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PAGE

INDEX 249

PLATE II

GEORGE CRUIKSHANK

From the Lithograph by

BAUGNIET

This Portrait is a reproduction of a proof impression, showing the retouching by Cruikshank himself.

DICKENS AND HIS ILLUSTRATORS

GEORGE CRUIKSHANK

The name of George Cruikshank, which stands first in the long and imposing list of Dickens Illustrators, is familiar to every one as that of a pencil humorist of no common calibre, whose genius as a designer and whose marvellous skill as an etcher have evoked enthusiastic praise from John Ruskin and other eminent critics. He undoubtedly inherited his artistic talent from his father, who was not only an etcher and engraver, but "a first-rate water-colour draughtsman." So experienced an artist was therefore thoroughly capable of training his sons, George and Isaac Robert, for the same profession.

Like most boys, George dreamt of the sea, aspiring to become a second Captain Cook; but, happily, the death of his father compelled him to take up seriously the work of designing, in order that he might assist in maintaining his mother and sister. His first start in life originated in a publisher seeing some of his sketches, which indicated such unusual talent that he was immediately engaged to illustrate children's books, songs, and other cheap literature peculiar to the period. Then the young artist essayed the more profitable arena of political caricaturing, distinctly making his mark as a satirist Realising at this time his imperfections as a draughtsman, he determined to acquire the art of drawing with correctness, entering the Royal Academy as a student; but, finding it difficult to work on pedantic lines, his resolution soon waned, and, after one course of study, he left the place for a short interval of--forty years! Although he never became the learned artist, nor was able to draw with academic accuracy, he wielded his pencil with a facility and vigour that delighted all beholders, and this deftness, combined with a remarkable sense of humour and satire, speedily brought him commissions from every quarter.

"JEMIMA EVANS"

GEORGE CRUIKSHANK

Additional interest is imparted to some of the etchings in "Sketches by Boz" owing to the introduction by the artist of portraits of Charles Dickens and himself, there being no less than five delineations of the face and figure of the youthful "Boz" as he then appeared. In the title-page of the Second Series , the identity of the two individuals waving flags in the car of the balloon has been pointed out by Cruikshank, who wrote on the original pencil-sketch, "The parties going up in the balloon are intended for the author and the artist,"--which may be considered a necessary explanation, as the likenesses are not very apparent.

PLATE IV

"THE FOUR MISS WILLISES"

GEORGE CRUIKSHANK

It may be hypercritical to resent, on the score of inaccuracy, an occasional oversight on the part of Cruikshank; but it is nevertheless interesting to note that in the plate entitled "Election for Beadle," Cruikshank has omitted from the inscription on Spruggins's placard a reference to "the twins," the introduction of which caused that candidate to become temporarily a favourite with the electors; in "Horatio Sparkins," the "dropsical" figure of seven is followed by a little "1/2d." instead of the diminutive "3/4d." mentioned in the text; in "The Pawnbroker's Shop" it will be observed that the words "Money Lent" on the glass door should appear reversed, so as to be read from the outside; while in the etching illustrating "Private Theatres," the artist has forgotten to include the "two dirty men with the corked countenances," who are specially referred to in the "Sketch."

The first cheap edition of "Sketches by Boz," issued by Chapman & Hall in 1850, contained a new frontispiece, drawn on wood by Cruikshank, representing Mr. Gabriel Parsons being released from the kitchen chimney,--an incident in "Passage in the Life of Mr. Watkins Tottle."

George Cruikshank not unfrequently essayed several "trial" designs before he succeeded in realising to his satisfaction the subject he aimed at portraying. Some of these are extremely slight pencil notes--"first ideas," hastily made as soon as conceived--while others were subjected to greater elaboration, and differing but slightly, perhaps, from the etchings; on certain drawings are marginal memoranda--such as studies of heads, expressions, and attitudes--which are valuable as showing how the finished pictures were evolved. The majority of the designs are executed in pencil, while a few are drawn with pen-and-ink; occasionally one may meet with a sketch in which the effect is broadly washed in with sepia or indian-ink, and, more rarely still, with a drawing charmingly and delicately wrought in water-colours. Besides original sketches, the collection at the South Kensington Museum contains a series of working tracings, by means of which the artist transferred his subjects to the plates. There are no less than three different suggestions for the frontispiece of the first cheap edition of "Sketches by Boz," together with various renderings of the design for the wrapper of the first complete edition, in which the word "Boz" in the title constitutes a conspicuous feature, being formed of the three letters superimposed, while disposed about them are several of the prominent characters. Probably the most interesting in this collection is a sheet of slight sketches signed by the artist, although they are merely tentative jottings for his etchings. One of these pencillings represents a man proposing a toast at a dinner-table, doubtless intended as an illustration for "Public Dinners"; and here, too, are marginal studies of heads--including one of a Bill Sikes type--together with a significant note in the autograph of Cruikshank, which reads thus: "Some of these suggestions to Chas. Dickens, and which he wrote to in the second part of 'Sketches by Boz'!"

