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diff --git a/33723-h/33723-h.htm b/33723-h/33723-h.htm new file mode 100644 index 0000000..137e4a0 --- /dev/null +++ b/33723-h/33723-h.htm @@ -0,0 +1,1926 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of "Phiz", by Fred. G. Kitton. + </title> + <style type="text/css"> + + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + } /* page numbers */ + + .linenum {position: absolute; top: auto; left: 4%;} /* poetry number */ + .blockquot{margin-left: 5%; margin-right: 10%;} + + + .center {text-align: center;} + .right {text-align: right;} + .smcap {font-variant: small-caps;} + + + .caption {font-weight: bold;} + + .figcenter {margin: auto; text-align: center;} + + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top: + 1em; margin-right: 1em; padding: 0; text-align: center;} + + .figright {float: right; clear: right; margin-left: 1em; margin-bottom: 1em; + margin-top: 1em; margin-right: 0; padding: 0; text-align: center;} + + .footnotes {border: dashed 1px;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align: super; font-size: .8em; text-decoration: none;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} + .poem span.i2 {display: block; margin-left: 1em; padding-left: 3em; text-indent: -3em;} + .poem span.i4 {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;} + .poem span.i6 {display: block; margin-left: 3em; padding-left: 3em; text-indent: -3em;} + + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of 'Phiz' (Hablot Knight Browne), a Memoir., by +Fred. G. Kitton + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: 'Phiz' (Hablot Knight Browne), a Memoir. + +Author: Fred. G. Kitton + +Release Date: September 14, 2010 [EBook #33723] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK 'PHIZ' (HABLOT KNIGHT BROWNE) *** + + + + +Produced by Chris Curnow, Josephine Paolucci and the Online +Distributed Proofreading Team at https://www.pgdp.net. (This +file was produced from images generously made available +by The Internet Archive.) + + + + + + +</pre> + + + +<h1>"PHIZ"</h1> + +<h2>(H. K. BROWNE)</h2> + +<h4>A Memoir.</h4> +<hr style="width: 65%;" /> + +<h4><i>From <span class="smcap">Punch</span>, July 22nd, 1882.</i></h4> + +<h3>"Phiz."</h3> + +<h3>HABLOT K. BROWNE, <span class="smcap">Artist. Born, 1815. Died, July, 1882.</span></h3> + +<div class="poem"><div class="stanza"> +<span class="i0">The Lamp is out that lighted up the text<br /></span> +<span class="i2">Of <span class="smcap">Dickens</span>, <span class="smcap">Lever</span>—heroes of the pen.<br /></span> +<span class="i0"><i>Pickwick</i> and <i>Lorrequer</i> we love, but next<br /></span> +<span class="i2">We place the man who made us see such men.<br /></span> +<span class="i0">What should we know of <i>Martin Chuzzlewit</i>,<br /></span> +<span class="i2">Stern <i>Mr. Dombey</i>, or <i>Uriah Heep</i>?<br /></span> +<span class="i0"><i>Tom Burke of Ours?</i>—Around our hearths they sit,<br /></span> +<span class="i2">Outliving their creators—all asleep!<br /></span> +</div><div class="stanza"> +<span class="i6">No sweeter gift ere fell to man than his<br /></span> +<span class="i6">Who gave us troops of friends—delightful <span class="smcap">Phiz</span>!<br /></span> +</div><div class="stanza"> +<span class="i0">He is not dead! There in the picture-book<br /></span> +<span class="i2">He lives with men and women that he drew;<br /></span> +<span class="i0">We take him with us to the cozy nook<br /></span> +<span class="i2">Where old companions we can love anew.<br /></span> +<span class="i0">Dear boyhood's friend! We rode with him to hounds;<br /></span> +<span class="i2">Lived with dear <i>Peggotty</i> in after years;<br /></span> +<span class="i0">Missed in old Ireland where fun knew no bounds;<br /></span> +<span class="i2">At <i>Dora's</i> death we felt poor <i>David's</i> tears!<br /></span> +</div><div class="stanza"> +<span class="i6">There is no death for such a man—he is<br /></span> +<span class="i6">The spirit of an unclosed book! immortal <span class="smcap">Phiz</span>!<br /></span> +</div></div> + +<p><a name="front" id="front"></a></p> +<div class="figcenter" style="width: 307px;"> +<img src="images/i_005.jpg" width="307" height="350" alt="" title="" /> +</div> + + + +<hr style="width: 65%;" /> +<h2>"PHIZ"</h2> + +<h3>(HABLOT KNIGHT BROWNE)</h3> + +<h3>A Memoir.</h3> + +<h4>INCLUDING</h4> + +<h3><i>A Selection from his Correspondence and Notes on his Principal Works.</i></h3> + +<h3>BY</h3> + +<h2>FRED. G. KITTON.</h2> + +<h4>WITH A PORTRAIT, AND NUMEROUS ILLUSTRATIONS.</h4> + +<p class="center"> +LONDON:<br /> +W. SATCHELL & CO.,<br /> +19, TAVISTOCK STREET COVENT GARDEN.<br /> +<br /> +MDCCCLXXXII.<br /> +<br /> +<br /> +LONDON:<br /> +G. NORMAN AND SON, PRINTERS, HART STREET,<br /> +COVENT GARDEN.<br /> +</p> + + + +<hr style="width: 65%;" /> +<h2>PREFACE.</h2> + + +<p>Taking into consideration the ability of the Artist whose name has +become identified with the works of <span class="smcap">Dickens</span>, of <span class="smcap">Lever</span>, and of <span class="smcap">Ainsworth</span>; +and who has contributed in the course of the present century more +largely (perhaps with the single exception of <span class="smcap">Cruikshank</span>) to the +embellishment of popular books than any other known illustrator; it +would seem an inexcusable omission, almost amounting to neglect, if the +life and labours of the late <span class="smcap">Hablot Knight Browne</span> met with no more +worthy recognition than the fleeting comments of the daily press.</p> + +<p>Such, at least, is my opinion; and as a humble tribute to the memory of +an able and industrious draughtsman, and fertile designer, I place on +record the more generally interesting particulars of an honourable and +exemplary career.</p> + +<p>To Mr. <span class="smcap">W. G. Browne</span> and Dr. <span class="smcap">Edgar Browne</span>, sons of the deceased artist, +my best thanks are due for a kindly interest in my work, manifested more +especially by the loan of many interesting letters dashed off on various +occasions by "Phiz" in the wildest spirit of fun; and a willing consent +to their appearance in print.</p> + +<p>I have also to acknowledge the courtesy of Messrs. <span class="smcap">H. Sotheran & Co.</span>, +for permission to copy for publication a few letters written by "Phiz" +to <span class="smcap">Charles Dickens</span>, which are now published for the first time. For the +Portrait (copied from a photograph, perhaps the best of the very few now +in existence) I am indebted to the Proprietors of <i>The Graphic</i>.</p> + +<p>And lastly, the Author desires to associate with this brochure the name +of his friend, Mr. <span class="smcap">George Redway</span>, who has rendered much valuable +assistance in bringing it before the public.</p> + +<p class="right"> +FRED. G. KITTON.<br /> +<br /> +<span class="smcap">25, Paultons Square,<br /> +Chelsea, S.W.</span><br /> +<br /> +<i>August, 1882</i>.<br /> +</p> + + + +<hr style="width: 65%;" /> +<h2>LIST OF PLATES.</h2> + + + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr><td align='left'>Portrait of "Phiz" (H. K. Browne)</td><td align='left'></td><td align='right'><a href="#front">FRONTISPIECE</a></td></tr> +<tr><td align='left'>The Departure</td><td align='center'>To face page</td><td align='right'><a href="#Page_8">8</a></td></tr> +<tr><td align='left'>Artist's "Fancies for Mr. Dombey"</td><td align='center'>"</td><td align='right'><a href="#Page_11">11</a></td></tr> +<tr><td align='left'>Sam Weller and his Father</td><td align='center'>"</td><td align='right'><a href="#Page_14">14</a></td></tr> +<tr><td align='left'>Tail-piece to <i>Barnaby Rudge</i></td><td align='center'>"</td><td align='right'><a href="#Page_16">16</a></td></tr> +<tr><td align='left'>Dick Swiveller and the Lodger</td><td align='center'>"</td><td align='right'><a href="#Page_20">20</a></td></tr> +<tr><td align='left'>Death of Quilp</td><td align='center'>"</td><td align='right'><a href="#Page_26">26</a></td></tr> +<tr><td align='left'>The Rioters</td><td align='center'>"</td><td align='right'><a href="#Page_30">30</a></td></tr> +</table></div> + +<p><span class="smcap">Note.</span>—With the exception of the Portrait, and the "Dombey fancies," the +above engravings are printed from electro-types of the original blocks, +which were first published in <i>Master Humphrey's Clock</i> (1840-1).</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span></p> +<h2>"PHIZ" (H. K. BROWNE) A MEMOIR.</h2> + + +<p>"Fizz, Whizz, or something of that sort," humorous <span class="smcap">Tom Hood</span> would say, +when trying to recall the pseudonym that has since become so familiar by +means of the innumerable works of art to which it was appended. At the +time <span class="smcap">Hablot<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> Knight Browne</span> first used this quaint <i>soubriquet</i>, it was +customary to look upon book-illustrators as second, or even third-rate +artists—mere hacks in fact; and for this reason they usually suppressed +their real names, in order to give themselves the opportunity of earning +the title of <i>artist</i>, when producing more ambitious results as +painters. Occasionally, whether by accident or design, the subject of +this memoir would affix his real name to his illustrations; and the +public were consequently under the impression that the two signatures +were those of different artists, and were even wont to remark that +"<i>Browne's work was better than that of 'Phiz!