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diff --git a/old/55710-0.txt b/old/55710-0.txt deleted file mode 100644 index 6b6e259..0000000 --- a/old/55710-0.txt +++ /dev/null @@ -1,6087 +0,0 @@ -The Project Gutenberg EBook of Suppressed Plates, Wood-engravings, &c., by -George Somes Layard - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Suppressed Plates, Wood-engravings, &c. - Together with other Curiosities Germane Thereto - -Author: George Somes Layard - -Release Date: October 8, 2017 [EBook #55710] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK SUPPRESSED PLATES, WOOD-ENGRAVINGS *** - - - - -Produced by Chris Curnow, RichardW, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - - - -SUPPRESSED PLATES - - - - -AGENTS - - AMERICA THE MACMILLAN COMPANY - 64 & 66 FIFTH AVENUE, NEW YORK - - CANADA THE MACMILLAN COMPANY OF CANADA, LTD. - 27 RICHMOND STREET WEST, TORONTO - - INDIA MACMILLAN & COMPANY, LTD. - MACMILLAN BUILDING, BOMBAY - 309 BOW BAZAAR STREET, CALCUTTA - -[Illustration: The title-page of the unwritten “Death in London”] - - SUPPRESSED PLATES WOOD ENGRAVINGS, &c. - TOGETHER WITH OTHER CURIOSITIES GERMANE THERETO - - BEING - AN ACCOUNT OF CERTAIN MATTERS - PECULIARLY ALLURING TO - THE COLLECTOR - - BY - GEORGE SOMES LAYARD - - [Illustration: (colophon)] - - LONDON - ADAM AND CHARLES BLACK - 1907 - -_Published November 1907_ - - I DEDICATE THIS BOOK - TO - MY TWO BOYS - JOHN AND PETER - WHO - I SINCERELY HOPE, WILL NOT HAVE SO MANY - _USELESS_ HOBBIES - AS - THEIR AFFECTIONATE - FATHER - - - - -CONTENTS - - - 1. INTRODUCTORY . . . 1 - - 2. “THE MARQUIS OF STEYNE” . . . 7 - - 3. THE SUPPRESSED PORTRAIT OF DICKENS, “PICKWICK,” “THE BATTLE OF - LIFE,” AND “GRIMALDI” . . . 26 - - 4. DICKENS CANCELLED PLATES: “OLIVER TWIST,” “MARTIN CHUZZLEWIT,” - “THE STRANGE GENTLEMAN,” “PICTURES FROM ITALY,” AND “SKETCHES BY BOZ” - . . . 43 - - 5. ON SOME FURTHER SUPPRESSED PLATES, ETCHINGS, AND WOOD ENGRAVINGS BY - GEORGE CRUIKSHANK . . . 59 - - 6. HOGARTH’S “ENTHUSIASM DELINEATED,” “THE MAN OF TASTE,” AND “DON - QUIXOTE” . . . 82 - - 7. CANCELLED DESIGNS FOR “PUNCH” AND “ONCE A WEEK” BY CHARLES KEENE - AND FREDERICK SANDYS . . . 127 - - 8. MISCELLANEOUS . . . 149 - - 9. THE SUPPRESSED OMAR KHAYYAM ETCHING . . . 179 - - 10. ADAPTED OR PALIMPSEST PLATES . . . 192 - - 11. ADAPTED OR PALIMPSEST PLATES (_continued_) . . . 226 - - - - -LIST OF ILLUSTRATIONS - - _Printed Separately_ - - The Title-page of the unwritten “Death in London” . . . _Frontispiece_ - - The Third Marquis of Hertford. (_From the engraving by W. Holl, of - the painting by Sir Thomas Lawrence_) . . . _Between pages_ 20 - _and_ 21 - - The Fourth Marquis of Hertford. (_From a photograph_) - . . . _Between pages_ 20 _and_ 21 - - The Third Marquis of Hertford when Lord Yarmouth. (_From the coloured - caricature by Richard Dighton_) . . . _Facing page_ 24 - - The suppressed portrait of Charles Dickens . . . _Facing page_ 28 - - The “Pickwick” suppressed plate: “The Cricket Match.” (_By R. W. - Buss_) . . . _Facing page_ 30 - - The “Pickwick” suppressed plate: “Tupman and Rachel.” (_By R. W. - Buss_) . . . _Between pages_ 32 _and_ 33 - - “Tupman and Rachel.” (_By H. K. Browne_) . . . _Between pages_ 32 - _and_ 33 - - “The Last Song,” with the suppressed border (_By George Cruikshank_) - . . . _Facing page_ 40 - - The suppressed plate from “Oliver Twist” . . . _Facing page_ 48 - 1. “The Fireside Scene” - 2. “The Fireside Scene,” as worked upon by Cruikshank - - The suppressed plate from “Sketches by Boz” . . . _Facing page_ 56 - - “A Financial Survey of Cumberland or the Beggar’s Petition.” (_From - the only known uncoloured impression of the plate_) . . . _Between - pages_ 64 _and_ 65 - - “A Financial Survey of Cumberland or the Beggar’s Petition.” (_From - a coloured impression of the plate, with the figure of the valet - obliterated with lamp-black_) . . . _Between pages_ 64 _and_ 65 - - “Enthusiasm Delineated. (Humbly dedicated to his Grace the Arch Bishop - of Canterbury by his Graces most obedient humble Servant _Wm. - Hogarth_”) . . . _Between pages_ 88 _and_ 89 - - “Credulity, Superstition, and Fanaticism. A Medley” . . . _Between - pages_ 88 _and_ 89 - - Portrait of Hogarth with his Dog Trump . . . _Facing page_ 112 - - _The plate reversed and in its last state, now entitled_ “The Bruiser” - . . . _Facing page_ 112 - - The Cancelled Cartoon. (_By Charles Keene_) . . . _Facing page_ 128 - - The Cancelled “Social.” (_By Charles Keene_) . . . _Facing page_ 136 - - Suggestion by Joseph Crawhall for the Cancelled “Social” . . . _Facing - page_ 136 - - “The Painted Chamber.” (From _Antiquities of Westminster_, 1807) - . . . _Facing page_ 150 - - The suppressed portrait of “John Jorrocks, Esq., M.F.H., etc.” (_By - Henry Alken, the younger_) . . . _Facing page_ 160 - - The suppressed frontispiece for “Omar Khayyam.” (_By Edwin Edwards_) - . . . _Facing page_ 188 - - “L’Europe alarmée pour le Fils d’un Meunier.” (_The plate in its first - state_) . . . _Between pages_ 204 _and_ 205 - - _The plate in its second state, now entitled_ “La Cour de Paix - solitaire, entre les Roses piquantes et les Lis” . . . _Between - pages_ 204 _and_ 205 - - Queen Anne presiding over the House of Lords. (_The plate in its first - state_) . . . _Between pages_ 236 _and_ 237 - - _The plate in its second state, now representing_ George I. presiding - over the House of Lords . . . _Between pages_ 236 _and_ 237 - - “The Races of the Europeans, with their Keys.” (_The plate in its - first state_) . . . _Between pages_ 238 _and_ 239 - - “A Skit on Britain.” (_The plate in its second state_) . . . _Between - pages_ 238 _and_ 239 - - The Headless Horseman. (_The plate with the head burnished out_) - . . . _Facing page_ 240 - - The plate with Cromwell’s head . . . _Between pages_ 242 _and_ 243 - - The plate with Charles I.’s head . . . _Between pages_ 242 _and_ 243 - - Undescribed palimpsest plate. (_First state and second state_) - . . . _Facing page_ 244 - - Undescribed palimpsest plate. (_First state and second state_) - . . . _Facing page_ 246 - - - _Printed in the Text_ - - 1. The Suppressed Portrait of the Marquis of Steyne . . . 15 - - 2. The Battle of Life. “Leech’s Grave Mistake” . . . 35 - - 3. Rose Maylie and Oliver at Agnes’s Tomb. (_The substituted plate in - two states_) . . . 51 - - 4. The Strange Gentleman . . . 55 - - 5. “A Trifling Mistake”—Corrected— . . . 71 - - 6. Philoprogenitiveness . . . 77 - - 7. “Drop it!” . . . 79 - - 8. Enlarged detail of Hogarth’s “Enthusiasm Delineated” . . . 85 - - 9. The Chandelier in “Enthusiasm” . . . 95 - - The Chandelier in “Credulity” . . . 95 - - 10. The Man of Taste . . . 105 - - 11. Burlington Gate as it appeared prior to 1868 . . . 109 - - 12. Don Quixote, No. 1.—The Innkeeper . . . 115 - - 13. Don Quixote, No. 2.—The Funeral of Chrysostom . . . 117 - - 14. Don Quixote, No. 3.—The Innkeeper’s Wife and Daughter . . . 119 - - 15. Don Quixote, No. 4.—Don Quixote seizes the Barber’s Basin - . . . 120 - - 16. Don Quixote, No. 5.—Don Quixote releases the Galley Slaves - . . . 122 - - 17. Don Quixote, No. 6.—The First Interview . . . 123 - - 18. Don Quixote, No. 7.—The Curate and the Barber . . . 125 - - 19. Danaë in the Brazen Chamber . . . 143 - - 20. Suppressed Illustration from _The Vicar of Wakefield_ . . . 172 - - 21. Het beest van Babel, etc. (_The plate in its first state_) - . . . 218 - - 22. Het beest van Babel, etc. (_The plate in its second state_) - . . . 219 - - 23. Aan der Meester Tonge-Slyper. (_The plate in its first state_) - . . . 229 - - Aan der Meester Tonge-Slyper. (_As adapted by the Anti-Jesuits_) - . . . 229 - - 24. The Stature of a Great Man, or the English Colossus . . . 234 - - 25. The Stature of a Great Man, or the Scotch Colossus . . . 235 - - 26. Aan den Experten Hollandschen Hoofd-Smith. (_The plate in its - first state_) . . . 245 - - 27. Aan den Experten Hollandschen Hoofd-Smith. (_As adapted by the - Anti-Jesuits_) . . . 245 - - 28. An adapted Copperplate. (_First state_) . . . 247 - - 29. An adapted Copperplate. (_Second state_) . . . 247 - - 30. A History of the New Plot. (_First state_) . . . 249 - - 31. A History of the New Plot. (_Second state_) . . . 249 - - - - -SUPPRESSED PLATES, ETC. - -CHAPTER I - -INTRODUCTORY - - -No one who has the itch for book-collecting will deny that suppressed -book illustrations are, what the forbidden fruit was to our mother Eve, -irresistible. Whether such appetite represents the very proper ambition -to have at his elbow the earliest states of beautiful or interesting -books, of which the subsequently suppressed plate or wood engraving -is in general a sort of guarantee, or the less defensible desire to -possess what our neighbour does not, must be settled by the conscience -of each. The fact remains that such rarities are peculiarly alluring to -those whom Wotton calls “the lickerish chapmen of all such ware.” {2} - -There are, of course, ridiculous[1] people who value such books as -the first issue of the first edition of Dickens’s _American Notes_ -just because there is a mistake in the pagination; or a first edition -of Disraeli’s _Lothair_ because the prototype of “Monsignor Catesby” -is divulged by misprinting the name “Capel”; or _Poems_ by Robert -Burns, first Edinburgh Edition, because in the list of subscribers -“The Duke of Roxborough” appears as “The Duke of Boxborough”; or -Barker’s “Breeches” Bible of 1594, because on the title-page of the New -Testament the figures are transposed to 1495; or the first edition in -French of Washington Irving’s _Sketch Book_, because the translator, -maltreating the author’s name, has declared the book to be “traduit de -l’Anglais de M. Irwin Washington,” and in the dedication has labelled -Sir Walter Scott, _Barronnet_; or indeed a book of my own, in which I -described as “since dead” a gifted and genial gentleman who I am glad -to think still gives the lie to my inexcusable carelessness. {3} - - [1] I am quite aware that “ridiculous” is a dangerous stone to throw, - when one lives in a glass house oneself. - -But it is not _because_ of such errors that a true book-lover desires -to own _editiones principes_ of famous works. That ambition is -legitimate enough, but its legitimate reason is otherwhere to seek. - -In the case of such a book as Rogers’s _Italy_, with the Turner -engravings, the matter is very different. Here the fact that the plates -on pp. 88 and 91 are transposed is a guarantee that the impressions of -the extraordinarily delicate engravings are of the utmost brilliancy, -for the error was discovered before many impressions had been taken. -The same applies, though in lesser degree, to such a book as Mr. Austin -Dobson’s _Ballad of Beau Brocade_, illustrated by Mr. Hugh Thomson, in -the earliest edition of which certain of the illustrations are also -misplaced.[2] There is reason in wishing to possess these. See what -Ruskin himself has said of the omission of the two engravings which -had appeared in the first edition of _The Two Paths_. He writes in the -preface to the 1878 reissue: {4} - - [2] Compare also the early issues of the first edition of Ainsworth’s - _Tower of London_, in which the plates at pp. 28 and 45 vary from those - in the later issues. - -“I own to a very enjoyable pride in making the first editions of my -books valuable to their possessors, who found out, before other people, -that these writings and drawings were good for something . . . and the -two lovely engravings by Messrs. Cuff and Armytage will, I hope, render -the old volume more or less classical among collectors.” From this we -gather that “the Professor” was of the right kidney. - -It is hardly necessary to say that it is not my intention to make -this book a devil’s directory to illustrations which have been -suppressed because of indecency, and are referred to in the catalogues -of second-hand booksellers, whose cupidity is stronger than their -self-respect, as “facetiæ” or “very curious.” Indeed, this book -would itself in that case also very properly be put on the index -expurgatorius of every decent person. My purpose is to gather together, -correct and amplify the floating details concerning a legitimate class -of rarities, and to put the collector on his guard, where necessary, -against imposition. - -By its very nature this treatise cannot be complete, but I have -included most of the {5} examples of any importance which, during many -years of bibliomania, have come under my observation. To these I have -added certain re-engraved or palimpsest plates, which are germane to -the subject. - -As to these last I find amongst my papers a curious note from the -pen of R. H. Cromek, the engraver, who flourished at the end of the -eighteenth century. - -“One of these vendors,” he writes (publishers of Family Bibles), -“lately called to consult me professionally about an engraving he -brought with him. It represented Mons. Buffon seated, contemplating -various groups of animals surrounding him. He merely wished, he said, -to be informed whether, by engaging my services to unclothe the -naturalist, and giving him a rather more resolute look, _the plate -could not, at a trifling expense, be made to do duty for ‘Daniel in the -lions’ den’_”! - -That would be a palimpsest well worth possessing, if ever it were -carried into effect. It would be as fascinating an object of -contemplation as the Stothard designs for _Clarissa Harlowe_, {6} -which the same authority informs us were later used to illustrate the -Scriptures! But the history of the _cliché_, pure and simple, has yet -to be written. Our concern is with higher game than that. - -{7} - - - - -CHAPTER II - -“THE MARQUIS OF STEYNE” - - -Perhaps the most celebrated of suppressed book illustrations is the -wood-engraved portrait of the “Marquis of Steyne,” drawn by Thackeray -as an illustration to _Vanity Fair_, for which, if we are to believe -the statement of a well-known bookseller’s catalogue, “libellous -proceedings (_sic_) were threatened on account of its striking likeness -to a member of the aristocracy.” With the accuracy of this statement I -shall deal in due course. - -Before, however, proceeding to the consideration of the suppressed -illustration itself, it will be as well to pause for a moment to -consider what antecedent probability there was that Thackeray would -pillory a well-known _roué_ of the period in terms that would make -the likeness undoubted and undeniable. And in pointing out what the -great {8} novelist’s practice was in this respect I would guard -myself against the charge of presuming to censure one who is not -here to answer for himself, and whose nobility of character was -sufficient guarantee of good faith and honourable intention. Let it -always be remembered that, if Thackeray flagellated others, he never -hesitated to taste the quality of his own whip first. Even in his book -illustrations, as I have pointed out elsewhere, he was as unsparing -of his own feelings as he was in his writings. And, in using himself -as a whipping-boy for our sins, he probably believed that he was -making himself as despicable as a Rousseau. Hence he came to the like -treatment of other real personages not with unclean hands. - -Some of us may have seen, though very few of us can possess, a very -rare pamphlet, which was sold for as much as £39 on one of its -infrequent appearances in the auction-rooms, entitled _Mr. Thackeray, -Mr. Yates, and the Garrick Club_. In it was published a never-sent -reply to a letter written by Thackeray remonstrating with Yates on -the contents of a “pen-and-ink” sketch published by the latter in No. -6 of a periodical called _Town {9} Talk_, which resulted in Yates’s -expulsion from the Garrick Club. - -In this unsent letter he charged Thackeray with having unjustifiably -introduced portraits both in his letterpress and illustrations. Mr. -Stephen Price appeared as Captain Shindy in the _Book of Snobs_. In -the same book Thackeray drew on a wood block what was practically a -portrait of Wyndham Smith, a fellow-clubman. This appeared amongst -“Sporting Snobs,” Mr. Smith being a well-known sporting man. In -_Pendennis_ he made a sketch of a former member of the Garrick Club, -Captain Granby Calcraft, under the name of Captain Granby Tiptoff. In -the same book, under the transparent guise of the unforgettable Foker, -he reproduced every characteristic, both in language, manner, and -gesture, of Mr. Andrew Arcedeckne, and even went so far as to give an -unmistakable portrait of him, to that gentleman’s great annoyance. - -Besides the examples given by Yates, who was himself recognisable -as George Garbage in _The Virginians_, we know, too, that in the -same novel Theodore Hook appeared as Wagg, just as he did {10} as -Stanislaus Hoax in Disraeli’s _Vivian Grey_, and that Alfred Bunn -was the prototype of Mr. Dolphin. Archdeacon Allen was the original -of Dobbin, Lady Langford of Lady Kew; and last, but not least, we -have lately learned from Mrs. Ritchie that the inimitable Becky had -undoubtedly her incarnation. - -So we see that the antecedent improbability is as the snakes in -Iceland; for the above examples, which no doubt could be largely added -to, prove that Thackeray did not hesitate to draw direct from the model -when it suited his purpose. - -So far so good. Let us now proceed to inquire into the identity of the -“Marquis of Steyne.” - -That his prototype was _a_ Marquis of Hertford is axiomatic with all -those who have ever taken any interest in the subject; but when we come -to inquire which marquis we find that opinions are astonishingly at -variance. It would seem almost as though any Marquis of Hertford would -serve, whereas in point of fact the portrait would be the grossest -libel upon each of that noble line save one; and so incidentally we -shall, by making the matter clear, rescue from calumny an honourable -{11} race, which has hitherto through heedlessness been tarred with -the same brush as its least honourable representative. - -To show that this is not a reckless charge of inaccuracy, I quote from -four letters in my possession written by four persons most likely to -have special knowledge upon the subject. - -The first, which is from a well-known printseller, informs me “that -the Marquis of Steyne in _Vanity Fair_ was Francis, second Marquis of -Hertford, who died in 1822.” - -The second, which is from one more intimately acquainted with the -family than any other living person, says, “Unquestionably Francis, -third Marquis of Hertford, the intimate friend of George IV., was the -prototype of the Marquis of Steyne in Thackeray’s _Vanity Fair_.” - -The third letter, which is from a well-known London editor, in general -the best-informed man I have ever met, says, “It was the fourth Lord, -who died in 1870.” - -The last of the four letters supports this view and says: “It was the -fourth, not the third, Marquis of Hertford who was supposed to be the -prototype {12} of Thackeray’s Marquis of Steyne. . . . He was Richard -Seymour Conway, who was born in 1800 and died in 1870.”[3] - -Now, considering that these are the only opinions for which I have -asked, and that they are so curiously divergent, it will, I think, be -clear that it is time an authoritative declaration were forthcoming, -based upon independent inquiries. - -It may as well, then, be stated once for all that no one who has taken -the trouble to investigate the lives of the three marquises above -mentioned can hesitate for a moment in identifying the “Marquis of -Steyne” with the third Marquis of Hertford. To those who are curious -to know very full particulars about these noblemen I would recommend -the perusal of an interesting article entitled “Two Marquises” in -_Lippincott’s Magazine_ for February 1874. Nor should they fail to read -Disraeli’s _Coningsby_, and compare “Lord Monmouth” and his creature -“Rigby,” whose prototypes were the same Marquis of Hertford and _his_ -creature Croker, with the {13} “Marquis of Steyne” and _his_ managing -man - - [3] As I write, a great daily newspaper informs the world that it was - the _first_ Marquis. “ - Wenham.” - -And, whilst we are identifying the third Marquis in _Coningsby_ and -_Vanity Fair_, reference may be made to another most unflattering -portrait of that notorious nobleman in a book published anonymously in -1844, which was _immediately_ suppressed, but is now not infrequently -to be found in second-hand book catalogues. The book was (I believe) -written by John Mills, and had ten clever etched plates by George -Standfast (probably a _nom de plume_). Copies in the parts as -published are excessively rare. The title of the book is _D’Horsay; -or the Follies of the Day, by a Man of Fashion_.[4] It dealt with the -escapades, vices, and adventures of well-known men of the day under -the following transparent pseudonyms: Count d’Horsay, the Marquis of -Hereford, the Earl of Chesterlane, Mr. Pelham, General Reel, Lord -George Bentick, Mr. George Robbins, auctioneer, the Earl of Raspberry -Hill, Benjamin D——i, Lord Hunting-Castle, and others. The {14} -account of the “closing scene in the life of the greatest debauchee -the world has ever seen, the Marquis of Hereford,” is too horrible to -repeat. - - [4] This scurrilous and poorly written book has lately been thought - worthy of resurrection and republication. - -So much for the identity of the “Marquis of Steyne” as described in -Thackeray’s letterpress, which need not be dwelt upon here at greater -length, seeing that the immediate object of this chapter is to deal -with the accompanying engraving and its history. And in proceeding -to this examination it should not be forgotten, in fairness to the -novelist, that Thackeray has explained that his characters were made up -of little bits of various persons. This is no doubt true enough. At the -same time, we cannot but be aware that, although the details may have -been gathered, the outline has been drawn direct from the life. - -[Illustration: The Suppressed Portrait of the Marquis of Steyne] - -_Vanity Fair_ was issued originally in monthly parts. Its first title -was _Vanity Fair: Pen and Pencil Sketches of English Society_. Its -first number was dated “January 1847,” and had “illustrations on steel -and wood by the Author.” On p. 336 of the _earliest issue_ of this -first edition appeared the wood engraving of the Marquis of Steyne, -wanting which a first edition is, to the {15} bibliomaniac, _Hamlet_ -with Hamlet left out. In the later issues, the engraving (which I -here reproduce) was omitted, as also was the “rustic type” in which -the title appeared on the first page.[5] The publishers were Messrs. -Bradbury and Evans, {16} as was natural, Thackeray being at this time -on the staff of _Punch_. In later editions of the novel, published by -Messrs. Smith, Elder and Co., the engraving reappears—viz. on p. 22 -of vol. ii. in the standard edition, and on p. 158, vol. ii., of the -twenty-six-volume edition.[6] - - [5] To the rabid bibliophile I here present another variation, which - has hitherto escaped the bookseller. In the first edition, on p. 453, - will be found the misprint “Mr.” (for “Sir”) Pitt and Lady Jane Crawley. - - [6] It does not appear amongst the illustrations to the biographical - edition, which are restricted to the full-page plates. - -What was the reason for its sudden removal immediately after -publication? As I have said above, it is commonly stated to have been -in consequence of a threatened action for libel, of course on account -of the undoubted likeness of the “Marquis of Steyne” to the third -Marquis of Hertford. But how does this tally with facts? Lord Hertford -had died in 1842, whilst the first number of _Vanity Fair_ did not -appear until 1847. Now every lawyer knows that you cannot libel a dead -man. This was made clear some few years ago (I think) in the case -of the Duke of Vallombrosa against a well-known English journalist. -Therefore it is quite certain that, although legal proceedings might -have been threatened, they would certainly have collapsed. {17} -Further than that, those who knew the fourth Marquis are aware that -he was the last man in the world to embark upon a lawsuit or court -publicity in any way. And if any doubt upon the matter should still -remain, I am able to state positively that no trace is to be discovered -amongst the Hertford family papers of any action threatened or brought -against Thackeray on any grounds whatsoever. I think, then, that we may -dismiss once for all this aspect of the case. - -At the same time it is not impossible that some hint may have reached -the novelist’s ears that the illustration gave pain to persons then -living, and that he promptly had it removed. But against this view -there is a very strong presumption. If we turn the leaves of our -original issue of _Vanity Fair_, we shall, on p. 421, find another -wood engraving, and opposite p. 458 a full-page steel engraving, “The -Triumph of Clytemnestra,” both containing portraits of “The Marquis -of Steyne.” Now, considering that that nobleman’s august features are -as recognisable in these as in the suppressed engraving, it seems -unreasonable to suppose that the one would have been removed {18} -without the others, in consequence of family representations. - -Possibly the real truth of the matter is a very much simpler one. It -may have been either that Thackeray was himself disgusted with the -brutal frankness of the picture when he saw it printed, and insisted -on its removal, or that the block met with some accident. Indeed, I -am inclined to think, judging from my memory of the subject, that the -idea of an action for libel is one that has only found expression in -more modern booksellers’ catalogues. If I am not mistaken, the older -booksellers used to speak of the engraving not as “suppressed,” but as -“extremely rare,” and that it was supposed to have disappeared from -later issues because it was broken before many impressions were taken. -Of course, a threatened action for libel, on account of its striking -likeness to a member of the aristocracy, added piquancy to the affair, -and so redounded to the benefit of the vendor of the earliest issue of -a first edition; and the identification of Lord Steyne’s prototype, in -the letterpress, gave colour to the idea. Once set going, we may be -certain that {19} the legend would not be allowed to lapse for lack of -advertisement. To adapt what Dr. Johnson said of the “Countess,” “Sir,” -said he to Boswell, “in the case of a (marquis) the imagination is more -excited.” - -The accompanying portraits of the third and fourth Marquises of -Hertford give the reader an opportunity of forming his own opinion in -the matter of identity. That of the third Marquis is from the engraving -by William Holl of the painting by Sir Thomas Lawrence, and certainly -seems to suggest, in the prime of life, the features and expression -which Thackeray has portrayed in old age. The bald head, and the -arrangement of the whiskers—which are allowed to approach the corners -of the mouth—are incontestable points of resemblance; and if the old -voluptuary is somewhat more battered than Lawrence’s rather spruce -model, we must remember that his portrait was painted by the courtly -President of the Royal Academy many years before the period of life at -which he is introduced to us by the novelist. Certainly he is not an -attractive object; and I was amused to receive a letter from a member -of the family to whom I first showed the wood {20} engraving in which -these words occur: “I find we have no portrait whatever of the Lord -Hertford in question, and am not surprised at it if he at all resembled -that of the Marquis in _Vanity Fair_!”[7] - -As regards the fourth Marquis, it is a curious fact that, -notwithstanding his vast wealth, and his tastes as an artist and -connoisseur, no painted or engraved portrait of him is known. The -photograph here reproduced is the only counterfeit presentment extant, -and is enough, if further evidence were needed, to dispose for ever -of the idea that he was the prototype of the Marquis of Steyne. It is -hardly necessary to remind the reader that it is to him, through Sir -Richard and Lady Wallace, that the nation owes a debt of gratitude for -the splendid collection now housed in perpetuity in Hertford House.[8] - - [7] This is the description of the Marquis in _Coningsby_: “Lord - Monmouth was in height above the middle size, but somewhat portly - and corpulent; his countenance was strongly marked: sagacity on the - brow, sensuality in the mouth and jaw; his head was bald, but there - were remains of the rich brown hair on which he once prided himself. - His large, deep blue eye, madid, and yet piercing, showed that the - secretions of his brain were apportioned half to voluptuousness, - half to common sense.” This might well pass as a description of the - Thackeray drawing. - - [8] Just before Lady Wallace’s death, an examination of the Hertford - House library failed to discover a first edition of _Vanity Fair_, in - which I fancied some note might possibly have been found. This was - probably due to the fact that a large number of the Hertford books were - destroyed in the Pantechnicon fire. - -[Illustration: The Third Marquis of Hertford. (_From the engraving by -W. Holl, of the painting by Sir Thomas Lawrence_)] - -[Illustration: The Fourth Marquis of Hertford. (_From a photograph_)] - -{21} - -It will be noticed that in this photograph Lord Hertford wears his Star -of the Order of the Garter, to obtain which he made the “tremendous -sacrifice” of which an amusing account is given in the _Lippincott_ -article mentioned above. Of him the _Speaker_ wrote at the time of his -death: - - Living in Paris a quiet and rather solitary life—in habits - more a Frenchman than an Englishman; in tastes an artist and a - connoisseur; in purse and opportunity unlimited by any niggard need - of self-control—the fourth Marquis of Hertford busied himself in - gathering together from the treasure-houses of Europe innumerable - precious specimens of the painter’s, the goldsmith’s, and the - cabinetmaker’s art. Year after year, with tranquil perseverance, he - heaped up on every side of him all the beautiful objects on which - he could lay hands—pictures, miniatures, furniture, enamels, china - and plate, bronzes, and coats of armour—until his storehouses were - full to overflowing of treasures which, except for the pleasure of - procuring them, he could hardly ever have enjoyed. In this congenial - task he was assisted by a young Englishman, the secret of whose - connection with the Hertford family, if any such there was, the public - has never penetrated yet. To this young Englishman, who was well - known and liked in Parisian society in the tawdry splendour of the - Second Empire, and whose active generosity {22} won him wide esteem - in that desolated capital amid the terrible events of the winter of - 1870–71, Lord Hertford bequeathed the wonderful possessions which - he had accumulated in a lifetime of discriminating labour. When the - Franco-German War and the Commune were over, Richard Wallace brought - his spoils safely home, and exhibited them for a time at the Bethnal - Green Museum while he built the great galleries to hold them in - Manchester Square. But even here they were not destined to bring much - happiness to their possessor. After a short time Sir Richard Wallace - was left heirless—like Lord Hertford—by a cruel stroke of fate; and - now, by his widow’s gift, the splendid inheritance, which has passed - so quickly from the keeping of the hands that laid it up, goes to - enrich a public which will not be ungrateful for the donor’s rare - munificence, or unmindful of the sad and curious story it recalls.[9] - - [9] A footnote on p. 229, vol. iv. of G. E. C.’s _Complete Peerage_ - says: “[The fourth Marquis] is said never to have been in England. - He left his Irish estates (worth £50,000 a year) and most of his - personalty (which included the well-known Hertford collection of - pictures) to Sir Richard Wallace, Bart. (so _cr._ 1866), who is - supposed to have been an illegit. son, either of himself (when aged - 18), or of his father, or even (not improbably) of his mother; which - Richard (_b._ in London, 26th July 1818) _d._ s.p. at Paris, 20th - July 1890, in his 72nd year, and was _bur._ in the family vault at - Père-la-Chaise. Sir Richard’s ‘art treasures’ (derived as above stated) - were valued at his death in 1890 at above two millions.” - -To return again to the suppressed wood engraving itself, it is curious -to notice that old “Lady Kew” of _The Newcomes_ was sister to Lord -Steyne. Now the name “Kew” at once suggests {23} to those conversant -with the early doings of the century the nickname of the notorious -Duke of Queensberry, known to all and sundry as “Old Q,” and sets -us considering why the name should suggest itself to Thackeray in -connection with Lord Hertford. And what do we find? - -When the third Marquis was but twenty-one, he married a young lady -named Marie Fagniani. She was believed to be the daughter of the Duke -of Queensberry and an opera dancer of that name. Nothing would be more -natural, therefore, than that Thackeray, having saturated himself with -the surroundings of the prototypes of his characters, should, probably -half unconsciously, have seized upon a capital name suggested to him -in the course of preparing for his novel, and so adapted it to his -requirements. This suggestion I only make for what it is worth. It -may, of course, merely be that a search through the suburban directory -suggested the name, as was no doubt the case in apportioning to her -ladyship’s husband his second title of Lord Walham. At any rate, the -coincidence seems worth recording. - -In conclusion, there can be no possible doubt {24} that so far as -Thackeray’s letterpress is concerned, the prototype of the Marquis -of Steyne (Lord of the Powder Closet, etc. etc.) was Francis Charles -Seymour Conway (third Marquis of Hertford) of his branch; Earl of -Hertford and Yarmouth, Viscount Beauchamp, Baron Conway, and Baron of -Ragley in England; and Baron Conway and Kilultagh in the peerage of -Ireland; and as regards the suppressed wood engraving, there will, I -think, be little question that Thackeray the artist dotted his i’s -by an intentional representation of the noble lord’s not altogether -attractive features. - -[Illustration: The Third Marquis of Hertford when Lord Yarmouth. (_From -the coloured caricature by Richard Dighton_)] - -It is, however, only fair to state that Lord Hertford was probably -by no means the unmitigated scoundrel that those familiar with the -“Marquis of Steyne” might be led to suppose. That he participated in -all the amusements and most of the follies of a notorious society there -can be little doubt. At the same time, we have it on record (in the -somewhat pompous diction of the period) that he was extensively read in -ancient and modern literature, that his judgment was remarkable for its -solidity and sagacity, and that his {25} conversation was enlivened -by much of that refined and quaint pleasantry which distinguished his -near relative, Horace Walpole. He was a distinguished patron of all the -arts; and those who were more intimately acquainted with his private -life gave him the still higher praise of being a warm, generous, and -unalterable friend. “It is but justice to add,” to quote the final -words of the notice referred to, “that the writer has accidentally -become acquainted with instances of his Lordship’s benevolence, the -liberality of which was equalled only by the delicacy with which it was -conferred, and the scrupulous care with which he endeavoured to conceal -it.” - -The caricature portrait of the third Marquis here reproduced was -etched, as will be seen, by Richard Dighton in 1818, when this -Marquis’s father was alive, and he was only the Earl of Yarmouth. The -watermark on the paper is 1826, which explains the inscription “Marquis -of Hertford,” evidently a later addition—an _ex post facto_ puzzle -which proved insoluble until it occurred to me to hold the portrait up -to the light. - -{26} - - - - -CHAPTER III - -THE SUPPRESSED PORTRAIT OF DICKENS, “PICKWICK,” “THE BATTLE OF LIFE,” -AND GRIMALDI - - -Having dealt in the last chapter with the suppression of the well-known -Thackeray wood-cut of the “Marquis of Steyne,” we naturally turn next -in order to the other great Victorian novelist, Charles Dickens. Much, -of course, has been written about the Buss plates in _Pickwick_, -and much about the “Fireside Scene” in _Oliver Twist_. All readers -of Forster’s _Life of Charles Dickens_ know something of the wood -engraving in _The Battle of Life_ which ought to have been, but never -was, cancelled; and some know what to look for in the vignette title -of _Martin Chuzzlewit_. It is, however, time that the scattered -details should be grouped, that reproductions of the plates themselves -should make reference easy to those {27} who would identify their -possessions, and that the additional information which is in some cases -scattered about in various impermanent writings of my own and others -should be focussed for the greater convenience of the collector. - -In the first place, I shall present to the reader a suppressed -portrait of the great novelist, which has, I believe, never since been -reproduced. It was published about the year 1837 by Churton, but as to -the name of the artist by whom it was etched there is a mystery which -yet awaits solution. The plate is, as will be noticed, signed with the -familiar pen-name “Phiz,” but was almost immediately repudiated by the -chartered bearer of that title, H. K. Browne. It was promptly withdrawn -from publication, and is now, as a necessary consequence, much sought -after by the collector.