I

An Illustrator required for "Pickwick"—Leech and Thackeray offer their Services—Thackeray's First Meeting with Dickens—"Mr. Pickwick's Lucky Escape"—Leech's Specimen Drawing—HablÔt K. Browne ("Phiz") Elected to Succeed Buss—His Etching of "John Gilpin's Ride" Awarded a Silver Medal—His Designs for "Sunday Under Three Heads" and "The Library of Fiction"—Mr. J. G. Fennell's Reminiscences of the Artist—Thackeray's Congratulations to "Phiz"—A Modest Banquet—"Phiz" as an Etcher—Assisted by Robert Young—Their First Plate for "Pickwick"—An All-Night Sitting—Particulars Concerning a "First Edition" of "Pickwick"—The Success of the Work Assured—The Sobriquet of "Phiz"—The Artist's Signatures—Method of Preparing the "Pickwick" Illustrations—Variations in Duplicated Plates—George Augustus Sala's Opinion of the "Pickwick" Plates—The Etchings Criticised—"Phiz's" Original Drawings for "Pickwick"—His Tentative Designs—Differences between the Drawings and the Etchings—Dickens's Hints to the Artist—"Phiz's" Sketch of Mr. Pickwick—A Series of New Designs—Vignettes for the Library Edition—Woodcuts for the Household Edition—Frontispiece for "The Strange Gentleman"—Illustrations for "Sketches Of Young Gentlemen" and "Sketches of Young Couples"—Sale of the Original Drawings—"Nicholas Nickleby"—Dickens and "Phiz" in Yorkshire—The Prototype of Squeers—A Significant Memorandum—Mr. Lloyd's Recollections of William Shaw, a Yorkshire Pedagogue—The "Nickleby" Etchings Criticised—Particulars Concerning the Plates—The Original Drawings—A Missing Design—Dickens's Instructions to "Phiz"—Variations in the Illustrations—Pictorial Wrapper—Vignettes for the Library Edition.

Plate XXVIII

HABLÔT K. BROWNE ("PHIZ")
From an Unpublished Photograph

Lent by Mr. Gordon Browne, R.I.

ROBERT YOUNG
From a Photograph by W. GREEN

Lent by Mr. R. Young.

It is certainly extraordinary that within the space of a few weeks two vacancies for the post of illustrator of "Pickwick" should have occurred. It was about the beginning of June 1836 (the date of the publication of the third part, containing his two etchings) when Buss unexpectedly received the intimation that his services would be no longer required, and no sooner had this fact become known than there was quite a rush of aspiring artists eager to offer their professional aid, among them being several who had already made a reputation as draughtsmen—such as "Crowquill" (Alfred Forrester), Lee, and others. It is of special interest to learn that John Leech and William Makepeace Thackeray were also desirous of obtaining the appointment, but the honour was destined for another. Thackeray had practised etching for some years, having, while an undergraduate at Cambridge, taken lessons of an engraver and printseller named Roe, who carried on his profession in the University town, and under that gentleman's superintendence he etched a series of plates illustrative of college life, which were first published in 1878. Possessing a natural gift for drawing, the famous satirist (in his early days) earnestly desired to follow Art as a profession, and so far encouraged his bent by copying pictures in the Louvre; but his studies seem to have been of a desultory character, and of little value in making him a sound draughtsman. When, on returning to London, he heard that a designer was required for the "Pickwick" illustrations, he immediately sought an interview with Dickens at his rooms in Furnival's Inn, taking with him some specimens of his work, and more than twenty years afterwards, in responding to the toast of "Literature" at the Royal Academy banquet, he thus referred to the memorable incident: "I can remember when Mr. Dickens was a very young man, and had commenced delighting the world with some charming humorous works, of which I cannot mention the name, but which were coloured light green and came out once a month, that this young man wanted an artist to illustrate his writings, and I recollect walking up to his chambers with two or three drawings in my hand, which, strange to say, he did not find suitable. But for that unfortunate blight which came over my artistical existence, it would have been my pride and my pleasure to have endeavoured one day to find a place on these walls for one of my performances." Although at the time he was doubtless surprised at, and sorely disappointed by, "Boz's" want of appreciation, he afterwards acknowledged there was some justification for it, and good-humouredly alluded to the rejection of his services as "Mr. [Pg 59]
[Pg 60]Pickwick's lucky escape." Who can say whether "Vanity Fair" and "Esmond" would ever have been written had this mighty penman been elected to succeed Buss?[18]