</i>'"</p> + +<p>It is not, perhaps, generally known that the artist's first <i>nom de +crayon</i> was "<span class="smcap">Nemo</span>," which to some extent bears out the above statement +that a book-illustrator was considered a "nobody." Mr. <span class="smcap">Browne</span> himself, +in referring to the <i>Pickwick Papers</i>, gave the following +explanation:—"I think I signed myself as '<span class="smcap">Nemo</span>' to my first etchings +(those of No. 4) before adopting 'Phiz' as my <i>soubriquet</i>, to +harmonize—I suppose—better with Dickens' 'Boz.'" It is only on the +earliest printed plates in some copies of the <i>Pickwick Papers</i> that the +signature of "<span class="smcap">Nemo</span>" can be faintly traced.</p> + +<p><span class="smcap">Hablot Knight Browne</span>, son of William Loder Browne, a descendant from a +Norfolk family, was born on the 12th of July, 1815, at Kennington, +London. He was educated at a private school in Norfolk, and from an +early age<span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span> evinced a taste for drawing, which, being recognized by his +relatives, induced them to apprentice him to <span class="smcap">Finden</span>, the well-known +line-engraver. An anecdote is told of him during his apprenticeship +which will bear repetition. Finding <span class="smcap">Browne</span> very painstaking and +conscientious, his master usually sent him with engraved plates to the +printer, in order that he might superintend the operation of +proof-taking. As printers usually take their own time over such matters, +the youth found that this waiting the pressman's pleasure tried his +patience too much. It therefore occurred to him that to spend the +interval in the British Museum, hard by, would be much more suited to +his tastes. On his returning with the proofs, <span class="smcap">Finden</span> would praise the +boy's diligence, little thinking what trick had been practised on him.</p> + +<p>Line-engraving, however, did not find much favour with the future +"Phiz," the process being too tedious; for <span class="smcap">Finden</span> would probably occupy +some weeks to produce a small plate, which by the quicker process of +etching, could have been executed in as many hours. He accordingly +suspended operations in that quarter, and, in conjunction with a young +kindred spirit, hired a small attic, and employed his time in the more +fascinating pursuit of water-colour drawing, which he continued to +follow with remarkable assiduity until a few days before his death.</p> + +<p>These juvenile disciples of the brush then worked hard at drawing in +colour. <span class="smcap">Browne</span> paid his share of the rent in drawings, which he produced +rapidly; indeed, there was a solemn compact between the co-workers to +"do three a day"—they subsisting, meanwhile, on the simplest fare. At +this time he attended the evening class at the "Life" School in St. +Martin's Lane, and was a fellow-pupil with <span class="smcap">Etty</span>, the famous painter of +the "nude." It was <span class="smcap">Browne's</span> great delight to watch this talented student +at work, and he considerably neglected his own studies in consequence.</p> + +<p>At the age of seventeen, or thereabouts, he succeeded in gaining a medal +offered for competition by the Society of Arts for the best +representation of an historical subject; and was again fortunate in +obtaining a prize, from the same Society, for a large etching of "John +Gilpin." Mr. <span class="smcap">George Augustus Sala</span>, himself an artist of no small +ability, remembers to have seen, in a shop-window in Wardour Street, a +certain print by a young man named <span class="smcap">Hablot Browne</span>, representing the +involuntary flight of John Gilpin, scattering the pigs and poultry in +his never-to-be-forgotten ride.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i_012.jpg" width="600" height="425" alt="" title="" /> +</div><p><span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span></p> + +<p>By the time he had attained his twentieth year he had acquired +considerable facility with the pencil. <span class="smcap">Charles Dickens</span>, but three years +his senior, and with whom the name of "Phiz" is inseparably connected, +had just then made a wonderful reputation by his "Sketches," which first +appeared, at intervals, during 1834-5, and were afterwards published in +book form, illustrated by the renowned <span class="smcap">George Cruikshank</span>.</p> + +<p>In 1836, there appeared in print a pamphlet of some forty or fifty +pages, entitled <i>Sunday under Three Heads—As it is; as Sabbath Bills +would make it; as it might be made</i>; "By Timothy Sparks; illustrated by +H. K. B.;" and dedicated to the Bishop of London. The author was <span class="smcap">Charles +Dickens</span>, whose satire was levelled at Sir Andrew Agnew and the extreme +Sabbatarian party, and had immediate reference to a bill "for the better +observance of the Sabbath," which the House of Commons had recently +thrown out by a small majority. The illustrations in this little work +were drawn by <span class="smcap">Hablot Browne</span>, and are very choice examples of +wood-engraving of the school that existed half a century ago. Its +original price was one shilling, but having become very scarce, it is +now worth more than its weight in gold.</p> + +<p>These early productions of <span class="smcap">Browne's</span> pencil at once introduced him to +public notice, and <span class="smcap">Dickens</span> showed his appreciation of their excellence +by selecting him as the illustrator of the <i>Pickwick Papers</i>, which +appeared during the early part of that year. It is well known to the +readers of Forster's <i>Life of Dickens</i>, that the idea of "Pickwick" was +suggested to the author by <span class="smcap">Robert Seymour</span>, whose tastes induced him to +etch a few plates of sporting subjects to which <span class="smcap">Dickens</span> was to supply +the text. Thus commenced that immortal work known as <i>The Posthumous +Papers of the Pickwick Club</i>. <span class="smcap">Seymour</span> produced seven illustrations, when +he committed suicide, which obliged the publishers to make arrangements +with another artist. <span class="smcap">R. W. Buss</span><a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a> succeeded <span class="smcap">Seymour</span>, and etched two +plates, which <span class="smcap">Dickens</span>, who had by this time assumed the control<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span> of the +work, thought so unsatisfactory (as indeed they were), that he declined +his further services. Here a fresh opening was created, and <span class="smcap">William +Makepeace Thackeray</span> competed with <span class="smcap">Hablot Knight Browne</span> for the post; +both submitting to <span class="smcap">Dickens</span>' inspection some specimens of their work.</p> + +<p>The choice fell upon "Phiz," the artist whose ability has so admirably +proved the wisdom of the selection; and <span class="smcap">Thackeray</span> thereupon determined +to adopt another profession, with what happy results let <i>Esmond</i> +testify. Who could say whether <i>Vanity Fair</i> would ever have been +written had this mighty penman been chosen to succeed <span class="smcap">Buss</span>? It is +curious to note <span class="smcap">Thackeray's</span> great anxiety to become an artist; he even +went abroad to study, but <span class="smcap">Sala</span> tells us that "Mr. <span class="smcap">Thackeray</span> drew, +perhaps, rather worse than he had done before beginning his continental +studies, although at that time he actually supplied a series of etchings +to illustrate <span class="smcap">Douglas Jerrold's</span> <i>Men of Character</i>, which were prodigies +of badness."</p> + +<p>When "Phiz" had been selected as the illustrator of the <i>Pickwick +Papers</i>, his generous rival was the first to tell him the good news, and +offer his congratulations.</p> + +<p>"Phiz" may now be said to have fairly commenced his career as a +book-illustrator. His sense of humour corresponded so exactly with that +of <span class="smcap">Dickens</span>, that a mere suggestion enabled him to vividly represent the +scenes described by the author. It has been remarked (and truly) that in +many cases the plates do not correspond with the text; but this can be +accounted for. <span class="smcap">Dickens</span>, then an enthusiastic young author, and somewhat +impetuous in his demands for drawings, would arrive unexpectedly at +<span class="smcap">Browne's</span> studio, hurriedly read a few pages of manuscript, and +exclaiming, "Now, I want you to illustrate that," would take an abrupt +departure, carrying the manuscript off with him. As soon as the artist +could collect his faculties, he would try to recall the scene so hastily +described, and endeavour to put it on paper. <span class="smcap">Dickens</span> himself, in his +preface to the <i>Pickwick Papers</i>, gives a similar explanation, viz.—"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 verbal description of what he intended to write." It is +therefore not surprising that a few errors, in such details as the +number of boys in a procession,<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a> or the dress of an individual, should +occur.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/i_017.jpg" width="500" height="750" alt="" title="" /> +</div><p><span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span></p> + +<p>Of <span class="smcap">Dickens'</span> Novels, <i>Martin Chuzzlewit</i> contains, perhaps, our etcher's +most vigorous productions, but the small woodcut illustrations in +<i>Master Humphrey's Clock</i> are very praiseworthy, and without doubt +conduced greatly to the popularity of the book.