[10] Of it the author of _Charles Dickens, the -Story of his Life_, writes: - - A very remarkable [portrait] was etched about 1837 with the name - “Phiz” at the foot. It represents Dickens {28} seated on a chair and - holding a portfolio. In the background a Punch-and-Judy performance - is going on. The face has none of that delicacy and softness about - it which are observable in the Maclise portrait. It looks, however, - more like the real young face of the older man, as revealed in the - photograph now publishing [_i.e._ just after Dickens’s death]. This - portrait is very rare, and it is understood that it was withdrawn from - publication soon after it appeared. Mr. Hablot K. Browne, the genuine - “Phiz,” denies all knowledge of it. - - [10] Since writing this, I have experienced a piece of scurvy luck. - Entering a shop in the outskirts of Birmingham, I saw an impression of - the etching lying on a table. I inquired its price and was met by the - answer that it had just been sold to a lady for eighteenpence! - -The Hotten memoir thus whets the appetites of its readers, but does -not offer to satisfy them by a reproduction. This obvious duty I -therefore here take the opportunity of discharging, and would advise -the book-hunter to make a mental note of the etching in that pix of -the brain where is secreted the reagent which separates the rare gold -of the bookseller’s threepenny box from its too ordinary dross. The -reproduction here given is about the size of the original etching. - -So much for the suppressed portrait. Now let us take up our first -edition of _Pickwick_, and say what has to be said about the -much-discussed Buss plates and their substitutes. - -[Illustration: The suppressed portrait of Charles Dickens] - -_Pickwick_, as we all know, was first published in parts, and only -one number had appeared when {29} Robert Seymour, its illustrator, -died by his own hand. Messrs. Chapman and Hall, the publishers, were -at their wits’ end to get the new number illustrated in time for -publication. Jackson, the well-known wood-engraver, who was at the -time working for them, proposed for the task R. W. Buss, a “gentleman -already well known to the public as a very humorous and talented -artist.” The publishers gladly adopted the suggestion, and the -appointment was made. - -All this we find very fully set out in Mr. Percy Fitzgerald’s _History -of Pickwick_, to which I would refer the reader who is anxious to -acquaint himself with details of the transaction. The Buss etchings, -which we here reproduce, had for their subjects “The Cricket Match” -and “Tupman and Rachel,” and are to be found respectively opposite pp. -69 and 74 of the earliest issues of the first edition of the immortal -romance. They were, in the words of the artist himself, “abominably -bad,” and he was immediately superseded as illustrator by H. K. Browne, -who was destined to be inseparably connected with the novelist’s work -for so long a period. {30} - -This episode has been so often dwelt upon, and so exhaustively dealt -with, that I shall not do much more than point out how those who have -written on the subject have altogether missed what is perhaps the most -important link in the whole chain of circumstances. So put to it, as I -have said, were the publishers to get the new number out in time lest -an expectant public should be disappointed, that they were forced to -fix upon Seymour’s substitute _without consulting Dickens_. This was -really the whole _crux_ of the situation. The author only recognised -the failure of the plates. He knew nothing of the difficulties under -which Buss had laboured, and so naturally made no allowances, and -knew of no reason why subsequent ones should be better. The plates -unquestionably were poor, but we find from Mr. Buss’s own private MS., -to which, by his son’s kindness, I have had access, that this was not -by any means mainly the fault of the artist. He had previously had no -experience in etching, and only undertook the work after much pressure, -to accommodate the publishers. To quote from his own account: {31} - -[Illustration: The “Pickwick” suppressed plate: “The Cricket Match.” -(_By R. W. Buss_)] - - At Seymour’s death, Hall engaged me to illustrate Charles Dickens’s - _Pickwick_. I commenced practice, and worked hard, I may say day - and night, for at least a month on etching, and I furnished the - illustrations for _Pickwick_. Without any reason assigned, Hall broke - his engagement with me, in a manner at once unjust and unhandsome. - -As a matter of fact, the plates, as they appeared, were not etched by -Buss at all, but by a professional etcher after his designs. And it is -curious to note that each of the plates is, notwithstanding, inscribed, -“Drawn & Etch’d by R. W. Buss.” - -The artist’s bitterness against his employers was not unnatural. At the -same time, we must remember that the fact that they had on the spur -of the moment to decide upon an artist, without consulting Dickens, -puts the matter in a very different light. The fortunes of the venture -were at stake. The author, at all hazards, must be humoured. His will -was paramount, and when he insisted upon Buss’s supersession by H. K. -Browne, there was practically an end of the matter. Happily Buss’s -labour was not all lost, and it was with much pleasure that I seized -the opportunity offered me by the editor of the {32} _Magazine of -Art_ in June 1902, to point out in that publication how perverse has -been the fate which has made the name of an artist of no mean order -more familiar by his few failures than by his many successes. It is -not generally known that there are in existence two etched plates by -Buss showing that he contemplated a series of extra illustrations to -_Pickwick_. The one is a title-page with Mr. Pickwick being crowned; -the other is rather a poor rendering of “The Break-down.” - -But to return to the plates themselves: only about seven hundred copies -were published when plates by Browne were substituted for them. “The -Cricket Match” was wholly suppressed, and the subject of “Tupman and -Rachel” was etched over again, considerably altered, but evidently -founded upon the Buss plate. The latter is here reproduced for the -purpose of comparison. - -[Illustration: The “Pickwick” suppressed plate “Tupman and Rachel.” -(_By R. W. Buss_)] - -[Illustration: “Tupman and Rachel.” (_By H. K. Browne_)] - -That every Dickens collector desires to possess one of the seven -hundred copies of the first issue of the first edition which contain -the Buss plates, is a matter of course, and enough has been said to -make clear the reason of such desire. Should any of my readers fail to -sympathise, he must take {33} it as an incontrovertible sign that -he is immune from that most delightful of all diseases, bibliomania. - -It need only be added that, in the beautiful “Victorian Edition” of the -novel, published in two volumes by Messrs. Chapman and Hall in 1887, -facsimiles may be seen of the original drawings made for the suppressed -plates, as well as two unpublished drawings prepared by Mr. Buss, but -not used. The subjects of these are “Mr. Pickwick at the Review,” -and “Mr. Wardle and his Friends under the Influence of the Salmon.” -The first is an excellent drawing, and goes far to prove that, had -Buss been given time, he would have no more failed as illustrator of -_Pickwick_ than he did as illustrator of various other most successful -publications. The same edition also contains facsimiles of an unused -drawing by “Phiz,” “Mr. Winkle’s First Shot,” and of a water-colour -drawing of “Tom Smart and the Chair,” sent in to the publishers by John -Leech as a specimen of his work. From which it will be seen that the -“Victorian Edition,” limited to two thousand copies, is also one which -every Dickens lover ought, if possible, to possess. {34} - -The originals of the Buss drawings were in the possession of the -artist’s daughter, Miss Frances Mary Buss, the well-known founder of -the North London Collegiate and Camden Schools, until her death a few -years ago. They were then sold, and I have been unable to discover into -whose hands they have passed. - -So much for the _Pickwick_ suppressed plates, which, if strict -chronology were to be observed, should naturally be followed by an -account of the “Rose Maylie and Oliver” plates in _Oliver Twist_. -These, however, we shall hold over for another chapter, as they will -have to be considered at some length. Meanwhile, we will deal shortly -with the curious wood engraving in _The Battle of Life_, and with -the etching of “The Last Song” in _The Memoirs of Joseph Grimaldi_. -The former is so far germane to our subject that it should have been -suppressed, but, out of consideration for the artist, was not. - -[Illustration: The Battle of Life. “Leech’s grave mistake”] - -Every Dickens collector desires to possess the complete set of the -“Christmas Books” in their dainty red cloth bindings, dated from -1843 to 1848. A really desirable set includes, of course, {36} the -_Christmas Carol_,[11] with coloured plates by Leech, with the -_green end-papers_ and “stave 1”; _The Chimes_, with the publishers’ -names _within_ the engraved part of the title-page; and _The Battle -of Life_, with the publishers’ names on _both_ titles. But it is -only the last of these that is entitled to mention in a treatise on -cancelled illustrations, and that, as I have said, not because it _was_ -suppressed, but because it should have been. - - [11] It may be mentioned that there are two or three copies of the - _Christmas Carol_ known with the title-page and half-title printed in - green and red, instead of in red and blue. Much store is laid by this - variation amongst really moonstruck collectors. - -By those who are familiar with the story it will be remembered that -an early part of the plot leads one to suppose that Marion Jeddler -had eloped with Michael Warden, when, as a matter of fact, she had -merely escaped to her aunt. Leech, who was engaged as illustrator, -was immensely busy, and only read so much of the story as seemed -necessary for his purpose. As a result he was deceived, as Dickens -intended his readers should be, and designed the double illustration -here reproduced, in which the festivities to welcome the bridegroom -at the top of the page {37} contrast with the flight of the bride -in company with Michael Warden represented below. Thus was Dickens -curiously “hoist with his own petard.” And the curious thing is that, -notwithstanding the publicity given to the mistake in Forster’s _Life -of Dickens_, this tragic woodcut, which wrongs poor Marion’s innocence -and makes a hash of the whole story, is reproduced in the reprints up -to this very day. The poor girl’s tragic figure remains, and seems -likely to continue to do so, a victim to the stereotype. - -This episode is generally referred to as “Leech’s grave mistake,” and -grave undoubtedly it was; but the matter has its bright side, which -redounds to the credit of the great novelist. I take the liberty of -quoting from what has always seemed to me a very noble letter when we -remember that Dickens was of all men most sensitive to any shortcomings -in the work of his collaborators. He writes to Forster: - - When I first saw it it was with a horror and agony not to be - expressed. Of course I need not tell _you_, my dear fellow, Warden - has no business in the elopement scene. _He_ was never there. In the - first hot sweat of this surprise and novelty I was going to implore - the printing of that sheet to {38} be stopped, and the figure taken - out of the block. But when I thought of the pain that this might give - to our kind-hearted Leech, and that what is such a monstrous enormity - to me, as never having entered my brain, may not so present itself to - others, I became more composed, though the fact is wonderful to me. - -Of course, had it been in these days of hurried publication, Dickens -would hardly have given the matter a second thought. The average -illustrator of to-day is curiously superior to the requirements of his -author. He either does not read the episodes that he is called upon -to illustrate, or, if he reads them, he does not grasp their meaning, -or, if he grasps their meaning, the meaning does not meet with his -approval. At any rate, he constantly makes a hash of the whole thing. -Take for example _Penelope’s English Experiences_, by Miss Kate Wiggin, -now lying before me. Look at the illustration, opposite p. 58, of Lady -de Wolfe’s butler, who struck terror into Penelope’s soul because _he -did not wear a livery_, and try, if you can, to recognise him in the -shoulder-knotted, stripe-waistcoated, plush-breeched, silk-stockinged -menial with an “unapproachable haughtiness of demeanour,” which the -illustrator has portrayed. {39} Nor is this one of a few exceptional -cases: their number might be multiplied _ad infinitum_. - -But to return to _The Battle of Life_. Curiously enough, there is -another little episode connected with this book, never, I believe, -noticed before, which accentuates our impression of the generosity of -Dickens’s character. - -Three years after its publication a somewhat scurrilous little volume -(now excessively rare), bearing the allusive title _The Battle of -London Life; or Boz and his Secretary_, issued from the press. It was -illustrated by six lithographs signed with the name of George Augustus -Sala. It was a poor enough performance, but attracted attention by its -_ad captandum_ title, and the portrait of “Boz in his Study.” It is an -imaginary and far from complimentary account of Dickens’s employment -of a secretary, whose occupation it is to show him round the haunts -of vice in London, by way of providing “local colour” for the novels. -Eventually the secretary turns out to be a detective, who has been told -off by the Government to discover the nature of the novelist’s intimacy -with the revolutionist, Mazzini. It is a vulgar little {40} brochure, -and, for all its futility, must have been very distasteful to the idol -of the day. It was therefore the more magnanimous of Dickens to ignore -the part which Sala had in it, and to speak so generously of him as we -find him doing in the _Life_, besides employing him and pushing him, as -he did largely later on, in his periodicals. A smaller man would not -have allowed himself to forget such youthful indiscretions, for “memory -always obeys the commands of the heart.” - -Judged as a work of art, _The Battle of Life_ is perhaps the least -successful of Dickens’s “Christmas Books.” Edward FitzGerald’s opinion -of it was shown in an autograph letter which came into the market only -the other day. “What a wretched affair is _The Battle of Life_!” he -writes; “it scarce even has the few good touches that generally redeem -Dickens.” - -[Illustration: “The Last Song” with the suppressed border. (_By George -Cruikshank_)] - -Whilst we are on the subject of an illustration which should have been -suppressed but was not, it should be pointed out that this was not the -only occasion upon which Leech misunderstood Dickens’s purport. This -we learn from Mr. F. G. Kitton’s monumental work, _Dickens and {41} -his Illustrators_. Here he tells us that in another Christmas book, -_The Chimes_, Leech delineated, in place of Richard as described in -the text, an extremely ragged and dissipated-looking character, with a -battered hat upon his head. When the novelist saw it the drawing had -already been engraved, but the woodcut was promptly suppressed; there -still exists, however, an impression of the cancelled engraving, which -is bound up with what is evidently a unique copy of _The Chimes_ (now -the property of Mr. J. P. Dexter), where blank spaces are left for -some of the woodcuts. This particular copy is probably the publishers’ -“make-up,” which had accidentally left their hands. - -Let us now consider for a moment a very remarkable etching which was, -so far only as regards an important portion of it, cancelled in all -but the very first issue of _The Memoirs of Joseph Grimaldi_. These -were published in two volumes in 1838. Besides writing the preface, -Dickens was only responsible for the editing of Mr. Egerton Wilks’s -manuscript, which had been prepared from autobiographical notes. A good -deal of fault was found with the work, particularly {42} on the ground -that Dickens himself could never have seen Grimaldi. To this he very -pertinently replied, “I don’t believe that Lord Braybrooke had more -than the very slightest acquaintance with Mr. Pepys, whose memoirs he -edited two centuries after he died!”[12] - -The volumes are now most valued for the twelve etchings by George -Cruikshank; but the important thing from the bibliolater’s point of -view is to possess the earliest issue with “The Last Song” _surrounded -by a grotesque border_. This border, which is here produced, was -removed from the plate after the first issue of the first edition. I -have just had offered to me a copy of this edition containing “The Last -Song” _in the two states_, _i.e._ with and without the border, for the -modest sum of eight guineas! - - [12] My attention was lately called to a copy of the memoirs in - which the former owner had pasted the following amusingly irrelevant - note:—“At the Beckford sale a copy of the famous Grimm—the Grimm with - the illustrations printed in bronze-coloured ink—fetched £64.” I have - a very shrewd suspicion that the annotator had an unmethodical brain, - and believed Grimm to be short for Grimaldi! _Requiescat in pace._ - -{43} - - - - -CHAPTER IV - -DICKENS CANCELLED PLATES: “OLIVER TWIST,” “MARTIN CHUZZLEWIT,” “THE -STRANGE GENTLEMAN,” “PICTURES FROM ITALY,” AND “SKETCHES BY BOZ.” - - -In dealing with the episode of the suppressed plate in _Oliver -Twist_ we must be careful to bear in mind the fact that between the -publication of _Pickwick_ and the later novel there was an essential -difference. The former was first published in self-contained parts, -whereas the latter was published _serially_ in _Bentley’s Miscellany_. -Hence, the first editions of _Pickwick_ in book form are to be met -with bound from the parts, whereas the first editions in book-form -of _Oliver Twist_ are only to be found as issued by the publishers -complete in three volumes. And unless we grasp this distinction at the -outset we shall find it impossible to understand the apparently erratic -appearance and disappearance {44} of the suppressed plate of “Rose -Maylie and Oliver: the Fireside Scene” and its substitute. - -The first instalment of the novel was published in the second number -of _Bentley’s Miscellany_, February 1837, and it continued to run for -nearly two years and a quarter. From this it will be seen that the last -instalment of the novel was not published until three months of the -year 1839 had elapsed. - -In the meantime, however, the novel and the illustrations had been -completed, and the whole story was printed in book form and published -in three volumes in the second year of its serial issue, the exact date -being November 9, 1838. - -As a consequence we shall find the following curious result—namely, -that the owners of the very earliest issue of _Oliver Twist_ find -themselves not in the happy possession of the suppressed plate, as -would be naturally expected, but in the melancholy possession of its -exceedingly ugly substitute. - -This, to the uninitiated, would prove as great a puzzle as to -Macaulay’s New Zealander would appear the fact that in Truro Cathedral -the older {45} structure is of a later style than the new. But this -is comparing small things with great. For we are fain to confess that, -unlike the law, _de minimis curat helluo librorum_. - -Thus, then, we have to face this apparent anomaly, that, to possess -a copy of _Oliver Twist_ with brightest impressions of the etchings -throughout, we are under the necessity of combining the early plates -from _Bentley’s Miscellany_ with the later plates from the first -edition published in volume form. This not uninteresting fact I may, I -believe, claim to be the first to point out, and it goes far to explain -a very misleading note on p. 151 of Reid’s monumental _Catalogue of -George Cruikshank’s Works_, which shows clearly that the late Keeper of -the Prints was greatly at sea in the matter. - -Referring to the “Fireside Scene,” he says: “The plate was used in -1838, when the work reappeared in three volumes, in lieu of the -preceding (‘Rose Maylie and Oliver at Agnes’s Tomb’), which was thought -by the publisher to be of too melancholy a nature for the conclusion -of the story.” From which any casual reader would be {46} led to the -conclusion that “Rose Maylie and Oliver at the Tomb” was the suppressed -plate, and that the “Fireside Scene” was substituted for it, whereas -exactly the opposite was the case. - -The novel was ready for publication complete in three volumes in -the autumn of 1838. The illustrations for the last volume had been -somewhat hastily executed “in a lump.” And Dickens, who always was most -solicitous about the work of his collaborating artists, did not set -eyes upon them until the eve of publication. One of them, “The Fireside -Scene,” he so strongly objected to that it had to be cancelled, and he -wrote to the artist asking him to design “the plate afresh and to do so -_at once_, in order that as few impressions as possible of the present -one may go forth.”[13] The publication of the book, however, could not -be delayed, and thus we have it that the earliest issue of the first -edition of _Oliver Twist_ in book-form contains the “Fireside Scene” -opposite p. 313, vol. iii., which it is the desire of every Dickens -collector to possess, while the later issue of the latter part of the -novel in _Bentley’s Miscellany_ {47} contains that which Cruikshank -substituted for it at the novelist’s request. - - [13] _Vide_ Forster, _Life of Charles Dickens_, vol. i. p. 101. - (Library Edition.) - -Both the plates are here reproduced for the convenience of the owner of -this or that edition. - -But this is not all that has to be said upon the subject of the “Rose -and Oliver” plates, and again I claim to be the purveyor of a little -exclusive information.[14] - -It has generally been supposed that Cruikshank, although naturally put -about by Dickens’s disapproval, did immediately proceed to carry out -his author’s suggestion. For example, we find Mr. Francis Phillimore, -in his introduction to the _Dickens Memento_, published by Messrs. -Field and Tuer, saying: “The author was so disgusted with the last -plate that he politely but forcibly asked Cruikshank to etch another. -This was done at once.” I am, however, in a position to prove that -this was emphatically not the case. And it is what one would naturally -expect, for George was the last person in the world to acquiesce calmly -and unhesitatingly in the condemnation of work which he had himself -deemed sufficiently good. {48} - - [14] I first alluded to this in _Temple Bar_ for September 1892. - -In the year 1892 I had the privilege of examining the splendid -collection of Mr. H. W. Bruton, of Gloucester, which has since been -dispersed. On that occasion he drew my attention to a unique impression -of the “Fireside” plate in his possession, from which we (he was the -first to see the point) drew the necessary conclusion which follows. -The importance of the impression lies in the fact that it shows that -a large amount of added work had been put into the plate, principally -of a stipply nature, after all the impressions which had so displeased -Dickens had been struck off. By which it is evident that George tried -hard to improve the original plate instead of at once falling in -with the suggestion that the subject should be designed afresh. This -proof was probably submitted to Dickens and again rejected, for no -impressions of the plate with stippled additions are known to have -been published.[15] And plainly it was only after considerable effort -to make the plate do, that the artist designed the {49} far worse -picture of “Rose Maylie and Oliver before the Tomb of Agnes,” which is -a questionable adornment to the later issues of the story. And had it -not been for the delay so caused, it is more than probable that the -suppressed plate would have been even a greater rarity than it actually -is. - - [15] It need hardly be said that if any of my readers finds that his - copy contains “The Fireside Scene” differing from the first of those - here produced, he may congratulate himself on the possession of a great - rarity. - -[Illustration: The suppressed plate from “Oliver Twist”: “The Fireside -Scene”] - -[Illustration: The suppressed plate from “Oliver Twist”: “The Fireside -Scene,” as worked upon by Cruikshank] - -As I have said above, Mr. Bruton’s collection was dispersed in 1897 at -Sotheby’s. No. 145 in that sale was an unrivalled run of the _Oliver -Twist_ illustrations, seeing that it consisted of a complete set of -proofs of the etchings, and included, with other rarities, the unique -proof just mentioned. The lot sold for £32:10s. By the kindness of its -late owner, I am enabled to present to my readers a reproduction of -this unique impression of the plate in its second state. - -So much then for the story of the suppressed plate. There is, however, -something more to be said of its substitute. - -If we turn to our edition of _Oliver Twist_, so long as it does not -happen to be one published subsequently to 1845, or one containing the -suppressed plate, we shall find Rose standing with her {50} arm on -Oliver’s shoulder before a tablet put up to his mother’s memory, and -we shall find that Rose’s dress is light in colour save for a dark -shawl or lace fichu, which is thrown across her shoulders and bosom. -In the 1846 edition of the book, the plate has been largely touched up -and shaded, and Rose’s dress turned into a black one.[16] Now, it is -perfectly evident that it is the old plate altered and used over again -and not a new plate copied from the old, for every line and every dot -in the illustration to the earlier editions reappears in this. The -perplexing matter that I have to draw your attention to, however, is -that, in the same lot (145) at the Bruton sale mentioned above, there -was sold a proof of this plate with Rose Maylie in the black dress, and -this _a proof before letters_, an impossible nut for the amateur to -crack who does not know that the lettering of plates may be stopped-out -or burnished away or covered up for the striking off of misleading -impressions; from which the moral may be drawn that it is better to -believe in proof impressions after letters where they are well {52} -authenticated, than to presume that a proof is before letters merely -because those letters do not appear. _Verb. sat sap._ The plate in this -state is here reproduced for the sake of comparison. - -[Illustration: Rose Maylie and Oliver at Agnes’s Tomb. (_The -substituted plate in two states_)] - - [16] The dress is also black in a reprint of the first edition - published by Messrs. Macmillan in 1892, and in the large edition with - the illustrations coloured, published by Messrs. Chapman and Hall in - 1895. - -Before passing from _Oliver Twist_, it should be pointed out that the -first issue of 1838, which contains the suppressed plate, is also -differentiated from the second issue of the same year by what is -sometimes alluded to as the “suppressed title-page,” which runs as -follows:—“Oliver Twist; / or, the / ‘Parish Boy’s Progress;’ / by -‘Boz,’ / in three volumes, / Vol. I (II. or III.) / London: / Richard -Bentley, New Burlington Street. / — — / 1838.” - -The second issue, with the substituted plate, has:—“Oliver Twist / By -/ Charles Dickens, / Author of ‘The Pickwick Papers,’” the rest of the -title being as in the first. It is curious to notice, further, that in -a later edition the original title is resumed. - -So much for _Oliver Twist_. We must not, however, quit Dickens without -mentioning one or two other items, which more or less of right find -their place in a treatise on “Suppressed Plates.” {53} - -There is, for example, the etched title-page to the first issue of the -first edition of _Martin Chuzzlewit_, where the reward on the direction -post appears as “100£” instead of “£100,” which is often wrongly -labelled “suppressed.” As a matter of fact it was not suppressed -at all. It is nothing more than the _first state_ of a plate which -was afterwards altered. However, the bait is so valuable a one with -which to entice the bibliomaniac, that there is no prospect of the -description being lightly relinquished, and as it is one object of this -treatise to protect the unwary, allusion to it is not out of place. -The fact that it is the title-page issued after the book had appeared -serially with its forty illustrations, disposes of any lingering -idea that in acquiring it we are assured of the possession of early -impressions of the other plates. But the undiscriminating bibliomaniac -requires no logical justification, and the plate will still retain its -market value. - -A like variation is to be found in a well-known etching by George -Cruikshank, entitled “The Worship of Wealth.” The head of Mammon is -represented by a small money-bag, and the {54} features of the face -by the letters GOLD. Of this plate only one state was known until in a -happy moment one of our best-known collectors discovered and secured a -unique proof with all the letters printed in reverse, thus:— - -[Illustration] - -—a triumph which only the true _dilettante_ will appreciate at its -proper value. - -Another variation of the same kind is to be found in the first and -second issues of Pine’s beautiful edition of Horace (1733), in which -the text is engraved throughout. In the first there is the misprint -“Post est” on the medal of Cæsar. In the second “Potest” has been -substituted. Copies containing the mistake fetch twice as much in -the market as those containing the correction! This is, however, -justifiable, as the mistake connotes an early set of impressions. - -[Illustration: The Strange Gentleman] - -Another Dickens plate demanding mention is the exceedingly rare etched -frontispiece by “Phiz,” to be found in only a few copies of _The -Strange {55} Gentleman_, published in 1837 by Messrs. Chapman and -Hall. This “Comic Burletta” was founded upon “The Great Winglebury -Duel,” in _Sketches by Boz_, and was first performed at the St. James’s -Theatre in September 1836. A second edition was {56} published in 1860 -with a coloured etching by Mr. F. W. Pailthorpe, the last illustrator -to carry on the tradition of Cruikshank and H. K. Browne. The “Phiz” -etching is here reproduced. Even the second edition is extremely rare, -and readily sells for between two and three pounds. The reason for -the disappearance of the “Phiz” plate is not known, and I only give -particulars of it here because of its excessive rarity, and because -it is constantly referred to as “suppressed,” though with no strict -justification. The British Museum copy of the book only contains Mr. -Pailthorpe’s frontispiece, but a copy with the “Phiz” plate is to be -found in the Forster Library, South Kensington. - -Then, again, we have Dickens’s _Pictures from Italy_, published by -Messrs. Bradbury and Evans in 1846, with the beautiful “vignette -illustrations on the wood,” by that master engraver, Samuel Palmer. -For some reason or other that representing “The Street of the Tombs, -Pompeii,” on the title-page, disappears after the exhaustion of -the first and second editions, both published in the same year. It -reappears, however, in the late {57} reprint of 1888, and is also -only here alluded to because sometimes referred to as “suppressed.” - -[Illustration: The suppressed plate from “Sketches by Boz”] - -The last of the Dickens illustrations germane to our subject is that -much-desired etching of “The Free and Easy,” which should be found -opposite page 29 of the “second series” of _Sketches by Boz_. Both the -first and second series were originally published in 1836. In 1839 -another edition appeared with all the etchings to the original edition -enlarged (except “The Free and Easy,” which was cancelled), and with -thirteen additional plates. An edition on the lines of the first issue -of the second series, only with the illustrations in lithography, was -published in Calcutta in 1837. - -It is important, in collating the first editions of the _Sketches_, to -bear in mind the fact that the first series was in two volumes and the -second in one. Otherwise it is impossible to understand why “Vol. III.” -is engraved on each of the plates in the second series. As showing how -eagerly these volumes in fine condition, and of course uncut and in -the original cloth binding, are sought after, it may be mentioned that -thirty pounds is by no means an unheard-of price. {58} - -Unfortunately the plates will in most cases be found to be badly foxed. -The tissue of the paper itself has in many cases been attacked by damp -and rotted right through. - -In such cases any remedy except the drastic one of punching is of -course out of the question. Hence the rarity of a really “desirable” -set of the plates,—a rarity which is largely due to the hoarding away -of books in glass cases; for books require fresh, dry air, with the -rest of God’s creatures. - -It may not be out of place here, whilst on the subject of foxing, to -warn the collector that every plate in a book should be carefully -examined before any extravagant price is given for what is called a -fine copy. No doubt we are much indebted to the clever “doctors” of -prints who punch the fatal spots out and pulp them in, who fill up the -worm-holes and vamp up the cleaned prints with green-wood smoke and -coffee infusions to a respectable appearance of age. At the same time -we must never allow ourselves to forget that there are such occupations -as vamping and “improving,” and that it is not for vamped and improved -copies that we should pay excessive prices. - -{59} - - - - -CHAPTER V - -ON SOME FURTHER SUPPRESSED PLATES, ETCHINGS, AND WOOD ENGRAVINGS BY -GEORGE CRUIKSHANK - - -In Chapter III. we have incidentally considered the suppressed -grotesque border to the etching of “The Last Song” by George Cruikshank -in the _Memoirs of Joseph Grimaldi_. In this chapter we shall treat of -certain other suppressions to which the “inimitable” George’s work was -subjected. - -The first to which I shall direct your attention has a curious and -romantic history attaching to it, instinct with the rough and brutal -methods of our immediate ancestors. It is a highly-coloured etched -broadside published in 1815, the very year of the tragic death of the -gifted and ill-fated Gillray, whose mantle, as political caricaturist, -was now fallen upon his brilliant young contemporary. {60} These -were the days of hard hitting, of reckless charges, of imprisonment -for libel, of dramatic political episodes, and the wonder is that -George Cruikshank escaped the fates of the Burdetts, the Hones, and -the Hobhouses of the period. The fact is that George was a very shrewd -young man and had a very shrewd idea of how far it was safe to go. -Indeed, in this partially suppressed cartoon we find him upon the very -verge of recklessness and only drawing back from danger just in the -nick of time. - -I have spoken of the _partial_ suppression of this broadside, and in -this _partial_ cancellation it is differentiated from all others with -which we have hitherto dealt. Brutal enough as is the satire as we see -it, there is a brutality curiously hidden within, which, unsuspected -by the uninitiated, proves to what astounding lengths satire of that -period was sometimes ready to go. - -Before dealing in detail with this “Financial Survey of Cumberland or -the Beggar’s Petition” it will be as well to relate the circumstances -which led up to its perpetration. - -Ernest Augustus, Duke of Cumberland, born {61} 1771, was perhaps the -best hated of all the royal personages of the period then in England, -and this notwithstanding the fact that he was a man of conspicuous -bravery. He was, for a few years after Queen Victoria’s accession, next -heir to the throne of England. Later he ascended the throne of Hanover -under the regulations of the Salic law, and gained the affection of his -people, proving himself a wise and beneficent ruler. Probably William -IV. put his character into a nutshell when he said: “Ernest is not such -a bad fellow, but if any one has a corn he is sure to tread on it.” - -However that may be, there is no doubt that there is hardly a crime in -the whole decalogue which was not at one time or another laid at his -door, and not the least among these was the crime of murder. - -To quote the succinct account of this affair given in the _Dictionary -of National Biography_:—“On the night of 31st May 1810 the duke was -found in his apartments in St. James’s Palace with a terrible wound in -his head, which would have been mortal had not the assassin’s weapon -struck against the duke’s sword. Shortly afterwards his {62} valet, -Sellis,[17] was found dead in his bed with his throat cut. On hearing -the evidence of the surgeons and other witnesses, the coroner’s jury -returned a verdict that Sellis had committed suicide after attempting -to assassinate the duke. The absence of any reasonable motive... caused -this event to be greatly discussed, and democratic journalists did not -hesitate to hint that he really murdered Sellis.” One of these, Henry -White, was sentenced in 1815 to fifteen months’ imprisonment and a fine -of £200 for publishing the rumour. The story again cropped up in 1832, -when the duke had made himself particularly obnoxious to the radical -press, and was exploited by a pamphleteer named Phillips. The duke -prosecuted him, and he was promptly found guilty and sentenced to six -months’ imprisonment. - - [17] Not Serres, as Reid has it in his descriptive account of - Cruikshank’s works. The keeper of the prints evidently confused the - name of the valet with that of Mrs. Olive Serres, who later on called - herself Princess Olive of Cumberland, and claimed to be the duke’s - legitimate daughter. - -Notwithstanding this, there was little abatement in the persecution of -the duke. Even Lord Brougham in the House of Lords sneeringly called -{63} him to his face “the illustrious duke—illustrious only by -courtesy.” I take up a few consecutive numbers of that venomous little -contemporary paper, _Figaro in London_, and find week by week some very -plain speaking. Here are a few examples:— - - “That he’s ne’er known to change his mind - Is surely nothing strange; - For no one ever yet could find - He’d any mind to change.” - -Again:— - - “He boasts about the truth, I’ve heard, - And vows he’d never break it; - Why zounds a man _must_ keep his word - When nobody will take it.” - -Again, referring to a youth dressed _à la Prince de Cumberland_, -who had been brought up at Bow Street charged with being an expert -pickpocket, _Figaro_ says: “A similarity to the Duke of Cumberland is -a very serious matter, and in the opinion of Mr. Halls (the police -magistrate) quite sufficient to entitle any one to a couple of months’ -imprisonment, as a common thief or an incorrigible vagabond.” - -Again:—{64} - - “INQUEST EXTRAORDINARY - - Found dead of fright, a child, (how sad a case!) - Verdict—Saw Cumberland’s mustachioed face.” - -Again:—“The new piece announced at Drury Lane under the title of _The -Dæmon Duke_ or _The Mystic Branch_ has no reference whatever to his -Royal Highness of Cumberland.” - -But these might be multiplied almost to infinity. The examples quoted -make it sufficiently plain why it was that the Whig Cabinet of the day -felt it advisable to hurry on our late Queen’s marriage. - -So much for a general review of the duke’s career. We will now return -to the year 1815 and the publication of the broadside with which we are -more particularly concerned. - -The duke had just announced his intention of marrying the Princess -of Salm, who had been twice a widow. The Prince Regent had raised -no objection, but the Queen, who had a rooted aversion to second -marriages, made no secret of her disapproval. The country, too, was -indignant, because another royal marriage spelt, in accordance with -what was now the ordinary usage, a further burden upon the exchequer. - -[Illustration: “A Financial Survey of Cumberland or the Beggars -Petition.” (_From the only known uncoloured impression of the Plate_)] - -[Illustration: “A Financial Survey of Cumberland or the Beggars -Petition.” (_From a coloured impression of the plate, with the figure -of the valet obliterated with lamp-black_)] - -{65} - -On July 3 the proposal was made in the Commons to increase the duke’s -pension of £18,000 a year, which he held in addition to his salary of -£3000 a year as Colonel of the 1st Hussars, by £6000. The House was -equally divided on the vote, when a dramatic incident occurred. Lord -Cochrane, heir to the Dundonald peerage, and a member of the House of -Commons, had, in the previous year, been wrongfully found guilty of -participation in a Stock Exchange fraud and had been imprisoned. On -this very 3rd day of July he was released from prison, and immediately -repaired to Westminster. The House was at that moment going to a -division. His lordship entered just in time to record his casting -vote against the increase of the duke’s pension, and thus by an -extraordinary coincidence the duke was the poorer and the country the -richer by £6000 a year. - -This is the moment seized by Cruikshank in the broadside here -reproduced. Before the half-open door of “St. Stephen’s,” behind -which is seen a crowd of members, Lord Cochrane fires, from a mortar -decorated with a full-bottomed wig, a {66} cannon-ball labelled -“casting vote.” This, striking the duke full in the rear, drives him -towards a bank on which stand three grenadiers, the Princess of Salm -(recognisable by the flag which she carries, labelled “Psalms”) and her -little boy, who sings— - - My daddy is a grenadier - And he’s pleas’d my Mammy O, - With his _long swoard_ and _broadswoard_ - And his bayonet so handy O. - -The duke, from whose hand falls his petition, and whose head is adorned -with a cuckold’s horns, cries aloud, “Pity the sorrow of a poor young -man”; whilst Cochrane thunders out, “No, no, we’ll have no petitions -here. Do you thint (_sic_) we are not up to your hoaxing, cadging -tricks? You vagrant, do you think we’ll believe all you say or swear? -Do you think that your services or your merits will do you any good -here? If you do, I can tell you from experience that you are cursedly -mistaken. So set off and don’t show your ugly face here again. If you -do, shiver my timbers if I don’t send you to Ellenborough Castle: aye, -aye, my boy, I’ll clap you in the _grated chamber_, where there’s -neither door, window, {67} onr (_sic_) fireplace. I’ll put you in the -_Stocks_! I’ll put you in the _Pillory_! I’ll _fine_ you. I’ll, I’ll -play hell with you! D—— me, I think I have just come in time to give -you a shot between wind and water.” - -On the ground below the flying duke lie documents recording his -pensions and salaries. - -No wonder, you will say, that such a scandalous attack upon a personage -so near the throne should be suppressed with a high hand. The marvel is -that artist and publisher should have escaped the fate of Henry White -and the pamphleteer Phillips. But you will be more surprised than ever -when you learn that not only did artist and publisher go scot-free, -but that the plate, so far from being suppressed, was published and -scattered broadcast amongst the people without protest. - -Why, then, it will be asked, does it take its place in a treatise on -suppressed plates? I will tell you. - -Do you not notice in the darker impression of the plate here -reproduced—darker because the original has been painted—that such -perspective as the picture has is destroyed by a great black blot {68} -which reaches from the feet of the three soldiers right down to the -path in the right-hand lower corner of the design? Well, that great -black blot covers what would have inevitably landed George Cruikshank -and Mr. W. N. Jones of 5 Newgate Street, publisher, in a larger -building higher up the same street, if it had not been for a happy -afterthought of Mr. W. N. Jones, which took shape in a liberal use of -lamp-black.