Thackeray's schoolfellow and life-long friend, John Leech, also submitted a design to Chapman & Hall, in the hope of being successful where others had failed, but the little drawing, slightly tinted in colours, depicting the amusing scene in the Bagman's story of Tom Smart and the high-backed chair, did not indicate the possession by the artist of the necessary qualifications. He was accordingly dismissed; but it was reserved for this amiable man and accomplished draughtsman not only to adorn with his pencil the pages of the "Carol" and other Christmas books of Charles Dickens, but to be afterwards honoured by the friendship and esteem of England's great novelist.

Sunday under Three Heads, 1836.As all the world knows, the privilege of illustrating Dickens's most popular work was secured by HablÔt Knight Browne ("Phiz"), this clever designer being rightly regarded as artistic exponent-in-chief of Dickens's creations. At this time he had barely attained his majority, and, unlike Cruikshank, who came to the pictorial embellishment of "Sketches by Boz" and "Oliver Twist" with a distinct reputation, was an almost untried artist. About his eighteenth year, while serving his apprenticeship with the Findens, the well-known line-engravers, Browne was awarded a silver medal offered for competition by the Society of Arts for "the best representation of an historical subject"—a large etching portraying John Gilpin's famous ride through Edmonton. Apropos of this etching Mr. Mason Jackson writes in the AthenÆum, June 11, 1887: "Mr. Chapman (of Chapman & Hall) was delighted with 'John Gilpin's Ride,' and forthwith applied to Browne, who thus succeeded Seymour and Buss as the illustrator of 'Pickwick.'" After a careful comparison of dates, I venture to point out the probability that it was not with a view to the illustration of "Pickwick" that Edward Chapman paid his first visit to Browne, as generally supposed, but for the purpose of engaging his services as designer of some woodcuts for a pamphlet which the firm was about to publish, entitled "Sunday under Three Heads—As it is; As Sabbath Bells would make it; As it might be made." This brochure, written by Dickens under the pseudonym of "Timothy Sparks," is prefaced by a Dedication dated June 1836, and was therefore in progress prior to the publication of the fourth number of "Pickwick," containing "Phiz's" first designs, which appeared during the following month. When, in after years, Mr. Morton Brune enquired of the artist concerning his share in this little production, he replied: "The work of Dickens mentioned by you was illustrated by me when quite a youngster, and I am sorry to say I can give no information about it—recollecting nothing whatever."[19] Besides a trio of heads (printed on both wrapper and title-page), there are three full-page illustrations, engraved by C. Gray and Orrin Smith. This excessively scarce pamphlet was issued as a protest against the extreme views of Sir Andrew Agnew and the Sabbatarian party, and had immediate reference to a Bill "for the better observance of the Sabbath," then recently rejected in the House of Commons by a small majority. "Sunday under Three Heads" was originally published at two shillings, and now realises as much as £10 in the auction-room. There are two or three facsimile reprints in existence, but the reproductions of the woodcuts are comparatively poor.

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

The Pickwick Papers, 1836-37.An intimate friend of HablÔt K. Browne, Mr. John Greville Fennell (formerly of the Field journal), confirms my opinion that the artist's earliest association with the writings of Dickens was his connection with "Sunday under Three Heads"; but, as the engravings in that pamphlet only bore the designer's initials, it is more than probable that Browne himself was then an absolute stranger to the future novelist. Within a very brief period, however, certain events conspired to bring about the beginning of an acquaintance which ripened into a friendship that never ceased during Dickens's life-time. Mr. Fennell writes: "It was I who, while superintending E. & W. Finden's establishment, sold his first drawing to Adolphus Ackermann, and induced him (H. K. B.) to reproduce Buss's two illustrations (viz., The Cricket-Match[20] and The Fat Boy Awake on this Occasion only), which I sent down to Chapman & Hall." It was apparently through Mr. Fennell's intervention that the publishers were enabled to recognise Browne's ability as an etcher, and to discover in the specimens submitted to them that he was the very man to occupy the position then recently vacated by Buss. He first heard of his appointment from his generous rival, Thackeray, who at once made his way to the artist's abode in Newman Street for the purpose of congratulating him, and it is said that they immediately repaired to a neighbouring public-house, where a banquet consisting of sausages and bottled stout was held in honour of the occasion.

