  II. MR HUGH THOMSON In virtue of certain gentle and caressing qualities of style, Douglas Jerrold conferred on one of his contributors--Miss Eliza Meteyard--the pseudonym of "Silverpen." It is in the silver-pensive key that one would wish to write of Mr. HUGH THOMSON. There is nothing in his work of elemental strife,--of social problem,--of passion torn to tatters. He leads you by no terribile via,--over no "burning Marle." You cannot conceive him as the illustrator of Paradise Lost, of Dante's Inferno--even of DorÉ's Wandering Jew. But when, after turning over some dozens of his designs, you take stock of your impressions, you discover that your memory is packed with pleasant fancies. You have been among "blown fields" and "flowerful closes"; you have passed quaint roadside-inns and picturesque cottages; you are familiar with the cheery, ever-changing idyll of the highway and the bustle of animal life; with horses that really gallop, and dogs that really bark; with charming male and female figures in the most attractive old-world attire; with happy laughter and artless waggeries; with a hundred intimate details of English domesticity that are pushed just far enough back to lose the hardness of their outline in a softening haze of retrospect. There has been nothing more tragic in your travels than a sprained ankle or an interrupted affair of honour; nothing more blood-curdling than a dream of a dragoon officer knocked out of his saddle by a brickbat. Your flesh has never been made to creep: but the cockles of your heart have been warmed. Mechanically, you raise your hand to lift away your optimistic spectacles. But they are not there. The optimism is in the pictures. It must be more than a quarter of a century since Mr. Hugh Thomson, arriving from Coleraine in all the ardour of one-and-twenty, invaded the strongholds of English illustration. He came at a fortunate moment. After a few hesitating and tentative attempts upon the newspapers, he obtained an introduction to Mr. Comyns Carr, then engaged in establishing the English Illustrated Magazine for Messrs. Macmillan. His recommendation was a scrap-book of minutely elaborated designs for Vanity Fair, which he had done (like Reynolds) "out of pure idleness." Mr. Carr, then, as always, a discriminating critic, with a keen eye to possibilities, was not slow to detect, among much artistic recollection, something more than uncertain promise; and although he had already Randolph Caldecott and Mr. Harry Furniss on his staff, he at once gave Mr. Thomson a commission for the magazine. The earliest picture from his hand which appeared was a fancy representation of the Parade at Bath for a paper in June, 1884, by the late H. D. Traill; and he also illustrated (in part) papers on Drawing Room Dances, on Cricket (by Mr. Andrew Lang), and on Covent Garden. But graphic and vividly naturalistic as were his pictures of modern life, his native bias towards imaginary eighteenth century subjects (perhaps prompted by boyish studies of Hogarth in the old Dublin Penny Magazine), was already abundantly manifest. He promptly drifted into what was eventually to become his first illustrated book, a series of compositions from the Spectator. These were published in 1886 as a little quarto, entitled Days with Sir Roger de Coverley. It was a "temerarious" task to attempt to revive the types which, from the days of Harrison's Essayists, had occupied so many of the earlier illustrators. But the attempt was fully justified by its success. One has but to glance at the head-piece to the first paper, where Sir Roger and "Mr. Spectator" have alighted from the jolting, springless, heavy-wheeled old coach as the tired horses toil uphill, to recognise at once that here is an artist en pays de connaissance, who may fairly be trusted, in the best sense, to "illustrate" his subject. Whatever one's predilections for previous presentments, it is impossible to resist Sir Roger (young, slim, and handsome), carving the perverse widow's name upon a tree-trunk; or Sir Roger at bowls, or riding to hounds, or listening--with grave courtesy--to Will Wimble's long-winded and circumstantial account of the taking of the historic jack. Nor is the conception less happy of that amorous fine-gentleman ancestor of the Coverleys who first made love by squeezing the hand; or of that other Knight of the Shire who so narrowly escaped being killed in the Civil Wars because he was sent out of the field upon a private message, the day before Cromwell's "crowning mercy,"--the battle of Worcester. But the varied embodiments of these, and of Mrs. Betty Arable ("the great fortune"), of Ephraim the Quaker, and the rest, are not all. The figures are set in their fitting environment; they ride their own horses, hallo to their own dogs, and eat and drink in their own dark-panelled rooms that look out on the pleached alleys of their ancient gardens. They live and move in their own passed-away atmosphere of association; and a faithful effort has moreover been made to realise each separate scene with strict relation to its text. All of the "Coverley" series came out in the English Illustrated. So also did the designs for the next book, the Coaching Days and Coaching Ways of Mr. Outram Tristram, 1888. Here Mr. Thomson had a topographical collaborator, Mr. Herbert Railton, who did