[18] - -On the space so covered the reckless George, unmindful of the fate of -Henry White, had etched the scantily clothed figure of the unhappy -valet Sellis, with bleeding throat, crying aloud, “Is this a razor that -I see before me? Thou canst not say I did it.” - - [18] This use of lamp-black has its parallel in the case of one of - the tailpieces to Bewick’s _Birds_, in the first edition of which an - apprentice was employed to veil certain indelicacies with a coat of - ink. Unfortunately, from want of density, the colouring rather serves - to accentuate than hide the offending details. In the next edition a - plug was inserted in the block and two bars of wood engraved in the - interests of decency. - -After but one or two proofs had been pulled, George and his publisher -would seem to have become appalled at their temerity, and the plate -was only issued coloured and with the peccant {69} figure blotted out. -For many years I hoped and hoped in vain to come across an uncoloured -proof displaying the hidden figure. But it was not until 1905 that -I was fortunate enough to light upon the probably unique proof here -reproduced, which had passed out of the Bruton collection into that of -the omnivorous collector, the late Edwin Truman. - -For the sake of those who have preserved the valuable catalogue of -the sale in 1897 of the Bruton collection of the works of George -Cruikshank, it should be observed that Reid’s misnomer of the valet to -which I have drawn attention above has been there repeated. - -So much, then, for the partially suppressed broadside of 1815, which -incidentally may be looked upon as the forerunner of the blottesque -censorship of Russian newspapers. We will now pass on to another -broadside which was not only suppressed in full, but of which the -copies that had already been sold were assiduously bought up. - -The circumstances surrounding this plate are by no means so dramatic -as those with which we have last dealt. At the same time, by means of -it we obtain one of those sharp contrasts in political {70} moods and -tenses which pleasurably tickle the imagination. We learn how little is -absolute in life, how much is relative. We realise how the reactionary -of to-day may have been the reformer of yesterday. In a word, we see -in this most conservative member of the Russell administration of -1846–1852 and of the Coalition of 1853, in this complacent recipient of -the peerage of Broughton de Gyfford and the Grand Cross of the Bath, -in this happy husband of a Marquis’s daughter,—we see, I say, in this -Tory nobleman of the ’fifties the irreconcilable John Cam Hobhouse of -the early years of the century, committed to Newgate for breach of -privilege, the author of the subversive _Letters to an Englishman_, and -the representative for Parliament of the Westminster mobocracy. - -[Illustration: “_A Trifling Mistake_”——_Corrected_——] - -In Cruikshank’s broadside here reproduced the future President of -the Board of Control is represented twirling his thumbs in enforced -retirement and with full leisure to repent of his indiscretions. Above -the mantelpiece representations of St. Stephen’s and Newgate are placed -in sharp contrast. Below the last a former occupant of the {72} cell -has scratched a rude gibbet. The grate is empty. On the table stand an -empty pewter pot and pipe. On the wall is seen a long quotation from -his anonymous pamphlet _A Trifling Mistake_, for which he has been -committed to prison. This, with a barbed addition, gives the title to -the broadside itself. The quotation runs:— - - “What prevents ye people from walking down to ye house and pulling - out ye members by ye ears, locking up their doors and flinging ye - key into ye Thames? Is it any majesty which lodges in the members of - that assembly? Do we love them? Not at all: we have an instinctive - horror and disgust at the very abstract idea of ye boroughmonger. Do - we respect them? Not in the least. Do we regard them as endowed with - any superior qualities? On the contrary, there is scarcely a poorer - creature than your mere member of Parliament; though, in his corporate - capacity, ye earth furnishes not so absolute a bully. Their true - practical protectors, then—the real efficient anti-reformers,—are to - be found at ye Horse Guards and ye Knightsbridge Barracks. As long as - the House of Commons majorities are backed by the regimental muster - roll, so long may those who have got the tax power keep it and hang - those who resist”!!! !!! !!! - - Vide _Trifling Mistake_. - -Below this hangs a bill headed “Little Hob in the Well.” {73} - -The reproduction of the etching here given is from a very interesting -touched proof in the British Museum. Upon it the artist’s work in -pencil can be plainly traced. To the right of the picture of Newgate -another roughly drawn gibbet can be distinguished. On the bill -the words have been added, “A New Song in Defence of the People, -corrected,” etc. The profile of the prisoner has been carefully -reduced, and a punning sub-title to the whole added, “How Cam you to be -in that Hobble?” - -The date on the margin is January 1, 1819 (obviously a mistake for -1820), and its publication, no doubt, went some way towards Hobhouse’s -election as member for Westminster, which took place immediately after -his release on the 20th day of the month in the year 1820. - -After his elevation to the peerage Hobhouse took no active part in -public affairs. He died as lately as 1869, leaving no issue. Probably -the plate was suppressed on the ground that it contained the long -quotation given above from the lawless pamphlet for which he was -imprisoned. - -As I have said in an earlier chapter, it is not my {74} intention -to make this treatise in any way a devil’s directory for those in -search of salacious curiosities. I shall therefore not dwell upon the -suppressed woodcut, which is rather coarse than loose, of “The Dead -Rider” in the _Italian Tales_ of 1823. I merely mention it for the -sake of those who may be collating the book, and would find themselves -misled by Reid’s note on the subject. He speaks of the “Elopement” -woodcut being “wanting in two or three copies consulted of the first -edition,” as though this were a matter for surprise. He fails to draw -the very obvious conclusion that “The Elopement” was substituted for -“The Dead Rider,” so that the number of illustrations might continue to -tally with the announcement on the title-page, “Sixteen illustrative -drawings by George Cruikshank.” He has apparently been confused by the -fact, which I notice confuses a good many secondhand booksellers, that -every copy has _a_ woodcut entitled “The Dead Rider,” but that it is -only the first issue that has _two_ woodcuts with the same title. - -And, whilst touching on the subject of Cruikshank’s early -indiscretions, it will, I think, be only {75} fair to repeat a story -of pretty and spontaneous atonement which I have told elsewhere, and -which deals with another suppressed broadside. - -No. 887 in Reid’s catalogue is “Accidents in High Life, or Royal Hobbys -broke down, Dedicated to the Society for the Suppression of Vice.” Its -companion picture is “Royal Hobbys of the Hertfordshire Cock Horse,” -which was suppressed as being too suggestive even for so latitudinarian -an age as that of the Regency. In the former the artist portrays the -discomfiture of the Prince and the Marchioness of Hertford through the -pole of the hobby-horse, upon which they have been riding, breaking -and throwing both of them to the ground. The lady is cursing her -folly in trusting herself to “such an old stick,” while her admirer -is exclaiming that he shall try the Richmond Road in the future, the -Hertford one being so unsatisfactory. The Duke of York is suffering -from a similar disaster, and congratulating himself upon the softness -of the cushion by which his fall has been broken, in allusion to his -income of £10,000 for having charge of his father. - -Now Mr. Bruton, who, like the late Mr. Truman, {76} had the advantage -of George Cruikshank’s friendship in later years, was able to obtain -authentication or repudiation of doubtful unsigned work from the -artist himself, and, amongst others, this plate was submitted to him -for judgment. The man’s honesty forced him to acknowledge himself to -be the author of this piece of full-blooded vulgarity, but his regret -has altered the usual laconic record of “Not by me, G. Ck.,” or “By my -brother, I. R. C.,” pencilled on the plate, to “Sorry to say this is by -me, G. C.” The old man was, when he came to look back upon a long life -of good and evil mixed, somewhat more human than that terribly pious -hero of Pope’s— - - Who calmly looked on either life, and here - Saw nothing to regret, or there to bear; - From nature’s temp’rate feast rose satisfy’d, - Thank’d heav’n that he had liv’d, and that he dy’d. - -He looked back with genuine remorse upon youthful extravagances, and, -though doubtless inclined by nature to be something of a _poseur_, -and though he attitudinised somewhat too much over his virtuous -fads at last, was not going to bolster up his reputation by an easy -forgetfulness of early indiscretions. {77} - -[Illustration: Philoprogenitiveness] - -Only a few words need be said of the other Cruikshank suppressions here -reproduced. The first is the well-known plate “Philoprogenitiveness,” -which was published in the earliest separate edition of that noble -_Essay on the Genius of George Cruikshank_, written by Thackeray -for, and reprinted {78} from, _The Westminster Review_ in 1840. And -surely it was a prurient and unnatural squeamishness which condemned -this illustration to exclusion in the subsequent editions. It is from -the _Phrenological Illustrations_, published in 1826, one of the -most famous of Cruikshank’s publications. I shall follow Thackeray’s -excellent example of refraining from any description, and just leave -the design to speak for itself, for it is a ridiculous task “to -translate his designs into words, and go to the printer’s box for a -description of all that fun and humour which the artist can produce by -a few skilful turns of his needle.” - -The second is the cancelled wood engraving entitled “Drop it,” which -appears on page 18 of the first edition of _Talpa; or the Chronicle of -a Clay Farm, an Agricultural Fragment_, by C. M. H(oskyns), published -in 1853. For some unknown reason it disappears from subsequent -editions, and is only of importance to those who pride themselves on -being the possessors of Cruikshank _editiones principes_. - -[Illustration: “Drop it!”] - -There is another Cruikshank suppression which might, were we hard -up for material, be dragged {79} into a treatise on suppressed -illustrations. I refer to a wood engraving of the redoubtable George -himself taking his publisher, Brooks, by the nose with a pair of tongs, -which resulted in the suppression of the pamphlet entitled _A Pop-gun -fired off by George Cruikshank, etc._, in which it appeared. But if -we were to open these pages to the consideration of suppressed books -and pamphlets, I should soon find my publishers remonstrating, and -the volume too big to handle. Further, it affords me the gratifying -opportunity of referring the reader to a small book of mine, published -in 1897, by Mr. W. P. Spencer, of 27 New Oxford Street, and entitled -_George_ {80} _Cruikshank’s Portraits of Himself_ which I, as -the author, of course consider has not attained the circulation -it deserves. There will be found a full account of the suppressed -pamphlet, together with a reproduction of the offending design. - -Let me close this chapter with “A Cruikshank Outrage,” which I -originally contributed to _The Gentleman’s Magazine_. It is, I -think, sufficiently apropos, and will, I hope, appeal to all good -Cruikshankians. - - This is the bookcase, this the key; - None may open this lock but me; - - And only those of the cult may come - Into my _sanctum sanc-to-rum_. - - Swear “by George” on his “Omnibus” - You are assuredly one of us. - - Swear “by George” on his “Almanack” - You will return each volume back. - - Swear by “Grimm” _in the earliest state_ - Theft and pillage you reprobate. - - Yes, that’s bound by Rivière, but - Here’s _the original cloth, uncut_. - - The “Bee and the Wasp” _on India, tilt_, - Zaehnsdorf binder, _morocco, gilt_. - - But all my “Scourges” plain bound shall bide— - Plenty of “guilt” may be found inside. {81} - - Here’s my “Omnibus,” worth a fief - Because I’ve the unpaged preface-leaf. - - “London Characters,” set complete, - _Sm. 8vo, in hlf. clf. neat_. - - Here a set of gigantic frauds - _In the original_ LABELLED _boards_. - - “Oliver Twist,” as you will have guessed, - The “Rose and Oliver” plate suppressed: - - Not with the stippling over-writ— - Only Bruton[19] can show you IT. - - And here “The Bottle” COLOURED, date - Eighteen-hundred-and-forty-eight. - - Yes, no doubt, ’twas among the first - Thrusts that the Master launched at Thirst. - - ! George, you say, was at best, you think, - As a Temperance man denouncing drink ! - - !! You dare tell me you interlope - In quest of books for your “Band of Hope” !! - - !!! You swore “by George” on his “Omnibus” - You were assuredly one of us !!! - - !!!! Avaunt, I prithee, aroynt, vacate - This orthodox shrine to George the Great !!!! - - For only those of the cult may come - Into my _sanctum sanc-to-rum_. - - [19] Since the Bruton sale in 1897 this, alas, is no longer true. - -{82} - - - - -CHAPTER VI - -HOGARTH’S “ENTHUSIASM DELINEATED,” “THE MAN OF TASTE,” AND “DON QUIXOTE” - - -In Mr. Austin Dobson’s _Hogarth_, to which all students of that master -are so deeply indebted, the following sentence concludes the list -of “Prints of an Uncertain Date”: “It has been thought unnecessary -to include two or three designs, the grossness of which neither the -ingenuity of the artist nor the coarse taste of his time can reasonably -be held to excuse.” And in this book I have made it a cardinal point to -emulate Mr. Dobson’s excellent example. - -We remember in one of Mr. G. Russell’s amusing books the story of -the erstwhile Member of Parliament who had accepted a peerage, -notwithstanding his profession of democratic sentiments. Thereupon -one of his late supporters, {83} with excellent, though somewhat -brutal, metaphor, remarked, “Mr. —— says as how he’s going to the -House of Lords to leaven it. I tell you he can’t no more leaven the -House of Lords than you can sweeten a cart-load of muck with a pot of -marmalade.” _Per contra_, let us always bear in mind, that were the -cart full of marmalade, and the pot of muck, the latter would be fully -sufficient to render the whole an abomination. Fortunately for us, the -Hogarth “Suppressed Plates” which are befitting are of exceptional -interest. And it may as well be pointed out here that those peculiarly -gross ones which are often alluringly alluded to as “suppressed” are -nothing of the sort. So far from being indeed effectively withdrawn -from observation, they have had, as a matter of fact, particular -attention drawn _to_ them by the fussy ingenuity with which their -concealment has been emphasised. - -The first of the Hogarth plates which we here reproduce—“Enthusiasm -Delineated”—is of far greater intrinsic importance than any of those -with which we have already dealt in the preceding chapters. It differs -essentially from them not {84} only in the fact that here the artist -himself is the fount and origin of the suppression but also in the -fact that it is a fine example of those palimpsest plates of which -more particular description will be found in later chapters of this -book. Peculiar interest, too, attaches to the circumstance that, superb -as it was in execution, and elaborate to a degree though it was in -conception, it was no sooner finished than the artist deliberately -decided against its publication, and destroyed the engraving after only -two impressions had been taken from the copper. Fortunately for us, one -of these is now in the possession of the British Museum. - -It will be interesting to those who are the happy possessors of -_Hogarth Illustrated_ and the _Anecdotes_ to compare this with the -reduced _copy_ (a very different matter) made by Mills and published -in these volumes. For it must always be remembered that Hogarth’s -autograph engravings are infinitely more interesting than the copies, -however eminent the journeyman engraver may have been. - -[Illustration: Enlarged detail of Hogarth’s “Enthusiasm Delineated”] - -Another plate was engraved by Mills of the size of the original, and -published separately by Ireland {86} in 1795. The date of the original -plate is given in the British Museum Catalogue as 1739, but how that -date is arrived at I am at a loss to understand. - -It will be noticed that there are upon the margin of our reproduction -some curious _remarques_ inscribed “the windmill,” “the scales,” and -others. These were drawn in pen-and-ink by Hogarth on the margins of -the two original impressions. They also appear engraved in facsimile on -the second state of Mills’s full-sized plate. It will therefore be well -for owners of this last not to jump to the hasty conclusion that they -are the fortunate possessors of one of the two impressions mentioned -above! It should be added that the MS. inscription on the British -Museum copy differs considerably from that engraved by Mills. - -The method by which the suppression of this plate came about is -exceedingly curious. - -It is probable that, after the design was completed, Hogarth came to -the conclusion that the intention of the satire might be mistaken, and -that, instead of bringing ridicule upon “the superstitious absurdities -of popery and ridiculous {87} personification delineated by ancient -painters,” it might be considered that his objective was religion -itself. - -If this were so, the episode redounds greatly to the artist’s credit, -and throws an effective light upon a little-known side of his -character. It was an act of great nobleness to suppress what was the -result of long toil, nay, more than that, what was perhaps his highest -mental, though by no means his highest artistic, achievement, from what -some might consider hyper-conscientious motives. - -It must be remembered that Hogarth lived in a gross and irreligious -age, and that what appears to us exceedingly profane was largely the -result of the outspokenness of the times. - -Ireland says that he altered and altered this plate piecemeal until its -final suppression. This, however, I venture to doubt, for reasons given -below. At all events, in the end he had beaten out and re-engraved -every figure save one, and changed, as Mr. Dobson says, what “was a -compact satire” into “a desultory work—a work of genius for a lesser -man, but scarcely worthy of Hogarth.” The final design was entitled -{88} “Credulity, Superstition and Fanaticism: a Medley,” and was -published in March 1762. - -Let us now compare the two designs. Hogarth’s general purpose in the -first was, in his own words, to give “a lineal representation of the -strange effects of literal and low conceptions of Sacred Beings, as -also of the idolatrous tendency of Pictures in Churches and Prints -in Religious Books.” In the second his text was, “Believe not every -spirit, but try the spirits whether they are of God, because many false -Prophets are gone out into the world.” - -Before comparing the designs in detail, I should like to say that, -besides carefully examining the plates for myself, I have collated the -various descriptions of Ireland, Nichols, Mr. Austin Dobson, and Mr. F. -G. Stephens, whose conclusions I have not hesitated to adopt, add to, -discard or modify, as the circumstances have seemed to require. - -Let us now particularise the incidents portrayed on the two states -of the plate, both of which are here reproduced for purposes of -comparison. - -[Illustration: PLATE I. “Enthusiasm Delineated. (Humbly dedicated to -his Grace the Arch Bishop of Canterbury by his Graces most obedient -humble Servant _Wm. Hogarth_”)] - -[Illustration: PLATE II. “Credulity, Superstition, and Fanaticism. A -Medley”] - -Beginning with the preacher, we notice that {89} his is the only figure -practically unaltered and common to both engravings. By his “bull-roar” -(_vide_ the “scale of Vociferation” hanging on the wall to his left) he -has apparently succeeded in cracking the sounding-board above his head. -Notice his shaven crown, exposed by the fallen wig, which intimates -that he is a Papist in disguise; and the harlequin jacket underneath -his gown, which suggests that he is a religious merry-andrew. A point -worth remarking is that the halo surrounds his wig, and not his head! - -From his right hand (Plate I.) he suspends a puppet (caricatured from -a picture of Raphael’s) supporting the sacred triangle, which, in -attempting to personify the Trinity, was considered by some to be a -profane materialisation of a mystical idea. This he has ingeniously -turned into a gridiron or trivet of the Inquisition by the simple -addition of three legs. In Plate II. this puppet has been removed and -its place taken by a witch, riding on a broom-handle, who is suckling -what appears to be a huge rat. Beyond the preacher’s hand we find a -further addition in the shape of a cherub, hunting-cap on head, bearing -in its mouth {90} a letter directed “To St. Moneytrap.” The sermon -paper, too, has been turned about so as to bring the words “I speak as -a fool” into greater prominence. In which connection it may be noticed -that in “Enthusiasm Delineated” all the lettering would seem to be from -the burin of Hogarth, whilst that in the “Medley” has been put in by a -writing engraver, with considerable weakening of the general effect. -Dangling from the preacher’s left hand is a devil with a gridiron -(after Rubens), practically identical in both plates, though obviously -re-engraved. - -Further puppets hang ready for use on the panels of the pulpit. In -Plate I. they are caricature representations, from pictures of the -Old Masters, of Adam and Eve (suggested by Albert Dürer), of Peter -with his Key, and Paul in a black periwig armed with two swords and -elevated by high-heeled shoes (travestied from Rembrandt), and of Moses -and Aaron. In Plate II. these scriptural puppets are exchanged for -the superstitious images of Mrs. Veal’s ghost (see the writing on the -book), who, according to Defoe, appeared the day after her death to -Mrs. Bargrave {91} of Canterbury, September 8, 1705; of Julius Cæsar’s -apparition, starting at its own appearance in the looking-glass; and -of that of Sir George Villers (_sic_), not “Villiers” as Ireland has -it, whose appearance to an officer at Windsor, charging him to warn -his son, the Duke of Buckingham, of his approaching assassination, is -recorded by Lord Clarendon and Lilly the astrologer. - -In the foreground, on the right, we have in both plates a most -remarkable mental thermometer, the bulb of which is inserted in a -Methodist’s brain. In Plate I. the mercury stands at “low-spirits”; -in Plate II. at “lukewarm.” In the first a dove surmounts the whole; -in the second the Methodist’s brain rests upon “Wesley’s Sermons,” -and “Glanvid” (an evident misprint for “Glanvil”) on “Witches.” The -lettering, too, is altered, and, in place of the inscription in the -top division, is a picture of the Cock Lane Ghost, of which Walpole -wrote—“Elizabeth Canning and the Rabbit Women were modest impostors -in comparison of this.” The whole is surmounted by a figure of the -Tedworth drummer immortalised by Addison. {92} - -In the adjoining pew a nobleman, as can be seen by the decoration half -concealed by his coat, makes love to a girl, who discards a heavenly -for a very earthly affection, point to which is given by the quotation -from Whitfield’s hymn which can be read on the paper hanging over the -adjacent clerk’s desk. The “mixed expression of religious hypocrisy and -amorous desire” on the girl’s face is marvellously expressed. The other -occupant of the pew is a repentant thief, as may be seen from the “T” -branded on his cheek. - -In the first account of the plate given in the _Catalogue of Prints and -Drawings in the British Museum_, the suggestion that the felon sniffs -at a bottle of spirits held in the hands of the image is obviously -incorrect. He is dropping his tears into the bottle. In Plate II. a -less aristocratic and somewhat more decently behaved pair of lovers -occupy the pew. The puppet held by the man is clearly a repetition of -the Cock Lane Ghost, only bearing in its hand a lighted candle in place -of a hammer. What the meaning of this is I fail to understand. Of the -two other occupants of the pew one is weeping and the other asleep. -{93} A winged devil whispers evil thoughts into the sleeper’s ear. - -In both plates, on a bracket attached to the side of the pew and -inscribed “The Poor’s Box,” rests a wire rat-trap in place of the -proper receptacle. - -Turning now to the clerk’s desk, which in Plate I. has the inscription -“Cherubim and Seraph [ — ] do cry,” and in Plate II. “Continually do -cry,” we find a hideous and brutal-looking clerk singing lustily from -a book which he half supports in his claw-like fingers. Supporting him -are two winged cherubs, the ridiculous nothingness of whose bodies -(so envied by Thackeray in his days of pupilage) is accentuated by -the significant addition of ducks’ feet. Their pitiful faces accord -with the punning inscription on the edge of the desk. In Plate II. the -ducks’ feet have been removed, but to make up for the loss we have the -clerk himself, now a lean and hungry-looking individual, also decorated -with a pair of wings. - -Below the desk in Plate I. howls a dog, his collar engraved with -Whitfield’s name, whilst, below the hassock on which he sits, a ragged -{94} figure squats embracing an image. In Plate II. a book entitled -_Demonology, by K. James Ist._, surmounted by a shoeblack’s basket -in which _Whitfield’s Journal_ is stuck, takes the place of the dog, -whilst the boy of Bilston, vomiting forth nails, displaces the ragged -figure. From the neck of the bottle in his hand a figure, similar to -that held by the man in the pew, rises expelling the cork, which falls -to the ground. - -In the forefront of Plate I. lies the bloated figure of Mother Douglas, -who, after a most licentious life, was said to have become a rigid -devotee. Hogarth, who has portrayed her in other of his plates, here -ridicules her conversion. A hand belonging to a figure outside the -plate holds a bottle of salts to her nose. In Plate II. Mary Tofts, “ye -Godliman woman,” takes her place. Her well-known imposture, which it -would be out of place to particularise here, gave rise to a voluminous -literature, and a sheaf of remarkable caricatures. In place of the -salts a glass of cordial is applied as a restorative. - -[Illustration: The Chandelier in “Enthusiasm”] - -[Illustration: The Chandelier in “Credulity”] - -In Plate I., behind the prostrate woman a bearded Jew regards the -preacher with mock {96} devotion, what time he kills a flea between -his thumb-nails. Before him lies a book open at a picture of Abraham -offering up Isaac. In Plate II. the figure of the Jew is much weakened, -whilst a knife inscribed “Bloody” is laid across a picture of an altar -on the page of the open book. - -In the background of both plates a motley collection of devotees -assists at these religious orgies. To the extreme left of Plate II., -which, by the addition of several persons in the congregation, has -become greatly overcrowded, a minister directs the attention of a -terrified wretch, whose hair bristles with fear, to the extraordinary -double-globed chandelier above their heads. - -Final emphasis is given to the whole satire by the figure of a Turk -(slightly varied in the two plates), who regards with amusement through -the window the idolatry of those “dogs of Christians.” - -So much for the details of the plates. As regards the general effect of -the whole, the superiority of the suppressed design will be evident at -a glance. In lighting, balance, and composition, the substituted design -is immeasurably removed from the original. Nor would this be wonderful -if, {97} as Ireland surmised, “the alterations were made by degrees.” - -With this view, however, I find it, as I have said above, impossible -to concur. If, as he suggests, the figures were beaten out one by one, -their substitutes would occupy practically identical spaces on the -plate; but a little measurement demonstrates the fact that, with the -exception of the figure of the preacher, which has been left where it -was, and of the mental thermometer, which has been raised, almost the -whole of the design has been shifted downwards. - -I am therefore inclined to think that from the first Hogarth, from -one cause or another, made up his mind to change the direction of his -satire, and at once beat out all the figures on the plate save one. -That the arrangement of the new design should coincide generally with -that of the first is, I think, no more than one would naturally expect, -and does not in any way weaken the argument. - -In conclusion, it should be pointed out, for the sake of those who -would study the matter further, that the accounts of the impressions of -the several plates in the _Catalogue of Prints and Drawings {98} in -the British Museum_ are not easily found, being somewhat arbitrarily -placed at pages 301–307, vol. iii., part i., and pages 644–648, vol. -ii., respectively. - - * * * * * - -So far we have seen Hogarth in his character of general iconoclast and -antipapist. It is now our business to deal with him in what was a more -personal polemic. - -In the year 1731 Pope first published his notorious attack upon the -Duke of Chandos in his satire _Of Taste: An Epistle to the Right Hon. -Richard, Earl of Burlington_. - -Hogarth forthwith entered the lists, and designed and published a -well-deserved pictorial counterblast, allusively entitled “The Man of -Taste,” or “Burlington Gate.” This was immediately “suppressed” on a -prosecution being threatened because of what was deemed its scurrilous -and defamatory character. - -Notwithstanding this prompt suppression, however, the design reappeared -the following year, reduced in size, as frontispiece to a pirated -edition of Pope’s “Epistle,” which was included in a pamphlet entitled -_A Miscellany on Taste; by {99} Mr. Pope, etc._, published by Lawton -and others. Its contents were (1) Of Taste in Architecture, an Epistle -to the Earl of Burlington, with _Notes Variorum_, and a complete -Key; (2) Of Mr. Pope’s Taste in Divinity: viz., the Fall of Man, -and the First Psalm, translated for the use of a Young Lady; (3) Of -Mr. Pope’s Taste of Shakespeare; (4) His Satire on Mr. P——y; and -(5) Mr. Congreve’s fine Epistle on Retirement and Taste, addressed -to Lord Cobham. In this copy of the plate Pope, who is shown in the -original by means of the back of his head and figure, and as wearing -a full-bottomed wig, is more distinctly satirised, his face being -displayed in profile, and his head enclosed by a linen cap instead of a -wig. Amongst a few other minor alterations, it may be noticed that the -palette held by Kent is transferred from one hand to the other. - -Referring to the republication of Hogarth’s cartoon in this form, -Mr. Dobson seems somewhat inclined to argue against the story of -its “suppression,” or, at any rate, its effectual suppression; but -he does not allude to the important fact that the publisher of this -pamphlet {100} was _also_ promptly prosecuted, and the sale strictly -prohibited. From which it is clear that the suppression was as -unqualified and as prompt as could reasonably be expected. - -Steevens indeed mentions a copy upon which the following inscription -had been made:— - - “Bo^t. this book of Mr. Wayte, at the Fountain Tavern, in the Strand, - in the presence of Mr. Draper, who told me he had it of the Printer, - Mr. W. Rayner. - - “J. COSINS.” - -The signatory was an Attorney, and the wording of the memorandum -suggests the intended prosecution. - -To return to Pope’s poem. In it he passes the most scathing criticism -upon the splendid but tasteless surroundings of “Timon” at his -stupendous villa. - - “Greatness, with Timon, dwells in such a draught - As brings all Brobdingnag before your thought. - To compass this, his building is a town, - His pond an ocean, his parterre a down: - Who but must laugh, the master when he sees, - A puny insect, shivering at the breeze! - Lo, what huge heaps of littleness around! - The whole, a labour’d quarry above ground. - Two cupids squirt before: a lake behind - Improves the keenness of the northern wind. - His gardens next your admiration call, - On every side you look, behold the wall! {101} - No pleasing intricacies intervene, - No artful wildness to perplex the scene; - Grove nods at grove, each valley has a brother, - And half the platform just reflects the other.” - -And then, at the end of it all, he proceeds to justify Providence, in -giving riches to those who squander them, in a way that will hardly -commend itself to the student of the dismal science. A bad taste, he -says in effect, employs more hands, and diffuses wealth more usefully -than a good one! One would like to have heard John Stuart Mill on the -subject of “Pope.” - -The “Epistle” was addressed to Pope’s patron, the Earl of Burlington, -who was one of the noblemen who had helped to screen him a few years -before on his publication of the _Dunciad_. - -“Timon” (mainly though not entirely) referred to the Duke of Chandos, -who was, Johnson says, a man perhaps too much delighted with pomp and -show, but of a temper kind and beneficent, and who had consequently the -voice of the public in his favour.[20] {102} - - [20] Bowles says, “As Pope was the first to deal in personalities, the - following severe retaliation was published in the papers of the time: - - “Let Pope no more what Chandos builds deride, - Because he takes not Nature for his guide; - Since, wond’rous critic! in thy form we see - That _Nature_ may mistake, as well as he.” - -A violent outcry was therefore raised against the ingratitude and -treachery of Pope, who was said to have been indebted to the patronage -of Chandos for a present of a thousand pounds, and who gained the -opportunity of insulting him by the kindness of his invitation to -“Canons,” the Duke’s seat near Edgware. - -In a pamphlet entitled _Ingratitude_ published in 1733, of which only -a portion of the frontispiece is in the British Museum,[21] the matter -is thus alluded to. “A certain animal of diminutive size, who had -translated a book into English metre (or at least had it translated for -him), addressed himself to a nobleman of the first rank, and in the -style of a gentleman-beggar requested him to subscribe a guinea for one -of his books. The nobleman entertained him at dinner in a sumptuous -manner, and continued so to do as often as the insignificant mortal -came to his house. After dinner this generous man of quality, taking -him aside, put a bank-note for five hundred pounds into his hands, and -desired he might have but one book. But {103} what was the consequence -of this? Why, truly, the wretch, who is a composition of peevishness, -spleen and envy, having no regard to the benefits he had received, -in a few years after, and without any manner of provocation, or the -least foundation for truth, publishes a satire, as he terms it, but in -reality it is an infamous and calumnious libel, calculated, with all -the malice and virulency imaginable, to defame and render odious the -character of his best benefactor.” - - [21] Vide _Catalogue of Prints and Drawings in the British Museum_, - Division I., _Satires_, vol. ii., No. 1935. - -From which it will be seen that Hogarth was not out of the fashion in -retaliating upon Pope’s devoted head with the cartoon which we here -reproduce. - -Let us examine it in detail. The gate, which is the main feature in the -picture, is a travesty of that which is familiar to old frequenters -of Piccadilly. Until as lately as 1868, it formed the frontage to -Burlington House. It was the joint design of Lord Burlington and -Colin Campbell, and, although well-proportioned and inoffensive, -hardly justifies the fulsome praise which has been bestowed upon -it. Kent, originally a coach-painter, with whose statue Hogarth has -surmounted the {104} structure, was patronised by, and brought -his practical knowledge to the assistance of, Lord Burlington, -himself undoubtedly a man of enlightened taste. The alteration and -reconstruction of the original Burlington House, which had been built -by his great-grandfather, the first Earl, was the first of his many -architectural projects. It was eventually taken down to make way for -the existing Royal Academy and Science Buildings. Lord Hervey laughed -at its inconvenience in the following couplet:— - - “Possessed of one great hall of state, - Without a room to sleep or eat.” - -The best of Lord Burlington’s and Kent’s joint work is to be found -in the northern park front of the Treasury Buildings in Whitehall, -“which,” says Fergusson, “if completed, would be more worthy of Inigo -Jones than anything that has been done there since his time.” - -[Illustration: The Man of Taste] - -Flanking the ex-coach-painter, Hogarth has placed reclining figures -of Raphael and Michael Angelo, who regard the modern architect with -respectful admiration! On the platform is Pope rough-casting the front -of the structure, and {106} incidentally bespattering the passers-by -with whitewash from his huge brush. Chief amongst these is the Duke of -Chandos, who vainly strives to protect himself with his hat. Ascending -the ladder is Lord Burlington, who carries up more whitening for the -beautifying of his own gate and the defilement of his neighbours’ -clothes. Over the gate Hogarth has sarcastically inscribed the solitary -word “TASTE.” The double distribution of flattery and satire is an -excellent pictorial burlesque of the _Epistle to Lord Burlington_, and -who can say that it was not richly deserved? At any rate, stroke and -counterstroke were fierce and unhesitating in those days, and, although -Pope’s and his patrons’ influence was sufficient to get Hogarth’s witty -plate suppressed, it is a tribute to the wholesome respect which the -poet had for the artist, that, pugnacious and irrepressible as his pen -generally was, Pope never ventured to make any written retaliation upon -the libeller. - -It should be mentioned that this was not the first occasion upon -which Hogarth had attacked the charlatanry of Kent. In the first -plate published on his own account, in 1724—“Masquerades and {107} -Operas”—he had included him in his ridicule of what Mr. Dobson calls -“foreign favourites and dubious exotics.” In that plate, also, he had -ridiculed “Burlington Gate,” and, curiously prompted by the spirit of -prophecy, had labelled it “Accademy (_sic_) of Arts!” He had also, in -the following year, burlesqued Kent’s scandalous altarpiece at St. -Clement Danes, which had lately been taken down in response to the -outcry against its sacrilegious impudence. - -By the kindness of the publisher of _The Builder_, I am enabled to -reproduce a wood engraving of Burlington Gate as it actually was, which -appeared in that journal on October 28, 1854. Comparing this with the -cartoon, it will be seen that Hogarth did not scruple to heighten the -effect of his satire by depriving Lord Burlington’s edifice of such -merits as it undoubtedly possessed. - -So much for Hogarth in his polemic with Pope. We will now turn for -a moment to Hogarth and his quarrel with Wilkes and Churchill, in -which we shall find him working over an old plate as in the case of -“Enthusiasm Delineated,” but with a very different object in view. Here -he adopts a method {108} of retaliation which, as we shall learn from -later chapters of this book, had become already customary amongst the -producers of political broadsides in the seventeenth century. Hitherto -Hogarth had kept clear of politics, but now, in his sixty-fifth year, -he threw himself into the fray. John Wilkes had started a paper called -_The North Briton_ in opposition to _The Briton_, the organ of the -Tory party of which Lord Bute was the leader. Hogarth had long enjoyed -Bute’s favour. He had also until now been on friendly terms with Wilkes -and his henchman Charles Churchill, the poet. On September 7, 1762, -taking sides with his patron, he published _The Times_ (Plate I.). -This so enraged Wilkes that he retaliated on the Saturday following, -in the seventeenth number of _The North Briton_, with a violent attack -on Hogarth both as man and artist. In the May following Hogarth -retorted by publishing a portrait of John Wilkes which, professing to -be a likeness, cleverly exhibited his most repulsive characteristics. -Wilkes being now on his trial for libel, Churchill came to the rescue -with his savage and slashing _Epistle to William Hogarth_. This was -published on August 1. {110} With a promptitude astonishing in those -days of tardy copper-plate engraving, Hogarth, by a clever expedient, -retaliated within a month with his exceedingly venomous print of “The -Bruiser.” The plate from which this was printed had already done duty -as a portrait of Hogarth himself with his dog Trump, engraved from the -well-known painting now in the National Gallery. - -[Illustration: Burlington Gate as it appeared prior to 1868] - -Pressed for time, in ill-health, and apprehensive lest the public might -attribute delay in replying to inability to do so, he took the old -plate, burnished out his own portrait, and substituted in its place the -head of a bear, with torn and soiled clerical bands about its neck, -ruffles on its wrists, and clasping against its chest a foaming pot -of beer, in allusion to the personal habits of the poet and ci-devant -parson. With his left paw the beast clasps a huge club, the knots of -which are labelled “Lye 1,” “Lye 2,” referring to the falsities of _The -North Briton_. There are other minor alterations which may be seen at a -glance. The whole was entitled “THE BRUISER, CHARLES CHURCHILL (once -the Rev^d.!) In the character of a RUSSIAN HERCULES, regaling himself -after having killed {111} the MONSTER CARICATURE, that so sorely gall’d -his virtuous friend, the Heaven-born Wilkes.” The plate thus altered is -to be found in five states, particulars of which may be found on p. 286 -of Mr. Austin Dobson’s _William Hogarth_, 1891. That here reproduced is -from a _copy_ of the last state engraved by Dent for John Ireland.