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

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

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

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

Plate XXIX

"A SUDDEN RECOGNITION, UNEXPECTED ON BOTH SIDES"
Facsimile of the Original Drawing for "Nicholas Nickleby" by H. K. BROWNE ("Phiz")

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

Lent by Mr. M. H. Spielmann.

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

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

[Pg 65]
[Pg 66]

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

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

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

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

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

Plate XXX

STUDIES FOR THE CHEERYBLE BROTHERS
Facsimile of Original Drawings by H. K. BROWNE ("Phiz")

Lent by Mr. J. F. Dexter.

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

Mr. Winkle's First Shot.—Trial sketch, illustrating an incident in the seventh chapter. A sketch of the same subject was made by Buss.

Christmas Eve at Mr. Wardle's.—Trial sketch, varying but slightly from the approved design.

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

The Goblin and the Sexton.—Second sketch, similar in character, but more complete. Positions of figures reversed, and the goblin more robust. In the published etching the artist has introduced as a background a view of an ecclesiastical building, which bears some resemblance to St. Alban's Abbey.

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

In comparing the drawings with the plates, important variations are sometimes apparent. In the remarkable etching, "The Election at Eatanswill," the artist has introduced fresh figures, while others are altered; in "Mr. Pickwick in the Pound," we see in the first state of the etching two donkeys and four pigs, instead of one[Pg 69]
[Pg 70] donkey and three pigs, as in the drawing; in "Job Trotter encountering Sam in Mr. Muzzle's Kitchen," the pretty housemaid was originally represented sitting on Sam Weller's knee; in "The Valentine," the artist's first intention was to portray Tony Weller without hat and cape; and in "Conviviality at Bob Sawyer's," a human skeleton is visible behind Mr. Ben Allen, which was omitted in the etching.

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

Plate XXXI

MASTER HUMPHREY AND THE DEAF GENTLEMAN
Facsimile of the Original Drawing for "Master Humphrey's Clock" by H. K. BROWNE ("Phiz")

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

Lent by Mr. J. F. Dexter.

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

The Strange Gentleman, 1837.In 1836, as soon as Dickens terminated his connection with the Reporters' Gallery in the House of Commons, he was induced to take a considerable interest in the then newly-erected St. James's Theatre, and even essayed to write for his friend J. P. Harley ("as a practical joke," he afterwards explained) a comic burletta called "The Strange Gentleman," which was adapted from "The Great Winglebury Duel" in "Sketches by Boz." The little farce was published by Chapman & Hall during the following year with a frontispiece by "Phiz," the subject of the plate being suggested by the concluding scene, where the Strange Gentleman proposes marriage to Julia Dobbs; the two seated figures are vigorously drawn, and on a larger scale than those in the "Pickwick" designs. "The Strange Gentleman" is perhaps the rarest of Dickens's writings, and the extraordinary sum of £45 was realised at Sotheby's in August 1892 for an exceptionally fine copy. It has since been beautifully reprinted in facsimile, with a new frontispiece etched by F. W. Pailthorpe.

Sketches of Young Gentlemen, 1838. [Pg 73]
[Pg 74]In the same year Chapman & Hall published a booklet (anonymously written by E. Caswell) entitled "Sketches of Young Ladies," by "Quiz," with six etchings by "Phiz," the author of which was erroneously believed to be Charles Dickens, whose literary style it somewhat resembled. The "Young Ladies" being referred to here in a rather ungallant fashion, Dickens essayed (as a kind of protest) a similar work, in which he pokes fun at the idiosyncrasies of youths of the sterner sex. Like its predecessor, the "Sketches of Young Gentlemen" were written anonymously, and similarly contained six etched illustrations by "Phiz."

