First Acquaintance with Dickens—Declines Offer of Knighthood—Favourite Subjects for Pictures—"Master Humphrey's Clock"—A Letter from Dickens respecting the Illustrations—Cattermole's Designs Copied on Wood by "Phiz" and Samuel Williams—Some Dickens Correspondence—Minute Directions to the Artist—Design for Frontispiece—Useful Hints and Suggestions—The "Maypole" Inn—"Grip," the Raven—Subjects for "Barnaby Rudge"—An Unpublished Letter from Cattermole to Dickens—Closing Chapters of the Story—The Novelist Approves of the Illustrations—Frontispiece for the First Cheap Edition of "The Old Curiosity Shop"—Water-colour Drawings of "Little Nell's Home" and "Little Nell's Grave"—Dickens's Gratitude to Cattermole—Death of the Artist—His Vivacity and Good-fellowship.

Born at Dickleburgh, Norfolk, in the year 1800, George Cattermole was a dozen years the senior of Charles Dickens. His acquaintance with the novelist began in 1838, and when, in the following year, he married Miss Elderton, a distant connection of the author of "Pickwick," the friendship subsisting between the two men ripened into sincere affection. George Cattermole had been elected a member of the Society of Painters in Water-Colours as early as 1833, which indicates that his reputation was already well established, and in 1839 he had achieved such distinction in Art that he received the offer of knighthood,—an honour he modestly declined. The subjects he loved to portray were scenes from mediÆval history, fiction, or ballad literature, and he revelled in depicting incidents of bygone times, with their manners and customs, their architecture and costumes, in the representation of which he has been considered the chief exponent. It was this antiquarian feeling, as well as his powerful imagination and vivid fancy, which excited the admiration of John Ruskin, whose favourable criticisms of the artist's early productions proved of infinite service.

Master Humphrey's Clock, 1840-41. George Cattermole had already enjoyed considerable experience as an illustrator of books, and had made drawings of buildings and scenery described in Scott's novels, when, in 1840, Dickens invited him to collaborate with D. Maclise, R.A., and HablÔt K. Browne ("Phiz") in designing the woodcuts for "Master Humphrey's Clock." The earliest intimation received by the artist respecting the projected publication was contained in the following letter, dated January 13, 1840:—

"My Dear Cattermole,—I am going to propound a mightily grave matter to you. My new periodical work appears—or I should rather say the first number does—on Saturday, the 28th of March.... The title is 'Master Humphrey's Clock.' Now, among other improvements, I have turned my attention to the illustrations, meaning to have woodcuts dropped into the text, and no separate plates. I want to know whether you would object to make me a little sketch for a woodcut—in indian-ink would be quite sufficient—about the size of the enclosed scrap; the subject, an old quaint room with antique Elizabethan furniture, and in the chimney-corner an extraordinary old clock—the clock belonging to Master Humphrey, in fact, and no figures. This I should drop into the text at the head of my opening page.

"I want to know, besides—as Chapman & Hall are my partners in the matter, there need be no delicacy about my asking or your answering the question—what would be your charge for such a thing, and whether (if the work answers our expectations) you would like to repeat the joke at intervals, and if so, on what terms? I should tell you that I intend to ask Maclise to join me likewise, and that the copying, the drawing on wood, and the cutting will be done in first-rate style.... I want to talk the matter over with you, and wish you would fix your own time and place....— Faithfully yours

Charles Dickens."

We gather from this letter that Cattermole was then unaccustomed to drawing upon the wood block, and therefore executed his designs upon paper, to be afterwards copied upon wood by a practical hand. In the next communication, dated a few days later, it will be seen that the artist agreed to Dickens's proposals (preferring, however, to select his own subjects), and that "Phiz's" pencil was made available for copying purposes; the drawing here referred to being that of the "old quaint room" which forms the heading of the first chapter of "Master Humphrey's Clock." The novelist wrote:—

"I think the drawing most famous, and so do the publishers, to whom I sent it to-day. If Browne should suggest anything for the future which may enable him to do you justice in copying (on which point he is very anxious), I will communicate with you. It has occurred to me that perhaps you will like to see his copy on the block before it is cut, and I have therefore told Chapman & Hall to forward it to you.

"In future, I will take care that you have the number to choose your subject from. I ought to have done so, perhaps, in this case; but I was very anxious that you should do the room...."

The artistic skill of the eminent draughtsman and engraver, Samuel Williams, was at first similarly requisitioned for copying purposes, as proved by the signature appended to the illustration of Little Nell's room in the initial chapter of "The Old Curiosity Shop," the original drawing of which was undoubtedly supplied by Cattermole, who, before very long, was enabled to dispense with these professional services.