[22] -It is only in the last two states that the clever little engraving in -front of the palette is to be found. - - [22] In copying, the design, as will be seen, has been turned from left - to right. - -So far we have dealt with work done by Hogarth in his individual -capacity. Let us now turn to such of his collaborative work as suffered -cancellation. - -In dealing with the series of suppressed _Quixote_ plates we shall be -brought into touch with two not uninteresting and accessory episodes -in the artist’s career. In the first of these Hogarth made a great -success, where a rival artist had made a signal failure. In the second, -by way of righting the balance of things, fate ordained it that this -same artist should badly best Hogarth, and that in a manner peculiarly -galling to the latter’s vanity. - -Hogarth’s father-in-law was Sir James Thornhill, {112} whose drawing -academy in Covent Garden had not proved as valuable an institution -as had been anticipated. Johan Van der Banck, the rival artist above -alluded to, had been one of Sir James’s pupils. By heading a secession -and establishing a rival school he had undoubtedly largely contributed -to the failure of his master’s venture. However, in due time, his -school too proved to be lacking in the elements of success, and came to -an untimely end. - -On Sir James’s death the “neglected apparatus” of his father-in-law -passed into Hogarth’s hands, and he set to work to establish the -academy on a different footing. The result was that it became a -successful educational centre, which only ceased to exist many years -afterwards on the establishment of the Royal Academy. A picture by -Hogarth of the interior of the school with the students drawing from -life is to be seen on the staircase leading to the Diploma Gallery at -Burlington House. - -In this case Hogarth had the laugh on his side. In the other, which is -immediately relevant to our subject, the laugh was with Van der Banck. - -[Illustration: Portrait of Hogarth with His Dog Trump[23]] - - [23] The plate being re-engraved for _Hogarth Illustrated_ became - transposed. - -[Illustration: _The plate reversed and in its last state, now entitled_ -“The Bruiser”] - -In 1738 Lord Carteret’s Spanish edition of _Don {113} Quixote_ was -published. For this Hogarth had been commissioned to design a series of -illustrations. Eight of these were executed, but, on being submitted -to Lord Carteret, did not meet with his approval. The commission was -consequently transferred to Johan van der Banck, who thus succeeded -in revenging himself for his former failure, and at the same time -unconsciously provided us with matter for consideration in these -papers. His sixty-eight designs were engraved by Van der Gucht and -republished in the English edition of 1756, of which Charles Jarvis was -the translator. Of Hogarth’s unsuccessful venture John Ireland writes -with some indignation, “As they are etched in a bold and masterly -style, I suppose the noble peer did not think them _pretty enough_ to -embellish his volume and therefore laid them aside for Vandergucht’s -engravings from Vanderbank’s designs.” It is a slight satisfaction to -know that Hogarth’s completed etchings were paid for! - -One curious fact about Jarvis’s edition demands our attention. The -plate representing the Don’s first sally in quest of adventure is -without any {114} signature, but the “style of the etching and the -air of the figures” indisputably determine for us the fact that it is -from the pencil and burin of Hogarth, so that it is open to any one who -has access to this edition to judge for themselves of the justice of -Ireland’s strictures upon Lord Carteret. - -For those who have not access to Jarvis’s edition it may be mentioned -that a copy engraved by J. Mills appears in Ireland’s _Hogarth -Illustrated_ and in the _Anecdotes of William Hogarth_, published by -Nichols in 1833. Of Hogarth’s eight designs we are therefore left with -only seven, which were “suppressed.” Of these six were published from -Hogarth’s own plates in Baldwin, Cradock and Joy’s splendid collection -of the _Works_ in 1822; whilst previously, in 1798, John Ireland had -published small copies of them together with an unfinished design of -“The Innkeeper” in his possession, engraved by J. Mills. These plates -were used over again in the _Anecdotes_ of 1833 with altered lettering -and the etchings considerably worn. - -[Illustration: Don Quixote No. 1.—The Innkeeper] - -The accompanying reproductions are, save for {116} No. 1., not made -from any of the foregoing, but from the early states of the plates, -never before published, to be found in the British Museum. Thus they -will prove not only of interest to the casual reader but also valuable, -for purposes of comparison, to the possessors of any of the three -editions of Hogarth’s _Works_ mentioned above. The full descriptions of -the plates may be found in Ireland and Nichols, but for the convenience -of the reader I append a short commentary. - -No. I. _The Innkeeper_ is from an unfinished etching and is of -particular interest. By some its authenticity is doubted, but John -Ireland believed in it, and I, for one, see no reason to call his -judgment into question, more particularly as this figure bears a more -than chance resemblance to that of “The Innkeeper” in the undoubted -Hogarth referred to above published in Jarvis’s edition. In the Van -der Banck plate, which represents the knighting of the Don by the -Innkeeper, it is also evident that Hogarth’s rival has done him the -compliment of adopting his model. - -[Illustration: Don Quixote No. II.—The Funeral of Chrysostom] - -No. II. _The Funeral of Chrysostom, Marcella vindicating herself._ This -scene was also taken {118} by Van der Banck for illustration, and a -comparison of the two plates is not favourable to Hogarth. - -No. III. _The Innkeepers Wife and Daughter taking care of the Don after -he had been beaten._ “Much superior to the same scene designed by Van -der Banck.” - -No. IV. _Don Quixote seizes the Barber’s Basin for Mambrino’s Helmet._ -On the whole inferior to Van der Banck’s. The barb of the Don’s weapon -is different from that in the Hogarth design published by Jarvis. The -stirrups and saddling of the horse too are different. These points have -not been referred to before, but I mention them by way of argument -against the authenticity of the Jarvis plate. As I have said before, -personally I have no doubt that it is from Hogarth’s burin. - -No. V. _Don Quixote releases the Galley Slaves._ Here the Don is found -wearing the barber’s basin as his helmet. By a not unusual oversight it -will be noticed Hogarth has made his figures left-handed, forgetful of -the reversing process due to printing from a plate. A superior design -to that of Van der Banck, who, as Ireland says, “has {121} given to -two or three of the thieves the countenances of apostles.” - -[Illustration: Don Quixote No. III.—The Innkeeper’s Wife and Daughter] - -[Illustration: Don Quixote No. IV.—Don Quixote seizes the Barber’s -Basin] - -No. VI. _The First Interview of the Valorous Knight of La Mancha with -the Unfortunate Knight of the Rock._ Distinctly superior to Van der -Banck. - -No. VII. _The Curate and Barber disguising themselves to convey Don -Quixote home._ An excellent representation of the curate assuming the -dress of a distressed virgin who, by his tale of having been wronged by -a naughty knight, hopes to induce the Don to return to his home. - -Whilst on the subject of Don Quixote it may be mentioned that, much -earlier in his career, Hogarth had designed and engraved a plate -dealing with “Sancho’s feast,” but this must not be in any way -identified or confused with the series begun for Lord Carteret, -although Ireland groups them all together. - -[Illustration: Don Quixote No. V.—Don Quixote releases the Galley -Slaves] - -[Illustration: Don Quixote No. VI.—The First Interview] - -So much for Hogarth’s suppressed illustrations, and it is, it must be -confessed, something of a relief to turn again from his cognate art to -that which is individual and typical. For we do not much value Hogarth -as an illustrator. In this character he rarely does more than repeat -for us {124} in another medium the obvious matters already dealt -with in the letterpress. “Illustration,” as Mr. Laurence Housman has -well said, “should be something in the nature of a brilliant commentary -throwing out new light upon the subject, an exquisite parenthesis of -things better said in this medium than could be said in any other: in -a word, the result of another creative faculty at work on the same -theme.” And this in no way describes Hogarth’s work as an illustrator. -It is as a great original painter working out consummately the -homeliest of morals that he appeals to us. Those morals which, to quote -Thackeray, are “as easy as Goody Twoshoes,” the moral of “Tommy was a -naughty boy and the master flogged him, and Jacky was a good boy and -had plum-cake.” For it is in “Marriage à la Mode,” “A Rake’s Progress,” -“Industry and Idleness,” that he succeeds inimitably, carrying out the -motto beneath “Time Smoking a Picture”:— - - “To Nature and your Self appeal - Nor learn of others what to feel.” - -[Illustration: Don Quixote No. VII.—The Curate and the Barber] - -But this only in passing, for our subject debars us from lingering over -Hogarth’s best. {126} From the nature of our theme we are confined -to the examination in the majority of cases of that which verges upon -failure either from artistic or social considerations. - -{127} - - - - -CHAPTER VII - -CANCELLED DESIGNS FOR _PUNCH_ AND _ONCE A WEEK_ - -[CHARLES KEENE AND FREDERICK SANDYS] - - -In the present chapter I propose to deal with three masterly drawings -prepared for the publications of Messrs. Bradbury and Evans (the -predecessors of Messrs. Bradbury and Agnew) which were suppressed for -various reasons. Two of them are drawings by Charles Keene done for -_Punch_, which were never even “brought to the block.” The third is by -Frederick Sandys, designed for _Once a Week_, and actually engraved, -but cancelled before publication for reasons which shall appear. - -For leave to reproduce the first—one of the rare cartoons (in this -case a double-page one) drawn by Keene for _Punch_—I am indebted -to {128} the generosity of Messrs. Bradbury and Agnew, to whom the -original drawing now belongs. For years it has hung amongst other -well-nigh priceless treasures in the dining hall in Bouverie Street, -Whitefriars, and, until reproduced by me in the _Pall Mall Magazine_ -in 1899, was only known to the privileged few whose good fortune -it has been to penetrate into that Temple of the Comic Muse. It is -therefore with the greater satisfaction that it is here reproduced -for the delight of that surely increasing public which recognises in -Charles Keene the greatest master of pen-and-ink drawing that England -has produced. But this is not the place to linger over the qualities of -artists. At the same time we cannot but congratulate ourselves that, by -good fortune, our chosen subject brings us into contact not only with -work to which adventitious interest attaches, but also with artistic -work evidencing a technical mastery hard indeed to surpass. - -[Illustration: The Cancelled Cartoon. (_By Charles Keene_)] - -The only public mention before the year 1899 made of this splendid -pen-and-ink drawing is to be found on page 60 of Mr. Spielmann’s -monumental work, _The History of Punch_. There, in his most {129} -interesting description of _The “Punch” Dining Hall_, it is -described as “a masterly drawing, 2 feet long, by Keene, bought by the -late Mr. Bradbury at a sale—the (unused) cartoon of Disraeli leading -the principal financiers of the day in hats and frock-coats across the -Red Sea. (‘Come along, it’s getting shallower!’)” - -Now, since this was written, further inquiries have been made upon the -subject, and two theories present themselves for consideration. The -first of them in its general outline supports Mr. Spielmann’s account, -and maintains that the picture was bought direct from Keene himself -by the late Mr. Agnew (not Mr. Bradbury), as a _solatium_ on account -of its not being used, and that the reason for suppressing it was the -anti-Jewish feeling by which it was inspired. - -In support of this view it should be remembered that Keene all along -refused to accept a fixed salary for his _Punch_ work, and was always -paid by the piece. Considering, too, that the subject of the weekly -cartoons was (and still is) a matter of general discussion at the -Wednesday _Punch_ dinners, it is not unreasonable to suppose that the -{130} subject was embarked upon with the authority of the editor, and -that other counsels only prevailed after the drawing had reached the -stage at which it now appears.[24] This being so, it seems not unlikely -that a generous employer would feel himself in some degree answerable -for the futile labour to which the artist had been put, and would offer -to buy the picture as it stood rather than that the artist should in -any way be prejudiced. If this were the case (which does not sound -improbable) it throws an interesting and edifying side-light upon the -relations existing between the artists and publishers of our great -comic paper. - - [24] Of course Sir John Tenniel was cartoonist in chief, but sometimes - the cartoon was duplicated, and on very rare occasions Sir John took a - holiday. - -Against this theory, however, I have the opinion of Sir John Tenniel -and Mr. Linley Sambourne that the drawing was done on Keene’s own -initiative by way of frontispiece to one of the _Punch_ pocket-books. -But this view of the matter I am, with submission, not myself inclined -to accept, and for two reasons. First and foremost, the drawing differs -in shape from the pocket-book folding frontispieces; and secondly, it -was the {131} practice in these yearly productions rather to satirise -some social folly or fashion of the period than to deal with matters -political or international. In addition to which it does tally in shape -with the double-page cartoons of _Punch_ itself, and, as a matter of -fact, Keene’s few cartoons were mostly done during the years 1875, -1876, and 1877, when the matter of the Suez Canal was making a new -departure in politics—a fact which, as will appear, has some bearing -upon the matter before us. - -So much for the circumstances connected with the production and -proposed destination of the picture. Let us now consider its subject -and the probable reason of its suppression. - -And, if we take down our volume of collected _Punch_ cartoons and -turn to those dealing with Disraeli, we shall be disinclined to think -that it was out of any consideration for “Benjamin Bombastes” himself -that this splendid drawing was withheld from publication. But thinly -disguised contempt is the attitude almost invariably maintained -towards him, whilst but thinly disguised personal admiration for -his great rival discounts even the bitterest political taunts {132} -flung at that devoted head. No! I am inclined to think that events -at this time, to which this cartoon referred, were wringing unwilling -approbation even from “The Asiatic Mystery’s” most bitter enemies, -and that Bouverie Street could not but acknowledge that here at least -“Ben-Dizzy” deserved well of his country. For surely the cartoon -has reference to nothing less than that crowning act of wisdom, the -purchase of nearly half the shares in the Suez Canal for four millions -sterling. Here we have Disraeli with his umbrella pointing the way, -not across the Red Sea as Mr. Spielmann imagines, but up the Canal -_towards_ the Red Sea. He calls out, “Don’t be afraid! it’s getting -shallower,” thus possibly referring to the original notion (afterwards -disproved) that the level of the Mediterranean was 30 feet below that -of the Red Sea. On the right-hand, and Egyptian, side of the water, if -we look carefully, we discover the shadowy outline of the Sphinx and -the Pyramids, which latter rise dimly to the margin of the drawing. On -the bank indistinct forms of the Liberal “Opposition” wave their arms, -hurl stones and shout “Yah” at the {133} wading financiers. Such was -the hardly congratulatory attitude assumed towards this masterly move -by Charles Keene. - -But when we turn to the cartoons dealing with this subject by Sir -John Tenniel,[25] which _did_ appear, what do we find? The first is -“Mosé in Egitto”!!! published on December 11, 1875, to which, in the -collected cartoons, the following note is appended:—“Mr. Disraeli -extorted the admiration of the country by purchasing for £4,000,000, -on behalf of the Government, the shares in the Suez Canal held by the -Khedive of Egypt.” The second is entitled “The Lion’s Share—_Gare -à qui la touche_,” on February 26, 1896, to which the note appended -runs: “The acquisition of the Suez Canal shares was accepted by the -country as securing the safety of ‘The Key to India.’” These, as will -be seen, frankly recognise the wisdom of the purchase. Hence it is not -surprising if the feeling against the suggestion contained in Keene’s -cartoon—that the financiers of the day were being put into a {134} -ridiculous position by the Conservative Leader—was strong enough to -result in its rejection. Its inclusion would have gone far to stultify -the effect of the congratulatory attitude taken up by _Punch’s_ -chartered cartoonist. At any rate, this view of the case appears to be -most reasonable, and I give it for what it is worth. - - [25] It may be mentioned as an interesting fact that no engraved - cartoon after Sir John Tenniel has ever failed to find its place in the - number for which it was designed. - -The drawing is a fine example of Keene’s power of endowing his models -with the qualities requisite to his design. Not a man of these -seventeen financiers suggests a model posing, and yet all, for this was -Keene’s invariable custom, were drawn from the life. Not one of them -but is balanced as though he were wading in water up to his knees; and -yet not one of them, we may be sure, was wading against a stream when, -probably unconsciously, he was forced into the service of the artist’s -pencil. The pose of one and all is as inevitable as is the expression -on the face of each. I would ask all my readers who are seekers after -consummate draughtsmanship to give more particular attention to this -beautiful drawing than its mere subject would demand, remembering that -Keene’s achievements in black-and-white are {135} unsurpassed, and, I -am inclined to think, unsurpassable. - -We will now turn to the consideration of the other suppressed Keene -drawing. This, we shall find, owed its rejection not to political but -to social considerations. And it is of peculiar interest, not only as -showing the scrupulous care taken by the then editor of _Punch_ to -avoid the risk of offending the susceptibilities of his readers, but -also as an example of the extensive collaboration which existed between -Keene and the late Mr. Joseph Crawhall in the supply of “socials” to -that paper week by week. - -Let us pause for a moment, then, to recall the particulars of this -remarkable co-operation. Early in the ’seventies, Keene, who was often -gravelled for humorous subjects on which to exercise his pencil, -was by good fortune introduced to the author of _Border Notes and -Mixty-Maxty_, and many other droll books of a like character. This -gentleman, always a lover of things quaint, grotesque and jocular, -had been for years in the habit of jotting down any telling incident -that came in his way, illustrating it at leisure for his {136} own -amusement. He was no great artist; but, like Thackeray, his inadequate -pencil was so compelled and inspired by the appreciation of his -subjects that he was able to set them down pictorially in a manner so -naïve and at the same time so intelligent that they are a joy to the -beholder. These suggestive drawings, by the time the introduction had -taken place, filled several volumes. - -Keene’s delight, then, may be well imagined when he was given _carte -blanche_ to cull the best of the subjects for use in _Punch_. He -wrote:— - - “I can’t tell you how strongly I have felt your rare generosity and - unselfishness in letting me browse so freely in your pastures.” - -And again:— - - “Many thanks for the loan of the sketch-books. I enjoyed them again - and again, with renewed chucklings; but what a mouth-watering larder - to lay open to a ravenous joke-seeker!” - -[Illustration: The Cancelled “Social.” (_By Charles Keene_)] - -[Illustration: Suggestion by Joseph Crawhall for the Cancelled “Social”] - -Fortunately Mr. Crawhall was as delighted to be of service to the great -artist as Keene was to avail himself of his opportunity. Hence we have -that delightful partnership of which full particulars {137} may be -found in my _Life and Letters of Charles Keene of_ “_Punch_.” - -It is necessary to say so much for the purpose of introducing the -subject of the second of Keene’s cancelled drawings. By a great piece -of good fortune I have in my possession Mr. Crawhall’s pictorial -suggestion for the rejected picture itself, presented to me by the -artist. I reproduce it here alongside Keene’s drawing for the purpose -of comparison. The humour of it is certainly rather brutal, and one is -not surprised to find that the editor considered that it would “jar -upon feelings.” Keene, on the other hand, was naturally disgusted -at his labour being thrown away, and vented his wrath somewhat -unreasonably upon the “Philistine editor.” - -For the sake of those who would like to gain some idea of the -personality of the artist’s friend who acted, as Boswell did to -Johnson, in the capacity of a “starter of mawkins,” it may be mentioned -that an excellent back view of Mr. Crawhall, drawn by Keene, appears in -_Punch_, March 11, 1882, over the following delicious “legend”:— {138} - - -_LAPSUS LINGUÆ_ - - PATER: “Now, look here, my boy, I can’t have these late hours. When I - was your age my father wouldn’t let me stay out after dark.” - - FILIUS: “Humph! nice sort o’ father you must have had, I should say.” - - PATER (_waxing_): “Deuced sight better than you have, you young——” - (_Checks himself, and exit._) - -The original of the _Punch_ drawing here reproduced was presented to -Mr. Crawhall by Charles Keene. This was the latter’s method of repaying -the former for his unqualified generosity. Mr. Crawhall was, however, -somewhat embarrassed by what he considered to be excessive payment for -services which he held required no other recompense than the honour -thus conferred on his poor drawings. The result was a generous contest -which resulted in his finally refusing to accept them, “For,” said he, -“you don’t know the value of your work. The reward is too great, and -our happy connection must cease if you put me under these obligations.” - -Keene, nevertheless, always afterwards made a colourable excuse to -send them when he could think of one, although by this time he was -well {139} aware that he was as great a magician as the Old Lady -of Threadneedle Street, and could by a few strokes of his pen make -the back of an old envelope rival the value of one of _her_ crisp -bank-notes. - -But we must not linger over the cancelled drawings of an artist who, -had he been as great in imagination as he was in originality of method -and mastery over his pencil, would have been as great as the greatest -in Art. It is now our delightful task to turn to another of the men -of the ’sixties, whose imagination and sympathy with high romance has -rarely been surpassed, and whose technical mastery, though not the -equal of his great contemporary, was yet so distinguished that, even -divorced from his other qualities, it would give him a niche in the -Temple of Fame. Frederick Sandys has but lately left us, and how few -there are who recognise the greatness of his work! For years it has -been a matter of astonishment to me that his name was not on every -tongue. Keene, alive, was practically unknown. Keene, dead, occupies -an unassailable position. Sandys is known and esteemed only by {140} -the few. The time will come when his pictures will be a fashionable -craze, and every woodcut after him, whether it be in _Once a Week_, -_The Cornhill_, _Good Words_, _London Society_, _The Churchman’s Family -Magazine_, _The Shilling Magazine_, _The Quiver_, _The Argosy_, or -what not, will be eagerly appropriated by those who wish to pass as -discerning dilettanti. - -But we must not generalise, for our concern is here with one particular -design, and enthusiasm must not be allowed to run. Done for _Once a -Week_, and cut exquisitely on the wood by Swain, that with which we -have to do was at the last moment cancelled by a timidly fastidious -editor. - -If we turn to page 672 of vol. iv. of _Once a Week_ (new series), 1867, -we shall find the following set of verses, signed “W.,” the origin and -authorship of which I am now able to make public:— - - DANAË - - The hour of noonday sleep was o’er, - And Danaë dreamt her dream no more; - Yet still its image lingered on her loom; - For there in woven colours bright, - And touched to life by purpling light, - Smiled the one godhead of the captive’s room. {141} - She raised her from the Tyrian sheet, - And clasped her sandals on her feet, - And lightly drew around her virgin zone; - And sighed—and knew not why she sighed; - And murmured, while her work she plied, - “The World may leave my love and me alone.” - Thus sang the maiden of the brazen tower, - And longed, unconscious, for the golden shower. - - “The days and months have grown to years, - And I have dried my childish tears, - And half forgotten why they ever ran; - My soul is plighted to the sky, - And we,—my wrinkled nurse and I,— - What matter if we see no more of man? - She wearies me with omens dire, - My son foredoomed to kill my sire,— - But sire and son are empty names to me. - My love! I only rest awhile, - To dream the beauty of thy smile. - And only wake again to picture thee.” - Thus sang the maiden of the brazen tower, - And longed, unconscious, for the golden shower. - - She ceased: for now began to fade - The figure of that mighty shade, - With loins and shoulders meet to sway the world; - And awful through the gloom appeared - His massive locks of hair and beard, - Like clouds in lurid light of thunder curled. - Yet, long as twilight glimmered there, - She gazed upon a vision fair; - His brow more beautiful than Parian stone, - And nestling nearer like a dove, - Soft on his lips she breathed her love, {142} - And lit his eyes with lustre of her own. - Then passion stung the maiden of the tower, - And fast she panted for the golden shower. - - She stood, with white arm fixed in air, - And head thrown back, and streaming hair, - “Oh, Lord of Dreams!” she cried, “dost thou behold?” - Then thunderous music shook the cell, - And, sliding through the rafters, fell - On Danaë’s burning breast, three drops of gold. - Her bosom thrilled—but not with pain:— - Faster and brighter flowed the rain, - And starred with light the chamber of the bride: - Her cheek sank blushing on her hand, - Her eyelids drooped, her silken band - Unloosed itself,—and Jove was at her side. - Black loured the earth around the captive’s tower, - But Heaven embraced her in the golden shower. - -I insert the poem here, as it constitutes the only trace in the pages -of _Once a Week_ of the matter with which we have to deal. - -Before proceeding to detail the circumstances connected with the -production and final suppression of the engraving, which prompted this -passable set of verses, I shall endeavour to correct certain statements -regarding it which have gained currency. In the _Artist_ monograph -on “The Art of Frederick Sandys,” in 1896, we find a few lines only -given to the consideration of the {144} wood-engraving of “Danaë in -the Brazen Chamber”; but in these few lines we have one undoubtedly -incorrect statement, and another which is open to the gravest -suspicion. The first is that the “Danaë” was engraved for _The Hobby -Horse_ in 1888; the second that it was drawn for _Once a Week_ in 1860. - -[Illustration: Danaë in the Brazen Chamber] - -As regards its engraving, this was done by Swain for _Once a Week_, -when the drawing was sent in. That it was first _published_ in _The -Hobby Horse_ as an illustration to an article by the late J. M. Gray -is another matter altogether. As regards the date of its design, 1860 -is almost certainly some years too early. Indeed, I had it from Sandys -himself that the probable date of the _first sketch_ of the subject -was as late as 1865, and that it was not till after he had traced it -on a panel[26] (the figure some two feet high) for a never-completed -oil-painting, and later had made a chalk-drawing of it for a Yorkshire -gentleman, that he decided to make a drawing on the wood at all. This -being done, its beauty prompted two poems by two of his personal -friends, the one {145} given above by Mr. Ward, the other, so far as I -can gather never published, by Colonel Alfred Richards. Now, the fact -that Mr. Ward’s poem did not appear in _Once a Week_ till 1867 lends -such overwhelming weight to Mr. Sandys’s recollection of the matter -that we may, I think, unhesitatingly reject the date of 1860 given by -the author of the _Artist_ monograph and adopt a date at least five -years later. Further evidence, too, is to be found in the fact that Mr. -Sandys continued to draw on the wood certainly as late as 1866, and his -recollection is clear as to “Danaë” being his last essay in that medium. - - [26] This is now, I believe, in the possession of Mr. Ashby-Sterry. - -I have been thus particular to correct this matter because it will, -I believe, prove of importance, when Sandys’s artistic career comes -finally to be described, to get his different productions into -chronological order for a proper understanding of his artistic -development. - -So far, then, we have arrived, at any rate approximately, at the -date when Sandys did what proved to be not only his one “suppressed” -drawing, but, as I have said, the very last drawing done by him on the -wood. {146} - -Let us now consider the circumstances under which it was produced for, -but in the event suppressed by, the editor of _Once a Week_. And that -this periodical is the poorer for its loss will be obvious to all who -love beautiful drawing, “splendid paganism,” and fine wood-engraving. - -Sandys began to draw for _Once a Week_ in 1861, his initial effort -being that splendid design, “Yet once more on the Organ play,” which -is fit to rank with Rethel’s “Der Tod als Freund,” with which there -is a certain similarity of sentiment. This was followed by eleven -drawings within the five succeeding years, all breathing the spirit of -Dürer, and carrying on the effort which Rethel, who had only died in -1859, had made to renew the life put into wood-engraving by the old -German master. In either 1865 or 1866 Sandys projected an oil picture -on the subject of “Danaë in the Brazen Chamber.” He had conceived a -new version of the Danaë legend. Instead of Jove appearing to the -imprisoned maiden in the form of a golden shower, he adopted the belief -in Jove as the God of Dreams and adapted it to the legend.[27] Danaë, -{147} who has never seen a man, is haunted by the appearance of Jove -as he has presented himself in her sleeping hours. To comfort herself -and satisfy her passionate longing she has spent her days in weaving -the image so vouchsafed to her in tapestry. For the moment her work is -discarded. The ball of wool with which she has been working lies at her -feet, and she stands, “with white arm fixed in air,” calling upon the -“Lord of Dreams” to come to her in very sooth. - - [27] καὶ γὰρ τ’ ὄναρ ἐκ Διός ἐστιν.—Homer, _Iliad_ i. 63. - -Frankly sensuous as is the picture, one cannot but admit that the -theme is treated with all necessary restraint. This, however, does not -appear to have been the opinion of Walford, the then editor of _Once a -Week_. He wrote to Sandys requiring a modification of the design. This -the artist flatly refused. The design must appear as it was or not at -all. In this refusal he was gallantly supported by the proprietors of -the periodical, Messrs. Bradbury and Evans. The editor, however, would -not give way, and the result was a deadlock. The block was actually -engraved by Mr. Swain, and in his best manner, but the editor’s will -was paramount, and it never {148} adorned the pages for which it was -intended. It was reserved to the _Century Guild Hobby Horse_, in 1888, -to rescue it from the oblivion into which it had passed. - -I am indebted to Messrs. Bradbury and Agnew for permission to reproduce -the design. Of it Mr. J. M. Gray says in his article on “Frederick -Sandys and the Woodcut Designers of Thirty Years Ago”:—“It ranks among -the very finest of Sandys’s woodcuts,” and the artist, who had not been -uniformly satisfied with the engraved versions of his work, himself -wrote to me: “It was engraved for _Once a Week_. Perfectly cut by -Swain. From my point of view the best piece of woodcutting of our time.” - -And all who love this beautiful but fast disappearing handmaiden of the -arts will heartily endorse Mr. Sandys’s opinion. - -{149} - - - - -CHAPTER VIII - -MISCELLANEOUS - - -I propose in this chapter to group together certain sporadic -suppressions in lithography, etching, wood-engraving, and process work. -They are not sufficiently important each to demand a chapter to itself, -nor do they fall into any particular categories as do the “Dickens,” -“Hogarth,” and “Cruikshank” plates. At the same time each has an -interest of its own, and is a footprint upon the byway of art with -which we are concerned. - -Fortunately for us the first of these cancelled illustrations is, -at a time when we have but lately been celebrating the centenary of -Senefelder’s great invention, lithography, of extraordinary interest, -for it was one of the earliest book illustrations produced in England -by this method. The {150} volume in which it appears (if we are lucky -enough to possess one of the first three hundred copies issued) is the -_Antiquities of Westminster_, with two hundred and forty-six engravings -by J. T. Smith. - -The date of the volume is 1807—a fact which would at first sight -seem to tell against our claim to be dealing with a pioneer English -lithograph. We must, however, remember that a book of this kind took -many years to produce, and that the publication of the illustrations -was, in many cases, of necessity years later than their execution. - -Lowndes oddly refers to the lithograph as the first “_stone-plate_” -ever attempted, but in this he claims for it too great a distinction. -To name no others, there was, we know, as early as 1803 a portfolio -containing drawings by West, Fuseli, Barry, and Stothard issued as -_Specimens of Polyautography_, by which term lithography was for a few -years described, which contains lithographs dated 1801 and 1802. - -[Illustration: “The Painted Chamber.” (From _Antiquities of -Westminster_, 1807.)] - -The subject of the design here reproduced in facsimile is the inside of -the Painted Chamber which was part of the Old Palace of Westminster. -{151} The mural paintings which were discovered at the beginning of -this century, after the removal of the tapestry hangings which are to -be seen in the lithograph, were, it will scarcely be credited, promptly -ordered by the authorities of the day to be “improved” away by a coat -of whitewash because of their untidiness! And this although they were -known to have been in existence since 1322, and although there were -strong reasons for the belief even at that time that they were executed -as early as the reign of Henry III.! Such an act of vandalism would be -inconceivable were it not that we have learnt to look upon its like as -so lamentably common. - -The account of the preparation of the lithograph, and of the -stone’s untimely fate, is fully set forth on pages 49 and 50 of the -_Antiquities_. It is too long to quote in this place, but is well worth -looking up by those who are interested in the history of this method. -It is sufficient for our purpose to say that after three hundred -impressions had been taken off, the stone was laid by for the night -without care having been taken to keep it properly moist. The result -was that {152} on the application of the ink balls in the morning -they proved too tenacious, and on their removal were found to have -torn up portions of the drawing from the stone. Consequently we have -it that impressions of this, one of the first English lithographs, are -exceedingly scarce, and are only to be found in the first three hundred -copies of the book issued. This fact connotes the further result that -the impressions of the etchings throughout the book in their earliest -states are to be found in the copies containing the lithograph. - -Before quitting this subject it should be stated that in “collating” -this book we must bear in mind a very pretty quarrel which took place -between the artist and J. S. Hawkins, who was largely responsible -for the letterpress. As has been pointed out, the first 300 copies -contained the “stone-plate.” But in only a very few copies is to -be found the suppressed title-page bearing the name of John Sidney -Hawkins, and the dedication to George III., signed “The Author.” These -few copies contain the very earliest impressions of the plates. In the -later copies the dedication is signed “John Thomas Smith,” and bound -up {153} in most of these is found a “Vindication” by J. T. Smith in -answer to “A Correct Statement and Vindication of the conduct of John -Sidney Hawkins, Esq., F.A.S., towards Mr. John Thomas Smith, drawn up -and published by Mr. Hawkins himself.” Lond. 1807, 8vo, p. 87. J. T. -Smith’s answer was further replied to in another pamphlet by Hawkins -dated 1808. - -We will now turn from this specimen of lithography to a very remarkable -example of the sister art of wood-engraving. (_Vide_ Frontispiece.) - -In the April number 1896 of _Good Words_, I dealt with some -bibliographical curiosities, one of which was the remarkable suppressed -title-page in my possession here reproduced. My object on that occasion -was to verify the fact of which I felt practically certain, that -the book for which it was prepared had never come into being, and -that therefore we had the curious anomaly of an elaborately engraved -title-page wanting a book. Books wanting their engraved title-page are -unfortunately common enough, owing to the barbarism of certain ruthless -collectors. But a title-page not only wanting a book, but which {154} -never had one, was as extraordinary as the grin of the Cheshire Cat -in _Alice in Wonderland_, which was left behind after its author had -disappeared. - -“Well! I’ve often seen a cat without a grin,” thought Alice, “but a -grin without a cat! It’s the most curious thing I ever saw in all my -life.” - -But then Alice had never seen this title-page of a book by “Sholto -Percy” which was never written, and of which _Death in London_ was to -have been the title. The wood-block is a very beautiful one, cut by -Mason, no doubt Abraham John, who engraved Cruikshank’s illustrations -to _Tales of Humour and Gallantry_. - -“Sholto Percy” was the pen-name of Joseph Clinton Robertson, who, with -Thomas Byerley, published the _Percy Anecdotes_, 1821–23. Their full -pseudonyms were “Sholto and Reuben Percy, Brothers of the Benedictine -Monastery, Mount Benger.” The anecdotes were published in forty-one -parts, at half-a-crown a-piece, before the close of the year 1823, and, -of these, two hundred and sixty thousand copies were sold during the -four years of issue! What number subsequent editions {155} have run to -it is impossible to conjecture. The title of the book had its origin -from the Percy Coffee-House in Rathbone Place, which the collaborators -frequented. They also compiled _London, or Interesting Memorials of its -Rise, Progress, and Present State_. 