Sketches of Young Couples, 1840.In 1840 there appeared a third booklet, entitled "Sketches of Young Couples;" of this Dickens was also the unavowed author, while "Phiz" contributed the usual six etchings. In the third of these designs (only two of which are signed) we are reminded of his presentment of the Kenwigses in "Nicholas Nickleby," the illustrations for which story were then occupying the artist's attention. These little productions were issued in green paper covers, decorated with designs by "Phiz."

The sets of six original drawings for "Sketches of Young Ladies" and "Sketches of Young Gentlemen" realised £40 and £39 respectively at Sotheby's in 1897.

Nicholas Nickleby, 1838-39.In the advertisement announcing the publication of "Nicholas Nickleby," it was stated that each monthly part would be "embellished with two illustrations by 'Phiz'." This is not strictly accurate, for to the twenty parts the artist contributed but thirty-nine plates, the full complement, however, being made up with a portrait of the author (as the frontispiece), engraved by Finden from the painting by D. Maclise, A.R.A.

The most interesting of the "Nickleby" plates are undoubtedly those depicting scenes at Dotheboys Hall, that representing Squeers at the Saracen's Head containing the most familiar presentment of its amiable proprietor. Thus, as he stood mending his pen, the novelist and artist saw the living prototype, and had taken mental notes of the odd figure, who, as will presently be related, was among the several schoolmasters they interviewed.[23]

It was the novelist's intention to expose in this story the terrible abuses practised in the cheap boarding-schools of Yorkshire, and, in order that he might realise their true character, he determined to investigate for himself the real facts as to the condition of those notorious seminaries. Accordingly, at the end of January 1838, he and "Phiz" started on this memorable journey, in bitterly cold weather, and, visiting several schools in the locality, they came into direct contact with the proprietors. One of these was William Shaw, the identical schoolmaster who, some years previously, had been heavily fined for what was represented at the trial as gross maltreatment of his pupils. According to the following entry in the novelist's private diary (under date February 2, 1838), there can be no doubt that he had this individual principally in his mind when delineating the infamous Squeers:—"Mem.—Shaw, the schoolmaster we saw to-day, is the man in whose school several boys went blind some time since from gross neglect. The case was tried, and the verdict went against him. It must have been between 1823 and 1826. Look this out in the newspapers." Mr. Lloyd, a well-known Glasgow comedian, who spent twelve months in Shaw's school at Bowes, Yorkshire, afterwards testified to the truth of the outward appearance of the man as described by Dickens and portrayed by the artist in the pages of the novel, "allowing, of course, for both being greatly exaggerated. A sharp, thin, upright little man, with a slight scale covering the pupil of one of his eyes. Yes, there he stands, with his Wellington boots and short black trousers, not originally cut too short, but from a habit he had of sitting with one knee over the other, and the trousers being tight, they would get 'rucked' half-way up the boots. Then, the clean white vest, swallow-tailed black coat, white necktie, silver-mounted spectacles, close-cut iron-grey hair, high-crowned hat worn slightly at the back of his head—and there you have the man." It certainly seems remarkable that Mr. Lloyd and others who knew Shaw recollect him as a most worthy and kind-hearted gentleman, but this perhaps is explained by certain facts concerning him and his school that were published in the AthenÆum, February 1894, together with a commentary upon a reprint of the trial in which he was the defendant.

It is a curious fact that several Yorkshire schoolmasters actually claimed to be the prototype of Squeers; indeed, a member of the fraternity (probably Shaw himself) declared that he remembered being waited on by two gentlemen, one of whom held him in conversation while the other took his likeness; "and although" (says the author in his preface to the story) "Mr. Squeers has but one eye, and he has two, and the published sketch does not resemble him (whoever he may be) in any other respect, still he and all his friends know at once for whom it is meant, because the character is so like him." I think there can be no doubt that both Dickens and "Phiz," when delineating Squeers, reproduced too closely the idiosyncrasies of one individual, and that the author's description, as well as the artist's presentment, bore so obvious a likeness to Shaw, that he became the scapegoat for others worse than himself, and suffered accordingly.

Plate XXXII

"THE DOMBEY FAMILY"
Facsimile of the First Study for the Etching by
H. K. BROWNE ("Phiz")

The "Query" written beneath the Drawing is in the autograph of the Artist. It was addressed to Dickens, and reads as follows:—"Qy. Whether 'twere better to have him standing thus, stiff as a poker, with a kind of side glance at his daughter,—or sitting, as in the other?" The Etching differs considerably from the Drawing.

