Part 15 (1/2)

”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 Sat.u.r.day, the 28th of March.... The t.i.tle is 'Master Humphrey's Clock.'

Now, among other improvements, I have turned my attention to the ill.u.s.trations, 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 sc.r.a.p; 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 d.i.c.kENS.”

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 d.i.c.kens'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 ill.u.s.tration 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, d.i.c.kens was constantly in communication with Cattermole respecting the ill.u.s.trations 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 a.s.sa.s.sination of a young gentleman under circ.u.mstances 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....

Footnote 29: ”Mr. Pickwick's Tale,” in the first chapter.

”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 antic.i.p.ation of anything so good, taking into account the material and the despatch.”

Footnote 30: See headpiece to ”First Night of the Giant Chronicles.”

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 ill.u.s.tration 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 Devons.h.i.+re, mentioning a subject of an old gateway,[31] which I had put in expressly with a view to your ill.u.s.trious pencil. By a mistake, however, it went to Browne instead.

Footnote 31: See ill.u.s.tration in ”The Old Curiosity Shop,”

chap, xxvii.

PLATE x.x.xIX

QUILP'S WHARF

_Facsimile_ of the Original Sketch for ”The Old Curiosity Shop” by

GEORGE CATTERMOLE

_Lent by Mrs. Edward Franks._

[Ill.u.s.tration]

”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 sc.r.a.p 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:--