3 vols. 1823. - -In the dedication of this last work to George IV. we find facsimile -signatures of the two “Brothers.” That of “Sholto Percy,” the author -of the book which was evidently projected but never published, tallies -with that on the title-page here reproduced. From the fact that -Reuben’s signature is absent we gather that, for some reason or other, -the collaboration had come to an end. At any rate nothing more is heard -of the partnership, nor indeed was anything else published under one -or other of these _noms-de-plume_. And although I received various -communications from strangers upon the subject of the bibliographical -curiosities dealt with in the _Good Words_ article, no light was thrown -upon this perplexing title-page. Suppressed, therefore, it doubtless -was, because it had no reason to be anything else, and remains a rather -pathetic memorial of the gifted {156} artist and the author whose -projected enterprise was perchance cut short by one of the forms of the -Dread Enemy here portrayed. - -The block is worthy of careful scrutiny. The only impression in -existence (as I believe it to be) and in my possession is beautifully -printed on India paper. In it we find Bewick’s white line used with -excellent effect. Behind the main panel the colossal form of Death is -just visible, holding in either hand “Death in the Cup” and “Death in -the Dish.” At the lower corners his skeleton feet are just visible, -fixed on the Arctic and Antarctic portions of the Globe. At the top -of the panel Death drags a wheel off the chariot which is making -a dash from London to Gretna Green. Immediately below this is a -nail-studded coffin from which hangs a pall inscribed with the words -“Death in London.” This overhangs the central group, in which Death -spectacled and seated on a tombstone at a desk supported by human -thighs, with a human skull as footstool, receives despatches and -directs his myrmidons. Supporting this central panel two skeletons -hurl death-dealing darts, whilst below one skeleton {157} starves in -prison, and another, crowned with straw, rages as a maniac. - -On the right-hand border a skeleton highwayman, pistol in hand, -awaits his victim, ignoring the gallows which is seen under the moon -in the background, and ignorant of the noose already round his neck, -manipulated by a skeleton hangman in the division above. On the -left-hand border a somewhat cryptic design represents a skeleton toper -surmounting a skeleton quack physician who sucks a cane and, with -medicine bottle in hand, goes forth on his death-dealing mission. - -At the base Death, in a deluge of wind and rain, overturns a sailing -boat, and incidentally presses down a struggling victim with his foot. -The whole effect is finely decorative, and far surpasses anything else -of Seymour’s of which I have knowledge. - -But we must not linger too long over each item of our promiscuous -collection of cancelled illustrations. - -I shall now bring to your notice a very rare coloured plate by Henry -Alken, which, though not suppressed in the strictest sense, is yet -{158} sufficiently relevant to the subject to admit of its inclusion -in these papers. It was undoubtedly prepared for a book of which Alken -was the illustrator, but, for some reason or other, although engraved, -it was not included among the published plates. - -During the years 1831–39 there appeared in _The New Sporting Magazine_, -edited by R. Surtees, a series of sporting sketches of which “Mr. John -Jorrocks” was the hero. These papers were collected and published in -1838 under the alliterative title of _Jorrocks’s Jaunts and Jollities_, -illustrated by “Phiz.” This volume was brought to the notice of -Lockhart, who thereupon advised Surtees to try his hand at a sporting -novel. The immediate result was _Handley Cross_. In 1843 a third -edition of _Jorrocks’s Jaunts and Jollities_ appeared, with sixteen -coloured plates after Henry Alken. The novels in the meantime were -being issued with illustrations by Leech and “Phiz.” That the former -has at this distance of time lost nothing of its popularity (rather, of -course, on account of the illustrations than for the letterpress, which -reads poorly enough now) is evidenced by {159} the fact that only -the other day a copy fetched at public auction the remarkable sum of -£20. One wonders what the bidding would have reached had the book been -extra-illustrated with the unused illustration of which it is here my -purpose to treat. - -Now we must be careful, in considering any work signed “Alken,” to bear -in mind the fact mentioned by Mr. R. E. Graves in the _Dictionary of -National Biography_, that although the fertility of Alken’s pencil was -amazing, the idea of it might be fictitiously enhanced if the fact were -not grasped that he left two or three sons—one of whom was also named -Henry—all artists and all sporting artists, who have, since their -father’s time, been incessantly painting, lithographing, aquatinting -and etching for the sporting publishers and for private patrons of the -turf. - -But the original Henry Alken did his work between 1816 and 1831; -hence it is clear that the illustrations to _Jorrocks_ were the work -of Henry the younger. And this is a point which should be emphasised -for the guidance of the bibliomaniac, for it is the practice of many -second-hand booksellers to lump all work by “Alken” under one head, -from {160} ignorance possibly—in some cases I fear from unworthy -motives. For it is the work of Henry Alken, the founder of the line, -which is of greatest rarity and greatest merit, and to palm off -work done by a namesake as work done by him is plain cheating. We -remember the parallel case of George Cruikshank, who exposed a certain -publisher, in a somewhat intemperate pamphlet afterwards suppressed, -entitled _A Popgun fired off by George Cruikshank, etc., etc._ In -that case the publisher had been guilty of the more than questionable -proceeding of advertising certain “story-books” as “illustrated by -Cruikshank,” which were in reality the work of George’s nephew, Percy, -who, I fancy, would have been the last to concur in what was an -undoubted attempt to mislead the public.[28] - - [28] The woodcut of the irascible George suspending the unhappy Brooks - by the nose from a pair of tongs is reproduced in my little book on - _Cruikshank’s Portraits of Himself_. - -[Illustration: The suppressed portrait of “John Jorrocks, Esq., M.F.H., -etc.” (_By Henry Alken, the younger_)] - -Let it be clearly understood, then, that the plate which we here -reproduce was the work of Henry Alken the younger. Though of little -artistic merit, it is yet not unworthy of those which were published, -and the reason of its {161} suppression is difficult to fathom. -The plate should be undoubtedly annexed, on its very rare appearance, -by him who values his _Jorrocks_. This would make his copy, in the -words of the second-hand booksellers, a “really desirable” one. Our -reproduction is not quite the size of the original, which exactly -tallies in size and shape with the published plates. The line of -publication runs: “London, Published by R. Ackermann at his Eclipse -Sporting Gallery, 191 Regent St. 1843.” The method employed in its -production is a mixture of etching and aquatinting, and this impression -has been coloured by hand with the brilliant tints which appealed -to our sporting forebears. There need be no complaint about its -lowness of tone. It would put to the blush the most versi-coloured of -kaleidoscopes! To parody Dr. Johnson’s animadversion upon a certain -ode, it would be just from the strict artistic standpoint to say, -“Bolder colour and more timorous meaning, I think, were rarely brought -together.” - - * * * * * - -So much for some unattached suppressions of the first half of the -century. We will conclude {162} this chapter with certain cancelled -plates of only yesterday. - -To those who have not yet grasped the fact (cried aloud in the -wilderness by Mr. Kipling) that our age is as romantic as any other -if we only know how to regard matters, the fact will probably come as -something of a surprise that the last decade of the nineteenth century -has as surely its crop of “suppressed plates,” as have those ages -which were, we choose to flatter ourselves, more brutal than our own. -Less unmannerly in some respects doubtless we tend to become, and that -perhaps is the very reason (paradoxical though it may sound) why we do -not have to search in vain for “modern instances.” For now that Mrs. -Grundy is sharper-eyed than she was (notwithstanding her age), and the -libel laws are more closely knit by precedents, slips which would have -been treated as passing peccadilloes by our less squeamish forebears -rise to the dignity of “copy” for the pressman, and form staple -conversation for the insatiate tea-table. - -And when we mention the late most five-o’clock and kind-hearted of -artists, Mr. du Maurier, and {163} the still living most dainty limner -of hoops and patches, Mr. Hugh Thomson, as the providers of century-end -“cancelled illustrations,” we may be sure that the details will not be -very scandalous, nor the outrages very shocking. - -Not but that I was forced to go somewhat warily when originally -recording the famous incident of du Maurier and the peccant -illustration of the “Two Apprentices” in _Trilby_, for was I not -thereby involving myself with another, and greater, artist (very much -alive indeed!), whose pen was only not mightier than his pencil because -the latter was unsurpassable, but who might in turn pillory me in his -gallery of artfully constructed Enemies? - -It was indeed a topsy-turvy world which found the “Butterfly,” which -is popularly supposed to end its life wriggling upon the pin of the -“soaring human boy,” revenging itself upon humanity with epigrams that -“stick for ever.” - -Sad to relate, Whistler could never be brought to see du Maurier’s -rather caustic “retaliation,” particulars of which are given below, -in its proper proportions. Indeed, when I asked him to allow me to -reproduce, as a pictorial curiosity, the {164} suppressed print -of the “Two Apprentices,” which only the owners of _Trilby_, as it -appeared in serial form, are now destined to possess, he informed me -in the politest manner possible that my doing so would involve me in -an expensive and uncomfortable correspondence with his solicitors. And -what could not be done then cannot be done now, for reasons into which -I need not enter. Nevertheless, to treat seriously a hyperbolical and -exaggerated caricature as anything more than a legitimate response to -a not altogether kindly sarcasm on the part of Mr. Whistler himself, -appears to me now, as it appeared to me then, well-nigh incredible. No -one looked upon “Joe Sibley” as a true likeness, either pictorially -or verbally. It was written and read as a joke, part true, but mostly -false, and so would have stood had it not been given undue importance -by the correspondence in the _Pall Mall Gazette_. As a result, in -book form “Joe Sibley” is wanting in that delightful gallery which -contains “Durier,” Pygmalion to Trilby’s Galatea—a Galatea whose -marble heart would never beat for him; “Vincent,” the great American -oculist, “whose daughters are {165} so beautiful and accomplished -that they spend their autumn holiday in refusing the matrimonial -offers of the British aristocracy”; “The Greek,” who was christened -Poluphoisboiospaleapologos Petrilopetrolicoconose “because his real -name was thought much too long”; “Carnegie,” who “is now only a rural -dean, and speaks the worst French I know, and speaks it wherever and -whenever he can”; “Antony, the Swiss” (substituted for “Joe Sibley”); -“Lorrimer,” who was so thoroughgoing in his worship of the immortals, -Veronese, Tintoret and Co., and was “so persistent in voicing it, that -he made them quite unpopular in the Place St. Anatole des Arts”; not -to speak of “Dodor” and “l’Zouzou,” who were distinguished for being -“_les plus mauvais garniments_ of their respective regiments,” and the -rest of Trilby’s delightful adorers. Why, it seems to me that to have -obtained a niche in that pillory (forgive the mixing of metaphors), and -to see the fun of a little exaggerated banter, and perchance learn a -little lesson from it, would not be so very bad a fate after all. But I -suppose it all depends on the point of view. {166} - -As I say, I have by me a delightfully ironic missive from the late -president of the Society of the Butterfly himself, acknowledging -“the exceedingly amiable and flattering form of the playful request” -contained in my letter, with a hint at the end that lawyers might look -upon any reproduction of the forbidden matter as less than tolerable. - -Alas! that it is so, and all I can do is to refer my readers to the -columns of the _Pall Mall Gazette_ for May 15 and 25, 1894, in which -appeared Whistler’s two letters, and quote here the interview with -du Maurier upon the matter. They form a curious commentary upon the -“Gentle Art of Losing—Friends.” - - Extract from _Pall Mall Gazette_, May 19, 1894.[29] - - MR. WHISTLER AND MR. DU MAURIER THE “PUNCH” ARTIST’S ATTITUDE - - Mr. George du Maurier, “hidden in Hampstead” as Mr. Whistler put it - in his letter to us a day or two ago, was discovered by a _Pall Mall - Gazette_ reporter without the aid of any exploring party yesterday, - when that representative called to see what the famous _Punch_ artist - had to say in reply to Mr. Whistler. Mr. du Maurier was not disposed - at first to vouchsafe any answer. “If a bargee insults one {167} in - the street,” he said, “one can only pass on. One cannot stop and argue - it out.” But on second thoughts Mr. du Maurier added a few words. “I - should,” he said, “have avoided all reference to Mr. Whistler, or - anything which could have been construed into reference to him, if I - had imagined it would have pained him. I should have written privately - to him to say so, if his letter had been less violent and less brutal. - Certainly, in the character of Sibley, in my serial story _Trilby_ - I have drawn certain lines with Mr. Whistler in my mind. I thought - that the reference to those matters would have recalled some of the - good times we used to have in Paris in the old days. I thought that - both with Mr. Whistler and with other acquaintances I have similarly - treated, pleasurable recollections would have been awakened. But he - has taken the matter so terribly seriously. It is so unlike him. - - [29] By kind permission of the Proprietor. - - “You know of no reason why he should not have taken it all - good-naturedly?”—“No. I thought it might have drawn from him - something funny, something droll, to which I could have replied in - kind. But, of course, a letter like his puts a reply out of the - question. I think he must have been quite out of sorts to have allowed - himself to get so angered.” “I believe Mr. Whistler has himself said - things which the objects of them have not particularly relished!” - “Why, he has gone about all his life in England making unkind remarks - and publishing them. Here is a little book of his, _The Gentle Art of - making Enemies_, and I am one of his victims. It is not very terrible - what he says. It is rather droll. Listen! ‘Mr. du Maurier and Mr. - Wilde, happening to meet in the rooms where Mr. Whistler was {168} - holding his first exhibition of Venice jottings, the latter brought - the two face to face, and, taking each by the arm, inquired, “I say, - which one of you two invented the other, eh?”’ The obvious retort - to that on my part would have been that if he did not take care I - would invent him, but he had slipped away before either of us could - get a word out. This is really too small a matter to refer to; but - the explanation of this bit of drollery of Mr. Whistler’s is that it - suggested that I was unknown until I began to draw Postlethwaite, - the æsthetic character, out of whom I got some fun. Postlethwaite - was said to be Mr. Oscar Wilde, but the character was founded, not - on one person at all, but a whole school. As a matter of fact, I - had been drawing for _Punch_ twenty years before the invention of - Postlethwaite. However, that was Mr. Whistler’s little joke, and one - would have thought that if he made jokes about me, he might have - expected me to play the same game upon him without anticipating that I - should hurt his feelings. Then Mr. Whistler implies that I am a foul - friend, stating that I have thought a foul friend a finer fellow than - an open enemy. I am neither his friend nor his enemy. I am a great - admirer of his genius and his wit; but I cannot say that I could call - myself his friend for thirty years past. We were intimate in the old - days, but that is all. No, his whole letter is incomprehensible to - me. Of course, he has been embittered through life, by reason of his - genius not being recognised at its full value by the wide public, and - it certainly has not. This circumstance, and possibly illness, may - account for the leave he has taken of good manners. He talks of my - pent-up envy and malice. I must ask you to believe that I am not {169} - such a beast as that. I have no occasion either for malice or for - envy, and, as I say, I should never have written even what I have, had - I imagined it would give Mr. Whistler pain.” - - “Do you contemplate deleting the character of Sibley when you publish - in volume form?” “If I had a word or sign of regret from Mr. Whistler - for the savage things he says in his letter I might consider that. I - did what I did in a playful spirit of retaliation for this little gibe - about me in his book. A man so sensitive as Mr. Whistler now seems to - be should beware how he goes about joking of others. I had no idea of - taking any notice of Mr. Whistler’s letter, but since you have come - and asked me I say that if I had known it would have given pain and - brought such a torrent of abuse upon me, I should have denied myself - the little luxury of the playful retaliation in which I indulged.”[30] - - [30] After reading Mr. Menpes’s _Whistler as I knew Him_, one discovers - that extraordinary phenomenon, a man who would rather destroy a - friendship by what he considered a brilliant phrase than sacrifice the - brilliant phrase and preserve the friendship. It is not wonderful that - all Whistler’s friends did not prove so complaisant and generous as Mr. - Menpes. - -Let me then here put it on record that _Trilby_ in book form is not -only innocent of “Joe Sibley” and the “cut” of the “Two Apprentices” -but is in other respects far inferior to its serial issue. The -illustrations have been greatly reduced, and in the process have -lost much of their charm. There was, however, a large-paper edition -of the novel published in 1895, containing the same number of {170} -illustrations as the small-paper, together with “facsimiles of the -pencil studies.” This is the most desirable edition outside _Harper’s_. -The ideal form is, of course, the serial issue extracted from the -Magazine and bound up, “Joe Sibley,” the suppressed “cut” and all. - -This, then, is all that must be said about the “suppressed plate,” -which is so rigidly put under hatches that it must not even be paraded, -on this occasion only, with its fellows. “When the sleeper wakes,” -perchance, and copyright is out, a cheap edition of this present -volume, with the suppressed block inserted, will be published, and our -children’s children will marvel.[31] - - [31] The curious should refer to a delightful open Letter entitled - _Trilby_ from Mr. Whistler’s pen, which appeared in the initial number - of Mr. Harry Furniss’s late lamented _Lika Joko_. - -The whole episode is a nice commentary upon Mr. George Meredith’s -distinction between Irony and Humour. “If,” says he, “instead of -falling foul of the ridiculous person with a satiric rod, to make him -writhe and shriek aloud, you prefer to sting him under a semi-caress, -by which he shall in his anguish be rendered dubious whether indeed -anything has hurt him, you are an engine of {171} Irony.” But “if you -laugh all round him, tumble him, roll him about, deal him a smack, -and drop a tear on him, own his likeness to you and yours to your -neighbour, spare him as little as you shun him, pity him as much as you -expose, it is a spirit of Humour that is moving you.” - -In conclusion, it may be interesting to record the fact that no -communication passed between du Maurier and Whistler upon the subject, -other than that which appeared in print. - -So much for the episode of the suppressed _Trilby_ illustration, which, -as we have seen, was complicated by personal considerations. - -Let us now turn our attention for a moment to a charming little -tailpiece which has fallen a victim, not to the susceptibilities of -an individual, but to an undue consideration for the feelings of that -most living of Tom Morton’s creations, Mrs. Grundy. It is to be found -in the first edition of the immortal _Vicar of Wakefield_ as pictured -by Mr. Hugh Thomson. And in, entering our protest against the deference -which has in this instance been shown to prudishness, we must at the -same time admiringly recognise the spirit by {172} which the action -has been prompted. The “young person” no doubt succeeds on occasion in -rendering us a little ridiculous. At the same time we must not forget -that to her we largely owe our immunity from what would often shock -even the moral olfactories of her elders. - -[Illustration: Suppressed Illustration from _The Vicar of Wakefield_] - -Surely, however, the tender morals which could bear to read of -Thornhill’s attempted seduction of Olivia could not logically find -offence in the {173} charming little conceit, which by its suppression -has rendered a first edition of the _Vicar_, as illustrated by Mr. Hugh -Thomson, an allurement to the modern Mæcenas. - -Unlike _Coaching Days and Coaching Ways_, illustrated by the same -artist, after the first edition of which certain drawings also -disappeared, but without others being substituted in the later -editions, the first edition of the Thomson _Vicar of Wakefield_, dated -1890, which was published both on small and large paper, contains the -same number of illustrations as those which succeeded it. This, of -course, is because in this instance the type was not reset, and so -it was obligatory to substitute an illustration for that which was -suppressed. - -The tailpiece, here reproduced by the kind permission of Mr. Thomson -and Messrs. Macmillan, only appears on page 95 of the issues of 1890. - -After that date we have a drawing which, though a pretty enough little -picture of Lady Blarney and Miss Carolina Wilhelmina Amelia Skeggs (I -love, like the Vicar himself, to give the whole name), is to my mind -far inferior to that {174} which seems to have given offence to some -extraordinarily constructed purists. - -Mr. Austin Dobson, to whom we are indebted for the enlightening -Prefatory account, in this volume, of the more important illustrated -editions of the _Vicar_, tells me that he has an impression that the -immediate cause of the disappearance of the peccant tailpiece was a -certain objection raised by a reviewer in the _Spectator_. In justice, -however, to that organ I must at once put it on record that I can find -no trace of its having so demeaned itself. - -As a matter of fact I have reason to believe that suggestions were -made by certain persons who arrogate to themselves a sort of private -proprietorship in the “fine old English novel” and the “fine old -English caricature” that the little tailpiece was in rather bad -taste, and that the artist, rather than allow the slightest grounds -for such an imputation to exist, hastened to remove the offender, and -substituted one that was irreproachable. Personally I grieve to think -that there should be any one in existence with a moral digestion so -dyspeptic as to discover the least coarseness or ill-flavour in {175} -this dainty little fancy, And though the artist, we may be sure, has -not troubled himself unduly about the insinuation, I cannot but feel -indignant that even a hint of indecorousness should be made against -one who, above all others, has kept his pencil free from any taint of -unworthiness. However, it is an ill wind that blows nobody any good, -and we are fain to congratulate ourselves upon thus being enabled to -enrol Mr. Hugh Thomson in a brotherhood which he certainly will not -repudiate. - -Passing allusion has been made above to certain illustrations which -also disappeared from Mr. Outram Tristram’s very readable book -_Coaching Days and Coaching Ways_, illustrated by Mr. Hugh Thomson and -Mr. Herbert Railton, after the first edition of that very charming -volume was exhausted. It had been my intention to reproduce these -cancelled drawings here, but I have since come to the conclusion that -it would be little short of an outrage to perpetuate what would be -cruelly unrepresentative of Mr. Hugh Thomson’s work. So far as the -artist himself is concerned no obstacle is raised, for he writes {176} -to me in the most generous way, “‘Calling for the Squire’s Mailbag’ -was withdrawn for the same reason as ‘Wild Darrell’ (viz. because it -was not considered sufficiently good). _I should like to withdraw -scores of other drawings._ However, one cannot help oneself. It is not -very pleasant to have these reproduced again, but I quite understand -the motive of your book, and should be very churlish indeed to put -any obstacle in your way.” This seems to me so nobly altruistic an -attitude that I feel I should be lacking in mannerliness were I to take -advantage of it. - -It will be enough merely to draw attention to facts which will be of -interest to those who possess one or other of the editions of this book. - -First and foremost then, take down your copy and note whether the -number of the illustrations is 216 or 219. Happy as you are if you -possess the latter, twice happy will you be if the former be yours, -for in this case you will be the owner, not only of a first edition, -not only of an edition containing the cancelled illustrations, but -also of the edition from which the best idea of the beauty of the -original drawings may be got. And for this {177} reason, that in all -but this, the 1888 edition, the reproductions have been greatly reduced -in size. Of course we are here concerned with the cancelled pictures, -“Wild Darrell” on page 43 and “Calling for the Squire’s Mailbag” on -page 311, but we must remember that their chief value lies in their -being the guarantees of our having an _editio princeps_. So we have -it that in this instance as in the case of _Trilby_ the earliest -issues have the double charm of satisfying at the same time our taste -for the beautiful and our appetite for the curious. Unlike the case -of _Trilby_, however, we have here no romantic circumstances such as -appeal to the true bibliomaniac. The cancellation is merely the result -of a laudable determination on the part of the artist and his publisher -to eliminate such illustrations as they do not consider altogether -exemplary. Incidentally of course their action enhances, in the eyes of -the bibliomaniac, the value of those copies which they rightly consider -marred by their inclusion. But this is no business of theirs. They are -not concerned with diseased humanity but with the poor sane public for -whom they cater. {178} - -The above remarks apply of course to many minor suppressions of the -same kind. There is, to take one example, the well-known case of -Curmer’s 1838 edition of _Paul et Virginie_ and _La Chaumière Indienne_ -superbly illustrated by Meissonier, Tony Johannot, Huet, and others. -This book is a standing compliment to British wood-engraving of the -day, for, though published in Paris by a French publisher, by far the -larger number of the blocks were entrusted to Samuel Williams, Orrin -Smith, and other British hands. In the earliest issue appears on page -418 the wood-engraving of “La Bonne Femme.” Engraved by Lavoignat after -Meissonier it was suppressed in later issues probably because of its -ugliness, whether the fault of artist or engraver I know not. At any -rate the engraver was not one of the British contingent. - -{179} - - - - -CHAPTER IX - -THE SUPPRESSED OMAR KHAYYAM ETCHING - - -When the iconography of Edward FitzGerald’s _Ruba’iyat of Omar Khayyam_ -comes to be compiled, there will be one item which will be found to be -well-nigh unattainable by the enthusiastic collector. That item is not -unnaturally dismissed in a very few words by Colonel W. F. Prideaux -in his “Notes for a Bibliography of Edward FitzGerald.” He is dealing -with the third edition, published by Quaritch in the year 1872. “It may -be added,” he writes, “that a weird frontispiece to this edition was -designed and etched by Mr. Edwin Edwards, the artist friend to whom -FitzGerald lent his house at the beginning of 1871, and whose death in -1879 was a source of sorrow to him. A few copies of the etching were -struck off, but it did not meet with the {180} approval of FitzGerald, -and was consequently never used.” - -Now, I am inclined to think that this, as I believe, the only published -reference to an interesting rarity, will hardly satisfy the craving -of the FitzGerald enthusiast. I shall therefore give the fullest -information on the subject, whereby the modern Mæcenas will be afforded -full particulars of what only a few of the cult of Omar can ever hope -to possess. - -Those who know their _Ruba’iyat_ as they should will remember that -there are several allusions made by the philosopher to the amusements -of his countrymen. - -Take the FitzGerald quatrain:— - - “When you and I behind the veil are passed, - Oh, but the long, long while the world shall last, - Which of our Coming and Departure heeds - As the Sea’s self should heed a pebble cast.” - -Here, in the last line, we have what is probably an allusion to the -game of “Ducks and Drakes,” “which,” says Mr. Edward Heron-Allen in the -notes to his admirable translation, “was known to the Egyptians and -also to the Greeks under the {181} name of ἐποστρακισμος. It was played -with oyster-shells. The curious are referred to Minutius Felix (A.D. -207), who describes the game in his preface.” This last is a gentleman -with whose name I am free to confess I have hitherto been unfamiliar, -and to whose writings I have no access. I must therefore leave the -enthusiastic reader to follow up the clue for himself. However, with -the aid of Liddell and Scott, I find myself able to go one better than -Mr. Heron-Allen, and would refer the reader to Archæologus Pollux, the -author of _Onomastikon_, whose date is prior to Felix by twenty-nine -years! - -Another game which we find Omar Khayyam alluding to is that of -chequers, which is familiar to us in FitzGerald’s oft-quoted quatrain:— - - “But helpless pieces of the game he plays - Upon this Chequer-board of Nights and Days; - Hither and thither moves, and checks and slays, - And one by one back in the Closet lays”; - -altered in the later edition to:— - - “’Tis all a Chequer-board of Nights and Days, - Where Destiny with Men for Pieces plays; - Hither and thither moves, and mates, and slays - And one by one back in the Closet lays.” - -{182} - -Again we have allusion to what is probably some form of the game of -tennis in the following:— - - “The Ball no question makes of Ayes and Noes - But Right or Left as strikes the Player goes, - And He that tossed Thee down into the Field - He knows about it all—HE knows—HE knows.” - -Other passages might be quoted, but these are enough for our purpose, -for the form of amusement with which we have immediately to concern -ourselves is rather a toy than a game—a toy indeed which would seem to -have been the forerunner of a somewhat elaborate apparatus which, being -used at first for more frivolous purposes, has now been largely adapted -to educational ends. - -The Magic Lantern of modern times is generally referred back to -Athanasius Kircher, who died in 1680, although, according to some, -it was known four centuries earlier to Roger Bacon. This may be true -enough so far as the “projecting lantern” is concerned, but it can -hardly be doubted that it had in the line of its earlier ancestors the -Persian Fanus i Khiyal or Lantern of Fancy, which is used with such -effect by the Philosopher of Naishápur, and which instigated the design -of the {183} rare suppressed etching of which I here propose to treat -with some particularity. - -As literally translated by Mr. Heron-Allen, the quatrain referring -thereto runs as follows:— - - “This vault of heaven, beneath which we stand bewildered, - We know to be a sort of magic-lantern; - Know thou that the sun is the lamp flame and the universe is the lamp, - We are like figures that revolve in it.” - -As literally translated by Mr. John Payne it run:—“This sphere of -the firmament, wherein we are amazed, The Chinese lantern I think a -likeness of it; The sun the lamp-stand and the world the lantern; We -like the figures are that in it revolve.” - -As metrically translated by him into a throwback quatrain it runs:— - - “The Sphere and mankind, who therein in amaze are, - Chinese-lantern like, well it may seem, to our gaze are; - See, the sun is the lamp and the world is the lantern - And the figures ourselves, that revolve round the blaze are.” - -As rendered by FitzGerald more literally than is his wont it ran in its -first state as follows:— - - “For, in and out, above, below, - ’Tis nothing but a Magic Shadow-show, - Play’d in a box whose Candle is the Sun - Round which we Phantom Figures come and go.” - -{184} - -As altered later, it assumed the following more familiar form:— - - “We are no other than a moving row - Of Magic-Shadow shapes that come and go - Round with the Sun-illumin’d Lantern held - In Midnight by the Master of the Show.” - -All who have read the published letters of Edward FitzGerald will have -been struck by the infinite pains which he took to make this highest -effort of his genius, the translation of Omar, as perfect as possible. -His correspondence with his friend Professor Cowell teems with -allusions to, and innumerable discussions on, minute points of meaning -in the Persian. - -Therefore it will not surprise us to find that the figure of the Fanus -i Khiyal (literally the lanthorn[32] of fancy), here made use of in so -masterly a manner, had its characteristics and peculiarities carefully -considered. - - [32] It is a not uninteresting fact that the old English spelling of - the word “lantern” used above is due to the mistaken association of - the word with the plates of transparent horn formerly used in place of - glass. - -By the kindness of Mrs. Edwin Edwards and the late Professor Cowell, -I am enabled to give extracts from an unpublished letter written -by the {185} latter to FitzGerald in the year 1868, dealing -somewhat exhaustively with the matter. This letter appears to have -been forwarded by FitzGerald to Edwin Edwards, the artist, by way -of inspiration for an etched frontispiece to the edition of _The -Ruba’iyat_ which was to be published by Quaritch in 1871, not, I think, -in 1872, as Colonel Prideaux has it. - - _From Professor Cowell to Edward FitzGerald._ - - MY DEAR E. F. G.—I have sent off one letter to you to-day, but I did - not answer a question of yours in it, after all, which you remind me - of in your letter just received by this evening’s post. - - First as to the famous Fanus i Khiyal—you will find it explained - in a note by the editor at the end of my Calcutta Review Paper. I - have often seen them in Calcutta. The lantern is about a foot and a - half high—and nearly a foot in diameter, and it moves round with - a slow and slightly vibratory motion. The candle is placed inside, - and the draught sends it round. The editor in his note explains how - the draught is produced:—They are made of a talc[33] cylinder with - figures of men and animals cut out of paper and pasted on it. The - cylinder, which is very light, is suspended on an axis, round which it - easily turns. A hole {186} is cut near the bottom, and the part cut - out is fixed at an angle to the cylinder so as to form a vane. When a - small lamp or candle is placed inside, a current of air is produced - which keeps the cylinder slowly revolving. (Here is a small drawing.) - - I cannot recollect how it was suspended, the reviewer says, “on an - axis.” I think it was hung by a string from the top over a candle. - I remember seeing it go round one evening in our dining-room—the - Khánsamah brought one to show me. . . . - - Nicolas’s Fanus[34] is more elaborate than our Calcutta one, but on - the same principle. He says the figures move round from right to left - or _vice versa_—as may be. His _fanal_[35] is like mine, only it has - a metal top and bottom—the cylindrical sides being of waxed cloth and - painted; it has a handle fixed on the top which the man holds; the - candle is placed inside on the metal floor. . . . - - (Here is another small drawing.) . . . - - Yours affectionately, - - EDW. B. COWELL. - - CAMBRIDGE, - - _January 16, 1868._ - - [33] This word is curiously enough misprinted “tall” in both Nichols’ - and Quaritch’s editions of Mr. Heron-Allen’s book, whilst in the note - to Professor Cowell’s article it is printed “tale.” It is something of - a record, I should think, to find so many compositors and readers all - at fault. - - [34] Professor Cowell here refers to J. B. Nicolas, author of a French - translation of Omar, published at Paris, 1867. In a note to _Les - quatrains de Khéyam traduit du Persan_, he says: “In Persia the lantern - is made of two copper basins, separated by a shade of waxed calico - about a yard high. The lower one contains the candle, and the upper one - has a handle for the arm of the ferrásh who carries it. The shade is - folded like the familiar ‘Chinese lantern.’ Ornaments are painted on - the cloth, and it is to the vacillation of these, as the carrier shifts - it from one hand to another, that Omar refers.” - - [35] Qy.: Has this French word for lantern the same root as Fanus? - -{187} - -The letter was illustrated with two rough drawings of the Fanus -for FitzGerald’s guidance. The last of them represented the toy -held out by a truncated arm. Edwin Edwards, to whom the letter was -forwarded, at once with true artistic instinct caught at the suggestion -unintentionally conveyed, and, as will be seen from the etching here -reproduced, accentuated the hidden presence of the “Master of the -Show,” by making the arm which holds suspended this “Sun-illumined -Lantern” of a world issue from the impenetrable darkness which hides -its mysterious lord. Unfortunately, the Fanus is not etched with great -success, although the artist made a special visit to the old India -Museum, now dispersed, to study an example there on exhibition. Had the -etching equalled the conception, the design could hardly have failed to -satisfy even FitzGerald’s fastidious requirements. As it was, only a -limited number[36] of proofs (from twenty to twenty-five) were printed -by that cleverest printer of etchings, Mrs. Edwin Edwards, and the -plate destroyed. Hence their rarity. {188} - - [36] At least six of these have lately gone to America where they were - feverishly bought up by enthusiastic Omarians. - -The conception is a really fine one, and might well have proved an -illustration of the text in the best sense of that much-abused term, -being, as it is, a very different thing from a mere translation of -the words into pictorial form. It is far more than this. It is an -illuminator of the meaning, and accentuates its spiritual significance. -This is what illustration should do, but rarely does do, in these days -of rapid and perfunctory production. - -Of Edwin Edwards the artist I should like to take this opportunity -of saying a word. His name is little known outside artistic circles, -and it would be somewhat unfair to advertise it in connection with an -etched plate which failed to give satisfaction without at the same time -making allusion to pictorial work which was successful and meritorious. -That he did produce work of real value is evident from the fact that -one of his oil pictures of the Thames hangs at the Luxembourg in the -Salle des Étrangers (for he was always more appreciated in France than -in England), and that two years ago another canvas, and that hardly one -of the best examples of his {189} work, was chosen by Sir Edward -Poynter to be well hung in the Tate Gallery. - -[Illustration: The suppressed frontispiece For “Omar Khayyam.” (_By -Edwin Edwards_)] - -It may also be mentioned that high appreciation of his talents has been -shown across the Channel by eulogistic articles in the _Gazette des -Beaux Arts_, _Les Beaux Arts Illustrés_, _La Vie Moderne_, _L’Art_, -etc., etc. - -It is, however, on his work as an etcher that his reputation must -chiefly rest, and it would be more than unjust to allow the artist who -produced such a _tour de force_ as the great etching of “London from -the Greenwich Observatory,” to mention only one of his three hundred -and seventy-one works in this medium, to be advertised by an etching, -finely conceived it is true, but unsatisfactorily carried to an issue. - -Not that these facts will in any way affect the thoroughgoing -rarity-hunter in his estimate of the suppressed plate here described. -It will be enough for him to know that not more than a quarter of a -hundred of his rivals can own a proof of the etching to make him ready -to sell his last shirt for its acquisition. He will continue to value a -print for its rarity rather than for its beauty, {190} a book for its -height in millimetres rather than for its depth in thought. - -No doubt these be hard words. Then why, it will be asked, pander to -so foolish a passion? Shall I confess? Yes, indeed, and glory in the -confession that I, too, am of the gentle brotherhood, that I, too, am -a subscriber to _The Connoisseur_ (or “The Connoyzer,” as one of my -friends at Mr. W. H. Smith’s bookstall used to call that delightful -publication), that I, too,—in fine, that I am, by the favour of -Fortune, the happy possessor of two proofs of the suppressed etching to -the Omar of 1872! - -And now just one word with that gentle hunter, Mr. Thomas B. Mosher -of Portland, Maine, U.S.A., who did me the honour of transferring a -large portion of the above, originally written for _The Bookman_, to -the pages of his beautiful 1902 edition of _The Ruba’iyat_. Of that -I make no complaint, for I think it very probable that he asked and -obtained my permission. What I do complain of is that, in a footnote, -he falls foul of me for being “ungracious” to Colonel Prideaux in -suggesting the date 1871 as the year of publication of the {191} third -edition, instead of the year 1872, as Colonel Prideaux has it in his -most valuable little “Notes for a Bibliography of Edward FitzGerald” -1901. Mr. Mosher says “no manner of doubt exists as to the date.” Let -me tell him that I have it on the authority of one who was on intimate -terms both with FitzGerald and Edwin Edwards at the time when this -third edition was published that, though the book bore the date 1872 -on the title, as a matter of fact it was _published_ in the autumn of -1871 and _post-dated_. If it be “ungracious” to give Colonel Prideaux -a piece of information which he had not the opportunity of obtaining -for himself, then I sincerely hope that all who read this volume, and -find themselves better informed, as well they may, than I am, will be -equally “ungracious” to me. _La plupart des hommes n’ont pas le courage -de corriger les autres, parcequ’ils n’ont pas le courage de souffrir -qu’on les corrige._ - -{192} - - - - -CHAPTER X - -ADAPTED OR PALIMPSEST PLATES - - - “God bless the King, I mean the faith’s defender, - God bless—no harm in blessing—the Pretender. - Who that Pretender is, and who is King— - God bless us all!