the major part of the very effective drawings in this kind. But Mr. Thomson's contributions may fairly be said to have exhausted the "romance" of the road. Inns and inn-yards, hosts and ostlers and chambermaids, stage-coachmen, toll-keepers, mail-coaches struggling in snow-drifts, mail-coaches held up by highwaymen, overturns, elopements, cast shoes, snapped poles, lost linch-pins,--all the episodes and moving accidents of bygone travel on the high road have abundant illustration, till the pages seem almost to reek of the stableyard, or ring with the horn. The Vicar of Wakefield--as it happens--was Mr. Thomson's next enterprise; and it is, in many respects, a most memorable one. It came out in December, 1890, having occupied him for nearly two years. He took exceptional pains to study and realise the several types for himself, and to ensure correctness of costume. From the first introductory procession of the Primrose family at the head of chapter i. to the awkward merriment of the two Miss Flamboroughs at the close, there is scarcely a page which has not some stroke of quiet fun, some graceful attitude, or some ingenious contrivance in composition. Considering that from Wenham's edition of 1780, nearly every illustrator of repute had tried his hand at Goldsmith's masterpiece in fiction,--that he had been attempted without humour by Stothard, without lightness by Mulready, This was not chargeable against the next volumes to be chronicled. Mrs. Gaskell's Cranford, 1891, and Miss Mitford's Our Village, 1893, are still regarded by many as the artist's happiest efforts. I say "still," because Mr. Thomson is only now in what Victor Hugo called the youth of old age (as opposed to the old age of youth); and it would be premature to assume that a talent so alert to multiply and diversify its efforts, had already attained the summit of its achievement. But in these two books he had certain unquestionable advantages. One obviously would be, that his audience were not already preoccupied by former illustrations; and he was consequently free to invent his own personages and follow his own fertile fancy, without recalling to that implacable and Gorgonising organ, the "Public Eye," any earlier pictorial conceptions. Another thing in his favour was, that in either case, the very definite, and not very complex types surrendered themselves readily to artistic embodiment. "It almost illustrated itself,"--he told an interviewer concerning Cranford; "the characters were so exquisitely and distinctly realised." Every one has known some like them; and the delightful Knutsford ladies (for "Cranford" was "Knutsford"), the "Boz"--loving Captain Brown and Mr. Holbrook, Peter and his father, and even Martha the maid, with their mise en scÈne of card-tables and crackle-china, and pattens and reticules, are part of the memories of our childhood. The same may be said of Our Village, except that the breath of Nature blows more freely through it than through the quiet Cheshire market-town; and there is a larger preponderance of those "charming glimpses of rural life" of which Lady Ritchie speaks admiringly in her sympathetic preface. And with regard to the "bits of scenery"--as Mr. Thomson himself calls them--it may be noted that one of the Manchester papers, speaking of Cranford, praised the artist's intimate knowledge of the locality,--a locality he had never seen. Most of his backgrounds were from sketches made on Wimbledon Common, near which--until he moved for a space to the ancient Cinque Port of Seaford in Sussex--he lived for the first years of his London life. In strict order of time, Mr. Thomson's next important effort should have preceded the books of Miss Mitford and Mrs. Gaskell. The novels of Jane Austen--to which we now come--if not the artist's high-water mark, are certainly remarkable as a tour de force. To contrive some forty page illustrations for each of Miss Austen's admirable, but--from an illustrator's standpoint--not very palpitating productions,--with a scene usually confined to the dining-room or parlour,--with next to no animals, and with rare opportunities for landscape accessory,--was an "adventure"--in Cervantic phrase--which might well have given pause to a designer of less fertility and resource. But besides the figures there was the furniture; and acute admirers have pointed out that a nice discretion is exhibited in graduating the appointments of Longbourn and Netherfield Park,--of Rosings and Hunsford. But what is perhaps more worthy of remark is the artist's persistent attempt to give individuality, as well as grace, to his dramatis persona;. The unspeakable Mr. Collins, Mr. Bennet, the horsy Mr. John Thorpe, Mrs. Jennings and Mrs. Norris, the Eltons--are all carefully discriminated. Nothing can well be better than Mr. Woodhouse, with his "almost immaterial legs" drawn securely out of the range of a too-fierce fire, chatting placidly to Miss Bates upon the merits of water-gruel; nothing more in keeping than the Right Honourable Lady Catherine de Bourgh, "in the very torrent, tempest, and whirlwind" of her indignation, superciliously pausing to patronise the capabilities of the Longbourn reception rooms. Not less happy is the dumbfounded astonishment of Mrs. Bennet at her toilet, when she hears--to her stupefaction--that her daughter Elizabeth is to