the two distinguished men. "I love you so truly," observed Dickens to the artist, in a letter dated August 24, 1844, "and have such pride and joy of heart in your friendship, that I don't know how to begin writing to you." Two years previously Stanfield joined Dickens and his friends Forster and Maclise in their famous trip to Cornwall,--three memorable weeks, overflowing with enjoyment and fun; the artists made sketches of the most romantic of the halting-places, one of these being a drawing of the Logan Stone by Stanfield (now in the Forster Collection at South Kensington), where are seen the figures of himself and his three fellow-travellers.

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[Sidenote: =The Chimes, 1845.=]

In 1844 Dickens conceived the idea of a second Christmas Book, "The Chimes," and what more natural than that he should desire to enlist the services, as illustrator, of so skilled a draughtsman as Clarkson Stanfield? It was decided to depart from the plan adopted in regard to the "Carol," by engaging more than one artist, thus imparting an agreeable variety to the designs. Stanfield, eager to gratify his friend, did not require much persuasion to co-operate in the pictorial embellishment of the little volume, for which he provided two choice drawings, viz., "The Old Church,"--a faithful representation of the "old London belfry" of St. Dunstan's in Fleet Street,--and "Will Fern's Cottage,"--a pretty bit of landscape scenery, such as the artist knew so well how to depict. With these Dickens was charmed, and in a letter to his wife he said: "Stanfield's readiness, delight, wonder at my being pleased with what he has done is delicious."

Stanfield, it appears, would not accept payment for these drawings, preferring that they should be considered as tokens of friendship. Dickens, however, could not pass over so generous an act without some acknowledgment, and this took the form of a silver claret-jug, which was presented (as the inscription records) "In Memory of 'The Chimes.'" Accompanying the gift was the following letter, dated October 2, 1845, where allusion is made to the succeeding Christmas Story:--

"MY DEAR STANNY,--I send you the claret-jug. But for a
mistake, you would have received the little remembrance
almost immediately after my return from abroad.

" ... I need not say how much I should value another little
sketch from your extraordinary hand in this year's small
volume, to which Mac again does the frontispiece. But I
cannot hear of it, and will not have it (though the
gratification of such aid to me is really beyond all
expression), unless you will so far consent to make it a
matter of business as to receive, without asking any
questions, a cheque in return from the publishers. Do not
misunderstand me--though I am not afraid there is much
danger of your doing so, for between us misunderstanding is,
I hope, not easy. I know perfectly well that no terms would
induce you to go out of your way, in such a regard, for
perhaps anybody else. I cannot, nor do I desire to, vanquish
the friendly obligation which help from you imposes on me.
But I am not the sole proprietor of these little books; and
it would be monstrous in you if you were to dream of putting
a scratch into a second one without some shadowy reference
to the other partners, ten thousand times more monstrous in
me if any consideration on earth could induce me to permit
it, which nothing will or shall.

"So, see what it comes to. If you will do me a favour on my
terms, it will be more acceptable to me, my dear Stanfield,
than I can possibly tell you. If you will not be so
generous, you deprive me of the satisfaction of receiving it
at your hands, and shut me out from that possibility
altogether. What a stony-hearted ruffian you must be in such
a case!--Ever affectionately yours,

"CHARLES DICKENS."

* * * * *

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

The "small volume" here alluded to was "The Cricket on the Hearth," for which Stanfield prepared one illustration, viz., "The Carrier's Cart."

* * * * *

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

PLATE L

"WAR" AND "PEACE"

_Facsimile_ of the Original Sketches for "The Battle of Life" by