</p> + +<p>The illustrations in the <i>Pickwick Papers</i> are on the whole inferior to +many which "Phiz" subsequently executed. But an exception must be made +in favour of the artist's realization of the character of Sam Weller, +than which, even <span class="smcap">Seymour's</span> happy invention of Mr. Pickwick did not more +effectually ensure the popularity of <span class="smcap">Dickens'</span> comic epic and give it a +"deathless date."</p> + +<p>The extraordinary demand for copies of the <i>Pickwick Papers</i> +necessitated a re-etching of the copper-plates, which, owing to friction +caused by the printer's hand, had become very much worn. This +reproduction will account for any slight difference in the details of +the illustrations; for the repetition of subjects once etched, was a +task by no means congenial to the artist; and this no doubt induced him +to say, some years afterwards, in a letter to one of his sons, "O! I'm +a' weary, I'm a' weary of this illustrating business."</p> + +<p>Artists frequently experience great difficulty in realizing, to the +author's satisfaction, the description of scenes and characters. An +illustration is here given showing <span class="smcap">Browne's</span> various "fancies for Mr. +Dombey," all of which failed to please <span class="smcap">Dickens</span>, who also expressed his +disapprobation of this artist's treatment of another subject in <i>Dombey +and Son</i>. "I am really distressed," writes he, "by the illustration of +Mrs. Pipchin and Paul. It is so frightfully and wildly wide of the mark. +Good Heaven! in the commonest and most literal construction of the text, +it is all wrong. She is described as an old lady, and Paul's 'miniature +arm-chair' is mentioned more than once. He ought to be sitting in a +little arm-chair down in the corner of the fire-place, staring up at +her. I can't say what pain and vexation it is to be so utterly +misrepresented. I would cheerfully have given a hundred pounds to have +kept this illustration out of the book. He never could have got that +idea of Mrs. Pipchin if he had attended to the text. Indeed, I<span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span> think he +does better without the text; for then the notion is made easy to him in +short description, and he can't help taking it in."</p> + +<p>As the tale proceeded, the artist more than compensated for his +unsuccessful rendering of this incident; and with "Micawber," in <i>David +Copperfield</i>, he obtained the author's entire approbation, who says, +"Browne has sketched an uncommonly characteristic and capital Mr. +Micawber for the next number." Again, with reference to an illustration +in <i>Bleak House</i>, "Browne has done Skimpole, and helped to make him +singularly unlike the great original."<a name="FNanchor_D_4" id="FNanchor_D_4"></a><a href="#Footnote_D_4" class="fnanchor">[D]</a></p> + +<p>Of the private life of "Phiz" little is known. His extreme nervousness +and dislike to publicity was often misconstrued as pride; and <span class="smcap">Dickens</span> +even had considerable difficulty in occasionally persuading him to meet +a few friends and spend a pleasant evening. When he did accept such +invitations, he invariably tried to seclude himself in a corner of the +room, or behind a curtain. His desire for a quiet, unobtrusive life, +induced him to pass most of his time in country retirement, all business +matters in town being transacted by an intimate friend.<a name="FNanchor_E_5" id="FNanchor_E_5"></a><a href="#Footnote_E_5" class="fnanchor">[E]</a> Authors or +publishers wishing to have a personal interview with "Phiz" were +compelled to visit him at his residence, a few miles from town, and many +were the <i>contretemps</i> on dark nights as they crossed a bleak moor to +reach their destination. His sons looked forward to the time when +visitors were expected, in order to hear the stories of wild adventure +which generally befell them, and to laugh at their discomfiture.</p> + +<p>"Phiz" had been from his boyhood accustomed to horses, and frequently +hunted with the Surrey hounds. To this circumstance is due the extreme +facility with which he delineated the horse in action in the hunting +field and elsewhere. At one time he contributed sketches to <i>The +Sporting Gazette</i>. This industrious artist was never known to take a +lengthened holiday, but occasionally spent a few days at the seaside, +where, no doubt, his pencil was fully employed. A letter, written while +staying at Margate, to his son Mr. Walter G. Browne (whom, for some +unknown reason he styled "Doctor"), shows his innate sense of humour.</p> + +<p><span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> +<div class="blockquot"><p class="right"><i>Tuesday, June 19</i>, <span class="smcap">6a, Crescent Place, Margate</span>. </p> + +<p><span class="smcap">My dear Dr.</span>,</p> + +<p>"I hāāve my W. C. White:<a name="FNanchor_F_6" id="FNanchor_F_6"></a><a href="#Footnote_F_6" class="fnanchor">[F]</a>—but I have no white +<i>collars</i>—and as I am swelling it about without a +necktie—mine having mysteriously disappeared, left behind +in a bath probably—perhaps it would be coming it too strong +to appear without collars also, and it is hardly warm enough +for it either. Your P.O. is from the Miscellany—to H. K. +Browne—from Mr. Barrett—Xtian name unknown—and no matter. +Any blocks that come, forward on. Send me a * * * * * * +before I return. I did some very good shades myself—of +myself—unconsciously—yesterday evening. The baths run +along one side of the High Street, flush with the +pavement—and I found when I had nearly finished my toilet +that the gas-burner was so ingeniously placed, that it was +impossible for any bather to avoid casting gigantic studies +of the nude upon the window blind.—This sort of thing.—"</p></div> + +<div class="figcenter" style="width: 400px;"> +<img src="images/i_020.jpg" width="400" height="397" alt="" title="" /> +</div> + +<hr style='width: 45%;' /> + +<p>[Here follow several other sketches of the bather in various attitudes].</p> + +<p>His appreciation of fun is thus referred to by <span class="smcap">Dickens</span> in a letter to +Mrs. Dickens, dating from the Lion Hotel, Shrewsbury. "Thursday, Nov. +1st, 1838.—We were at the play last night. It was a bespeak—'The Love +Chase,' a ballet (with a phenomenon!), divers songs, and 'A Roland<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span> for +an Oliver.' It is a good theatre, but the actors are very funny. Browne +laughed with such indecent heartiness at one point of the entertainment, +that an old gentleman in the next box suffered the most violent +indignation."</p> + +<p>In 1837, "Phiz" accompanied <span class="smcap">Dickens</span> to Flanders, for a ten days' summer +holiday; and in 1838 they went to Yorkshire, a journey which resulted in +the production of <i>Nicholas Nickleby</i>.</p> + +<p>The following year he made one of a party of four, and visited, with +<span class="smcap">Dickens</span>, <span class="smcap">Macready</span> and <span class="smcap">Forster</span>, nearly all the London prisons. These +joint tours of Author and Artist could not fail to assist the +realization of the scenes they intended to depict.</p> + +<p>It is an interesting fact in connection with the career of "Phiz," that +he would never agree to draw from the living model,—all his +representations of moving crowds, and the various types of humanity, +which his etchings exhibit, being drawn from recollection. He would +sometimes make a few jottings in pencil—mere memoranda—when anything +struck him as being worthy of reproduction, but beyond that he depended +on his excellent memory. For example, he would go to Epsom on the Derby +Day without taking a pencil even, and, on returning home, would draw to +the life exact portraits of any conspicuous or eccentric character he +had seen on the course.</p> + +<p>As previously stated, <span class="smcap">Browne</span> was extremely fond of water-colour drawing, +and executed some thousands during his life; not unfrequently a day's +work would be represented by three or four of these productions. They +were not caricatures, as one might suppose, but rural scenes <i>à la +Watteau</i>, and allegorical subjects. This fact controverts the statement +made in a daily paper, that "unfortunately, without a text to +illustrate, 'Phiz' never had half-a-dozen ideas in his head" (!). For +many years he was a constant contributor of pictures—figure subjects of +a humorous and dramatic character—to the Exhibitions of the British +Institution, and of the Society of British Artists. Among his more +ambitious efforts was a cartoon of considerable dimensions, representing +"A Foraging Party of Cæsar's Forces surprised by the Britons," which +appeared as No. 65 at the Westminster Hall Exhibition of 1843. This, +notwithstanding the "scratchy" manner of its execution, displayed +remarkable skill and abundant energy of design. At the same gathering +another cartoon was attributed to him, of which the energy bordered on +caricature; it was named, "Henry II defied by a Welsh Mountaineer."</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i_022.jpg" width="600" height="458" alt="" title="" /> +</div><p><span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span></p> + +<p>At one time "Phiz" received an extraordinary commission to reproduce in +water-colour all his illustrations to the Novels of <span class="smcap">Dickens</span>. The Artist +reminded his patron of the magnitude of the undertaking, but the request +was persisted in, and the work duly executed.</p> + +<p>His love of bracing air induced him to pay frequent visits to the +seaside; but on one occasion he lodged in a house not remarkable for its +odoriferous nature; and, in order to produce a current of fresh air in +his bed-room, he opened door and window, and slept in the draught caused +thereby. For many years before his death, he suffered from incipient +paralysis, the result, no doubt, of this incautious act, and to which +may be attributed his disappearance from the art world some fifteen +years ago.