—that’s quite another thing.” - -So sang the old Jacobite John Byrom, and, taking my cue from him, I -do not propose to enter here into the vexed question of James Francis -Edward Stuart’s claim to this or that title.[37] It is merely a happy -accident that lends me so picturesque a figure round which to group -certain pictorial rarities, germane to our subject, of which little is -known, and of which the _petit-maître_ will be therefore grateful for -some particulars. - - [37] It may be mentioned that Jesse, in his _Memoirs of the - Pretenders_, always calls him James _Frederick_. - -The history of the engraved copperplate is full of that kind of romance -which peculiarly {193} commends itself to the lover of what is quaint -and curious in the byways of art, and perhaps the most romantic phase -of its history is that with which I am about to deal. It is the sort of -romance which was inseparable from what may be called the pre-machinery -days, and is as foreign to the spirit of this age as are the slashed -doublets of our forefathers or the starched irrelevances of their wives. - -It may be, of course, that the Process block of to-day will be found -to be as full of romance to-morrow. Indeed we have already found some -indications of this in a former chapter, and it is probably true that -romance is as all-pervading in the mental as ether is in the physical -world, and that it is only lack of the proper intellectual reagent that -makes the discovery of it difficult. - -However that may be, one thing is certain, that most of us find it -easier to come at the “poetry of circumstance” when centuries or -decades have left it behind than when it is at our immediate threshold. - -In these days of lightning pictorial satire, when Monday’s political -move is on Tuesday served up {194} in genial topsy-turvy by “F. C. -G.” in the _Westminster_ or “G. R. H.” in the _Pall Mall_, and when -_Punch’s_ weekly cartoon is voted seven days late by the Man in the -Street, it is difficult for us to realise the shifts to which political -satire was put when the laborious engraved or etched broadside was the -quickest method of getting at the picture-loving masses. Just imagine -the agony of impatience of the political satirist who had designed his -broadside and had to await the tardy engraving of the copperplate, to -be followed by the deliberate hand-printing and hand-painting of the -impressions before they could be published, perhaps only to find in the -end that the nine-days’ wonder was past, or that events had blunted his -most telling points. - -So, too, when satirist was employed against satirist, how hopeless it -seemed for retaliation to follow swiftly enough upon the occasion to -make any retort in kind worth while at all. - -Then it was that the wit of man, quickened by necessity, conceived the -clever stratagem of the _adapted_ copperplate, of which it is here my -purpose to give some remarkable examples. {195} - -I fancy I see the victim of some shrewder libel than usual, with which -the town has been flooded, pricking off in hot haste to the pictorial -satirist in his pay, and demanding the production of a trenchant and -immediate reply, so that the retort may be in the printsellers’ windows -before the attack has had time to do its deadly work. - -The satirist names a month as the earliest possible date. His employer -curses him for a blundering slowcoach. Before a month is out the -mischief will be done beyond repairing. And he is flinging himself out -of the workshop when a happy thought comes with a flash into his head. - -How about the copperplate of that broadside which fell so flat a year -ago because of its tardiness? It was meant to be a counter-thrust to -just such another attack as this, but it was a month too late. Is there -no way of fitting a new barb on to the old arrow? Is there no way of -adapting the year-old weapon to the present necessity? - -And then there follows anxious discussion and careful examination. The -head of A. burnished out here can be re-engraved in the similitude -of B. {196} C. will stand as he is and do duty, with a new index -number and altered footnote, for D. Here an inappropriate object can -be replaced by a panel of appropriate verse. The inscriptions on the -banderoles issuing from the characters’ mouths must be altered. And, -hey presto! in the twinkling of a bedpost we have our answer ready for -a not too critical public. - -The original lampooner, who counted on a good month’s start, will be -confronted with a retort before he has time to turn round. The whole -town will be set buzzing about the successful ruse, and the laugh will -be turned upon the aggressor. - -Of course it would be comparatively rarely that the adapted plate could -be wholly _apropos_, but such capital ingenuity was exercised, once the -stratagem had been imagined, that the practice was not so uncommon nor -so unsuccessful as might be naturally expected. In this chapter I am -only treating of those dealing with one particular episode, but I have -in my possession at least thirty of these remarkable productions. - -From them we find that it was not always the engraver of a plate -who re-adjusted his own {197} handiwork, but piratical hands were -sometimes laid upon the work of a master by mere journeymen engravers -who did not scruple to leave the original artist’s name for the better -selling of the plate, although it had ceased to represent even in the -remotest degree his sentiments or intentions. - -Indeed, I could tell of at least one remarkable plate originally -prepared in honour of a certain great personage, which, being -thievishly appropriated by his opponents, was by them so judiciously -metamorphosed as to cover him with as much confusion as it had -originally panoplied him with honour.[38] - - [38] Mozley, in his entertaining _Reminiscences_, tells the following - story of the latter days of the Oxford Movement, which is somewhat - parallel: “Isaac Williams published a volume of poetry called _The - Baptistry_, upon a series of curious and very beautiful engravings, by - Boetius a Bolswert, in an old Latin work, entitled _Via Vitæ Æternæ_. - In these pictures, besides other things peculiar to the Roman Church, - there frequently occurs the figure of the Virgin Mother, crowned - and in glory, the object of worship, and distributing the gifts of - Heaven. For this figure Williams substituted the Church, and thereby - incurred a protest from Newman for adopting a Roman Catholic work - just so far as suited his own purpose, without caring for the further - responsibilities.” - -This is, I believe, the first time that any attempt has been made to -bring this fascinating subject before the public. Incidentally it -has {198} been touched upon once or twice in publications of my own -as it affected other byways in art, and has been alluded to in the -Introductions to the _Catalogue of Prints and Drawings in the British -Museum_ (_Satires_), prepared under the direction of the late Keeper -of the Prints and Drawings, George William Reid, by F. G. Stephens, -to which monumental work all students of such subjects are profoundly -indebted. But it has never been treated with anything approaching the -completeness that it deserves. It is practically an unworked phase of -print-collecting—a new craze in which the dilettante may specialise. - -As I have said, we are fortunate in having in this place so picturesque -a figure as that of the Old Pretender, or the Chevalier de St. George, -as some like to call him, round whom to group our first batch of these -pictorial palimpsests. - -James Francis Edward Stuart was, as all who know their history will -remember, the son of James II. by his second wife, Mary of Modena. He -was born on June 10, 1688, at St James’s Palace. - -James II. was then in his fifty-fifth year. By {199} his cruelties -after Monmouth’s rebellion, by his attack on the Universities, by -the Trial of the Seven Bishops, by his Court of Commissioners of -Ecclesiastical Causes, and by his misuse of the Dispensing Power he had -alienated the whole nation, with the exception of a few Roman Catholics -and hangers-on of the Court, and his throne was tottering. - -The only element of strength in his position was the certainty that -sooner or later the crown was bound to pass to one of the Protestant -daughters of his first marriage; for though the present Queen had borne -him four or five children they had all died young. It was now six years -since there had been any hint of a royal birth. What were probably -grossly exaggerated accounts of the King’s early irregularities were -matter of common gossip, and the Queen’s health was far from robust. -Suddenly, at a most opportune moment for the Roman Catholics—so -opportune a moment indeed that intrigue at once suggested itself—it -was announced to the world that Mary was with child, and a day of -thanksgiving was appointed five months before the Queen’s delivery. -{200} - -Now was the occasion for reviving a report which had been sedulously -spread by the enemies of the Court from the very earliest days of the -Queen’s marriage—_that the King, in order to transmit his dominions -and his bigotry to a Roman Catholic heir, had determined to impose a -surreptitious offspring on his Protestant subjects_. - -In due course came her Majesty’s lying-in at St. James’s, and although -the King took every precaution, by the solemn depositions of forty-two -persons of rank who were present, against questions arising as to the -child’s identity, the celebrated “warming-pan” story was hatched, -which continued to gain credence for more than half a century. Nor -were circumstantial details of the most intimate nature in support of -the lie wanting. During the labour, it was maintained, the curtains of -the bed were drawn more closely than usual on such occasions; neither -the Princess of Orange, the nearest Protestant heir to the throne, nor -her immediate adherents were asked to be in attendance; an apartment -had been selected for the Queen’s accommodation in which there was a -door near the head of the bed which opened on a back {201} staircase. -Though the weather was hot, and the room heated by the great crowd of -persons present, a warming-pan was introduced into the bed; and finally -the pan contained a new-born child, which was immediately afterwards -presented to the bystanders as the offspring of the Queen! - -The following song, sung by two gentlemen at the Maypole in the Strand, -is sufficiently explanatory: - - “As I went by St. James’s I heard a bird sing, - That the Queen had for certain a boy for a King; - But one of the soldiers did laugh and did say, - _It was born overnight and brought forth the next day._ - This bantling was heard at St. James’s to squall, - Which made the Queen make so much haste from Whitehall.” - -The last line referred to the fact that the Queen had played at cards -at Whitehall Palace till eleven o’clock on Saturday, June 9, whence she -was carried in a chair to St. James’s Palace, and on the Sunday, June -10, between the hours of nine and ten in the morning, “was brought to -bed of a prince.” - - It is a remarkable fact [says Jesse] that as early as 1682 (six years - before this), when the Queen, then Duchess of York, was declared to be - pregnant, the same rumours were {202} propagated as on the present - occasion—that an imposture was intended to be obtruded upon the - nation. Fortunately on that occasion the infant proved to be a female, - or doubtless some improbable fiction would have been invented similar - to that which obtained credit in 1688. - -Undoubtedly the whole thing was a lie, but it did its deadly work.[39] -The whole nation was prepared to accept the flimsiest evidence, and -within six months father, mother, and child had fled to France. - - [39] Certain imprudent Roman Catholics gave colour to the popular - belief by loudly expressing their opinion that a miracle had been - wrought. One fanatic had even gone so far as to prophesy that the Queen - would give birth to twins, of whom the elder would be King of England - and the younger Pope of Rome! - -So much for the story that inspired the remarkable broadsides with -which it is here our purpose to deal. It will be noticed that these -broadsides are all Dutch in their origin, a fact that is not surprising -when we remember that they formed part of the propagandum which was -soon to land William of Orange, the husband of James’s eldest daughter, -on the throne of England. - -The first that we reproduce is entitled “L’Europe Alarmée pour le Fils -d’un Meunier.” - -The artist is that remarkably clever Dutchman, {203} Romeyn de Hooghe, -whose delicate and facile handling of the point is well exemplified in -the seascape at the back of the picture. - -Let us examine in detail the most important features of this elaborate -broadside. - -The centre of attraction is, of course, the surreptitious infant -Prince of Wales, who lies in his cradle to the left of the picture. -Those assembled about him are discussing the possibility of the plot -having been discovered. On his coverlet are various playthings, amongst -which is conspicuous a toy mill, emphasising, of course, the generally -accepted belief that he was the son of a miller, for, in their lying, -James’s enemies were nothing if not circumstantial. This allusive toy -figures in almost all the satiric prints dealing with the Old Pretender. - -At the foot of the cradle, which is decorated with an owl, an owlet, -and a snake (emblems of evil), is a pap-bowl and spoon, half concealed -by the arm of “the first mother”[40] (1) {204} who seems to be -pointing out to Father Petre (2), the instigator of the plot, that the -child has been _born too old_. The Father, whose intimacy with the lady -is suggested by a tender fondling of her right hand with his left, -fingers his rosary with the other, and gazes fixedly into her eyes. - - [40] It is not easy to decide which of the female figures is intended - to represent Mary of Modena and which the miller’s wife. At first sight - one would expect the Queen to be represented by the central figure 3, - but, on the other hand, I have in my possession a very rare mezzotint - of the period which represents Father Petre and the Queen in almost - identical attitudes as figures 1 and 2 in the present plate. This view - of the matter is supported by the following scandalous verse of the day: - - Some priests, they say, crept nigh her honour, - And sprinkled some good holy water upon her, - Which made her conceive of what has undone her. - -Edward Petre was one of the best-hated men in the country, and was -popularly looked upon as James’s evil genius. The King would have made -him Archbishop of York, but the Pope refused his dispensation. In the -year preceding the production of this satire he had been made a Privy -Councillor. - -[Illustration: “L’Europe alarmée pour le Fils d’un Meunier.” (_The -plate in its first state_)] - -[Illustration: _The plate in its second state, now entitled_ “La Cour -De Paix solitaire, entre les Roses piquantes et les Lis”] - -In the middle of the picture sits the “second mother” (3) in a -highly-wrought chair, round the legs of which twine carved serpents. -Tears course down her cheeks. With her right hand she points to the -cradle as she listens to the counsels of the papal nuncio Count -Ferdinand d’Adda (4), who, with armour peeping from under {205} -his robes and with his armoured foot treading on his naked weapon, -recommends submission of the whole matter to the arbitrament of the -sword. - -Immediately beyond the Cardinal stands Louis XIV. (5), James’s faithful -ally. In one hand he carries a bag of money, referring, doubtless, -to his offer of five hundred thousand livres for the equipment of an -English fleet to oppose the Prince of Orange’s threatened invasion; -with the other he exposes to view a list of his army. - -Behind, and to the right of Cardinal d’Adda, Louis’ son, the Dauphin -of France, makes as though he would draw his sword, whilst the Pope -(Innocent XI.), in shadow at the extreme right of the picture (7, the -number is very indistinctly seen on the dark clothing) grasps the keys -of St. Peter, and would seem to be sarcastically doubtful of the whole -affair. “The Pope,” says Voltaire, “founded very little hopes on the -proceedings of James, and constantly refused Petre a cardinal’s hat.” - -Beyond the Pope is seen the armoured figure of Leopold I. (8), with the -German eagle on his helmet. With his right hand he grasps his {206} -sword-hilt; with his left he gesticulates as though reminding the war -party that he also has to be reckoned with. No. 9 I cannot identify. - -Behind Mary of Modena’s chair stands (13, the figure is on her -breast) Catherine of Braganza, the childless wife of Charles II. She -is doubtless lamenting that, when residing at Whitehall, she had not -herself manufactured a prince on the Modena plan. Next to her (11, the -figure is on the pillar) a doctor of the Sorbonne promises them all -dispensations—a hit at James’s well-known misuse of the dispensing -powers. Next to him, with his right hand convulsively grasping a -roll of charters, stands James himself (10). In his left he carries -parliamentary and corporation papers. With despairing eyes he gazes at -the baby who, so far from giving, as he had fondly hoped, the finishing -touch to the Roman Catholic triumph in England, is likely to prove the -most damning count in the country’s indictment of his iniquities and -treasons. To the left the midwife (12) encourages him to proceed with -the imposture. Below her two monks (14 and 15), greatly alarmed, pray -aloud at the head of the cradle. {207} - -Immediately behind them two heralds, one mounted on an ass, blow -on trumpets to call attention to the Dutch fleet, which is seen -approaching through the right-hand arch, whilst through the left a fort -is seen belching forth smoke and resisting the landing of the longboats. - -In the left corner of the picture certain Quakers (17, 18, 19), whose -curious friendship with James must not be forgotten, deprecate the -priests’ blasphemies, whilst beyond them a crowd of Irish papists is -suggested by their waving symbols and a torn flag embroidered with the -sacred monogram. Behind the Quakers an oriental-looking person scans -the heavens through a telescope. - -The colonnade beneath which all this takes place has its pillars -surmounted by owls and a demoniacal bat. The arches are inscribed -with the words “Het word hier nacht,” and other inscriptions are seen -on the walls. On the extreme right of the picture is reared a banner -bearing what appear to be the words “In utrumque Turgam,” of which it -is difficult to imagine the meaning. “In utramque Furcam,” which would -be intelligible, has been suggested to me as an {208} alternative -reading, but cannot, I think, be accepted. Another friend hazards “In -utrumque (modum) resurgam,” which may be freely translated, “I shall be -‘dormy’ either way,” and would certainly make sense. Farther than that -I cannot go with him. - -So much for the first state of this elaborate copperplate which did its -part in propagating the lie which went far to lose for James II. the -crown of England. - -After having served this purpose the plate was laid aside for nearly a -quarter of a century. During this period the throne of England had been -occupied by James II.’s two daughters, Mary and Anne, to the exclusion -of their father, who died in exile in 1701, and of the Chevalier de -St. George, whose proclamation by Louis of France as James III. of -England[41] had been followed by the war of the Spanish Succession. - - [41] In the Stuart Room at Madresfield Court Lord Beauchamp lately - showed me a portrait of the Chevalier, labelled “James III.”! - -In 1713, just twenty-four years after the plate had been engraved, -the Peace of Utrecht, so vitally important as marking the beginning -of {209} England’s commercial prosperity, was signed between England -and France. Amongst other things it secured the Protestant Succession -to the throne of England through the House of Hanover, and the -dismissal of the Chevalier from France. The suspension of arms between -the English and the French which preceded the signing of the treaty -was seized upon as the opportunity for resuscitating the plate and -adapting: it to the altered circumstances. Now did some pictorial -vandal wrench and twist the figures to new and undreamt-of uses and -turn the Council of War of 1688 into the Court of Peace between the -Roses and Lilies of 1712! The plate now professes to be published -in London, though, from the fact that the publication line runs. “A -Londres chez Turner,” and from sundry misspellings, it would appear -certain that the alterations on the plate were effected abroad. - -In this second state the plate has been reduced at the top as far as -the capitals of the pillars, and at the bottom as far as the left foot -of the figure which represented Father Petre in the original. The index -figures have also been changed. {210} - -The explanation of the design as it now stands is contained in -eighty-three lines of doggerel French verse. Taking the alterations one -by one we find in the first place that the infant and cradle have been -bodily removed, and (1) the “Plan de Paix” substituted. It bears the -legend “Vrede tussen het Lelien en Roosen hof. Paix entre les Lis et -les Roses picantes.” - -The central figure (2) of the picture is now changed into an -allegorical personage labelled “Pax,” who holds in her left hand a -paper inscribed “Juste Protestation des Alliés,” whilst with her right -she indicates the “Plan de Paix.” In this way the new artist, with some -ingenuity, suggests that the spirit of peace is in sympathy with the -dissatisfaction of the Allies at the negotiations which are proceeding -between England and France. Her remonstrances are addressed to the -figure on her left (3), which formerly represented Cardinal d’Adda, -but is now labelled “Pole.” (the Abbé Melchior de Polignac), who tries -to allay her forebodings. The difficulty of the Cardinal’s hat, which -is of course out of place on an Abbé, is ingeniously got over by the -writer of the French {211} libretto, who refers to him as a Cardinal -_in petto_. As a matter of fact the writer proved a good prophet, -for, on the conclusion of the peace, for which Polignac was largely -responsible, he was, on the nomination of the Chevalier de St. George, -created and appointed Cardinal Maître de la Chapelle du Roi. He was at -the time of the publication of the altered plate plenipotentiary in -Holland for the French. It will be noticed that the _pince-nez_ and -moustache have now been dispensed with. - -The figure behind Polignac (4), which originally stood for the Dauphin, -who, by the way, was but lately dead, is now labelled at the foot -“Mont-or” (the Duke of Ormond’s name reversed), and at the head “Tori.” -By an ingenious turn of thought, the Dauphin’s warlike action of -_drawing_ his sword is now metamorphosed into the Duke’s conciliatory -action of _sheathing_ his. This refers, of course, to the instructions -which he had received from the English Government, on taking over -the command of the troops in the Low Countries from the Duke of -Marlborough, to do all in his power to bring about a peaceful issue. -{212} - -Beyond Polignac the figure (5) which formerly represented Louis XIV. -is now put to humbler uses, and merely represents a French herald. The -paper in his left hand, which originally enumerated Louis’ forces, now -bears the gratifying legend: - - Bonne Paix - De l’Anglois - Me rend guai. - -The lady in front of him (6), who formerly stood for Catherine of -Braganza, now represents Maria Louisa of Savoy, the first wife of -Philip V. of Spain (fortunately for him not such a firebrand as his -second wife proved to be). She turns to her handsome young husband -(7) (here somewhat libellously represented by the whilom “Old Hatchet -Face”) who has just renounced for himself and descendants all claims of -succession to the crown of France. His right hand rests on the scroll -of “charters” as before, but the document in his left now bears the -legend: “Leli afstand onder Conditie” (The lily to surrender under -conditions). - -Passing almost to the extreme right of the picture, the eagle-helmeted -figure (8) which {213} before represented the Emperor Leopold I. now -represents his son Charles VI., “Le Seigneur juste de la Cour d’Orient -et Occident.” Clutching his huge sword, he expresses the anger of the -Imperialists at the project for peace between England and France. In -the end he refused to concur in the peace of Utrecht, and continued at -war with France until 1714. - -On either side of him are two figures numbered alike (9, 9). That on -his right, which bears the word “Wigh” engraved on his hat, represents -the Duke of Marlborough, the deposed military leader of the Whigs. That -on his left is one of the Duke’s followers, who, by his drawn sword, -points the allusion of the librettist to the “Pacificateur par le fer.” - -To the extreme right of the picture (10) the Pope, now Clement XI. in -place of Innocent XI., encourages Polignac in his efforts for peace, -and promises him “La Pourpre” as his reward. - -Returning to the middle background of the crowd we find (11, 11) two -Jesuits. The one who looks over the left shoulder of No. 7 was in -the first state of the plate a doctor of the {214} Sorbonne. The -index number of this figure is now on his hat. Originally it was on -the pillar above him. This the adapter has apparently attempted to -turn into a rough ornamentation by the addition of parallel strokes. -Becoming dissatisfied, he has crossed out the whole by irregular -horizontal lines. To the left of figure 7 is seen (12) the Pretender, -the surreptitious infant of the original, now grown to manhood, -whispering in Philip of Spain’s ear that though he claims as a -Protestant the throne of his father, he is in his heart of the Romish -faith. This figure originally represented the midwife, but has been -metamorphosed by the addition of a man’s hat, wig, and ruffles. - -To the extreme left of the foreground of the picture the erstwhile -Father Petre is now transformed (13) into a Jesuit confessor, who -amorously converses with (14) “La Courtisane de Bourbon,” Madame de -Maintenon. This cruel aspersion on the character of one who was really, -though secretly, Louis XIV.’s wife, and whose nobleness of character -is now fully established, was characteristic of the times. The Plan -de Paix, {215} which was so obnoxious to the author of the satire, -would seem to have just fallen from her fingers, and doubtless he is -right in recognising that she had a hand in its consummation. Beyond -the table sit a monk and friar (15, 15), as formerly, except that the -removal of the cradle has necessitated an extension of their figures. -In the background, against the left-hand pillar, is (16) the “Harlequin -de France.” In front of him the three figures (17, 18, 19), originally -Quakers, are now referred to as “Esprits Libres.” The man with the -telescope (20) is “The Observer of Foreign Countries.” The other -subordinate figures are the same as before, save for the addition, in -some cases, of index numbers. - -It is interesting to notice that this plate was so successful in -its adapted state that it was made the basis of a design engraved -for a German broadside of the following year entitled “Der -Fridens-Hoffzwischen der Rose und der versöhnten Lilie,” with which it -has many points in common. - -I have treated of this plate at considerable length because it is -the most important of the palimpsest plates of this period. I shall -close {216} this chapter by reproducing one other remarkable example -designed in its first state to expose the same supposed wicked plot. In -the next chapter I shall give another dealing with the birth of the Old -Pretender, from which we shall gain some idea of the extent to which -this clever stratagem of the adapted copperplate was made use of in the -deliberate days of the seventeenth and eighteenth centuries. - -For the present I must pass over two elaborate broadsides engraved by -Jean Bollard, and entitled respectively “Aan den Experten Hollandschen -Hoofd-Smith” (To the Expert Dutch Head-Smith), and “Aan der Meester -Tonge-Slyper” (To the Master Tongue-Grinder). These, as we shall see -later, after doing their work against James II. and the Old Pretender, -were seized upon many years afterwards by the piratical publisher of a -remarkable Jansenist tract, called “Roma Perturbata, Ofte’t Beroerde -Romen, etc.,” and adapted to the uses of the anti-Jesuit propagandum, -in the same way as “L’Europe Alarmée pour le Fils d’un Meunier,” -described above, was adapted after twenty-five years of idleness as a -satire upon the Peace of Utrecht. {217} - -It was this same piratical tractarian who seized upon the elaborate -plate which I am here reproducing, divorced it from its letterpress, -cut the plate down to the size of his tract, and appropriated it in its -second state to the purposes of “Roma Perturba ta.” - -In its first state, which I give here, together with its accompanying -letterpress, the line of publication runs: “Gisling, Geneve, exc.” and -the title: - - Het beest van Babel is aan’t vluesten - Die Godsdienst heeft niet méer te duckten. - - (The beast of Babel is flying, - Religion has nothing more to fear.) - -[Illustration: Het beest van Babel, etc. (_The plate in its first -state._)] - -[Illustration: Het beest van Babel, etc. (_The plate in its second -state._)] - -The design is very elaborate and crowded with figures, those in the -foreground being executed with considerable spirit. The Dutch Lion (1) -carries a sword in its right front claws, as does that on the Persian -flag of to-day. On its back rides William of Orange (7) with lance -in rest and bearing a shield upon which St. Michael is represented -combating sin in the shape of a dragon. William is supported by -mounted soldiers, one of whom bears a flag inscribed with {218} the -words “Prot religion and libe”—(For religion and liberty). Over his -head flies a winged Revenge (3) carrying a shield in one hand and -the lightnings of God’s wrath in the other. Before him flies the -seven-headed Beast of Babel (2), shorn of two of his heads, which lie -bleeding on the ground beneath the lion. The monster, which “utters -horrible shrieks,” bears upon its back between its wings Father Petre -(6), who holds on his lap the infant Pretender (5), to whom his “brains -have so infamously given birth.” The too-old infant carries in his hand -the ever-present toy windmill. Blood pours from the decapitated necks -of the Beast as he plunges with his accompanying rabble into the “pool -of horrors.” Priests and other Romish officials, some mounted on goats, -asses, and wolves, flee (4) or are trampled under foot (8). - -In the mid background William of Orange (9), by a poetic licence able -to be in two places at once, a fairly common convention even in serious -pictures of that and an earlier date,[42] is being {221} greeted by -the English nobles as their saviour. To the left, through an archway, -James II. (10) is seen fleeing by boat with his wife and infant, -though, as a matter of fact, he remained in England some months after -the latter were safely abroad. To the right, through another arch, -Louis XIV. (11) is seen “embracing the child and taking pity on his -mother,” and putting two of the curious, hearse-like carriages of -the period at their disposal. Here we not only find Mary of Modena -duplicated, but the infant Pretender triplicated in the same picture! -So much for the plate in its first state. - - [42] See, for example, Tintoret’s great picture of “Adam and Eve” in - the Accademia at Venice. - -In its second and adapted state it takes its place in the armoury of -the anti-Jesuits. The Jansenist controversy was at its height in the -year of grace 1705, and Jansenism, although nominally subject to Rome, -was regarded favourably by the Protestant Dutch as being a reforming -movement within the Roman Catholic Church against the theological -casuistry of the Jesuits. - -This is not the place to go into the anti-Jansenist polemics of the -Jesuits since the publication of the “Augustinus” of 1640, though the -{222} interest of the matter is sufficiently tempting. We must content -ourselves with remembering that now at the beginning of a new century -a supreme effort was being made by the Jesuits in France to destroy -completely the pious community of Port Royal; that within four years -they were to succeed in dispersing the nuns; within another year the -cloister itself was to be pulled down; that in 1711 the very bodies of -the departed members of the community were destined to be disinterred -from the burial ground with the greatest brutalities and indecencies; -and in 1713 the church itself demolished. - -But, though Port Royal itself was doomed, Jansenism was finding freedom -under the Protestant Government of Holland. - -In 1689 Archbishop Codde had been appointed by the Pope Vicar Apostolic -in Holland. Soon, however, it was discovered by the Jesuits that he -favoured the Jansenists. - -By the machinations of the Jesuits he was therefore _invited_ to Rome, -and treacherously detained there for _three years_, in defiance of -all canonical regulations. In the meantime the Pope {223} appointed -Theodore de Cock in his place, with the intention of crushing the -Jansenists in Holland. Codde thereupon made his escape from Rome, and -the well-known struggle of the Jansenists of Utrecht and Haarlem for a -legitimate episcopal succession began. - -This was the juncture at which our copperplate was to do duty a second -time, and for such different ends. - -It has been divorced from its letterpress, altered in certain details -and slightly cut away at the top and bottom. Like those dealing with -the Head Smith and Tongue Sharpener, as will be seen in the next -chapter, it has been appropriated to the uses of “Roma Perturbata.” It -is now entitled on the panel which has been inserted at the spring of -the arches “Door Munnike-Jagt, Word Babel Verkracht” (By chasing monks, -Babel is assailed), and the piratical publisher has made many ingenious -alterations. The possibly punning publication line runs: “Benedictus -Antisolitarius excudit Rom.” Above this appears the chronograph: -“hos heros MonaChos apprenDe bataVe rebeLLes.” {224} - -The Lion (1) still represents Holland and hunts the Beast of Babel (2) -assisted by the winged Revenge (3), whose lightnings have now been -increased to seven to represent the heraldic arrows of the Seven United -Provinces. This device also now appears on the shield of Holland’s -Knight (7) in place of that of St. Michael and the Dragon. The banner -of his followers is now inscribed “Pro Secularibus.” As champion of -the Jansenists the Knight puts to rout “all the bald heads (4, 4, 4, -4), together with ‘their protector Kok’” (6), who “in disguise” rides -between the wings of the Beast with an illegitimate child (5) on his -lap, from whose right hand the toy windmill of the infant Pretender -has been removed. In the background to the left, others, in the quaint -words of the Dutch letterpress (10), “escape quickly from the town by -water, while they are clothed like gentlemen in order not to be known -as monks.” In the background to the right, others flee “like great -gentlemen in carriages,” a fairly ingenious adaptation of James II.’s -flight and Louis’ welcome of the fugitives. {225} - -The group in the middle background is now made to represent Codde -(8.B), who has escaped from Rome and is being welcomed back by the -representatives of the State (9, 9). - -{226} - - - - -CHAPTER XI - -ADAPTED OR PALIMPSEST PLATES (_continued_). - - -In the last chapter I claim to have introduced the reader to a phase -of print-collecting which has in it a sporting element of a peculiarly -enticing character. The pursuit of what I have called palimpsest -copperplates offers entertainment of the very best to one who would -make it a speciality, and, perhaps, the most alluring thing about this -curious quarry is that the hunter will never be satisfied after running -it to earth until he has secured and coupled it in his portfolio with -its necessary and enchanting fellow. - -I propose in this chapter to give a few more specimens of these curious -adapted plates. - -Many examples of reheaded statues and adapted portraits lie around us. -Mr. Augustus Hare tells of a representation of Lady Georgina Fane in -Brympton Church, which consists of the head of {227} that ready-witted -lady “added to the body of an ancestress who was headless,” whilst any -visitor to Yarmouth Church, Isle of Wight, may see the imposing marble -effigy of Admiral Sir Robert Holmes, which consists of the head of -that gallant sailor surmounting the body of Louis XIV. It appears that -Sir Robert, having captured the vessel in which the Italian-made torso -of the Grand Monarque was being conveyed to France for the modelling -of the head, retained the unfinished work and crowned it with his own -august features—a good example of the resourcefulness of the English -character. - -Again, Macaulay, enlarging upon the popularity of Frederick the Great -in England, tells how at one time enthusiasm reached such a height that -the sign-painters were everywhere employed in touching up the portraits -of Admiral Vernon, which hung outside innumerable public-houses, into -the likeness of the King of Prussia, a curious commentary, by the way, -on the family motto, “Ver non semper virit.”[43] Further, it is on -record {228} that after Trafalgar such was Nelson’s popularity, that -Daniel Orme, engraver to George III., bought a plate of Napoleon at the -sale of a Ludgate Hill printseller’s effects, and altered it into a -portrait of our national hero. - - [43] The following extract from a recent newspaper shows that the - practice has not yet altogether died out:— - - “In the action of Tussaud _v._ Stiff, heard in the Chancery Division - by Mr. Justice Buckley yesterday, the plaintiff, Mr. Louis Tussaud, - sought to restrain defendant by injunction from carrying on his - business of exhibiting models in such a way as to induce the public - to believe that the models he showed were the work of the plaintiff. - It was stated by the plaintiff’s counsel that, in consequence of - an injunction granted some years ago, it became necessary for the - plaintiff to carry on his exhibition as Louis Tussaud’s New Exhibition - in Regent Street. It was afterwards turned into a limited liability - company, and removed to the Alexandra Palace. Some of the models were - sold to the defendant, but no goodwill of the business was sold. The - defendant had since opened several exhibitions of waxworks, other - models had been added to those sold by the plaintiff, and the models - of the plaintiff had been split into a considerable number of pieces, - while models made by other persons than the plaintiff were exhibited - as Louis Tussaud’s waxworks. Counsel informed the Court that _in one - case the head of the Archbishop of Canterbury had been put on the body - of Charles Peace, and in another instance Napoleon was represented as - taking part in the execution of Mary Queen of Scots_. The defendant’s - present exhibition was a penny show in the Edgware Road. _In another - instance the head of Mr. Ritchie, the Chancellor of the Exchequer, was - put upon a dying soldier._” - - The Mr. Louis Tussaud here mentioned must not be confused with Mr. - John Tussaud of the Marylebone Road Exhibition. - -Examples such as these might be multiplied, but here are enough for -our purpose. They show that the systematic practice of copperplate -adaptation has its counterpart in other departments of art. - -[Illustration: Aan der Meester Tonge-Slyper. (_The plate in its first -state_)] - -[Illustration: Aan der Meester Tonge-Slyper. _As adapted by the -Anti-Jesuits_] - -We will now consider a curious broadside {230} published about the -year 1688, the copperplate heading of which was destined to be seized -upon and adapted to other purposes nearly twenty years later by the -piratical publisher referred to in the last chapter. - -As will be seen from our reproduction, its letterpress is addressed, -“Aan der Meester Tonge-Slyper” (“To the Master Tongue Grinder”). The -engraver’s name does not appear, but the work is easily distinguished -as that of Jean Bollard, by comparing it with other signed engravings -of the same series of pictorial satires. - -Two men at a grindstone sharpen a tongue, Another tongue lies on the -anvil. Two labourers empty a large hamper of tongues into a basket, -which is steadied by a woman. Point is given to the picture by the -gossiping groups seen through the door and window, and especially by -the two Xantippes who, with arms akimbo, are slanging each other in -good earnest. - -The doggerel letterpress refers to the birth of the Old Pretender, and -the mendacious tongues of the conspirators are being delivered to the -smith to be coerced into speaking the truth. {231} - -Here is a free translation of the passage, beginning “Heden zyn my over -London”:— - - “To-day I received from London a cargo of those goods which you have - to take in hand; I have some of the biggest size, _The Admiral of - the First Flag_, which has been used so much and has become black - from lying, and which, after all appearances, seems to have had his - end bitten off; scrape thoroughly his thick skin or he will be up - to anything; swearing oaths, breaking bonds, falsely protecting the - Church is his daily work.” - -And so on, until it ends with the moral:— - - “Nothing more useful than whetting the tongue - When its aim is to speak the truth. - But when it is given to lying, - It must be pierced, flayed, and scraped.” - -So much for the plate in its first state. In its second we find it -published seventeen years later, and somewhat ingeniously adapted -to the new exigencies. It now takes its place in the armoury of the -anti-Jesuits, and is published without any acknowledgment in the -pamphlet, entitled _Roma Pertubata Ofte’t Beroerde Romen, etc., -etc._, referred to in the last chapter. This pamphlet, which is a -very warren of palimpsest plates (it has at least four, and possibly -there are others), may {232} be seen in the print-room of the British -Museum. It may, too, as I have myself proved, be discovered at rare -intervals in the shops of the old printsellers in Holland. Mine is in a -parti-coloured paper wrapper, whether as issued or added later I cannot -say. It consists of title-page, table of contents, and eleven full-page -copperplate engravings of extraordinary interest. Curiously enough, -the table of contents makes no reference to the eleventh and last. Our -palimpsest is number 9.