Dickens and His Illustrators. Frederic George Kitton
Inscription above the Sketch is in the Autograph of Dickens.
I am enabled to reproduce in facsimile a very interesting sheet of sketches for prominent characters in "Oliver Twist," containing no less than five studies of Fagin, including the "first idea" for the famous etching of the Jew in the condemned cell. Still more noteworthy are four studies of Bill Sikes in the condemned cell, evidently made early in the progress of the book, thus seeming to indicate that the artist conjectured this would be the fate of the burglar instead of the Jew; or is it possible that the existence of these studies may be considered as a corroboration of his assertion (in a letter to the Times, presently to be quoted) that he, and not Dickens, must be credited with the idea of putting either Sikes or Fagin in the cell?
Concerning Cruikshank's powerful conception of Fagin in the condemned cell ("the immortal Fagin of 'Oliver Twist,'" as Thackeray styled him), it is related by Mr. George Hodder (in "Memories of my Time") 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[Pg 15] [Pg 16] 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.
The latter portion of "Oliver Twist" was written in anticipation of the magazine, in order that the complete story might be promptly launched in volume form. The illustrations for the final chapters had consequently to be produced simultaneously and with all possible speed, so that the artist had no time to submit his designs to Dickens. One of these plates, viz., "Rose Maylie and Oliver," depicted a scene in the new home of the Rev. Harry Maylie; he, his wife, and mother, are seated by the fire, while Oliver stands by Rose Maylie's side. When Dickens first saw this etching he so strongly disapproved of it that the plate was forthwith cancelled and another design substituted; but, the book being then on the eve of publication, it was impossible to prevent a small number of impressions of this illustration being circulated, and copies of the work containing the scarce "Fireside" plate are therefore eagerly sought after by collectors. Dickens, in expressing to Cruikshank his disapprobation of this etching, undoubtedly realised the delicacy of the situation, in the possibility of injuring the susceptibilities of the artist, as the following carefully-worded intimation testifies:—
"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.
"With reference to the last one—Rose Maylie and Oliver—without entering into the question of great haste, or any other cause, which may have led to its being what it is, I am quite sure there can be little difference of opinion between us with respect to the result. May I ask you whether you will object to designing this plate afresh, and doing so at once, in order that as few impressions as possible of the present one may go forth?
"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."
Plate IX
"MR. CLAYPOLE AS HE APPEARED WHEN HIS MASTER WAS OUT"
Facsimile of the Original Sketch for "Oliver Twist" by GEORGE CRUIKSHANK
The Inscriptions are in the Autograph of the Artist.
It seems, however, that Cruikshank did not immediately proceed to carry out the author's wish, but endeavoured to improve the plate by retouching and adding further tints by means of stippling, &c. In the South Kensington Collection there is an early proof of the etching in which the shadow tints are washed in with a brush, and the fact that these alterations were subsequently carried out is established by the existence of a unique impression of the plate in its second state. This proof was probably submitted to Dickens and again rejected, for no impressions having the stippled additions are known to have been published. The substituted design, bearing the same title as the suppressed one, does not much excel it in point of interest, as the artist himself readily admitted; it represents Rose Maylie and Oliver standing in front of the tablet put up in the church to the memory of Oliver's mother, this etching appearing in Bentley's Miscellany and in all but the earliest copies of the book. The substituted plate (like many others in the volume) was afterwards considerably "touched up," for it will be noticed that in the earlier impressions Rose's dress is light in tone, while subsequently it was changed to black.
A very circumstantial story relative to Cruikshank's connection with "Oliver Twist" was published in a Transatlantic journal called The Round Table, and reprinted immediately after Dickens's death in a biography of the novelist by Dr. Shelton Mackenzie, who avers that he had been informed that Dickens intended to locate Oliver in Kent, and to introduce hop-picking and other picturesque features of the county he knew so well: that the author changed his purpose, and brought the boy to London: and further, that for such important alterations in the plot Cruikshank was responsible. But the more remarkable portion of this narrative is Dr. Mackenzie's account of his visit to Cruikshank in 1847,[Pg 17] [Pg 18] at the artist's house in Myddleton Terrace, Pentonville, concerning which he writes:—
"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'"
Facsimile of the First Sketch for the Etching by GEORGE CRUIKSHANK