</p> + +<p>"Phiz," notwithstanding his crippled condition, still worked hard with +admirable perseverance, though his difficulties were increased by an +injury to his thumb, which compelled him to hold his pencil between the +middle and fore fingers. His friends endeavoured to persuade him to draw +his pictures on a larger scale, in order that they might be photographed +to the required dimensions, but, with one or two exceptions, he refused +to act on this suggestion. He gradually lost that facility which +characterized his work, and latterly yielded to proposals to illustrate +boys' literature of a rather low class.</p> + +<p>The time is past, no doubt, which encouraged the method of +book-illustration adopted by "Phiz." It has given place to +wood-engraving, and multifarious phototypic processes, that, perhaps, +are commercially preferable, but from an artistic standpoint much +inferior. We must, however, except the wonderful results some +wood-engravers have produced from time to time, which etchers, even, +cannot hope to excel.</p> + +<p>Dr. Edgar Browne describes his father's indifference to the value of his +work, or the time and labour bestowed upon it:—"He never understood the +art of husbanding or developing his powers,—he never set to work to +learn any technical process; when he had a little leisure from +'illustration' work, he used to start a picture 'to get his hand +in'—generally taking some unimportant or trivial<span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span> subject for this +purpose. His facility of hand both in large and minute work was +something marvellous. At one time, he produced a very remarkable series +of sketches in chalk made during a tour in Ireland. They are scattered +now, but are as fine as anything he did, and are certainly the best +records of a people who have practically vanished. He was astonishingly +careless about his work. Hundreds of original designs were thrown into +the waste-paper basket; apart from their local interest similar sketches +have found willing purchasers of late years."</p> + +<p>Like many other artists whose pecuniary reward had not been commensurate +with their ability,<a name="FNanchor_G_7" id="FNanchor_G_7"></a><a href="#Footnote_G_7" class="fnanchor">[G]</a> he became the recipient of a pension. The kind +instrumentality of a few Royal Academicians obtained for him an annual +grant which had been previously enjoyed by the late <span class="smcap">George Cruikshank</span>.</p> + +<p>On the 8th of July, 1882, the death occurred of the famous "Phiz." At +the quiet village of Hove, near Brighton, where the last few years of +his life were spent, he succumbed in his sixty-seventh year to infirmity +rather than old age. Almost forgotten as a man, his productions have +remained in our memories, and will continue to do so as long as the +works of <span class="smcap">Dickens</span> and <span class="smcap">Lever</span> are read and appreciated. His remains were +interred at the extra-mural Cemetery, Brighton. The funeral was private, +the only mourners present being the four sons of the deceased, Dr. +Ambler, Mr. George Halse,<a name="FNanchor_H_8" id="FNanchor_H_8"></a><a href="#Footnote_H_8" class="fnanchor">[H]</a> and Mr. Robert Harrison.</p> + +<p>As admirers of his artistic ability we place this Memoir as a wreath +upon his grave.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i_026.jpg" width="600" height="437" alt="" title="" /> +</div><p><span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span></p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i_028.jpg" width="600" height="340" alt="" title="" /> +</div><p><span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span></p> + +<h2>CORRESPONDENCE.</h2> + + +<p>The following letters were addressed by the artist-humorist to his son, +Mr. Walter Gr. Browne:—</p> + +<div class="blockquot"><p class="right"><span class="smcap">Blenheim Crescent</span>, <i>Sept., Saturday, 3 o'clk.</i> <span class="smcap">p.m.</span>, <span class="smcap">a.d.</span> +<i>1867</i>. </p> + +<p><i>My Dear Dr.</i>,</p> + +<p>I have nearly bursted my heart out, and proved, that my soul +or soles (I have two) is'nt—or an't—immortal,—by wearing +on 'em out running to and fro after yr. +<i>Balmorals</i>—Bootless errands! The wretched slave (of awl) +has but just brought them! I bristle with wrath! and could +welt him!—but—no—I won't—he may want his calf's skin +whole, to mend his own <i>Bad-morals</i>!!</p> + +<hr style='width: 25%;' /> + +<p>I rush! I fly! to the Gt. W. R. Station!—--!!!!</p> + +<div class="figcenter" style="width: 650px;"> +<img src="images/i_029.jpg" width="650" height="316" alt="" title="" /> +</div> + +<p>I sink—breathless into the arms of the astounded +clerk—point to the boots——</p> + +<p><i>My-mouth</i> faintly whispers "<i>Wey-mouth</i> in his pen-adorned +<i>Ear</i>!!" and—and—"Bless me! where am <i>I</i>?"—and, and—I +wish—you may get 'em!</p> + +<hr style='width: 25%;' /> + +<p>If you visit Portland again, make a note of any +peculiarities of spot—convict dress, &c.—as I have a +touching bit of horse-y sentiment (!) connected therewith, +which will do for <i>Spg. Gazette</i>.—I should think you ought +to find painty bits—within walking distance—say—right or +left ten miles?</p> + +<hr style='width: 25%;' /> + +<p class="right"> +Yrs. affecty.,<br /> +<br /> +<span class="smcap">Dad</span>.<br /> +</p></div> + +<hr style='width: 45%;' /><p><span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span></p> + +<div class="blockquot"><p class="right"><i>Sunday.</i></p> + +<p>Really, my dear Walter, I thought you <i>did</i> know better than +to disturb my devotional frame of mind on this blessed +Sabbath morn by forwarding me such a thoroughly worldly and +evil-thought-producing thing as a wretched milliner's +bill!!!—The wretch must wait—he gorged £5 not long before +I left home.—The greediness of some men!!</p> + +<p>The Pic. Gall. circular I return—as you may like to enquire +about it—the doz. others, "cheap bacon"—"patent teeth and +everlasting gums," &c., &c., &c., &c., &c. I shall manure +the grounds of Colyton with ——.</p> + +<p>I think you might get some background material for coast +scenes down here.</p> + +<p class="right"> +Yr. affec. Dad,<br /> +<br /> +H. K. B.<br /> +</p></div> + +<hr style='width: 45%;' /> + + +<div class="blockquot"><p class="right"> 69, <span class="smcap">Blenheim Crescent, Notting-Hill</span>, <i>Saturday</i>.</p> + +<p><span class="smcap">My dear Doctor</span>,</p> + +<p>I send the Tenpounder, may it reach you in safety!</p> + +<p>The Commander has returned. I sent you a paper containing +the important news, which, however, may <i>not</i> have reached +you, although I don't think it contained any remarks upon +the "Hemperors personal appearance," &c., &c., &c.</p> + +<p>Tom is in the bosom of the family for a few days.—His Pipe +is tuned differently now to what it used to was, for he now +declareth that St. John's is "a jolly school!" He seems to +get on very well indeed, and has brought home what Dr. Lowe +calls a "well-earned prize."</p> + +<p>He laments daily over the supposed loss of 4<i>d</i> invested in +a letter to you—from school—as it was directed, he +says,—21, Rue <i>Mussel wine</i>—I express doubts of its having +reached you—and he groans aloud over the Bull's eyes it +<i>would</i> have bought!——</p> + +<p>I am (at <i>present</i>) <i>on</i> a Sporting Paper—supported by some +high and mighty Turf Nobs, but, I fear, like everything I +have to do with, now-a-days, it will collapse—for—some of +the Proprietors of the Paper are also Shareholders, &c., +&c., in the Graphotype Co., so they want to work the two +together.—I hate the process—it takes quite four times as +long as wood—and I cannot draw and express myself with a +nasty little finiking brush, and the result when printed +seems to alternate between something all as black as my +hat—or as hazy and faint as a worn-out plate.—If on wood, +I should like it well enough—as it is—it spoils 4 days a +week—leaving little time for anything else. O! I'm a'weary, +I'm a'weary! of this illustration business.——</p> + +<p>Tom is just off to the R.A., as it is not likely I shall go +much before it's close. I will get him to write you a +critical description of all the wonderful works in Turps, +Varnish, and "Hile."</p> + +<p class="right"> +Yr. affectionate Dad,<br /> +<br /> +H. K. B.<br /> +</p></div> + +<hr style='width: 45%;' /><p><span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span></p> + +<div class="blockquot"><p class="right"> <i>Monday Morning, 25 m. 40 s. p. 11</i> <span class="smcap">a.m.</span></p> + +<p><span class="smcap">My Dear Walter</span>,</p> + +<p>There is a man playing "Home, sweet home" upon the key +bugle—it is too much for me—my heart yearneth—I feel I +must write just a line or two—especially as it is raining +hard—and I don't exactly know what to be at.</p> + +<hr style='width: 25%;' /> + +<p>Splendid effects yesterday evening—sun-set, twilight, +crescent moon—stormy clouds,—tide out—reflections—dark +fishing-craft—very good—quite the thing for you.</p> + +<p>There are no people here at present—decidedly nothing +Belgravian—chiefly masculines—from the Saturday to the +Monday sort—it striketh me—a few I think have strayed here +from Southend—I saw this sort of thing [<i>see page 29</i>] on +the Grand Promenade—which looks like it.