[44] - - [44] Grateful acknowledgments are here due to the splendid _Catalogue - of Prints and Drawings in the British Museum_, 5 vols., which should - be in the library of every collector of satirical prints. - -In its new surroundings it has (_vide_ reproduction) been divorced from -its letterpress, and been cut away at the bottom. A descriptive panel -has been engraved over the doorway, and other lettering added here and -there. The publication line, “tot Tongeren by J: la Langue,” apparently -a bogus one, playing on the words of the original, “à Langres chez -Tongelel,” now appears within the border of the design. - -The tongue which lies on the anvil is now pierced by the seven -heraldic arrows of the Dutch Provinces, and words are engraved below to -the {233} effect that “There is no worse evil than that a Pope’s tongue -dares slander the State,” and on the base of the anvil, “He has given -way to slander. You must forge him before you grind him.” - -Below the quarrelling women are the words: “These maids are quarrelling -for de Kok,” referring to scandals which were afloat concerning the -morality of the Pope’s vicar-general, and a Latin chronograph appears -at the feet of the chief smith. - -The inscription over the door gives directions to “The Romish Dutch -Grinder of Tongues,” and, amongst other things, says of the tongue on -the anvil, “That is de Kok’s tongue, wounded by seven arrows, because -he has slandered the State by his speech,” which statement hardly -tallies with the inscription on the anvil, unless the vicar-general may -be regarded as the very mouthpiece of the Pope. - -This is no place, as I have said, to enlarge upon the Jansenist -propagandum, but it will well repay the enthusiastic historian to -follow out the above allusions to their original source. - -So much for our adapted broadside. - -{234} - -[Illustration: The Stature of a Great Man, or the English Colossus] - -{235} - -[Illustration: The Stature of a Great Man, or the Scotch Colossus] - -I would ask you now to look at the two prints entitled respectively -“The Stature of a Great Man, or the English Colossus,” and “The Stature -of a Great Man, or the SCOTCH Colossus.” - -{236} - -The first, dated 1740, represents Sir Robert Walpole, then in the -plenitude of his power. He stands on two woolpacks. Between his legs is -seen the British fleet lying inactive. He is flanked by Marines on the -left crying “Let us fight,” and sailors with drawn swords on the right -declaring their readiness to die “Pro Patriâ.” The plate teems with -allusions to his reluctance to go to war, by which he was subjecting -his country to the insults and aggressions of Spain and France. - -Twenty-two years later the plate was resurrected and altered to -its second state, in which it is made to represent Lord Bute. The -lower part of the plate, bearing the quotation from Shakespeare and -the “Description,” has been now cut away, and “Scotch” inserted in -the place of “English” in the title. The chief alterations are the -reduction of the full-bottomed wig and the addition of a wig-tie of -black ribbon, the addition {237} of a star on the breast, and a -new and abusive inscription on the right-hand document. In this case -the adapter has shown but little ingenuity. - -[Illustration: Queen Anne presiding over the House of Lords. (_The -plate in its first state_)] - -[Illustration: _The plate in its second state, now representing_ George -I. presiding over the House of Lords] - -We will now turn to a far more elaborate example, which, in its first -state, as will be seen in the reproduction, represents Queen Anne -presiding in state over the House of Lords. The plate is etched by -Romeyn de Hooghe. - -At the top of the picture, between female figures representing Plenty -and War, is suspended a cloth, on which the Queen is shown presiding -over the House of Commons. At her side sits Prince George of Denmark. -The whole is surmounted by the words, “Het Hoog en Lager Huys van -Engeland.” Left and right of the cloth are scrolls bearing the legends, -“Hinc gloria regni” and “Hinc felicitas publica.” - -At the base of the plate are two small self-contained etchings. That -on the left shows the heralds proclaiming the Queen; that on the right -shows Her Majesty sitting in Council. Between these are inscribed the -following words:— - - “Annæ D. G. - Magnæ Britanniæ Reginæ,” etc., etc. - -{238} - -The main design is crowded with details and figures of the utmost -interest, any description of which is forbidden by the space at my -disposal. The artist’s signature is to be seen on the floor of the Hall. - -Thirteen years were now to elapse before it was transformed into -the glorification of George I. The King now takes the place of the -late Queen in the House of Lords. The throne in the House of Commons -is vacant. The inscription on the cloth has been re-engraved, and -“Engeland” changed to “Engelandt.” The title and the panels at the -bottom of the plate have been cut away, and the index numbers on the -main design and the index letters on the cloth have been altered. The -designer’s name has been removed from the floor of the House, and -engraved on the right-hand corner of the plate. - -These are the main differences. The curious reader may occupy himself -in discovering others. - -The next example here reproduced I give because of the peculiarly -drastic changes which have been made by the pirate into whose hands the -plate has fallen. {239} - -[Illustration: “The Races of the Europeans, with their Keys.” (_The -plate in its first state_)] - -[Illustration: “A Skit on Britain.” (_The plate in its second state_)] - -In its original state it bears the punning title, “The Races of the -Europeans with their Keys.” The line of publication runs:—“Geo. -Bickham, jun^{r.,} inv^{t.} et sculp. According to the late Act, -1740. Price 1s. Sold at ye Black Moors Head against Surry Street -in y^e Strand.” The composite design is made up of variorum copies -of four separate prints recently published. These are enclosed in -the four quarters of an elaborate design, surmounted by a crouching -wolf. At the point where the four corners meet is a grotesque horned -head. At the foot are a mask and a poniard. Each panel is differently -dated, and surmounts its own set of explanatory notes. The allusions -to contemporary politics are most ingeniously conceived, but are so -numerous that space forbids even their barest description. - -In its second state the plate is entitled “A Skit on Britain.” The -line of publication runs the same as before, saving the name of the -artist, which has been changed into “Ged Bilchham.” A line of script -has also been added on this copy, which states that “This plate is -upon the same copper as ‘The Races of the Europeans,’ much of the {240} -allusions not having been obliterated,” which seems considerably to -understate the case. The enclosing design is certainly much the same -as before, though in this there are many alterations in detail, but of -the four engravings by far the greater portion has been removed. The -aerial parts are practically untouched, but of the crowds of figures -only a few unimportant groups remain. All the tables of reference have -been burnished out, and are replaced by doggerel verses. The dates have -been removed from the four compartments, and in the places of three of -them appear “Porto Bello, Nov. 1739,” “Cartagena,” and “The Havana,” -while the fourth is left blank. The main part of the satire is directed -against the policy of Sir Robert Walpole, but is of too elaborate a -nature to be entered upon here. - -[Illustration: The Headless Horseman. (_The plate with the head -burnished out._)] - -Before concluding this account of palimpsest plates I shall reproduce -three very curious prints in which the substitution of one head for -another is more than usually outrageous.[45] The original {241} -engraving was by Pierre Lombart after a made-up portrait of Charles -I., on horseback, professing to be by Vandyck. - - [45] The earliest example of the artist as Headsman that I have come - across is a very rare portrait of Queen Elizabeth, full length, seated - on a throne, dressed in a robe of state, holding globe and sceptre, - engraved about 1590. The Queen’s figure was subsequently burnished - out, and that of James I. substituted. This, unfortunately, I do not - possess. - -The plate was executed before the execution (save the mark!) of the -Martyr King. After his death the head of Cromwell was substituted, -no doubt for commercial purposes. Finally, Charles the First’s head -was restored (again save the mark!) after the Restoration. Our -reproductions are from what would seem to be the second, third, and -fourth states of the plate though a first state is not known. It will -be observed that, in the earliest—namely, that in which the head -has been removed altogether—the scarf is brought across the left -shoulder, and tied under the right arm, whilst the page-boy has bands -and frills to his breeches. In the next, or third state, in which -Cromwell’s head has been inserted, the scarf has been removed from the -shoulder, and is tied round the waist, whilst the bands and frills -have been removed from the page-boy’s nether garments. In the next, -or fourth stage of the plate, in which {242} Charles’s head has been -re-inserted, there are, besides the substitution of one head for the -other, a few minor alterations, such as the addition of the Cavalier -moustache to the face of the page-boy, the restoration of the frills -to his breeches, the alteration of the pattern of the rider’s collar, -the addition of the order of St. George to the rider’s breast, and -the substitution of the royal coat of arms for those of the Protector -at the bottom of the engraving. There are also other known states of -the plate, reproductions of which may be seen in Mr. Alfred Whitman’s -_Print-Collector’s Handbook_. These were unknown to me when I wrote the -above description.[46] - - [46] Since writing this I paid a visit to the Hall of the Middle - Temple, when the very intelligent custodian told me that Cromwell - ordered the great Vandyck, which hangs over the high table, to be - taken down, and his own somewhat repellent countenance painted in - in the place of that of Charles I. Fortunately for posterity this - outrageous order was not carried out. The whole affair reminds one of - the unconsciously grim entry in a certain bookseller’s catalogue which - ran, “Memoirs of Charles the First with a head _capitally executed_.” - -[Illustration: The plate with Cromwell’s head] - -[Illustration: The plate with Charles I.’s head] - -So much for historical instances of putting new heads on old shoulders. -But, if I am not mistaken, the very modern restoration of the west -front of one of our great cathedrals shows a late Dean’s head -surmounting the body of a saint or king, {243} which had been -mutilated by Cromwell. It would be cruel, perhaps, to be more specific, -as vanity is not the most pleasing of the Christian virtues. - -Again, there was lately a good deal of laughter caused by one of the -whims of the German Emperor. It appears that his artistic eye had been -offended by the incompleteness of a fine headless torso which was -brought to the fatherland some years since. Everything, he was aware, -could be _made in Germany_, so what more natural than to offer a prize -for the best completion of the work of a Phidias or a Praxiteles? -_Finis coronat opus_, and the sculptors of Germany were called upon to -compete. None of the results, however, satisfied His Imperial Majesty, -and two of the artists have been commissioned to try again. Would it be -_lese-majestie_ to suggest that there is only one head in Germany that -would prove quite acceptable? I present the idea to the competitors. - -Enough has been written to show that the pursuit of the palimpsest -plate is sport of the very finest for the collector, for it is a sport -which does not cease with the running of the quarry to earth. {244} - -I have reproduced, without comment, opposite pages 244 and 246, and on -pages 245, 247, and 249, a few more of these adapted copperplates for -the sake of any one who may be fortunate enough to possess either the -original or the palimpsest. He will find it no bad sport to go hunting -for its fellow. - -[Illustration: Undescribed palimpsest plate. (_First state and second -state._)] - -{245} - -[Illustration: Aan den Experten Hollandichen Hoofd-Smith. (_The plate -in its first state_)] - -[Illustration: Aan den Experten Hollandichen Hoofd-Smith. (_As adapted -by the Anti-Jesuits_)] - -[Illustration: Undescribed palimpsest plate. (_First state and second -state._)] - -{247} - -[Illustration: An adapted Copperplate. _First state_] - -[Illustration: An adapted Copperplate. _Second state_] - -{249} - -[Illustration: A History of the New Plot. _First state_] - -[Illustration: A History of the New Plot. _Second state_] - -{251} - - - - -INDEX - - -“Aan den Experten Hollandschen Hoofd-Smith,” 216, 243 - -“Aan der Meester Tonge-Slyper,” 216, 230–233 - -ADAPTED COPPER PLATES, 192–247 - -Ainsworth, Harrison, 3 - -Alken, Henry, 157–160 - -Allen, Archdeacon, 10 - -_American Notes_, 2 - -Anne, Queen, 237, 238 - -_Antiquities of Westminster_, 150–153 - -_A Pop-Gun fired off by George Cruikshank_, 79 - -“A Skit on Britain,” 239, 240 - -“A Trifling Mistake,” 70–73 - - -_Ballad of Beau Brocade, The_, 3 - -“Becky Sharp,” 10 - -_Bentley’s Miscellany_, 43–52 - -Bewick’s _Birds_, 68 - -_Book of Snobs_, 9 - -“Breeches” Bible, Barker’s, 2 - -Brougham, Lord, 62 - -Browne, H. K., 27, 28, 29, 31, 33, 54–56 - -Bruton, Mr. H. W. 48, 49, 69, 75, 81 - -Buffon, M., 5 - -Bunn, Alfred, 10 - -Burlington, Earl of, 98–107 - -“Burlington Gate,” 108 - -Burns, Robert, 2 - -Buss, Miss F. M., 34 - -Buss, R. W., 29, 30, 31, 32, 33, 34 - -Bute, Lord, 235, 236 - - -Calcraft, Captain Granby, 9 - -Capel, Monsignor, 2 - -“Captain Granby Tiptoff,” 9 - -“Captain Shindy,” 9 - -Carteret, Lord, 112 _et seq._ - -_Catalogue of Prints and Drawings in the British Museum_, 92 _et -passim_, 198 _et passim_ - -Chandos, Duke of, 101 - -Chapman and Hall, Messrs., 33, 55 - -Charles I., 241–242 - -_Charles Dickens, The Story of his Life_, 27 - -Churchill, Charles, 107–111 - -_Clarissa Harlowe_, 5 - -_Coaching Days and Coaching Ways_, 175–178 - -Cochrane, Lord, 65 - -_Coningsby_, 12, 13, 20 - -Cowell, Professor, 184–186 - -Crawhall, Joseph, 135–138 - -“Credulity, Superstition, and Fanaticism: a Medley,” 88 _et seq._ - -Croker, J. W., 12 - -Cromek, R. H., 5 - -Cromwell, Oliver, 241, 242 - -Cruikshank, George, 42, 45–54, 59–81, 161 - -_Cruikshank’s Portraits of Himself_, 80 - -Cumberland, Duke of, 60–69 - -Cumberland, Princess Olive of, 62 - - -“Danaë in the Brazen Chamber,” 140–148 - -_Death in London_, 154–158 - -Dexter, Mr. J. P., 41 - -_D’Horsay; or the Follies of the Day, by a Man of Fashion_, 13 - -_Dickens and his Illustrators_, 40, 41 - -Dickens, Charles, 2, 26 _et seq._ his _American Notes_, 2 his -suppressed portrait, 27, 28 - -_Dickens Memento_, 47 - -_Dictionary of National Biography_, 61, 62 - -Dighton, Richard, 25 - -Disraeli, Benjamin, 2, 10, 12, 131–134 - -Dobson, Mr. Austin, 3, 82 _et passim_, 174 - -_Don Quixote_, 113 _et seq._ - -“Don Quixote releases the Galley Slaves,” 118, 122 - -“Don Quixote seizes the Barber’s Basin,” 118, 120 - -“Drop it!”, 78 - -Du Maurier, George, 162–173 - - -Edwards, Edwin, 179–191 - -Elizabeth, Queen, 240 - -“Enthusiasm Delineated,” 83 _et seq._ - -_Essay on the Genius of George Cruikshank_, 77 - - -Fane, Lady Georgina, 226 - -Fanus i Khiyal, 185–191 - -_Figaro in London_, 63, 64 - -“Financial Survey of Cumberland or the Beggar’s Petition,” 60 - -FitzGerald, Edward, 40, 179–191 - -Frederick the Great, 227 - - -Garrick Club, The, 8, 9 - -George I., 238 - -George IV., 11 - -“George Garbage,” 9 - -Gray, J. M., 148 - -_Grimm’s Fairy Tales_, 42 - - -“Harry Foker,” 9 - -Hertford, Marchioness of, 75 - -Hertford, Marquis of, 10 _et seq._ - -_History of Pickwick_, 29 - -Hobhouse, John Cam, 70–73 - -_Hogarth Illustrated_, 84 - -Hogarth, William, 82 _et seq._ - -Holmes, Sir Robert, 227 - -Hook, Theodore, 9, 10 - - -Ireland, John, 84 _et seq._, 113 _et seq._ - -Irving, Washington, 2 - -_Italian Tales_, 74 - -_Italy_, 3 - - -James I., 241 - -Jansenists, the, 221 _et seq._ - -Jesuits, The, 221 _et seq._ - -“Joe Sibley,” 163–173 - -Jones, W. N., 68 - -_Jorrocks’s Jaunts and Jollities_, 158 - - -Keene, Charles, 127–139 - -Kitton, F. G., 40 - - -“Lady Kew,” 10, 22 - -Langford, Lady, 10 - -Lawrence, Sir Thomas, 19 - -Leech, John, 33, 36–38, 40, 41 - -“L’Europe alarmée pour le Fils d’un Meunier,” 202–216 - -_Life of Dickens_, 37, 46 - -_Lippincott’s Magazine_, 10 - -“Lord Walham,” 23 - -_Lothair_, 2 - - -“Marquis of Hereford,” 14 - -_Martin Chuzzlewit_, 26, 53 - -“Monsignor Catesby,” 2 - -“Mr. Dolphin,” 10 - -“Mr. John Jorrocks,” 158–161 - -“Mr. Pickwick at the Review,” 33 - -“Mr.” Pitt Crawley, 15 - -_Mr. Thackeray, Mr. Yates, and the Garrick Club_, 8 - -“Mr. Wardle and his Friends under the Influence of the Salmon,” 33 - -“Mr. Winkle’s First Shot,” 33 - - -Napoleon, Emperor, 228 - -Nelson, Lord, 228 - - -_Oliver Twist_, 26, 43–52 - -_Once a Week_, 127, 140–148 - -Orange, William of, 217 _et seq._ - - -Pailthorpe, Mr. F. W., 56 - -_Pall Mall Gazette_, 166–169 - -Palmer, Samuel, 56 - -_Pendennis_, 9 - -_Penelope’s English Experiences_, 38 - -Phillimore, Mr. F., 47 - -“Philoprogenitiveness,” 77, 78 - -_Pickwick_, 26, 28 _et seq._, 43 - -_Pictures from Italy_, 56 - -Pine’s Horace, 54 - -_Poems_, Burns’s, 2 - -Pope, Alexander, 98–107 - -Price, Stephen, 9 - -Prideaux, Colonel, 190–191 - -_Punch_, 127 _et seq._ - - -Queensberry, Duke of, 23 - - -Reid’s _Catalogue of George Cruikshank’s Works_, 45, 62, 69 - -Ritchie, Mrs., 10 - -Robertson, J. C., 154–158 - -Rogers, Samuel, 3 - -“Roma Perturbata, Ofte’t Beroerde Romen, etc.,” 216 _et seq._ - -“Rose Maylie and Oliver at Agnes’s Tomb,” 45 _et seq._ - -Roxborough, Duke of, 2 - -“Royal Hobbys of the Hertfordshire Cock Horse,” 75 - -Ruskin, John, 3, 4 - - -Sala, G. A., 30, 40 - -Sandys, Frederick, 127, 139–148 - -Scott, Sir Walter, 2 - -Seymour, Robert, 29, 31 - -“Sholto Percy,” 154–158 - -_Sketch Book_, Washington Irving’s, 2 - -_Sketches by Boz_, 55, 57, 58 - -Smith, J. T., 150 - -Smith, Wyndham, 9 - -Spielmann, Mr. M. H., 128 _et passim_ - -_Sporting Snobs_, 9 - -Stanislaus Hoax, 10 - -Stephens, F. G., 88 - -Stothard, T., 5 - -Stuart, James Francis Edward, 198 _et seq._ - -SUPPRESSED PLATES, 1–191 - -Surtees, R., 158 - -Swain, Mr. Joseph, 140–148 - - -_Talpa_, 78 - -Tenniel, Sir John, 133 - -Thackeray, W. M., 7 _et seq._ - -_The Artist_, 145 - -_The Battle of Life_, 26, 34–40 - -_The Battle of London Life;_ or _Boz and his Secretary_, 39 - -“The Bruiser,” 110, 111 - -_The Builder_, 107 - -_The Chimes_, 36, 41 - -_The Christmas Carol_, 36 - -“The Cricket Match,” 29, 32 - -“The Curate and the Barber,” 121, 125 - -“The Dead Rider,” 74 - -“The Fireside Scene,” 26, 44 _et seq._ - -“The First Interview,” 121, 123 - -“The Free and Easy,” 57 - -“The Funeral of Chrysostom,” 116 - -_The History of Punch_, 128 _et seq._ - -_The Hobby Horse_, 144 - -“The Innkeeper,” 114 - -“The Innkeeper’s Wife and Daughter,” 118 - -“The Last Song,” 42 - -“The Man of Taste,” 98–107 - -“The Marquis of Steyne,” 7 _et seq._ - -_The Memoirs of Joseph Grimaldi_, 41, 42 - -_The Newcomes_, 22 - -“The Painted Chamber,” 150–153 - -“The Races of the Europeans with their Keys,” 239 - -_The Ruba’iyat_ of Omar Khayyam, 179–191 - -_The Speaker_, 21 - -“The Stature of a Great Man, or The English Colossus,” 236 - -“The Stature of a Great Man, or The Scotch Colossus,” 236 - -_The Strange Gentleman_, 54, 55 - -“The Street of the Tombs, Pompeii,” 56 - -_The Times_, 109 - -_The Tower of London_, 3 - -“The Two Apprentices,” 163–173 - -_The Two Paths_, 3 - -_The Vicar of Wakefield_, 171–175 - -_The Virginians_, 9 - -“The Worship of Wealth,” 53, 54 - -Thomson, Mr. Hugh, 3, 171–178 - -Thornhill, Sir James, 111, 112 - -“Tom Smart and the Chair,” 33 - -_Town Talk_, 8, 9 - -_Trilby_, 162–173 - -Tristram, Mr. Outram, 175 - -Truman, Edwin, 69 - -“Tupman and Rachel,” 29, 32 - - -Van der Banck, Johan, 112, 113 - -_Vanity Fair_, 7 _et seq._ - -Vernon, Admiral, 227 - -_Vivian Grey_, 10 - - -Wallace, Sir Richard, 20, 22 - -Walpole, Horace, 25 - -Walpole, Sir Robert, 234, 236 - -_Westminster Review_, 78 - -Whistler, James M’N., 163–173 - -Wilde, Oscar, 168 - -Wilkes, John, 109–111 - - -Yates, Edmund, 8, 9 - - - THE END - - _Printed by_ R. & R. CLARK, LIMITED, _Edinburgh_. - - - - -ADVERTISEMENTS - - -KATE GREENAWAY - -BY - -M. H. SPIELMANN AND G. S. LAYARD. - -Containing upwards of 80 full-page illustrations (53 in colour, -reproduced from original water-colour drawings by Kate Greenaway.) -Square demy 8vo, cloth, gilt top, with Kate Greenaway end-papers, price -20s. net. - -_SOME PRESS OPINIONS_ - - “This delightful volume, with its scores of illustrated letters, and - sketches and charming pictures, will be very widely welcomed. No one - could wish for a more satisfactory memorial of the artist and her - work.”—_Daily Graphic._ - - “Whether as regards its subject, its letterpress, or its - illustrations, this is one of the most delightful, as it is likely - to become one of the most popular volumes of the series to which it - belongs.”—_Aberdeen Journal._ - - “Certainly one of the most beautiful monuments that could be erected - to the memory of a modest artist.”—_Daily Mail._ - - “By reason of its sympathetic treatment of an intensely interesting - subject, of the charm, the quality, and the profusion of its - illustrations, and of the faultless taste of its get-up, should - rank among the favourite gift-books of the approaching Christmas - season.”—_Observer._ - - “A book which will delight young and old by its engaging - charm.”—_Jewish World._ - - “The volume, magnificent to behold, is a deeply interesting - one to read, and should be peculiarly attractive to our - readers.”—_Gentlewoman._ - - “This delightful book should prove a capital present to give to young - folks at Christmas time. The pictures in it are very beautiful, while - the story of Kate Greenaway’s fight for fame is sympathetically - told.”—_Scottish Review._ - - “The book is admirably done, thorough, sympathetic, and - accurate.”—_Outlook._ - - -BIRKET FOSTER - -By H. M. CUNDALL, F.S.A. - -Containing 91 full-page illustrations (73 in colour) and numerous -thumbnail sketches in the text. Square demy 8vo, cloth, gilt top, price -20s. net. - - It may safely be asserted, without fear of contradiction, that - the dainty water-colour drawings executed by Birket Foster appeal - to the majority of the British public more than the works of any - other artist. He produced scenes from nature with such exactness - and minuteness of detail that the most uninitiated in art are able - to understand and appreciate them, but the chief features in his - paintings are the poetic feeling with which he endued them, and the - care with which his compositions were selected. He revelled in sunny - landscapes with roaming sheep and with rustic children playing in the - foreground, and in the peaceful red-bricked cottages with thatched - roofs; it is, perhaps, by these scenes of rural England that Birket - Foster is best known. He, however, was an indefatigable painter, - and produced works selected from all parts of England, Wales, and - Scotland; he travelled frequently on the Continent; Venice, as well - as the Rhine, had its charms for him, and the picturesque scenery of - Brittany has also been portrayed by his brush. - - The collection of Birket Foster’s drawings reproduced in this volume - is thoroughly representative, and is sufficiently extensive to include - all phases of his work. The accompanying biographical text by Mr. - H. M. Cundall will be found to be most sympathetic, intimate, and - interesting. - -A. & C. BLACK, SOHO SQUARE, LONDON, W. - - -GEORGE MORLAND - -By Sir WALTER GILBEY, Bart. - -AUTHOR OF “THE LIFE OF GEORGE STUBBS, R.A.” - -Containing 60 full-page reproductions in colour of the artist’s best -work. Square demy 8vo, cloth, gilt top, price 20s. net. - -There will also be an Édition de Luxe, with letterpress printed -on handmade paper, containing the earliest impressions of the -illustrations, and limited to 250 signed and numbered copies, price £2: -2s. net. - - There is plenty of room for another Morland book, especially when - written by the greatest living authority upon the works of the artist, - and where the illustrations are reproduced, with most excellent - results, from masterpieces loaned from private collections hitherto - mostly unknown to the artistic public, and of which only a few have - either been engraved or gravured—at all events, not before reproduced - in colour. - - George Morland’s work is characterised by its great strength and - beauty of colouring. To reproduce so many of his choicest pictures, - and bring the book into this series, is no easy matter, but to - ensure success the publishers have spared no efforts to make their - reproductions worthy of the artist’s work and entirely satisfying to - the collector and student. - - The collection of pictures reproduced in this volume is thoroughly - representative, and each illustration is a gem; they show the several - phases of Morland’s charming scenes of English life in the renowned - Academician’s time. - - The student and all collectors and admirers of Morland will also - rejoice to have the appreciative text by Sir Walter Gilbey. - -A. & C. BLACK, SOHO SQUARE, LONDON, W. - - - - -TRANSCRIBER’S NOTE - -Original spelling and grammar have been generally retained, with some -exceptions noted below. Original printed page numbers are shown like -this: {52}. Original small caps are now uppercase, except that on -page 223 the small caps phrase is rendered thus: “hos heros -MonaChos apprenDe bata Ve rebeLLes”, in the simple text -edition. Italics look _like this_. Footnotes have been relabeled -1–46, and moved from within paragraphs to nearby locations between -paragraphs. The transcriber produced the cover image and hereby assigns -it to the public domain. Original page images are available from -archive.org—search for “suppressedplates00laya”. - -The List of Illustrations contains two divisions, those that were -printed upon numbered pages, and those that were printed on unnumbered -pages. Most illustrations originally printed inside paragraphs of -text have been moved to nearby locations between paragraphs, and the -corresponding page numbers have been removed as necessary to maintain -proper order of the remaining page numbers. Captions of Illustrations -were sometimes altered to conform more closely—in substance or in -typography—to the titles in the List of Illustrations (LOI). In such -cases, the original captions (if any) are nevertheless retained as part -of the image. On page 172, a caption was inserted where none had been -printed, to match the LOI. - -Page 10. “protoype” to “prototype”. - -Page 212. “fireband” to “firebrand”. - -Page 254. “Whistler, James M‘N” to “Whistler, James M’N”. - - - - - - - - - - - -End of the Project Gutenberg EBook of Suppressed Plates, Wood-engravings, &c., by -George Somes Layard - -*** END OF THIS PROJECT GUTENBERG EBOOK SUPPRESSED PLATES, WOOD-ENGRAVINGS *** - -***** This file should be named 55710-0.txt or 55710-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/5/7/1/55710/ - -Produced by Chris Curnow, RichardW, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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-} - -/* === handheld === */ -@media handheld { - .xxpn { - position: static; - line-height: inherit; - } - body { - margin: 0.5em; - padding: 0; - font-size: 100%; - } - div, - p { - max-height: none; - } - .dhtml { /*==display large version of illo in html only==*/ - display: none; - } - .dhandheld { /*==display small version of illo in handheld only==*/ - display: block; - } -} - -</style> -</head> -<body> - - -<pre> - -The Project Gutenberg EBook of Suppressed Plates, Wood-engravings, &c., by -George Somes Layard - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Suppressed Plates, Wood-engravings, &c. - Together with other Curiosities Germane Thereto - -Author: George Somes Layard - -Release Date: October 8, 2017 [EBook #55710] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK SUPPRESSED PLATES, WOOD-ENGRAVINGS *** - - - - -Produced by Chris Curnow, RichardW, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - - -<div class="dctr02"> -<img id="coverpage" - src="images/cover.jpg" width="600" height="800" alt="" /> -</div> - -<h1 class="h1herein">SUPPRESSED PLATES</h1> - -<div class="dfront"> -<div class="fsz7">AGENTS</div> -<div class="nowrap"> -<table class="fsz8" summary=""> -<tr> - <td class="tdleft"><span class="smcap">A<b>MERICA</b></span></td> - <td class="tdleft"><p class="pfirst"><span class="smcap">T<b>HE</b></span> - <span class="smcap">M<b>ACMILLAN</b></span> - <span class="smcap">C<b>OMPANY</b></span></p> - <p class="pfirst">64 - & 66 <span class="smcap">F<b>IFTH</b></span> - <span class="smcap">A<b>VENUE,</b></span> - <span class="smcap">N<b>EW</b></span> <span - class="smcap">Y<b>ORK</b></span></p></td></tr> -<tr> - <td class="tdleft"><span class="smcap">C<b>ANADA</b></span></td> - <td class="tdleft"><p class="pfirst"><span class="smcap">T<b>HE</b></span> - <span class="smcap">M<b>ACMILLAN</b></span> - <span class="smcap">C<b>OMPANY</b></span> <span - class="smmaj">OF</span> <span class="smcap">C<b>ANADA,</b></span> - <span class="smcap">L<b>TD.</b></span></p> - <p class="pfirst">27 - <span class="smcap">R<b>ICHMOND</b></span> - <span class="smcap">S<b>TREET</b></span> - <span class="smcap">W<b>EST,</b></span> <span - class="smcap">T<b>ORONTO</b></span></p></td></tr> -<tr> - <td class="tdleft"><span class="smcap">I<b>NDIA</b></span></td> - <td class="tdleft"><p class="pfirst"> - <span class="smcap">M<b>ACMILLAN</b></span> - & <span class="smcap">C<b>OMPANY,</b></span> - <span class="smcap">L<b>TD.</b></span></p> - <p class="pfirst"><span - class="smcap">M<b>ACMILLAN</b></span> <span - class="smcap">B<b>UILDING,</b></span> <span - class="smcap">B<b>OMBAY</b></span></p> - <p class="pfirst">309 - <span class="smcap">B<b>OW</b></span> <span - class="smcap">B<b>AZAAR</b></span> <span - class="smcap">S<b>TREET,</b></span> <span - class="smcap">C<b>ALCUTTA</b></span></p></td></tr> -</table> -</div></div> - -<div class="dfront"> -<div class="dctr03" id="f1.1"> -<img src="images/i000.02.jpg" width="483" height="700" alt="" /> -<div class="dcaption">The title-page of -the unwritten “Death in London”</div></div></div> - -<div class="dfront"> -<div class="fsz1">SUPPRESSED PLATES</div> -<div class="fsz3">WOOD ENGRAVINGS, &c.</div> -<div class="fsz5 padtopc">TOGETHER WITH - OTHER CURIOSITIES GERMANE THERETO</div> - -<div class="fsz7 padtopa">BEING</div> -<div class="fsz6">AN ACCOUNT OF CERTAIN MATTERS</div> -<div class="fsz6">PECULIARLY ALLURING TO</div> -<div class="fsz6">THE COLLECTOR</div> - -<div class="fsz7 padtopa">BY</div> -<div class="fsz4">GEORGE SOMES LAYARD</div> - -<div class="dctr11"> -<img src="images/i000.03.png" width="219" height="220" alt="" /> -</div> - -<div class="fsz5">LONDON</div> -<div class="fsz4">ADAM AND CHARLES BLACK</div> -<div class="fsz5">1907</div> -</div><!--dfront--> - -<div class="dfront"> -<div class="fsz9"><i>Published November 1907</i></div></div> - -<div class="dfront"> -<div class="fsz6">I DEDICATE THIS BOOK</div> -<div class="fsz9">TO</div> -<div class="fsz8">MY TWO BOYS</div> -<div class="fsz5">JOHN <span class="smmaj">AND</span> PETER</div> -<div class="fsz8">WHO</div> -<div class="fsz8">I SINCERELY HOPE, WILL NOT HAVE SO MANY</div> -<div class="fsz8"><i>USELESS</i> HOBBIES</div> -<div class="fsz9">AS</div> -<div class="fsz8">THEIR AFFECTIONATE</div> -<div class="fsz5">FATHER</div> -</div> - -<div class="chapter"> -<ul><li><h2 class="h2herein">CONTENTS</h2> - -<ul> -<li class="lihanga"> 1. <span class="smcap">I<b>NTRODUCTORY</b></span> -… <a href="#p001" title="go to page 1">1</a></li> - -<li class="lihanga"> 2. “<span class="smcap">T<b>HE</b></span> <span -class="smcap">M<b>ARQUIS</b></span> <span class="smmaj">OF</span> <span -class="smcap">S<b>TEYNE”</b></span> -… <a href="#p007" title="go to page 7">7</a></li> - -<li class="lihanga"> 3. <span class="smcap">T<b>HE</b></span> <span -class="smcap">S<b>UPPRESSED</b></span> <span -class="smcap">P<b>ORTRAIT</b></span> <span class="smmaj">OF</span> -<span class="smcap">D<b>ICKENS,</b></span> -<span class="smcap">“P<b>ICKWICK,”</b></span> -<span class="smcap">“T<b>HE</b></span> <span -class="smcap">B<b>ATTLE</b></span> <span class="smmaj">OF</span> <span -class="smcap">L<b>IFE,”</b></span> <span class="smmaj">AND</span> <span -class="smcap">“G<b>RIMALDI”</b></span> -… <a href="#p026" title="go to page 26">26</a></li> - -<li class="lihanga"> 4. <span class="smcap">D<b>ICKENS</b></span> -<span class="smcap">C<b>ANCELLED</b></span> -<span class="smcap">P<b>LATES:</b></span> -<span class="smcap">“O<b>LIVER</b></span> -<span class="smcap">T<b>WIST,”</b></span> -<span class="smcap">“M<b>ARTIN</b></span> -<span class="smcap">C<b>HUZZLEWIT,”</b></span> -<span class="smcap">“T<b>HE</b></span> <span -class="smcap">S<b>TRANGE</b></span> <span -class="smcap">G<b>ENTLEMAN,”</b></span> <span -class="smcap">“P<b>ICTURES</b></span> <span class="smmaj">FROM</span> -<span class="smcap">I<b>TALY,”</b></span> <span -class="smmaj">AND</span> <span class="smcap">“S<b>KETCHES</b></span> -<span class="smmaj">BY</span> <span class="smcap">B<b>OZ”</b></span> -… <a href="#p043" title="go to page 43">43</a></li> - -<li class="lihanga"> 5. <span class="smcap">O<b>N</b></span> <span -class="smmaj">SOME</span> <span class="smmaj">FURTHER</span> -<span class="smcap">S<b>UPPRESSED</b></span> -<span class="smcap">P<b>LATES,</b></span> <span -class="smcap">E<b>TCHINGS,</b></span> <span -class="smmaj">AND</span> <span class="smcap">W<b>OOD</b></span> -<span class="smcap">E<b>NGRAVINGS</b></span> <span -class="smmaj">BY</span> <span class="smcap">G<b>EORGE</b></span> <span -class="smcap">C<b>RUIKSHANK</b></span> -… <a href="#p059" title="go to page 59">59</a></li> - -<li class="lihanga"> 6. <span class="smcap">H<b>OGARTH’S</b></span> -<span class="smcap">“E<b>NTHUSIASM</b></span> <span -class="smcap">D<b>ELINEATED,”</b></span> <span -class="smcap">“T<b>HE</b></span> <span class="smcap">M<b>AN</b></span> -<span class="smmaj">OF</span> <span class="smcap">T<b>ASTE,”</b></span> -<span class="smmaj">AND</span> <span class="smcap">“D<b>ON</b></span> -<span class="smcap">Q<b>UIXOTE”</b></span> -… <a href="#p082" title="go to page 82">82</a></li> - -<li class="lihanga"> 7. <span class="smcap">C<b>ANCELLED</b></span> <span -class="smcap">D<b>ESIGNS</b></span> <span class="smmaj">FOR</span> -<span class="smcap">“P<b>UNCH”</b></span> <span -class="smmaj">AND</span> <span class="smcap">“O<b>NCE</b></span> <span -class="smcap">a</span> <span class="smcap">W<b>EEK”</b></span> <span -class="smmaj">BY</span> <span class="smcap">C<b>HARLES</b></span> -<span class="smcap">K<b>EENE</b></span> <span class="smmaj">AND</span> -<span class="smcap">F<b>REDERICK</b></span> <span -class="smcap">S<b>ANDYS</b></span> -… <a href="#p127" title="go to page 127">127</a></li> - -<li class="lihanga"> 8. <span class="smcap">M<b>ISCELLANEOUS</b></span> -… <a href="#p149" title="go to page 149">149</a></li> - -<li class="lihanga"> 9. <span class="smcap">T<b>HE</b></span> -<span class="smcap">S<b>UPPRESSED</b></span> -<span class="smcap">O<b>MAR</b></span> <span -class="smcap">K<b>HAYYAM</b></span> <span -class="smcap">E<b>TCHING</b></span> -… <a href="#p179" title="go to page 179">179</a></li> - -<li class="lihanga">10. <span class="smcap">A<b>DAPTED</b></span> <span -class="smmaj">OR</span> <span class="smcap">P<b>ALIMPSEST</b></span> -<span class="smcap">P<b>LATES</b></span> -… <a href="#p192" title="go to page 192">192</a></li> - -<li class="lihanga"><span class="nowrap">11. <span class="smcap">A<b>DAPTED</b></span></span> -<span class="smmaj">OR</span> <span class="smcap">P<b>ALIMPSEST</b></span> -<span class="smcap">P<b>LATES</b></span> (<i>continued</i>) -… <a href="#p226" title="go to page 226">226</a></li></ul></li></ul></div> - -<div class="chapter"> -<h2 class="h2herein">LIST OF ILLUSTRATIONS</h2> - -<h3><i>Printed Separately</i></h3> - -<p class="ploi">The Title-page of the unwritten “Death in London” -<a class="aloi" href="#f1.1" title="go to figure 1.1">▶</a> -<span class="sploia">… <i>Frontispiece</i></span></p> - -<p class="ploi">The Third Marquis of Hertford. (<i>From the -engraving by W. Holl, of the painting by Sir Thomas Lawrence</i>) -<a class="aloi" href="#f1.2" title="go to figure 1.2">▶</a> -<span class="sploia">… <i>Between pages</i> 20 <i>and</i> 21</span></p> - -<p class="ploi">The Fourth Marquis of Hertford. (<i>From a photograph</i>) -<a class="aloi" href="#f1.3" title="go to figure 1.3">▶</a> -<span class="sploia">… <i>Between pages</i> 20 <i>and</i> 21</span></p> - -<p class="ploi">The Third Marquis of Hertford when Lord Yarmouth. -(<i>From the coloured caricature by Richard Dighton</i>) -<a class="aloi" href="#f1.4" title="go to figure 1.4">▶</a> -<span class="sploia">… <i>Facing page</i> 24</span></p> - -<p class="ploi">The suppressed portrait of Charles Dickens -<a class="aloi" href="#f1.5" title="go to figure 1.5">▶</a> -<span class="sploia">… <i>Facing page</i> 28</span></p> - -<p class="ploi">The “Pickwick” suppressed plate: “The Cricket Match.” -(<i>By R. W. Buss</i>) -<a class="aloi" href="#f1.6" title="go to figure 1.6">▶</a> -<span class="sploia">… <i>Facing page</i> 30</span></p> - -<p class="ploi">The “Pickwick” suppressed plate: “Tupman and Rachel.” (<i>By R. W. -Buss</i>) -<a class="aloi" href="#f1.7" title="go to figure 1.7">▶</a> -<span class="sploia">… <i>Between pages</i> 32 <i>and</i> 33</span></p> - -<p class="ploi">“Tupman and Rachel.” (<i>By H. K. Browne</i>) -<a class="aloi" href="#f1.8" title="go to figure 1.8">▶</a> -<span class="sploia">… <i>Between pages</i> 32 -<i>and</i> 33</span></p> - -<p class="ploi">“The Last Song,” with the suppressed border -(<i>By George Cruikshank</i>) -<a class="aloi" href="#f1.9" title="go to figure 1.9">▶</a> -<span class="sploia">… <i>Facing page</i> 40</span></p> - -<p class="ploi">The suppressed plate from “Oliver Twist” -<a class="aloi" href="#f1.10" title="go to figure 1.10">▶</a> -<span class="sploia">… <i>Facing page</i> 48</span></p> - -<p class="ploia">1. “The Fireside Scene”</p> - -<p class="ploia">2. “The Fireside Scene,” as worked upon by Cruikshank</p> - -<p class="ploi">The suppressed plate from “Sketches by Boz” -<a class="aloi" href="#f1.11" title="go to figure 1.11">▶</a> -<span class="sploia">… <i>Facing page</i> 56</span></p> - -<p class="ploi">“A Financial Survey of Cumberland or the Beggar’s Petition.” (<i>From -the only known uncoloured impression of the plate</i>) -<a class="aloi" href="#f1.12" title="go to figure 1.12">▶</a> -<span class="sploia">… <i>Between -pages</i> 64 <i>and</i> 65</span></p> - -<p class="ploi">“A Financial Survey of Cumberland or the Beggar’s Petition.” (<i>From -a coloured impression of the plate, with the figure of the valet -obliterated with lamp-black</i>) -<a class="aloi" href="#f1.13" title="go to figure 1.13">▶</a> -<span class="sploia">… <i>Between pages</i> 64 <i>and</i> 65</span></p> - -<p class="ploi">“Enthusiasm Delineated. (Humbly dedicated to his Grace the Arch Bishop -of Canterbury by his Graces most obedient humble Servant <i>Wm. -Hogarth</i>”) -<a class="aloi" href="#f1.14" title="go to figure 1.14">▶</a> -<span class="sploia">… <i>Between pages</i> 88 <i>and</i> 89</span></p> - -<p class="ploi">“Credulity, Superstition, and Fanaticism. A Medley” -<a class="aloi" href="#f1.15" title="go to figure 1.15">▶</a> -<span class="sploia">… <i>Between -pages</i> 88 <i>and</i> 89</span></p> - -<p class="ploi">Portrait of Hogarth with his Dog Trump -<a class="aloi" href="#f1.16" title="go to figure 1.16">▶</a> -<span class="sploia">… <i>Facing page</i> 112</span></p> - -<p class="ploia"><i>The plate reversed and in its last state, -now entitled</i> “The Bruiser” -<span class="sploia">… <i>Facing page</i> 112</span></p> - -<p class="ploi">The Cancelled Cartoon. (<i>By Charles Keene</i>) -<a class="aloi" href="#f1.17" title="go to figure 1.17">▶</a> -<span class="sploia">… <i>Facing page</i> 128</span></p> - -<p class="ploi">The Cancelled “Social.” (<i>By Charles Keene</i>) -<a class="aloi" href="#f1.18" title="go to figure 1.18">▶</a> -<span class="sploia">… <i>Facing page</i> 136</span></p> - -<p class="ploia">Suggestion by Joseph Crawhall for the Cancelled “Social” -<span class="sploia">… <i>Facing -page</i> 136</span></p> - -<p class="ploi">“The Painted Chamber.” (From <i>Antiquities of Westminster</i>, 1807) -<a class="aloi" href="#f1.19" title="go to figure 1.19">▶</a> -<span class="sploia">… <i>Facing page</i> 150</span></p> - -<p class="ploi">The suppressed portrait of “John Jorrocks, Esq., M.F.H., etc.” (<i>By -Henry Alken, the younger</i>) -<a class="aloi" href="#f1.20" title="go to figure 1.20">▶</a> -<span class="sploia">… <i>Facing page</i> 160</span></p> - -<p class="ploi">The suppressed frontispiece for “Omar Khayyam.” (<i>By Edwin Edwards</i>) -<a class="aloi" href="#f1.21" title="go to figure 1.21">▶</a> -<span class="sploia">… <i>Facing page</i> 188</span></p> - -<p class="ploi">“L’Europe alarmée pour le Fils d’un Meunier.” (<i>The plate in its first -state</i>) -<a class="aloi" href="#f1.22" title="go to figure 1.22">▶</a> -<span class="sploia">… <i>Between pages</i> 204 <i>and</i> 205</span></p> - -<p class="ploi"><i>The plate in its second state, now entitled</i> “La Cour de Paix -solitaire, entre les Roses piquantes et les Lis” -<a class="aloi" href="#f1.23" title="go to figure 1.23">▶</a> -<span class="sploia">… <i>Between -pages</i> 204 <i>and</i> 205</span></p> - -<p class="ploi">Queen Anne presiding over the House of Lords. (<i>The plate in its first -state</i>) -<a class="aloi" href="#f1.24" title="go to figure 1.24">▶</a> -<span class="sploia">… <i>Between pages</i> 236 <i>and</i> 237</span></p> - -<p class="ploi"><i>The plate in its second state, now representing</i> George I. presiding -over the House of Lords -<a class="aloi" href="#f1.25" title="go to figure 1.25">▶</a> -<span class="sploia">… <i>Between pages</i> 236 <i>and</i> 237</span></p> - -<p class="ploi">“The Races of the Europeans, with their Keys.” (<i>The plate in its -first state</i>) -<a class="aloi" href="#f1.26" title="go to figure 1.26">▶</a> -<span class="sploia">… <i>Between pages</i> 238 <i>and</i> 239</span></p> - -<p class="ploi">“A Skit on Britain.” (<i>The plate in its second state</i>) -<a class="aloi" href="#f1.27" title="go to figure 1.27">▶</a> -<span class="sploia">… <i>Between -pages</i> 238 <i>and</i> 239</span></p> - -<p class="ploi">The Headless Horseman. (<i>The plate with the head burnished out</i>) -<a class="aloi" href="#f1.28" title="go to figure 1.28">▶</a> -<span class="sploia">… <i>Facing page</i> 240</span></p> - -<p class="ploi">The plate with Cromwell’s head -<a class="aloi" href="#f1.29" title="go to figure 1.29">▶</a> -<span class="sploia">… <i>Between pages</i> 242 <i>and</i> 243</span></p> - -<p class="ploi">The plate with Charles I.’s head -<a class="aloi" href="#f1.30" title="go to figure 1.30">▶</a> -<span class="sploia">… <i>Between pages</i> 242 <i>and</i> 243</span></p> - -<p class="ploi">Undescribed palimpsest plate. (<i>First state and second state</i>) -<a class="aloi" href="#f1.31" title="go to figure 1.31">▶</a> -<span class="sploia">… <i>Facing page</i> 244</span></p> - -<p class="ploi">Undescribed palimpsest plate. (<i>First state and second state</i>) -<a class="aloi" href="#f1.32" title="go to figure 1.32">▶</a> -<span class="sploia">… <i>Facing page</i> 246</span></p> -</div><!