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.

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.

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.

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.