Lent by Mr. J. F. Dexter.

In some of the etchings may be discovered slight incongruities (as, for example, in the first plate, where Ralph Nickleby's hat is too small for his head), while in others there is a palpable touch of exaggeration. In the illustration, "The Country Manager Rehearses a Combat," the artist has omitted to introduce the figure of the landlord who ushered into the managerial presence Nicholas and Smike, and the broad-swords should have been basket-hilted weapons. In the etching, where Nicholas instructs Smike in the art of acting, Nicholas wears the rapier on the wrong side, this oversight doubtless resulting from the non-reversal of the design upon the plate. The "Nickleby" illustrations are, as a whole, very successful; in many instances the expressions are capitally rendered, although it is to be regretted that the artist did but scant justice to the physical attractions of Kate Nickleby and Madeline Bray.

There were sixty-three quarto plates etched for the thirty-nine illustrations in the story, each plate carrying two designs; some of these were etched three times, while in seven instances the quarto plate was reproduced no less than four times. In none of these duplicated plates will be found such marked variations in detail as may be noted in the replicas of the "Pickwick" designs, so that the collector need only seek for well-printed impressions.[24]

All the original drawings for "Nickleby," with one exception, are still in existence; they were disposed of on July 16, 1880, in Robinson & Fisher's auction-rooms, when they realised in the aggregate rather more than a hundred pounds. The missing design is that depicting Nicholas in his capacity as tutor in the Kenwigs family. These drawings are executed in pencil and wash, some being especially valuable by reason of marginal notes in the autograph of the novelist. At the top of the original sketch for "A Sudden Recognition, Unexpected on Both Sides" (kindly lent by Mr. M. H. Spielmann for reproduction), Dickens has pencilled a note to the artist, a portion of which (that within the brackets) has been cut away: "I don't think that Smike is frightened enough [or that Squeers is] earnest enough, for my purpose,"—a criticism which was apparently not productive of much alteration in the direction indicated, unless effected in the sketch before the subject was etched.

The late Mr. F. W. Cosens, who possessed several preliminary studies of the Kenwigs children, had in his collection a note from Dickens giving minute instructions to "Phiz" respecting the design [Pg 77]
[Pg 78]for the plate entitled "Great Excitement of Miss Kenwigs at the Hairdresser's Shop." The novelist desired his illustrator to depict "a hairdresser's shop at night—not a dashing one, but a barber's. Morleena Kenwigs on a tall chair, having her hair dressed by an under-bred attendant, with her hair parted down the middle and frizzed up into curls at the sides. Another customer, who is being shaved, has just turned his head in the direction of Miss Kenwigs, and she and Newman Noggs (who has brought her there, and has been whiling away the time with an old newspaper) recognise, with manifestations of surprise, and Morleena with emotion, Mr. Lillivick, the collector. Mr. Lillivick's bristly beard expresses great neglect of his person, and he looks very grim and in the utmost despondency."

The original drawing for "Nicholas Starts for Yorkshire" presents several important variations from the published plate, the positions of the figures being considerably altered, the most remarkable differences being that Ralph Nickleby and Squeers in the sketch are placed on the side opposite the coach and more in the background, the coachman reading the way-bill is transferred to the spot where Squeers now stands, while there is another coachman looking over his shoulder, who is omitted in the etching; the coachman with the whip (as seen in the plate) was not introduced in the sketch. For the monthly parts "Phiz" designed a pictorial wrapper; on either side of this wood-engraving is a corpulent figure mounted on tall stilts, surmounted by an allegorical scene typifying Justice, with cornucopia, &c., and below is seen the culprit Squeers wading through a river, guided by imps carrying lanterns.

For the two volumes of the Library Edition of "Nicholas Nickleby" (1858-59) "Phiz" prepared small designs, delicately tinted in water-colours, which were engraved on steel as vignettes for the title-pages; the subjects represented are "The Nickleby Family" and "The Mad Gentleman and Mrs. Nickleby," the original drawings realising £14 each at Sotheby's in 1889.