——</p> + +<p>There was a great wind yesterday—Boreas had been taking +concentrated essence of ginger—It fairly took me off my +legs once as I was walking along the cliffs to Broadstairs, +luckily for me it blew <i>off</i> the sea—and I was brought up +short by some railings in this wise—[<i>see page 22</i>] +<i>otherwise</i> I should (<i>no doubt</i>) have been carried across a +5 acre field of <i>Cloveria Trifolia Browniensis</i>.—I am glad +to say I was also of service to humanity yesterday—I heard +the shrill shrieks of a child and a woman's cry for help +behind me—I turned—and saw there was not a moment to lose, +the wind had caught a poor child—'s hat (and woman's too) +and bore it rapidly to the edge of the cliff—with my usual +agility I bounded over the rails fencing the cliff—and +saved—yes, saved the child—'s—'at!—another puff and it +would have been in the deep, deep sea—the blue, the fresh, +&c.—Stout mama thanked me politely, and turning to her +husband (who, of course, had come up too late to be of any +use—those husbands <i>always</i> do)—she remarked "That the +vind had blown both her and her child's 'at hoff and if +she'd know'd it—she wouldn't have brought the young-un +hout."</p> + +<p>I dare say humanity is amusing here when the place is +full—there seems a good deal of "os" exercise—and +basket-carriage driving on Sundays—which is good to +behold—this gentleman [<i>see page 25</i>] was driving with +supreme self-content—having one rein all snug and tight +under his pony's tail—luckily the beast did not seem to +have any kick in him—so <i>perhaps</i> he got safe back to +Margate.</p> + +<hr style='width: 25%;' /> + +<p class="right"> +Yr. affec. Dad,<br /> +<br /> +H. K. B.<br /> +</p></div> + +<hr style='width: 45%;' /> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i_032.jpg" width="600" height="415" alt="" title="" /> +</div><p><span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span></p> + +<div class="blockquot"><p class="right"> <i>29th Sept. 1868.</i></p> + +<p><span class="smcap">My Dear Doctor</span>,</p> + +<p>I have sent you a couple of canvasses—if you put little +Clara's head on one of them, you will immortalize her and +yourself too.</p> + +<p>Also therewith you will find a Surplice, and if you will +only "hold forth," next Sunday, in the Grande Place of +Colyton—I will guarantee to say that the simplicity of yr. +vestment and the flowing eloquence of yr. tongue will draw +out—(as irresistibly as the Piper did the children) the +congregations of the "High" Church and the Conventicles +which will—one and all—rush forth for to see and to hear, +and admiringly surround you!—If windy, you might take this +for yr. text—"What went ye forth for to see?—" A reed +shaken by the wind? &c., &c.</p> + +<p>There must have been a splendid <i>Sea on</i> at <i>Sea-ton</i>, these +last few days,—<i>tons</i> of <i>sea</i>, eh? As "I took my walk +abroad" this morning—I saw the Serpentine in all its +grandeur—and observed several vessels in distress—some +clipper yachts on their beam ends—the waves were +prodigious—great rollers—two especially—one a six horse +fellow—t'other a steamer—crunching and grinding—levelling +and sweeping all before them!</p> + +<p>Have you seen the Doge of Colyton yet? or any of the Dog-es?</p> + +<p>By all means cultivate the acquaintance of the Doge's +kinswoman. Miss P—— (pray give my love to +her)—fac-similed on the stage or in a novel, she would be a +"tremendous hit."</p> + +<p>I hope you are not belying the <i>good</i> character I have given +of you to the boys—and are doing Elephant, Tiger, and +Rhinoceros<a name="FNanchor_I_9" id="FNanchor_I_9"></a><a href="#Footnote_I_9" class="fnanchor">[I]</a> to their perfect satisfaction—though, +considering yr. predecessor—it will test your utmost +powers, not to be a wretched failure, possibly—much the +same sort of thing—as your attempting to sing a comic song +immediately after the Great Vance!!! Good Night,</p> + +<p class="right"> +Yr. affectionate Dad,<br /> +<br /> +H. K. B.<br /> +</p></div> +<hr style='width: 45%;' /> + +<p>The following notes have been selected from the unpublished +correspondence of "Phiz" with <span class="smcap">Charles Dickens</span>:—</p> + +<div class="blockquot"><p><span class="smcap">My Dear Dickens,</span></p> + +<p>I have just got one boot on, intending to come round to you, +but you have done me out of a capital excuse to myself for +idling away this fine morning.—I quite forgot to answer +your note, and Mr. Macrone's book has not been very vividly +present to my memory for some time past. I think by the +beginning of next (week) or the middle (<i>certain</i>) I shall +have done the plates, but in the scraps of copy that I have +I can see but <i>one good</i> subject, so if you know of another +pray send it me. I should like "Malcolm" again, if you can +spare him.</p> + +<p class="right"> +Believe me,<br /> +<br /> +Yours very truly,<br /> +<br /> +<span class="smcap">Hablot K. Browne.</span><br /> +<br /> +Charles Dickens, Esq.<br /> +</p></div> +<hr style='width: 45%;' /> +<div class="blockquot"> +<p class="right"> +<i>Sunday, Sept.</i><br /> +</p> + +<p><span class="smcap">My Dear Dickens,</span></p> + +<p>Can you conveniently send me the subject or subjects for +next week by Thursday or Friday? as I wish, if practicable, +to start for Brussels by the Sunday's boat—a word in reply +will oblige,</p> + +<p class="right"> +Yours truly,<br /> +<br /> +<span class="smcap">Hablot K. Browne.</span><br /> +<br /> +Charles Dickens, Esq.<br /> +</p></div> + +<div class="blockquot"><p>P.S.—Upon second thoughts I send you the enclosed +epistle—(if<span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span> you read it, you will find out why)—the +writer thereof is "Harry Lorrequer," alias "Charles +O'Malley"—to whose house I am going.</p> + +<p class="right"> +H. K. B.<br /> +</p></div> + +<div class="blockquot"><p>P.S. Second—A fortnight's furlough would suit me better +than a week, if it could be managed, as I should like to +return by Holland.</p></div> +<hr style='width: 45%;' /> +<div class="blockquot"><p><span class="smcap">My Dear Dickens,</span></p> + +<p>I am sorry I cannot have a touch at battledore with you +to-day, being already booked for this evening—but I will +give you a call to-morrow <i>after church</i>, and take my chance +of finding you at home.</p> + +<p class="right"> +Yours very sincerely,<br /> +<br /> +<span class="smcap">Hablot K. Browne.</span><br /> +<br /> +Charles Dickens, Esq.<br /> +</p></div> +<hr style='width: 45%;' /> +<div class="blockquot"><p class="right"> <span class="smcap">33, Howland Street.</span></p> + +<p><span class="smcap">My Dear Dickens,</span></p> + +<p>I shall be most happy to remember not to forget the 10th +April, and, let me express a <i>dis</i>interested wish, that +having completed and established one "Shop"<a name="FNanchor_J_10" id="FNanchor_J_10"></a><a href="#Footnote_J_10" class="fnanchor">[J]</a> in an +"extensive line of business," you will go on increasing and +multiplying such like establishments in number and +prosperity till you become a Dick Whittington of a merchant, +with pockets distended to most Brobdignag dimensions.</p> + +<p class="right"> +Believe me,<br /> +<br /> +Yours very truly,<br /> +<br /> +<span class="smcap">Hablot K. Browne.</span><br /> +<br /> +Charles Dickens, Esq.<br /> +</p> + +<p>I return you the Riots with many thanks.</p></div> + +<hr style='width: 45%;' /> +<div class="figcenter" style="width: 600px;"> +<img src="images/i_035.jpg" width="600" height="312" alt="" title="" /> +</div> +<p><span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> +<div class="blockquot"><p class="right"> <i>Sunday Morning.</i></p> + +<p><span class="smcap">My Dear Dickens</span>,</p> + +<p>Will you give me some notion of the sort of design you wish +for the frontispiece to second vol. of <i>Clock</i>?<a name="FNanchor_K_11" id="FNanchor_K_11"></a><a href="#Footnote_K_11" class="fnanchor">[K]</a> +Cattermole being put <i>hors de combat</i>—Chapman with a +careworn face (if you can picture that) brings me the block +at the eleventh hour, and requires it finished by Wednesday. +Now as I have two others to complete in the +meantime—something nice and <i>light</i> would be best adapted +to my <i>palette</i>, and prevent an excess of perspiration in +the relays of wood-cutters. You shall have the others to +criticise on Tuesday.</p> + +<p class="right"> +Yours very truly,<br /> +<br /> +<span class="smcap">Hablot K. Browne</span>.<br /> +</p> + +<p>Charles Dickens, Esq.</p> + +<p>How are Mrs. Dickens and the "Infant?"</p></div> + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> Pronounced <i>Hab-lo</i>, after a Monsieur Hablot, a captain in +the French army, and a friend of the family.</p></div> + +<div class="footnote"><p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2"><span class="label">[B]</span></a> It was Buss who illustrated Mrs. Trollope's Serial Story, +<i>The Widow Married</i>, which was published in <i>The New Monthly Magazine</i>, +1840.</p></div> + +<div class="footnote"><p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3"><span class="label">[C]</span></a> See <i>Dombey and Son</i>, Vol. I, p. 113—"Doctor Blimber's +Young Gentlemen."</p></div> + +<div class="footnote"><p><a name="Footnote_D_4" id="Footnote_D_4"></a><a href="#FNanchor_D_4"><span class="label">[D]</span></a> Leigh Hunt.</p></div> + +<div class="footnote"><p><a name="Footnote_E_5" id="Footnote_E_5"></a><a href="#FNanchor_E_5"><span class="label">[E]</span></a> Mr. R. Young, who also undertook the precarious task of +"biting in" his plates.</p></div> + +<div class="footnote"><p><a name="Footnote_F_6" id="Footnote_F_6"></a><a href="#FNanchor_F_6"><span class="label">[F]</span></a> Water-colour white.