PLATE V

"THOUGHTS ABOUT PEOPLE"

GEORGE CRUIKSHANK

A large number of studies for "Sketches by Boz" may also be seen in the Print Room of the British Museum, many of which are very slight. In some instances we find the same subject rendered in different ways, and it is worthy of note that a few of these designs were never etched; among the most remarkable of the unused sketches is a rough drawing for the wrapper of the monthly parts , with ostensible portraits of author and artist introduced. This collection includes "first ideas" for "Thoughts about People," "Hackney Coaches," "The Broker's Man," &c., and a careful examination shows that the sketches for the plates illustrating "Seven Dials" and "The Pickpocket in Custody" are entitled by the artist "Fight of the Amazons" and "The Hospital Patient" respectively. In one of the trial sketches for "The Last Cabman," the horse is represented as having fallen to the ground, the passenger being violently ejected from the vehicle.

"Boz and Cruikshank want to dance,-- None for frolic riper; But Bentley makes the first advance, Because he pays the piper."

PLATE VI

"THE PARISH ENGINE"

GEORGE CRUIKSHANK

STUDIES FOR

SCENES AND CHARACTERS IN "SKETCHES BY BOZ"

In the centre of the sheet the Artist has written: "Some of these suggestions to Chas. Dickens, and which he wrote to in the second part of 'Sketches by Boz.'"

In considering the story as a whole, it is difficult to say how much of the powerful impression we are conscious of may be due to the illustrator. In his famous eulogy on Cruikshank, Thackeray remarked: "We are not at all disposed to undervalue the works and genius of Mr. Dickens, and we are sure that he would admit as readily as any man the wonderful assistance that he has derived from the artist who has given us portraits of his ideal personages, and made them familiar to all the world. Once seen, these figures remain impressed on the memory, which otherwise would have had no hold upon them, and the Jew and Bumble, and the heroes and heroines of the Boz Sketches, become personal acquaintances with each of us. O that Hogarth could have illustrated Fielding in the same way! and fixed down on paper those grand figures of Parson Adams, and Squire Allworthy, and the great Jonathan Wild." Again, with more especial reference to the "Oliver Twist" designs, the kindly "Michael Angelo Titmarsh" wrote: "The sausage scene at Fagin's; Nancy seizing the boy; that capital piece of humour, Mr. Bumble's courtship, which is even better in Cruikshank's version than in Boz's exquisite account of the interview; Sykes's farewell to his dog; and the Jew--the dreadful Jew--that Cruikshank drew! What a fine touching picture of melancholy desolation is that of Sykes and the dog! The poor cur is not too well drawn, the landscape is stiff and formal; but in this case the faults, if faults they be, of execution rather add to than diminish the effect of the picture; it has a strange, wild, dreary, broken-hearted look; we fancy we see the landscape as it must have appeared to Sykes, when ghastly and with bloodshot eyes he looked at it. As for the Jew in the dungeon, let us say nothing of it--what can we say to describe it?"

Footnote 3: The name of Sikes is frequently thus mis-spelt. It is odd that Dickens himself first wrote it "Sykes," as may be seen in the original manuscript of the story.

"MR. BUMBLE DEGRADED IN THE EYES OF THE PAUPERS"

The Inscription above the Sketch is in the Autograph of Dickens.