Judging from the amount of correspondence still extant, Dickens was constantly in communication with Cattermole respecting the illustrations for "Master Humphrey's Clock." In a letter dated March 9, 1840, he said:—

"I have been induced, on looking over the works of the 'Clock,' to make a slight alteration in their disposal, by virtue of which the story about 'John Podgers' will stand over for some little time, and that short tale will occupy its place which you have already by you, and which treats of the assassination of a young gentleman under circumstances of peculiar aggravation.[29] I shall be greatly obliged to you if you will turn your attention to this last morsel as the feature of No. 3, and still more if you can stretch a point with regard to time (which is of the last importance just now), and make a subject out of it, rather than find one in it. I would neither have made this alteration nor have troubled you about it, but for weighty and cogent reasons which I feel very strongly, and into the composition of which caprice or fastidiousness has no part....

"I cannot tell you how admirably I think Master Humphrey's room comes out, or what glowing accounts I hear of the second design you have done.[30] I had not the faintest anticipation of anything so good, taking into account the material and the despatch."

The text of "Master Humphrey's Clock" afforded the artist many congenial themes for his pencil. The story of Little Nell evidently fascinated him, and the various subjects selected for illustration were lovingly dealt with. An interval of several months elapsed before the following instructions were received by him respecting future designs:—

"I sent the MS. of the enclosed proof, marked 2, up to Chapman & Hall from Devonshire, mentioning a subject of an old gateway,[31] which I had put in expressly with a view to your illustrious pencil. By a mistake, however, it went to Browne instead.

Plate XXXIX

QUILP'S WHARF
Facsimile of the Original Sketch for "The Old Curiosity Shop" by GEORGE CATTERMOLE

Lent by Mrs. Edward Franks.

"The subject to which I wish to call your attention is in an unwritten number to follow this one, but it is a mere echo of what you will find at the conclusion of this proof marked 2. I want the cart, gaily decorated, going through the street of the old town with the wax brigand displayed to fierce advantage, and the child seated in it also dispersing bills. As many flags and inscriptions about Jarley's Wax Work fluttering from the cart as you please. You know the wax brigands, and how they contemplate small oval miniatures? That's the figure I want. I send you the scrap of MS. which contains the subject.

"Will you, when you have done this, send it with all speed to Chapman & Hall, as we are mortally pressed for time...."

For some reason, the drawing of Mrs. Jarley's cart was not executed by Cattermole; perhaps he was otherwise occupied at the moment, so that the work fell to Browne, whose initials are appended. Concerning the frontispiece the novelist offered some valuable suggestions, of which the artist readily availed himself:—

"Will you turn your attention to a frontispiece for our first volume, to come upon the left-hand side of the book as you open it, and to face a plain printed title? My idea is, some scene from 'The Curiosity Shop,' in a pretty border, or scroll-work, or architectural device; it matters not what, so that it be pretty. The scene even might be a fanciful thing, partaking of the character of the story, but not reproducing any particular passage in it, if you thought that better for the effect.

"I ask you to think of this, because, although the volume is not published until the end of September, there is no time to lose. We wish to have it engraved with great care and worked very skilfully; and this cannot be done unless we get it on the stocks soon. They will give you every opportunity of correction, alteration, revision, and all other -ations and -isions connected with the fine arts."

In this design will be found Cattermole's only representations of Mr. Pickwick and the two Wellers. In the following letter (dated December 21 [1840]), some hints were given as to the treatment of one of the most charming illustrations in the series, viz., the picturesque parsonage-house which was the temporary home of Little Nell and her Grandfather. The lanthorn here referred to is not only omitted from the drawing, but we fail to find it mentioned in the text:—

"Kit, the single gentleman, and Mr. Garland go down to the[Pg 125]
[Pg 126] place where the child is, and arrive there at night. There has been a fall of snow. Kit, leaving them behind, runs to the old house, and, with a lanthorn in one hand and the bird in its cage in the other, stops for a moment at a little distance with a natural hesitation before he goes up to make his presence known. In a window—supposed to be that of the child's little room—a light is burning, and in that room the child (unknown, of course, to her visitors, who are full of hope) lies dead.

"If you have any difficulty about Kit, never mind about putting him in...."

The next letter contained useful suggestions for the delineation of the most pathetic scenes in "The Old Curiosity Shop."

(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.

"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 [Pg 127]
[Pg 128]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:—

"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].

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[Pg 131]
[Pg 132] 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[Pg 133]
[Pg 134] 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.