</p></div> + +<div class="footnote"><p><a name="Footnote_G_7" id="Footnote_G_7"></a><a href="#FNanchor_G_7"><span class="label">[G]</span></a> Publishers frequently availed themselves of his facile +pencil, and would instruct him to furnish illustrations for books +already in the press, for which he was often inadequately paid.</p></div> + +<div class="footnote"><p><a name="Footnote_H_8" id="Footnote_H_8"></a><a href="#FNanchor_H_8"><span class="label">[H]</span></a> The Sculptor, and an old coadjutor on <i>Once a Week</i>. He is +also the author of <i>A Salad of Stray Leaves</i> now in the press, which +contains a frontispiece by "Phiz," the last design from his pencil. This +he executed under some difficulties, for owing to an attack of +rheumatism in his hands, the design—teeming with fancy—had to be made +on a large scale, and afterwards reduced by the process of +photography.</p></div> + +<div class="footnote"><p><a name="Footnote_I_9" id="Footnote_I_9"></a><a href="#FNanchor_I_9"><span class="label">[I]</span></a> A favourite game with the children.</p></div> + +<div class="footnote"><p><a name="Footnote_J_10" id="Footnote_J_10"></a><a href="#FNanchor_J_10"><span class="label">[J]</span></a> <i>The Old Curiosity Shop.</i></p></div> + +<div class="footnote"><p><a name="Footnote_K_11" id="Footnote_K_11"></a><a href="#FNanchor_K_11"><span class="label">[K]</span></a> <i>Master Humphrey's Clock.</i></p></div> +</div> + + +<hr style="width: 65%;" /> +<h2><span class="smcap">A List of the Principal Works Illustrated by "Phiz."</span></h2> + +<p>To enumerate all the works illustrated by "Phiz" would be a next to +impossible task, for "their name is legion." No artist was so popular or +so prolific as a book-illustrator, with the exception, perhaps, of +George Cruikshank. It may fairly be questioned whether the works of +Charles Dickens, with which the name of "Phiz" is most intimately +associated in our minds, would have achieved such notoriety without the +aid of the etching needle so ably wielded. Mr. John Hollingshead, in his +essay on Dickens, says:—</p> + +<p>"The greater the value of a book as a literary production, the more will +the circle of its influence usually be narrowed. The very shape, aspect, +and garments of the ideal creatures who move through its pages, even +when drawn by the pen of the first master of fiction in the land, will +be faint and confused to the blunter perception of the general reader, +unless aided by the attendant pencil of the illustrative artist. For the +sharp, clear images of Mr. Pickwick, with the spectacles, gaiters, and +low crowned hat—of Sam Weller, with the striped waistcoat and the +artful leer—of Mr. Winkle, with the sporting costume and the foolish +expression—more persons are indebted to the caricaturist, than to the +faultless descriptive passages of the great creative mind that called +the amusing puppets into existence."</p> + +<p>It was not the fame of Dickens only that was enhanced by "Phiz," for the +numerous illustrations in the works of Charles Lever, Harrison +Ainsworth, the brothers Mayhew,<span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span> and a host of minor novelists were +executed by his unwearied hand. It was Dickens, however, who introduced +him to public notice, in a pamphlet, now very scarce, entitled <i>Sunday +under Three Heads</i>, embellished with four delicately executed engravings +drawn by "H. K. B."</p> + +<p>It was his succession to Seymour as the illustrator of the <i>Pickwick +Papers</i>, that really excited public interest in the youthful artist, who +created, pictorially, the second hero in the work, the inimitable Samuel +Weller. Those who are familiar with the original edition of the +<i>Pickwick Papers</i> will remember with some amusement, the artist's +introduction of the indefatigable "Boots," as represented in the yard of +the "White Hart" Inn, Borough. The identical Inn exists at the present +day. "Mr. Pickwick in the Pound" is another amusing plate, where the +laughing, jeering crowd of spectators crowned by a jubilant and juvenile +chimney sweeper, the braying of a jackass in the ears of the astonished +hero, who sits somewhat uncomfortably in a wheelbarrow, are incidents so +cleverly depicted as to excite unqualified admiration. "Mr. Pickwick +Slides" is another truly artistic production. The delicate execution of +the extreme distance where is seen a manor house of the olden time +nestling amongst the trees, and a farmyard hard by, leaves nothing to be +desired. Mr. Sala somewhat harshly criticises the illustrations in this +work, which, he says, "were exceedingly humorous, but vilely drawn. The +amazing success of his author seems, however, to have spurred the artist +to sedulous study, and to have conduced in a remarkable degree towards +the development of his faculties. A surprising improvement was visible +in the frontispieces to the completed volumes[L] of <i>Pickwick</i>." +Undoubtedly faults exist, but to characterize the illustrations as +"vile," seems too severe a term, for after all, the exaggerated types of +face, form, and feature, do but harmonize with the somewhat exaggerated +descriptions of them by the author. This defect, if such it can be +called, was remedied considerably in his later productions.</p> +<p><span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span></p> +<div class="figcenter" style="width: 500px;"> +<img src="images/i_038.jpg" width="500" height="238" alt="" title="" /> +</div> + +<p>In 1837, "Phiz" accompanied Dickens into Yorkshire, there to gather +material for <i>Nicholas Nickleby</i>, a work which exposes the tyranny +practised by some schoolmasters on their helpless pupils. In this book, +published in 1839, is presented to us the despicable "Squeers," which +type of brute in human form was so successfully realized by both Author +and Artist, that the indignation of innumerable Yorkshire pedagogues was +raised to threats of legal proceedings, for traducing their characters, +one of them actually stating that "he remembered being waited on last +January twelvemonth by two gentlemen, one of whom held him in +conversation while the other took his likeness." The most familiar +representation of "Squeers" is seen in the second plate, where he stands +sharpening his pen, and is timorously approached by the stout father of +two wizen-faced boys who are about to become his pupils. The face of the +schoolmaster, in which are combined hypocrisy and cruelty, and the +expression of sympathy for the new comers exhibited by the boy on the +trunk, are worthy of the closest inspection. The effect of the school +treatment at Dotheboy's Hall is visible in the illustration where "The +Internal Economy" is depicted. Here we see the starveling lads during +and after the "internal" application of superabundant doses of brimstone +and treacle, administered by Squeers' worthy partner. The eighth plate +happily depicts the wild excitement of the pupils when "Nicholas +astonishes Mr. Squeers and family" by making a furious attack on the +former with the cane; as well as "The breaking-up at Dotheboy's Hall," +where the boys revenge themselves on their former tormentors. There are +two more etchings in this volume especially remarkable as artistic +productions, viz., "Mr. and Mrs. Mantalini in Ralph Nickleby's Office," +where the expression of an intent listener on the face of Ralph, and of +horror on that of Mantalini, is capitally rendered; and the plate<span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span> +entitled "The Recognition," which shows poor Smike in the act of rising +from a couch of sickness as he recognizes "Broker," who had conveyed him +as a child to school.</p> + +<p><i>Master Humphrey's Clock</i>, written in 1840-1, includes the stories of +the <i>Old Curiosity Shop</i> and <i>Barnaby Rudge</i> which have been happily +termed "two unequalled twin fictions upon one stem." The illustrations +were drawn on wood by H. K. Browne and George Cattermole, and the former +created, pictorially, Little Nell, Mrs. Jarley, Quilp, Dick Swiveller, +the Marchioness, Sally Brass, and her brother Sampson. "Phiz" revelled +in wild fun in the vignettes relating to the devilries of Mr. Daniel +Quilp and the humours of Codlin and Short, and of Mrs. Jarley's waxwork +show. His "Marchioness" was a distinct comic creation; but in the weird +waterscape, showing the corpse of Quilp washed ashore, he sketched a +vista of riparian scenery which, in its desolate breadth and loneliness, +has not since, perhaps, been equalled, save in the amazing suggestive +Thames etchings of Mr. James Whistler. To be sure, Hablot Browne was +stimulated to excellence during the continuance of the <i>Old Curiosity +Shop</i> by the friendly rivalry of the famous water-colour painter, George +Cattermole, who drew the charming vignettes of the quaint old cottages +and school-house and church of the village where "Little Nell" died. In +<i>Barnaby Rudge</i>, however, Hablot Browne had things graphic his own way, +and again towards the close he manifested genuine tragic power. His +"Barnaby with the Raven" is lovely in its picturesque grace.[M] When the +first cheap series of this work was published, plates by H. K. Browne +were issued, which are now so scarce, that they are often catalogued at +eight or ten times their original price.