Concerning Cruikshank's powerful conception of Fagin in the condemned cell , it is related by Mr. George Hodder that when the great George brought forth this picture, where the Jew is seen biting his finger-nails and suffering the tortures of remorse and chagrin, Horace Mayhew took an opportunity of asking him by what mental process he had conceived such an extraordinary notion; and his answer was, that he had been labouring at the subject for several days, but had not succeeded in getting the effect he desired. At length, beginning to think the task was almost hopeless, he was sitting up in bed one morning, with his hand covering his chin and the tips of his fingers between his lips, the whole attitude expressive of disappointment and despair, when he saw his face in a cheval-glass which stood on the floor opposite to him. "That's it!" he involuntarily exclaimed; "that's just the expression I want!" and by this accidental process the picture was formed in his mind. Many years afterwards Cruikshank declared this statement to be absurd, and when interrogated by Mr. Austin Dobson, who met the artist at Mr. Frederick Locker's house in 1877, he said he had never been perplexed about the matter, but attributed the story to the fact that, not being satisfied whether the knuckles should be raised or depressed, he had made studies of his own hand in a glass, and illustrated his account by putting his hand to his mouth, looking, with his hooked nose, wonderfully like the character he was speaking of. Respecting another illustration in the story, where "The Jew and Morris Bolter begin to Understand each Other," Professor Ruskin observes that it is "the intensest rendering of vulgarity, absolute and utter," with which he is acquainted.

"I returned suddenly to town yesterday afternoon, to look at the latter pages of 'Oliver Twist' before it was delivered to the booksellers, when I saw the majority of the plates in the last volume for the first time.

"I feel confident you know me too well to feel hurt by this enquiry, and, with equal confidence in you, I have lost no time in preferring it."

"MR. CLAYPOLE AS HE APPEARED WHEN HIS MASTER WAS OUT"

GEORGE CRUIKSHANK

The Inscriptions are in the Autograph of the Artist.

"I had to wait while he was finishing an etching, for which a printer's boy was waiting. To while away the time, I gladly complied with his suggestion that I should look over a portfolio crowded with etchings, proofs, and drawings, which lay upon the sofa. Among these, carelessly tied together in a wrap of brown paper, was a series of some twenty-five to thirty drawings, very carefully finished, through most of which were carried the now well-known portraits of Fagin, Bill Sikes and his dog, Nancy, the Artful Dodger, and Master Charles Bates--all well known to the readers of 'Oliver Twist'--and many others who were not introduced. There was no mistake about it, and when Cruikshank turned round, his work finished, I said as much. He told me that it had long been in his mind to show the life of a London thief by a series of drawings, engraved by himself, in which, without a single line of letterpress, the story would be strikingly and clearly told. 'Dickens,' he continued, 'dropped in here one day just as you have done, and, while waiting until I could speak with him, took up that identical portfolio and ferreted out that bundle of drawings. When he came to that one which represents Fagin in the condemned cell, he silently studied it for half-an-hour, and told me that he was tempted to change the whole plot of his story; not to carry Oliver Twist through adventures in the country, but to take him up into the thieves' den in London, show what their life was, and bring Oliver safely through it without sin or shame. I consented to let him write up to as many of the designs as he thought would suit his purpose; and that was the way in which Fagin, Sikes, and Nancy were created. My drawings suggested them, rather than his strong individuality suggested my drawings."

PLATE X

"OLIVER AMAZED AT THE DODGER'S MODE OF 'GOING TO WORK'"

GEORGE CRUIKSHANK

STUDIES FOR

BILL SIKES, NANCY, AND THE ARTFUL DODGER

GEORGE CRUIKSHANK

"I had, a long time previously to this, directed Mr. Dickens's attention to Field Lane, Holborn Hill, wherein resided many thieves and receivers of stolen goods, and it was suggested that one of these receivers, a Jew, should be introduced into the story; and upon one occasion Mr. Dickens and Mr. Harrison Ainsworth called upon me at my house in Myddleton Terrace, Pentonville, and in course of conversation I then and there described and performed the character of one of these Jew receivers, whom I had long had my eye upon; and this was the origin of 'Fagin.'

"Some time after this, Mr. Ainsworth said to me one day, 'I was so much struck with your description of that Jew to Mr. Dickens, that I think you and I could do something together,' which notion of Mr. Ainsworth's, as most people are aware, was afterwards carried out in various works. Long before 'Oliver Twist' was ever thought of, I had, by permission of the city authorities, made a sketch of one of the condemned cells in Newgate prison; and as I had a great object in letting the public see what sort of places these cells were, and how they were furnished, and also to show a wretched condemned criminal therein, I thought it desirable to introduce such a subject into this work; but I had the greatest difficulty to get Mr. Dickens to allow me to carry out my wishes in this respect; but I said I must have either what is called a Christian or what is called a Jew in a condemned cell, and therefore it must be 'Bill Sikes' or 'Fagin;' at length he allowed me to exhibit the latter.

"Without going further into particulars, I think it will be allowed from what I have stated that I am the originator of 'Oliver Twist,' and that all the principal characters are mine; but I was much disappointed by Mr. Dickens not fully carrying out my first suggestion.

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