be mistress of Pemberley and ten thousand a year. This last is a head-piece; and it may be observed, as an additional difficulty in this group of novels, that, owing to the circumstances of publication, only in one of the books. Pride and Prejudice, was Mr, Thomson free to decorate the chapters with those ingenious entÊtes and culs-de-lampe of which he so eminently possesses the secret. By this time his reputation had long been firmly established. To the Jane Austen volumes succeeded other numbers of the so-called "Cranford" series, to which, in 1894, Mr. Thomson had already added, under the title of Coridon's Song and other Verses, a fresh ingathering of old-time minstrelsy from the pages of the English Illustrated. Many of the drawings for these, though of necessity reduced for publication in book form, are in his most delightful and winning manner,--notably perhaps (if one must choose!) the martial ballad of that "Captain of Militia, Sir Bilberry Diddle," who --dreamt, Fame reports, that he cut all the throatsOf the French as they landed in flat-bottomed boats --or rather were going to land any time during the Seven Years' War. Excellent, too, are John Gay's ambling Journey to Exeter., the Angler's Song from Walton (which gives its name to the collection), and Fielding's rollicking "A-hunting we will go." Other "Cranford" books, which now followed, were James Lane Allen's Kentucky Cardinal, 1901; Fanny Burney's Evelina, 1903; Thackeray's Esmond, 1905; and two of George Eliot's novels--Scenes of Clerical Life, 1906, and Silas Marner, 1907. In 1899 Mr. Thomson had also undertaken another book for George Allen, an edition of Reade's Peg Woffington,-- a task in which he took the keenest delight, particularly in the burlesque character of Triplet. These were all in the old pen-work; but some of the designs for Silas Marner were lightly and tastefully coloured. This was a plan the author had adopted, with good effect, not only in a special edition of Cranford (1898), but for some of his original drawings which came into the market after exhibition. Nothing can be more seductive than a Hugh Thomson pen-sketch, when delicately tinted in sky-blue, rose-Du Barry, and apple-green (the vert-pomme dear--as Gautier says--to the soft moderns)--a treatment which lends them a subdued but indefinable distinction, as of old china with a pedigree, and fully justifies the amiable enthusiasm of the phrase-maker who described their inventor as the "Charles Lamb of illustration." From the above enumeration certain omissions have of necessity been made. Besides the books mentioned, Mr. Thomson has contrived to prepare for newspapers and magazines many closely-studied sketches of contemporary manners. Some of the best of his work in this way is to be found in the late Mrs. E.T. Cook's Highways and Byways of London Life, 1902. For the Highways and Byways series, he has also illustrated, wholly or in part, volumes on Ireland, North Wales, Devon, Cornwall and Yorkshire. The last volume, Kent, 1907, is entirely decorated by himself. In this instance, his drawings throughout are in pencil, and he is his own topographer. It is a remarkable departure, both in manner and theme, though Mr. Thomson's liking for landscape has always been pronounced. "I would desire above all things," he told an interviewer, "to pass my time in painting landscape. Landscape pictures always attract me, and the grand examples, Gainsboroughs, Claudes, Cromes, and Turners, to be seen any day in our National Gallery, are a source of never-failing yearning and delight." The original drawings for the Kent book are of great beauty; and singularly dexterous in the varied methods by which the effect is produced. The artist is now at work on the county of Surrey. It is earnest of his versatility that, in 1904, he illustrated for Messrs. Wells, Darton and Co., with conspicuous success, a modernised prose version of certain of Chaucer's Canterbury Tales, as well as Tales from Maria Edgeworth, 1903; and he also executed, in 1892 and 1895, Personal traits do not come within the province of this paper, or it would be pleasant to dwell upon Mr. Thomson's modesty, his untiring industry, and his devotion to his art. But in regard to that art, it may be observed that to characterise it solely as "packing the memory with pleasant fancies" may suffice for an exordium, but is inadequate as a final appreciation. Let me therefore note down, as they occur to me, some of his more prominent pictorial characteristics. With three of the artists mentioned in this and the preceding paper, he has obvious affinities, while, in a sense, he includes them all. If he does not excel Stothard in the gift of grace, he does in range and variety; and he more than rivals him in composition. He has not, like Miss Greenaway, endowed the art-world with a special type of childhood; but his children are always lifelike and engaging. (Compare, at a venture, the boy soldiers whom Frank Castlewood is drilling in chapter xi. of Esmond, or the delightful little fellow who is throwing up his arms in chapter ix. of Emma.) As regards dogs and horses and the rest, his colleague, Mr, Joseph Pennell, an expert critic, and a most accomplished artist, holds that he has "long since surpassed" Randolph Caldecott. |
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