</p> + +<p>Two years after the visit of Dickens to America in 1842, <i>Martin +Chuzzlewit</i> was published, the illustrations to which excel in vigour +all the previous efforts of "Phiz." Here we are brought face to face, in +a pictorial sense, with the hypocrite, Mr. Pecksniff, the <i>abstemious</i> +Mrs. Gamp and her bosom friend, Betsy Prig, simple Tom Pinch and his +charming sister, Ruth. The frontispiece is a most ambitious work, but +none the less successful, for "Phiz" has represented, in the space of a +few square inches, all the leading events, humorous and pathetic, +described in the novel. In the illustration where Mark Tapley is seen +starting from his native village for London, "Phiz" exhibits his sense +of the picturesque in the old gables and dormers of the cottages which +form the background. The plate, "Mr. Pecksniff on his Mission," is full +of interest, and gives us an insight into the character of Kingsgate +Street, Holborn, at that time. The female neighbours of Mrs. Gamp, the +midwife, flock round Pecksniff, commiserating with him on his supposed +domestic cares, and advising him to "knock at the winder, Sir; knock at +the winder. Lord bless you, don't lose no more time than you can +help—knock at the winder!"</p> + +<div class="figcenter" style="width: 550px;"> +<img src="images/i_040.jpg" width="550" height="406" alt="" title="" /> +</div><p><span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span></p> + +<p>But the etching in <i>Chuzzlewit</i> which most strikes the reader as a +ludicrous conception, is that where "Mrs. Gamp propoges a toast." Here +he has admirably illustrated the text, wherein is described, with other +details of a droll character, how some rusty gowns and other articles of +that lady's wardrobe depended from the bed-posts; and "these had so +adapted themselves by long usage to her figure, that more than one +impatient husband, coming in precipitately, at about the time of +twilight, had been for an instant stricken dumb by the supposed +discovery that Mrs. Gamp had hanged herself." In the background of the +picture are represented these indispensable articles of dress, while at +the table sit, in friendly chat, Mrs. Gamp and Betsy.</p> + +<p>"Betsy," said Mrs. Gamp, filling her own glass and passing the tea-pot, +"I will now propoge a toast. My frequent pardner, Betsy Prig!"</p> + +<p>"Which, altering the name to Sairah Gamp; I drink," said Mrs. Prig, +"with love and tenderness."</p> + +<p>In 1846, <i>Dombey and Son</i> commenced, with forty illustrations by "Phiz." +The frontispiece is similar in design to that of <i>Chuzzlewit</i>, +introducing the principal characters and events in the novel. The +austere and pompous (not to say selfish) Mr. Dombey, whom "Phiz" had +great difficulty in realizing to the author's satisfaction,[N] is +introduced in many of the plates, although the artist has somewhat +failed in preserving the same type of face throughout. He has succeeded +better with the genial Captain Cuttle. Little Paul, as he sits in his +diminutive arm-chair, contrasts most favourably in his childish +innocence, with the grim Mrs. Pipchin, whose Ogress-like character is +strongly marked. The scene in which Mr. Dombey introduces his daughter +Florence to Mrs. Skewton, is one of the most successful in the book, and +contains the <i>best</i> type of Dombey. Here also, the face of Florence is +truly pretty, and the<span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span> artist has well portrayed the handsome but +vindictive Edith denouncing Carker for his treachery. A very effective +etching entitled, "On the Dark Road," represents the flight of the +enraged and disappointed libertine. The horses are being urged on their +mad career by the whip and spurs of a postilion, under the dark sky with +a glimmer of light in the horizon caused by the rising sun. The artist +at this time essayed a process of working on plates over which a +half-tint had been previously laid by means of a ruling-machine, and in +which the "high-lights" were afterwards "stopped out," and the "whites" +"burnished out." He frequently availed himself of these ready means of +producing effect. Full-length portraits of the principal characters in +<i>Dombey</i>, which were issued as additional plates by "Phiz," are now very +scarce.</p> + +<p><i>David Copperfield</i> (1850), with forty illustrations, was the next +venture, but was not so much an artistic as a literary success. A +favourite character in it of course, is Micawber, a kindly caricature of +the Author's father, the realization of whom, by Browne, obtained the +hearty approval of Dickens.</p> + +<p>The most characteristic and, perhaps, most successful work of "Phiz" is +to be seen in the illustrations to <i>Bleak House</i>. A view of the "House" +itself forms the subject of the frontispiece. "The Ghost's Walk," the +"Drawing-room at Chesney Wold," "Tom All-alone's," and the gateway +leading to the burial ground where Lady Dedlock has fallen lifeless, are +instances where the artist has obtained some fine effects by the +"ruled-plate" process. A writer in <i>The Daily Telegraph</i>, of July 11th, +1882, speaks somewhat disparagingly of these illustrations, but <i>The +Academy</i> of a few days later, in the following remarks, thus demurs to +his criticism:—</p> + +<p>"In the <i>Bleak House</i> illustrations hardly anything is wrong; there is +no shortcoming. Not only is the comic side, the even fussily comic, such +as 'the young man of the name of Guppy,' understood and rendered well, +but the dignified beauty of old country-house architecture, or the +architecture of the chambers of our inns-of-court is conveyed in brief +touches; and there is apparent everywhere that element of terrible +suggestiveness which made not only the art of Hablot Browne, but the art +of Charles Dickens himself, in this story of <i>Bleak House</i>, recall the +imaginative purpose of the art of Méryon. What can be more impressive in +connection with the story—nay, even<span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span> independently of the story—than +the illustration of Mr. Tulkinghorn's chambers in gloom; than the +illustration of the staircase at Dedlock's own house, with the placard +of the reward for the discovery of the murderer; than that of Tom All +Alone's; the dark, foul darkness of the burial ground shown under scanty +lamplight, and the special spot where lay the man who 'wos very good to +me—he wos!'? And then again, 'the Ghost's Walk,' and once more the +burial ground, with the woman's body—Lady Dedlock's—now close against +its gate. Of course it would be possible to find fault with these +things, but they have nothing of the vice of tameness—they deliver +their message effectually. It is not their business to be faultless; it +is their business to impress."</p> + +<div class="figcenter" style="width: 650px;"> +<img src="images/i_044.jpg" width="650" height="401" alt="" title="" /> +</div> + +<p>A very successful rendering of character in <i>Bleak House</i> is that of +Harold Skimpole, whose prototype was Leigh Hunt, an intimate friend of +the Novelist, who, by his unintentional disregard for the feelings of +Hunt in caricaturing his peculiarities, nearly severed that friendship. +Again, there is intense humour in the illustration facetiously styled, +"In re Guppy, extraordinary proceeding." The love-sick Guppy is seen in +a kneeling posture, while declaring to Miss Summerson the burning +passion that consumes him. The expression on the face of the young lady +shows that she is more amused than flattered by his preference.<span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span></p> + +<p>In <i>Little Dorrit</i> (1855-7) the experience gained by both Author and +Artist during their tour of the London prisons, stood them in good +stead, for here the Marshalsea is fully described, the type of a +debtor's jail. The first illustration represents the interior of a +French prison, in which are incarcerated Monsieur Rigaud and Signor John +Baptist. The effect of deep gloom in the cell is produced by the +"ruled-plate" method, and is quite Rembrandt-like. In contrast with +this, the illustration of "The Ferry," is a delightful country aspect, +with trees and winding river; and another plate entitled "Floating +away," an evening scene, the moon rising behind the trees, is quite +romantic. The old house in the last picture but one—"Damocles,"—again +shows Browne's appreciation of the picturesque architecture of bygone +times, in the effect of light from the setting sun as it falls upon the +house front, throwing into relief the quaint old carvings of door and +window.</p> + +<p>The last work illustrated by "Phiz" for Dickens was <i>The Tale of Two +Cities</i> (1859), containing sixteen etchings full of vigour, as the +character of the story justifies.</p> + +<p>For some reason, at this time, a rupture was caused between author and +artist,[O] which resulted in the engagement of Mr. Marcus Stone and Mr. +Luke Fildes as illustrators of <i>Our Mutual Friend</i> and <i>Edwin Drood</i>. +These accomplished painters avoided the old system of caricature, the +old, forced humour; but it is certain that their designs are less +intimately associated with the persons in the stories they illustrated +than those of "Phiz" with the earlier and more popular works of Dickens.</p> + +<p>Having devoted the larger portion of the space at our disposal to a +description of the most famous productions of Browne's pencil, which are +prominent in the original editions of the Novels of Charles Dickens, we +can but briefly enumerate the plates he etched for Lever, Ainsworth, and +others.</p> + +<div class="figcenter" style="width: 650px;"> +<img src="images/i_046.jpg" width="650" height="357" alt="" title="" /> +</div><p><span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span></p> + +<p>In Charles Lever's <i>Harry Lorrequer</i> (1839) and <i>Charles O'Malley</i> +(1841), the uproarious mirth and jollity of Irish military life is well +portrayed by the needle of the artist. "The last night in Trinity" in +the latter work, is an example of this, wherein is seen the worthy +Doctor perched on a table, surrounded by a batch of Irish dragoons, and +being elevated by an explosion of combustibles. The horses in the +illustrations are admirably drawn.</p> + +<p>In <i>Jack Hinton</i> (1842) the artist shows remarkable force in depicting +the death of Shaun, and has well realized the humour of "Corney's Combat +with the Cossack."</p> + +<p><i>Tom Burke of Ours</i> (1844) contains forty-four illustrations by "Phiz," +many of which represent the scenes connected with the battles of +Austerlitz, &c., during the reign of the great Napoleon. Most especially +noticeable is the scene in a court of justice, with "Darby in the +Chair;" the face of that hero with an expression apparently abashed, but +really full of roguishness, as he gazes at the counsel, is one of the +most successful of Browne's efforts.</p> + +<p><i>The O'Donoghue</i> (1845), has twenty-six illustrations, most of which are +well conceived. The falling body of a man in the frontispiece is a +remarkable drawing. The girlish figure of Kate O'Donoghue, as she bends +over the form of her heart-broken brother Herbert, is well depicted.</p> + +<p><i>St. Patrick's Eve</i> (1845), with four etchings and several woodcuts. The +most remarkable of the former is "The Cholera Hut."</p> + +<p><i>The Knight of Gwynne</i> (1847), with forty illustrations.</p> + +<p><i>Roland Cashel</i> (1850), with forty illustrations.</p> + +<p><i>The Daltons</i> (1852), with forty-eight illustrations.</p> + +<p><i>The Dodd Family Abroad</i> (1854), with forty illustrations. The shrewd +simplicity of Kenny Dodd is well delineated.</p> + +<p><i>The Martins of Cro' Martin</i> (1856), with forty illustrations.</p> + +<p><i>Davenport Dunn</i> (1859), with forty-four illustrations.</p> + +<p><i>One of Them</i> (1861), with thirty illustrations.</p> + +<p><i>Barrington</i> (1863), with twenty-six illustrations.</p> + +<p><i>Luttrell of Arran</i> (1865), with thirty-two illustrations.</p> + +<p>The following works of W. Harrison Ainsworth contain etchings and +woodcuts by "Phiz:"—</p> + +<p><i>Revelations of London</i>, published about 1845, but never completed, has +an illustration which represents a tumble-down house in Vauxhall Road, +which is almost Rembrandt-like in its power. The artist was about thirty +years of age when he executed this.</p> + +<p><i>Old St. Paul's</i> (1847), contains only two plates by "Phiz," but <i>The +Spendthrift</i> (1857), <i>Mervyn Clitheroe</i>, and <i>Crichton</i> were wholly +illustrated by him.<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span></p> + + +<h3><span class="smcap">Some Miscellaneous Works Illustrated by "Phiz."</span></h3> + +<p><i>A Paper: of Tobacco, &c., by Joseph Fume</i> (1839). With six plates by +"Phiz." <i>Fiddle Faddle's Sentimental Tour, in search of the Amusing, +Picturesque, and Agreeable</i> (1845). <i>The Union Magazine.</i> Vol. I (1846). +Containing three plates by "Phiz." <i>The Illuminated Magazine.</i> Conducted +by Douglas Jerrold (1843-5), with woodcut illustrations by Leech, "Phiz" +(H. K. Browne), and others. <i>Fanny, the little Milliner, or the Rich and +the Poor</i> (1846), illustrated by "Phiz" and Onwhyn. <i>Wits and Beaux of +Society. Sketches of Cantabs, by John Smith (of Smith Hall), Gent.</i> +(1850). <i>The Cambridge Freshman.</i> With woodcut illustrations. <i>Paved +with Gold, or Romance and Reality of the London Streets</i>, by Augustus +Mayhew (1858). <i>A Medical, Moral, and Christian Dissection of +Teetotalism by Democritus</i> (1846). <i>New Sporting Magazine</i> (1839). <i>The +Pottleton Legacy</i>, by Albert Smith. <i>Christmas Day, and how it was spent +by four persons in the house of Fograss, Fograss, Mowton, and Snorton, +bankers</i>, by C. Le Ros (1854). <i>Home Pictures</i> (Durtin & Co., 1856). A +series of seven charming and characteristic plates. <i>Dame Perkins and +her Grey Mare, or the Mount for Market</i>, by L. Meadows (1866). With +coloured illustrations. <i>H. B.'s Schoolboy Days.</i> <i>Illustrations of the +Five Senses.</i> <i>Adventures of Sir Guy de Guy</i>, by George Halse. <i>The +Baddington Peerage</i>, by G. A. Sala (published in <i>The Illustrated +Times</i>). In addition to these may be added an illustrated edition of +Byron's works, the "Abbotsford" edition of Sir Walter Scott's Novels, +besides numerous cuts in <i>The Sporting Gazette</i>, <i>The Illustrated +Times</i>, the early volumes of <i>Once a Week</i>, and the Comic Papers.</p> + +<div class="figcenter" style="width: 350px;"> +<img src="images/i_049.jpg" width="350" height="291" alt="(Some Signatures adopted by H. K. Browne.)" title="" /> +<span class="caption">(Some Signatures adopted by H. K. Browne.)</span> +</div> + +<hr style="width: 65%;" /> + +<h3>BELCARO: being Essays on Sundry Æsthetical Questions.</h3> + +<p>By <span class="smcap">Vernon Lee</span>, author of the "Studies of the Eighteenth Century in +Italy." 8vo. price 8<i>s.</i></p> + +<p>"There is much in this thoroughly original and delightful book which +reminds us of the essays of the eighteenth century.... It is rare indeed +to find so much thought conveyed in so easy a style—to find a writer +who not only has so much that is fresh to say, but has so fresh a way of +saying it.... This way of conveying ideas is very fascinating.... From +first to last there is a continuous and delightful stimulation of +thought. The book will lead to conversation, dreaming, speculation, and +all kinds of pleasant and healthy mental exercise; and it is +interspersed with such perfect little sketches of scenery, and passages +of so much eloquence, that it is a literary treat to read +it."—<i>Academy.</i></p> + +<p>"Clever and expressive, subtle and brilliant.... We could say a good +deal more about this book as the product of a remarkably acute critical +mind; it would bear to be read a second time, and would be found to +repay the trouble."—<i>Athenæum.</i></p> + +<p>"Splendid essays on art.... We do not know why the writing reminds us of +George Sand, but it does.... Vernon Lee writes prose harmonies which are +finely composed."—<i>Vanity Fair.</i></p> + + +<h3>THE SEALS AND ARMORIAL INSIGNIA OF THE UNIVERSITY AND COLLEGES OF +CAMBRIDGE.</h3> + +<p>Part I. Post 4to., 3<i>s.</i> Relating to the University. Contains +Chromo-lithograph and <i>eight engravings</i> of Seals.</p> + +<p><i>Imp. 16mo., elegant cover, gilt. Price 3s (Postage 4d).</i></p> + + +<h3>TUSCAN FAIRY TALES. Taken down from the Mouths of the People. With +sixteen illustrations, engraved by <span class="smcap">Edmund Evans</span>.</h3> + +<p><span class="smcap">Contents</span>:—The Little Convent of Cats; The Fairies' Sieve; The Three +Golden Apples; The Woman of Paste; The Beautiful Glutton; The King of +Portugal's Cowherd; The Three Cauliflowers; The Siren; The Glass Coffin; +Leonbruno.</p> + +<p>"Sumptuously printed and prettily bound."—<i>Athenæum.</i></p> + +<p>"A thoroughly delightful book. The comparative mythologist and the child +will alike find something to gratify their very different +tastes."—<i>Westminster Review.</i></p> + +<p>"The work will delight the little ones as well as interest the student. +The book is charmingly got up and illustrated."—<i>London Review.</i></p> + +<p><i>New Poems. Crown 8vo. Ten fine Plates, cloth, price 6s.</i></p> + + +<h3>GODS, SAINTS, AND MEN. By <span class="smcap">Eugene Lee-Hamilton</span>.</h3> + +<p>"Readers will find him, as before, a Browning without his +obscurity."—<i>Graphic.</i></p> + +<p>"Quaint, mediæval legends and traditions, most of which have a strong +savour of the supernatural, in strong, tuneful and artistic +verse."—<i>Scotsman.</i></p> + +<p><i>Crown 8vo., price 1s, cloth 2s.</i></p> + + +<h3>ON THE ART OF GARDENING: A plea for English Gardens of the future, with +practical hints for planting them By <span class="smcap">Mrs. J. Francis Foster</span>.</h3> + +<p>"In this pleasant and original little book the authoress not only enters +a vigorous protest against the bedding-out system and the so-called +'natural' style of gardening, but gives very good practical advice for +gardens of a different sort."—<i>Gardener's Chronicle.</i></p> + +<p>"This little book proceeds from a true lover of flowers and +will be welcome to all who take an interest in their care and +culture."—<i>Civilian.</i></p> + +<p>"A pleasant and unpretending little volume."—<i>Saturday Review.</i></p> + + +<p>LONDON: W. SATCHELL & Co., 19, TAVISTOCK ST., COVENT GARDEN</p> + + +<h4><i>Price</i> 2<i>s.</i> 6<i>d.</i>,</h4> + +<h3>THE BOOK OF ODDITIES, AND PUNISHMENTS IN THE OLDEN TIME.</h3> + +<h4>BY WILLIAM ANDREWS, F.R.H.S.</h4> + +<p>With numerous Illustrations BY GEORGE CRUIKSHANK, CROWQUILL, CUTHBERT +BEDE, AND OTHERS.</p> + +<div class="blockquot"><p><span class="smcap">Contents:</span>—Revivals after Execution—A Human +Pincushion—Female Jockeys—A Blind Road-maker—Odd +Showers—Singular Funerals—Whimsical Wills—Curious +Epitaphs—People and Steeple +Rhymes—Dog-Whippers—Sluggard-Wakers—Playing at Cards for +a Town, &c. &c.</p></div> + +<p>"A capitally-written book, containing a vast amount of curious and +out-of-the-way information. Mr. Andrews is never for a moment dull, but +gives forth his antiquarian gossip with all the enthusiasm and point of +a practised <i>raconteur</i>. <i>He tells us all about the ducking-stool, the +brank, the pillory, the stocks, the drunkard's cloak, the whipping-post, +riding the stang, and other forms of punishment.</i> The book is copiously +illustrated and well indexed, and cannot fail to be popular."—<i>Sunday +Times.</i></p> + +<p class="center">LONDON: W. SATCHELL AND CO., 19, TAVISTOCK STREET, COVENT GARDEN.</p> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of 'Phiz' (Hablot Knight Browne), a +Memoir., by Fred. G. 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