--chapter--> - -<div class="chapter"> -<h3><i>Printed in the Text</i></h3> - -<p class="ploi"> 1. The Suppressed Portrait of the Marquis of Steyne -<a class="aloi" href="#f2.1" title="go to figure 2.1">▶</a> -<span class="sploia">… 15</span></p> - -<p class="ploi"> 2. The Battle of Life. “Leech’s Grave Mistake” -<a class="aloi" href="#f2.2" title="go to figure 2.2">▶</a> -<span class="sploia">… 35</span></p> - -<p class="ploi"> 3. Rose Maylie and Oliver at Agnes’s Tomb. (<i>The substituted plate in -two states</i>) -<a class="aloi" href="#f2.3" title="go to figure 2.3">▶</a> -<span class="sploia">… 51</span></p> - -<p class="ploi"> 4. The Strange Gentleman -<a class="aloi" href="#f2.4" title="go to figure 2.4">▶</a> -<span class="sploia">… 55</span></p> - -<p class="ploi"> 5. “A Trifling Mistake”—Corrected— -<a class="aloi" href="#f2.5" title="go to figure 2.5">▶</a> -<span class="sploia">… 71</span></p> - -<p class="ploi"> 6. Philoprogenitiveness -<a class="aloi" href="#f2.6" title="go to figure 2.6">▶</a> -<span class="sploia">… 77</span></p> - -<p class="ploi"> 7. “Drop it!” -<a class="aloi" href="#f2.7" title="go to figure 2.7">▶</a> -<span class="sploia">… 79</span></p> - -<p class="ploi"> 8. Enlarged detail of Hogarth’s “Enthusiasm Delineated” -<a class="aloi" href="#f2.8" title="go to figure 2.8">▶</a> -<span class="sploia">… 85</span></p> - -<p class="ploi"> 9. The Chandelier in “Enthusiasm” -<a class="aloi" href="#f2.9" title="go to figure 2.9">▶</a> -<span class="sploia">… 95</span></p> - -<p class="ploia">The Chandelier in “Credulity” -<span class="sploia">… 95</span></p> - -<p class="ploi">10. The Man of Taste -<a class="aloi" href="#f2.10" title="go to figure 2.10">▶</a> -<span class="sploia">… 105</span></p> - -<p class="ploi">11. Burlington Gate as it appeared prior to 1868 -<a class="aloi" href="#f2.11" title="go to figure 2.11">▶</a> -<span class="sploia">… 109</span></p> - -<p class="ploi">12. Don Quixote, No. 1.—The Innkeeper -<a class="aloi" href="#f2.12" title="go to figure 2.12">▶</a> -<span class="sploia">… 115</span></p> - -<p class="ploi">13. Don Quixote, No. 2.—The Funeral of Chrysostom -<a class="aloi" href="#f2.13" title="go to figure 2.13">▶</a> -<span class="sploia">… 117</span></p> - -<p class="ploi">14. Don Quixote, No. 3.—The Innkeeper’s Wife and Daughter -<a class="aloi" href="#f2.14" title="go to figure 2.14">▶</a> -<span class="sploia">… 119</span></p> - -<p class="ploi">15. Don Quixote, No. 4.—Don Quixote seizes the Barber’s Basin -<a class="aloi" href="#f2.15" title="go to figure 2.15">▶</a> -<span class="sploia">… 120</span></p> - -<p class="ploi">16. Don Quixote, No. 5.—Don Quixote releases the Galley Slaves -<a class="aloi" href="#f2.16" title="go to figure 2.16">▶</a> -<span class="sploia">… 122</span></p> - -<p class="ploi">17. Don Quixote, No. 6.—The First Interview -<a class="aloi" href="#f2.17" title="go to figure 2.17">▶</a> -<span class="sploia">… 123</span></p> - -<p class="ploi">18. Don Quixote, No. 7.—The Curate and the Barber -<a class="aloi" href="#f2.18" title="go to figure 2.18">▶</a> -<span class="sploia">… 125</span></p> - -<p class="ploi">19. Danaë in the Brazen Chamber -<a class="aloi" href="#f2.19" title="go to figure 2.19">▶</a> -<span class="sploia">… 143</span></p> - -<p class="ploi">20. Suppressed Illustration from <i>The Vicar of Wakefield</i> -<a class="aloi" href="#f2.20" title="go to figure 2.20">▶</a> -<span class="sploia">… 172</span></p> - -<p class="ploi">21. Het beest van Babel, etc. (<i>The plate in its first state</i>) -<a class="aloi" href="#f2.21" title="go to figure 2.21">▶</a> -<span class="sploia">… 218</span></p> - -<p class="ploi">22. Het beest van Babel, etc. (<i>The plate in its second state</i>) -<a class="aloi" href="#f2.22" title="go to figure 2.22">▶</a> -<span class="sploia">… 219</span></p> - -<p class="ploi">23. Aan der Meester Tonge-Slyper. (<i>The plate in its first state</i>) -<a class="aloi" href="#f2.23" title="go to figure 2.23">▶</a> -<span class="sploia">… 229</span></p> - -<p class="ploia">Aan der Meester Tonge-Slyper. (<i>As adapted by the Anti-Jesuits</i>) -<span class="sploia">… 229</span></p> - -<p class="ploi">24. The Stature of a Great Man, or the English Colossus -<a class="aloi" href="#f2.24" title="go to figure 2.24">▶</a> -<span class="sploia">… 234</span></p> - -<p class="ploi">25. The Stature of a Great Man, or the Scotch Colossus -<a class="aloi" href="#f2.25" title="go to figure 2.25">▶</a> -<span class="sploia">… 235</span></p> - -<p class="ploi">26. Aan den Experten Hollandschen Hoofd-Smith. (<i>The plate in its -first state</i>) -<a class="aloi" href="#f2.26" title="go to figure 2.26">▶</a> -<span class="sploia">… 245</span></p> - -<p class="ploi">27. Aan den Experten Hollandschen Hoofd-Smith. (<i>As adapted by the -Anti-Jesuits</i>) -<a class="aloi" href="#f2.27" title="go to figure 2.27">▶</a> -<span class="sploia">… 245</span></p> - -<p class="ploi">28. An adapted Copperplate. (<i>First state</i>) -<a class="aloi" href="#f2.28" title="go to figure 2.28">▶</a> -<span class="sploia">… 247</span></p> - -<p class="ploi">29. An adapted Copperplate. (<i>Second state</i>) -<a class="aloi" href="#f2.29" title="go to figure 2.29">▶</a> -<span class="sploia">… 247</span></p> - -<p class="ploi">30. A History of the New Plot. (<i>First state</i>) -<a class="aloi" href="#f2.30" title="go to figure 2.30">▶</a> -<span class="sploia">… 249</span></p> - -<p class="ploi">31. A History of the New Plot. (<i>Second state</i>) -<a class="aloi" href="#f2.31" title="go to figure 2.31">▶</a> -<span class="sploia">… 249</span></p> -</div><!--chapter--> - -<div class="chapter"> -<div class="fsz2" id="p001">SUPPRESSED PLATES, ETC.</div> - -<h2 class="h2herein">CHAPTER I -<span class="h2smallctr">INTRODUCTORY</span></h2></div> - -<p class="pfirst"><span class="smcap">N<b>O</b></span> -one who has the itch for book-collecting will -deny that suppressed book illustrations are, what -the forbidden fruit was to our mother Eve, -irresistible. Whether such appetite represents the -very proper ambition to have at his elbow the -earliest states of beautiful or interesting books, -of which the subsequently suppressed plate or -wood engraving is in general a sort of guarantee, -or the less defensible desire to possess what our -neighbour does not, must be settled by the conscience -of each. The fact remains that such -rarities are peculiarly alluring to those whom -Wotton calls “the lickerish chapmen of all such -ware.” <span class="xxpn" id="p002">{2}</span></p> - -<p>There are, of course, ridiculous<a class="afnanc" href="#fn1" id="fnanc1">1</a> -people who -value such books as the first issue of the -first edition of Dickens’s <i>American Notes</i> just -because there is a mistake in the pagination; or -a first edition of Disraeli’s <i>Lothair</i> because the -prototype of “Monsignor Catesby” is divulged by -misprinting the name “Capel”; or <i>Poems</i> by -Robert Burns, first Edinburgh Edition, because in -the list of subscribers “The Duke of Roxborough” -appears as “The Duke of Boxborough”; or -Barker’s “Breeches” Bible of 1594, because on the -title-page of the New Testament the figures are -transposed to 1495; or the first edition in French -of Washington Irving’s <i>Sketch Book</i>, because -the translator, maltreating the author’s name, has -declared the book to be “traduit de l’Anglais de -M. Irwin Washington,” and in the dedication has -labelled Sir Walter Scott, <i>Barronnet</i>; or indeed a -book of my own, in which I described as “since -dead” a gifted and genial gentleman who I am -glad to think still gives the lie to my inexcusable -carelessness. <span class="xxpn" id="p003">{3}</span></p> - -<p>But it is not <i>because</i> of such errors that a -true book-lover desires to own <i>editiones principes</i> -of famous works. That ambition is legitimate -enough, but its legitimate reason is otherwhere to -seek.</p> - -<p>In the case of such a book as Rogers’s <i>Italy</i>, with the Turner -engravings, the matter is very different. Here the fact that the -plates on pp. 88 and -91 are transposed is a guarantee that the impressions of -the extraordinarily delicate engravings are of the utmost -brilliancy, for the error was discovered before many impressions -had been taken. The same applies, though in lesser degree, to such a -book as Mr. Austin Dobson’s <i>Ballad of Beau Brocade</i>, illustrated -by Mr. Hugh Thomson, in the earliest edition of which certain of the -illustrations are also misplaced.<a class="afnanc" href="#fn2" -id="fnanc2">2</a> There is reason in wishing to possess these. See what -Ruskin himself has said of the omission of the two engravings which -had appeared in the first edition of <i>The Two Paths</i>. He writes in the -preface to the 1878 reissue:</p> - -<div class="dftnt"> -<p class="pfirst"> <a class="afnlabel" href="#fnanc1" id="fn1">1</a> -I am quite aware that “ridiculous” is a dangerous stone to throw, -when one lives in a glass house oneself.</p> - -<p class="pfirst padtopc"> <a class="afnlabel" href="#fnanc2" id="fn2">2</a> -Compare also the early issues of the first edition of Ainsworth’s -<i>Tower of London</i>, in which the plates at pp. 28 and 45 vary from -those in the later issues.</p></div> - -<div><span class="xxpn" id="p004">{4}</span></div> - -<p>“I own to a very enjoyable pride in making -the first editions of my books valuable to their -possessors, who found out, before other people, -that these writings and drawings were good for -something . . . and the two lovely engravings -by Messrs. Cuff and Armytage will, I hope, render -the old volume more or less classical among -collectors.” From this we gather that “the -Professor” was of the right kidney.</p> - -<p>It is hardly necessary to say that it is not my -intention to make this book a devil’s directory to -illustrations which have been suppressed because -of indecency, and are referred to in the catalogues -of second-hand booksellers, whose cupidity -is stronger than their self-respect, as “facetiæ” or -“very curious.” Indeed, this book would itself in -that case also very properly be put on the index -expurgatorius of every decent person. My purpose -is to gather together, correct and amplify the floating -details concerning a legitimate class of rarities, -and to put the collector on his guard, where -necessary, against imposition.</p> - -<p>By its very nature this treatise cannot be -complete, but I have included most of the -<span class="xxpn" id="p005">{5}</span> -examples of any importance which, during many -years of bibliomania, have come under my observation. -To these I have added certain re-engraved -or palimpsest plates, which are germane to the -subject.</p> - -<p>As to these last I find amongst my papers -a curious note from the pen of R. H. Cromek, -the engraver, who flourished at the end of the -eighteenth century.</p> - -<p>“One of these vendors,” he writes (publishers -of Family Bibles), “lately called to consult me -professionally about an engraving he brought -with him. It represented Mons. Buffon seated, -contemplating various groups of animals surrounding -him. He merely wished, he said, to -be informed whether, by engaging my services to -unclothe the naturalist, and giving him a rather -more resolute look, <i>the plate could not, at a trifling -expense, be made to do duty for ‘Daniel in the -lions’ den’</i>”!</p> - -<p>That would be a palimpsest well worth possessing, -if ever it were carried into effect. It would -be as fascinating an object of contemplation as -the Stothard designs for <i>Clarissa Harlowe</i>, -<span class="xxpn" id="p006">{6}</span> -which the same authority informs us were later -used to illustrate the Scriptures! But the history -of the <i>cliché</i>, pure and simple, has yet to be -written. Our concern is with higher game than -that.</p> - -<div class="chapter"> -<h2 class="h2herein" id="p007">CHAPTER II -<span class="h2smallctr">“THE - MARQUIS OF STEYNE”</span></h2></div> - -<p class="pfirst"><span class="smcap">P<b>ERHAPS</b></span> -the most celebrated of suppressed book -illustrations is the wood-engraved portrait of the -“Marquis of Steyne,” drawn by Thackeray as an -illustration to <i>Vanity Fair</i>, for which, if we are -to believe the statement of a well-known bookseller’s -catalogue, “libellous proceedings (<i>sic</i>) were -threatened on account of its striking likeness to a -member of the aristocracy.” With the accuracy -of this statement I shall deal in due course.</p> - -<p>Before, however, proceeding to the consideration -of the suppressed illustration itself, it will be as -well to pause for a moment to consider what -antecedent probability there was that Thackeray -would pillory a well-known <i>roué</i> of the period in -terms that would make the likeness undoubted and -undeniable. And in pointing out what the great -<span class="xxpn" id="p008">{8}</span> -novelist’s practice was in this respect I would -guard myself against the charge of presuming to -censure one who is not here to answer for himself, -and whose nobility of character was sufficient -guarantee of good faith and honourable intention. -Let it always be remembered that, if Thackeray -flagellated others, he never hesitated to taste the -quality of his own whip first. Even in his book -illustrations, as I have pointed out elsewhere, he -was as unsparing of his own feelings as he was in -his writings. And, in using himself as a whipping-boy -for our sins, he probably believed that he was -making himself as despicable as a Rousseau. Hence -he came to the like treatment of other real -personages not with unclean hands.</p> - -<p>Some of us may have seen, though very few of -us can possess, a very rare pamphlet, which was -sold for as much as £39 on one of its infrequent -appearances in the auction-rooms, entitled <i>Mr. -Thackeray, Mr. Yates, and the Garrick Club</i>. In -it was published a never-sent reply to a letter -written by Thackeray remonstrating with Yates -on the contents of a “pen-and-ink” sketch published -by the latter in No. 6 of a periodical -called <i>Town <span class="xxpn" id="p009">{9}</span> -Talk</i>, which resulted in Yates’s expulsion from the -Garrick Club.</p> - -<p>In this unsent letter he charged Thackeray with -having unjustifiably introduced portraits both in -his letterpress and illustrations. Mr. Stephen -Price appeared as Captain Shindy in the <i>Book of -Snobs</i>. In the same book Thackeray drew on a -wood block what was practically a portrait of -Wyndham Smith, a fellow-clubman. This appeared -amongst “Sporting Snobs,” Mr. Smith being a -well-known sporting man. In <i>Pendennis</i> he made -a sketch of a former member of the Garrick Club, -Captain Granby Calcraft, under the name of -Captain Granby Tiptoff. In the same book, -under the transparent guise of the unforgettable -Foker, he reproduced every characteristic, both in -language, manner, and gesture, of Mr. Andrew -Arcedeckne, and even went so far as to give an -unmistakable portrait of him, to that gentleman’s -great annoyance.</p> - -<p>Besides the examples given by Yates, who was -himself recognisable as George Garbage in <i>The -Virginians</i>, we know, too, that in the same novel -Theodore Hook appeared as Wagg, just as he did -<span class="xxpn" id="p010">{10}</span> -as Stanislaus Hoax in Disraeli’s <i>Vivian Grey</i>, and -that Alfred Bunn was the prototype of Mr. -Dolphin. Archdeacon Allen was the original of -Dobbin, Lady Langford of Lady Kew; and last, -but not least, we have lately learned from Mrs. -Ritchie that the inimitable Becky had undoubtedly -her incarnation.</p> - -<p>So we see that the antecedent improbability is -as the snakes in Iceland; for the above examples, -which no doubt could be largely added to, prove -that Thackeray did not hesitate to draw direct -from the model when it suited his purpose.</p> - -<p>So far so good. Let us now proceed to inquire -into the identity of the “Marquis of Steyne.”</p> - -<p>That his prototype was <i>a</i> Marquis of Hertford is -axiomatic with all those who have ever taken any -interest in the subject; but when we come to -inquire which marquis we find that opinions are -astonishingly at variance. It would seem almost -as though any Marquis of Hertford would serve, -whereas in point of fact the portrait would be the -grossest libel upon each of that noble line save -one; and so incidentally we shall, by making the -matter clear, rescue from calumny an honourable -<span class="xxpn" id="p011">{11}</span> -race, which has hitherto through heedlessness been -tarred with the same brush as its least honourable -representative.</p> - -<p>To show that this is not a reckless charge of -inaccuracy, I quote from four letters in my -possession written by four persons most likely to -have special knowledge upon the subject.</p> - -<p>The first, which is from a well-known printseller, -informs me “that the Marquis of Steyne in <i>Vanity -Fair</i> was Francis, second Marquis of Hertford, -who died in 1822.”</p> - -<p>The second, which is from one more intimately -acquainted with the family than any other living -person, says, “Unquestionably Francis, third -Marquis of Hertford, the intimate friend of -George IV., was the prototype of the Marquis of -Steyne in Thackeray’s <i>Vanity Fair</i>.”</p> - -<p>The third letter, which is from a well-known -London editor, in general the best-informed man I -have ever met, says, “It was the fourth Lord, who -died in 1870.”</p> - -<p>The last of the four letters supports this view and -says: “It was the fourth, not the third, Marquis -of Hertford who was supposed to be the prototype -<span class="xxpn" id="p012">{12}</span> -of Thackeray’s Marquis of Steyne. . . . He was -Richard Seymour Conway, who was born in 1800 -and died in 1870.”<a class="afnanc" href="#fn3" id="fnanc3">3</a></p> - -<p>Now, considering that these are the only -opinions for which I have asked, and that they -are so curiously divergent, it will, I think, be clear -that it is time an authoritative declaration were -forthcoming, based upon independent inquiries.</p> - -<p>It may as well, then, be stated once for all that -no one who has taken the trouble to investigate -the lives of the three marquises above mentioned -can hesitate for a moment in identifying the -“Marquis of Steyne” with the third Marquis of -Hertford. To those who are curious to know -very full particulars about these noblemen I -would recommend the perusal of an interesting -article entitled “Two Marquises” in <i>Lippincott’s -Magazine</i> for February 1874. Nor should they -fail to read Disraeli’s <i>Coningsby</i>, and compare -“Lord Monmouth” and his creature “Rigby,” -whose prototypes were the same Marquis of -Hertford and <i>his</i> creature -Croker, with the <span class="xxpn" id="p013">{13}</span> -“Marquis of Steyne” and <i>his</i> managing man “Wenham.”</p> - -<p>And, whilst we are identifying the third -Marquis in <i>Coningsby</i> and <i>Vanity Fair</i>, reference -may be made to another most unflattering -portrait of that notorious nobleman in a book -published anonymously in 1844, which was -<i>immediately</i> suppressed, but is now not infrequently -to be found in second-hand book catalogues. The -book was (I believe) written by John Mills, and -had ten clever etched plates by George Standfast -(probably a <i>nom de plume</i>). Copies in the parts as -published are excessively rare. The title of the -book is <i>D’Horsay; or the Follies of the Day, by a -Man of Fashion</i>.<a class="afnanc" href="#fn4" id="fnanc4">4</a> -It dealt with the escapades, -vices, and adventures of well-known men of the day -under the following transparent pseudonyms: -Count d’Horsay, the Marquis of Hereford, the -Earl of Chesterlane, Mr. Pelham, General Reel, -Lord George Bentick, Mr. George Robbins, -auctioneer, the Earl of Raspberry Hill, Benjamin -D——i, Lord Hunting-Castle, -and others. The <span class="xxpn" id="p014">{14}</span> -account of the “closing scene in the life of the -greatest debauchee the world has ever seen, the -Marquis of Hereford,” is too horrible to repeat.</p> - -<div class="dftnt"> -<p class="pfirst"> <a class="afnlabel" href="#fnanc3" id="fn3">3</a> -As I write, a great daily newspaper -informs the world that it was the <i>first</i> Marquis.</p> - -<p class="pfirst padtopc"> <a class="afnlabel" href="#fnanc4" id="fn4">4</a> -This scurrilous and poorly written book has lately been thought -worthy of resurrection and republication.</p></div> - -<p>So much for the identity of the “Marquis of -Steyne” as described in Thackeray’s letterpress, -which need not be dwelt upon here at greater -length, seeing that the immediate object of this -chapter is to deal with the accompanying engraving -and its history. And in proceeding to this -examination it should not be forgotten, in fairness -to the novelist, that Thackeray has explained that -his characters were made up of little bits of various -persons. This is no doubt true enough. At the -same time, we cannot but be aware that, although -the details may have been gathered, the outline has -been drawn direct from the life.</p> - -<div class="dctr03" id="f2.1"> -<img src="images/i015.png" width="518" height="700" alt="" /> -<div class="dcaption">The Suppressed Portrait -of the Marquis of Steyne</div></div> - -<p><i>Vanity Fair</i> was issued originally in monthly -parts. Its first title was <i>Vanity Fair: Pen and -Pencil Sketches of English Society</i>. Its first -number was dated “January 1847,” and had -“illustrations on steel and wood by the Author.” -On p. 336 of the <i>earliest issue</i> of this first edition -appeared the wood engraving of the Marquis of -Steyne, wanting which a first edition is, to the -<span class="xxpn" id="p015">{15}</span> -bibliomaniac, <i>Hamlet</i> with Hamlet left out. In -the later issues, the engraving (which I here -reproduce) was omitted, as also was the “rustic -type” in which the title appeared on the first -page.<a class="afnanc" href="#fn5" id="fnanc5">5</a> -The publishers were Messrs. -Bradbury and Evans, <span class="xxpn" id="p016">{16}</span> -as was natural, Thackeray being at this time on -the staff of <i>Punch</i>. In later editions of the novel, -published by Messrs. Smith, Elder and Co., the -engraving reappears—viz. on p. 22 of vol. ii. in the -standard edition, and on p. 158, vol. ii., of the -twenty-six-volume edition.<a class="afnanc" href="#fn6" id="fnanc6">6</a></p> - -<div class="dftnt"> -<p class="pfirst"> <a class="afnlabel" href="#fnanc5" id="fn5">5</a> -To the rabid bibliophile I here present another variation, which -has hitherto escaped the bookseller. In the first edition, on p. 453, will -be found the misprint “Mr.” (for “Sir”) Pitt and Lady Jane Crawley.</p> - -<p class="pfirst padtopc"> <a class="afnlabel" href="#fnanc6" id="fn6">6</a> -It does not appear amongst the illustrations to the biographical -edition, which are restricted to the full-page plates.</p></div> - -<p>What was the reason for its sudden removal -immediately after publication? As I have said -above, it is commonly stated to have been in -consequence of a threatened action for libel, of -course on account of the undoubted likeness of the -“Marquis of Steyne” to the third Marquis of -Hertford. But how does this tally with facts? -Lord Hertford had died in 1842, whilst the first -number of <i>Vanity Fair</i> did not appear until 1847. -Now every lawyer knows that you cannot libel -a dead man. This was made clear some few -years ago (I think) in the case of the Duke -of Vallombrosa against a well-known English -journalist. Therefore it is quite certain that, -although legal proceedings might have been -threatened, they would -certainly have collapsed. <span class="xxpn" id="p017">{17}</span> -Further than that, those who knew the fourth -Marquis are aware that he was the last man in the -world to embark upon a lawsuit or court publicity -in any way. And if any doubt upon the matter -should still remain, I am able to state positively -that no trace is to be discovered amongst the -Hertford family papers of any action threatened or -brought against Thackeray on any grounds whatsoever. -I think, then, that we may dismiss once -for all this aspect of the case.</p> - -<p>At the same time it is not impossible that some -hint may have reached the novelist’s ears that the -illustration gave pain to persons then living, and -that he promptly had it removed. But against -this view there is a very strong presumption. If -we turn the leaves of our original issue of <i>Vanity -Fair</i>, we shall, on p. 421, find another wood -engraving, and opposite p. 458 a full-page steel -engraving, “The Triumph of Clytemnestra,” both -containing portraits of “The Marquis of Steyne.” -Now, considering that that nobleman’s august -features are as recognisable in these as in the -suppressed engraving, it seems unreasonable to -suppose that the one would have been removed -<span class="xxpn" id="p018">{18}</span> -without the others, in consequence of family representations.</p> - -<p>Possibly the real truth of the matter is a very -much simpler one. It may have been either that -Thackeray was himself disgusted with the brutal -frankness of the picture when he saw it printed, -and insisted on its removal, or that the block met -with some accident. Indeed, I am inclined to -think, judging from my memory of the subject, -that the idea of an action for libel is one that has -only found expression in more modern booksellers’ -catalogues. If I am not mistaken, the -older booksellers used to speak of the engraving -not as “suppressed,” but as “extremely rare,” and -that it was supposed to have disappeared from -later issues because it was broken before many -impressions were taken. Of course, a threatened -action for libel, on account of its striking likeness -to a member of the aristocracy, added piquancy -to the affair, and so redounded to the benefit -of the vendor of the earliest issue of a first -edition; and the identification of Lord Steyne’s -prototype, in the letterpress, gave colour to the -idea. Once set going, we may be certain that -<span class="xxpn" id="p019">{19}</span> -the legend would not be allowed to lapse for lack -of advertisement. To adapt what Dr. Johnson said -of the “Countess,” “Sir,” said he to Boswell, “in the -case of a (marquis) the imagination is more excited.”</p> - -<p>The accompanying portraits of the third and -fourth Marquises of Hertford give the reader an -opportunity of forming his own opinion in the -matter of identity. That of the third Marquis -is from the engraving by William Holl of the -painting by Sir Thomas Lawrence, and certainly -seems to suggest, in the prime of life, the features -and expression which Thackeray has portrayed in -old age. The bald head, and the arrangement of -the whiskers—which are allowed to approach the -corners of the mouth—are incontestable points of -resemblance; and if the old voluptuary is somewhat -more battered than Lawrence’s rather spruce -model, we must remember that his portrait was -painted by the courtly President of the Royal -Academy many years before the period of life -at which he is introduced to us by the novelist. -Certainly he is not an attractive object; and I -was amused to receive a letter from a member -of the family to whom I first showed the wood -<span class="xxpn" id="p020">{20}</span> -engraving in which these words occur: “I find we -have no portrait whatever of the Lord Hertford in -question, and am not surprised at it if he at all -resembled that of the Marquis in <i>Vanity Fair</i>!”<a class="afnanc" href="#fn7" id="fnanc7">7</a></p> - -<p>As regards the fourth Marquis, it is a curious -fact that, notwithstanding his vast wealth, and his -tastes as an artist and connoisseur, no painted -or engraved portrait of him is known. The -photograph here reproduced is the only counterfeit -presentment extant, and is enough, if further -evidence were needed, to dispose for ever of the -idea that he was the prototype of the Marquis of -Steyne. It is hardly necessary to remind the -reader that it is to him, through Sir Richard and -Lady Wallace, that the nation owes a debt of -gratitude for the splendid collection now housed -in perpetuity in Hertford House.<a class="afnanc" href="#fn8" id="fnanc8">8</a></p> - -<div class="dftnt"> -<p class="pfirst"> <a class="afnlabel" href="#fnanc7" id="fn7">7</a> -This is the description of the Marquis in -<i>Coningsby</i>: “Lord Monmouth was in height above the middle -size, but somewhat portly and corpulent; his countenance -was strongly marked: sagacity on the brow, sensuality -in the mouth and jaw; his head was bald, but there were -remains of the rich brown hair on which he once prided -himself. His large, deep blue eye, madid, -and yet piercing, showed that the secretions of his brain -were apportioned half to voluptuousness, half to common -sense.” This might well pass as a description of the -Thackeray drawing.</p> - -<p class="pfirst padtopc"> <a class="afnlabel" href="#fnanc8" id="fn8">8</a> -Just before Lady Wallace’s death, an -examination of the Hertford House library failed to -discover a first edition of <i>Vanity Fair</i>, in which I -fancied some note might possibly have been found. This -was probably due to the fact that a large number of the -Hertford books were destroyed in the Pantechnicon fire.</p></div> - -<div class="dctr02" id="f1.2"> -<img src="images/i020fp.jpg" width="587" height="700" alt="" /> -<div class="dcaption">The Third Marquis of Hertford.(<i>From the -engraving by W. Holl, of the painting by Sir Thomas -Lawrence</i>)</div></div> - -<div class="dctr03" id="f1.3"> -<img src="images/i021fp.jpg" width="464" height="700" alt="" /> -<div class="dcaption">The Fourth Marquis of Hertford. -(<i>From a photograph</i>)</div></div> - -<div><span class="xxpn" id="p021">{21}</span></div> - -<p>It will be noticed that in this photograph -Lord Hertford wears his Star of the Order of the -Garter, to obtain which he made the “tremendous -sacrifice” of which an amusing account is given in -the <i>Lippincott</i> article mentioned above. Of him -the <i>Speaker</i> wrote at the time of his death:</p> - -<blockquote> -<p>Living in Paris a quiet and rather solitary life—in habits -more a Frenchman than an Englishman; in tastes an artist -and a connoisseur; in purse and opportunity unlimited by -any niggard need of self-control—the fourth Marquis of -Hertford busied himself in gathering together from the -treasure-houses of Europe innumerable precious specimens -of the painter’s, the goldsmith’s, and the cabinetmaker’s art. -Year after year, with tranquil perseverance, he heaped up -on every side of him all the beautiful objects on which he -could lay hands—pictures, miniatures, furniture, enamels, -china and plate, bronzes, and coats of armour—until his -storehouses were full to overflowing of treasures which, -except for the pleasure of procuring them, he could hardly -ever have enjoyed. In this congenial task he was assisted -by a young Englishman, the secret of whose connection with -the Hertford family, if any such there was, the public has -never penetrated yet. To this young Englishman, who was -well known and liked in Parisian society in the tawdry -splendour of the Second Empire, and whose active generosity -<span class="xxpn" id="p022">{22}</span> -won him wide esteem in that desolated capital amid the -terrible events of the winter of 1870–71, Lord Hertford -bequeathed the wonderful possessions which he had accumulated -in a lifetime of discriminating labour. When the -Franco-German War and the Commune were over, Richard -Wallace brought his spoils safely home, and exhibited them -for a time at the Bethnal Green Museum while he built the -great galleries to hold them in Manchester Square. But -even here they were not destined to bring much happiness -to their possessor. After a short time Sir Richard Wallace -was left heirless—like Lord Hertford—by a cruel stroke of -fate; and now, by his widow’s gift, the splendid inheritance, -which has passed so quickly from the keeping of the hands -that laid it up, goes to enrich a public which will not be -ungrateful for the donor’s rare munificence, or unmindful of -the sad and curious story it recalls.<a class="afnanc" href="#fn9" id="fnanc9">9</a></p></blockquote> - -<div class="dftnt"> -<p class="pfirst"> <a class="afnlabel" href="#fnanc9" id="fn9">9</a> -A footnote on p. 229, vol. iv. of G. E. C.’s -<i>Complete Peerage</i> says: “[The fourth Marquis] is said -never to have been in England. He left his Irish estates -(worth £50,000 a year) and most of his personalty (which -included the well-known Hertford collection of pictures) to -Sir Richard Wallace, Bart. (so <i>cr.</i> 1866), who is supposed -to have been an illegit. son, either of himself (when aged -18), or of his father, or even (not improbably) of his -mother; which Richard (<i>b.</i> in London, 26th July 1818) <i>d.</i> -s.p. at Paris, 20th July 1890, in his 72nd year, and was -<i>bur.</i> in the family vault at Père-la-Chaise. Sir Richard’s -‘art treasures’ (derived as above stated) were valued at -his death in 1890 at above two millions.”</p></div> - -<p>To return again to the suppressed wood engraving -itself, it is curious to notice that old “Lady -Kew” of <i>The Newcomes</i> was sister to Lord -Steyne. Now the name “Kew” -at once suggests -<span class="xxpn" id="p023">{23}</span> -to those conversant with the early doings of the -century the nickname of the notorious Duke of -Queensberry, known to all and sundry as “Old Q,” -and sets us considering why the name should -suggest itself to Thackeray in connection with -Lord Hertford. And what do we find?</p> - -<p>When the third Marquis was but twenty-one, -he married a young lady named Marie Fagniani. -She was believed to be the daughter of the Duke -of Queensberry and an opera dancer of that name. -Nothing would be more natural, therefore, than -that Thackeray, having saturated himself with the -surroundings of the prototypes of his characters, -should, probably half unconsciously, have seized -upon a capital name suggested to him in the -course of preparing for his novel, and so adapted -it to his requirements. This suggestion I only -make for what it is worth. It may, of course, -merely be that a search through the suburban -directory suggested the name, as was no doubt the -case in apportioning to her ladyship’s husband his -second title of Lord Walham. At any rate, the -coincidence seems worth recording.</p> - -<p>In conclusion, there can be no possible doubt -<span class="xxpn" id="p024">{24}</span> -that so far as Thackeray’s letterpress is concerned, -the prototype of the Marquis of Steyne (Lord of -the Powder Closet, etc. etc.) was Francis Charles -Seymour Conway (third Marquis of Hertford) of -his branch; Earl of Hertford and Yarmouth, -Viscount Beauchamp, Baron Conway, and Baron -of Ragley in England; and Baron Conway and -Kilultagh in the peerage of Ireland; and as -regards the suppressed wood engraving, there will, -I think, be little question that Thackeray the -artist dotted his i’s by an intentional representation -of the noble lord’s not altogether attractive -features.</p> - -<div class="dctr02" id="f1.4"> -<img src="images/i024fp.jpg" width="600" height="787" alt="" /> -<div class="dcaption">The Third Marquis of Hertford when Lord -Yarmouth.(<i>From the coloured caricature by Richard -Dighton</i>)</div></div> - -<p>It is, however, only fair to state that Lord -Hertford was probably by no means the unmitigated -scoundrel that those familiar with the -“Marquis of Steyne” might be led to suppose. -That he participated in all the amusements and -most of the follies of a notorious society there can -be little doubt. At the same time, we have it on -record (in the somewhat pompous diction of the -period) that he was extensively read in ancient and -modern literature, that his judgment was remarkable -for its solidity and sagacity, and that his -<span class="xxpn" id="p025">{25}</span> -conversation was enlivened by much of that -refined and quaint pleasantry which distinguished -his near relative, Horace Walpole. He was a -distinguished patron of all the arts; and those who -were more intimately acquainted with his private -life gave him the still higher praise of being a -warm, generous, and unalterable friend. “It is -but justice to add,” to quote the final words of the -notice referred to, “that the writer has accidentally -become acquainted with instances of his Lordship’s -benevolence, the liberality of which was -equalled only by the delicacy with which it was -conferred, and the scrupulous care with which he -endeavoured to conceal it.”</p> - -<p>The caricature portrait of the third Marquis -here reproduced was etched, as will be seen, by -Richard Dighton in 1818, when this Marquis’s -father was alive, and he was only the Earl of -Yarmouth. The watermark on the paper is 1826, -which explains the inscription “Marquis of Hertford,” -evidently a later addition—an <i>ex post facto</i> -puzzle which proved insoluble until it occurred to -me to hold the portrait up to the light.</p> - -<div class="chapter"> -<h2 class="h2herein" id="p026">CHAPTER III <span class="h2small">THE - SUPPRESSED PORTRAIT OF DICKENS, “PICKWICK,” “THE BATTLE OF LIFE,” AND - GRIMALDI</span></h2></div> - -<p class="pfirst"><span class="smcap">H<b>AVING</b></span> -dealt in the last chapter with the -suppression of the well-known Thackeray wood-cut -of the “Marquis of Steyne,” we naturally turn -next in order to the other great Victorian novelist, -Charles Dickens. Much, of course, has been -written about the Buss plates in <i>Pickwick</i>, and -much about the “Fireside Scene” in <i>Oliver -Twist</i>. All readers of Forster’s <i>Life of Charles -Dickens</i> know something of the wood engraving -in <i>The Battle of Life</i> which ought to have been, -but never was, cancelled; and some know what to -look for in the vignette title of <i>Martin Chuzzlewit</i>. -It is, however, time that the scattered details -should be grouped, that reproductions of the plates -themselves should make reference easy to those -<span class="xxpn" id="p027">{27}</span> -who would identify their possessions, and that the -additional information which is in some cases -scattered about in various impermanent writings -of my own and others should be focussed for the -greater convenience of the collector.</p> - -<p>In the first place, I shall present to the reader a -suppressed portrait of the great novelist, which has, -I believe, never since been reproduced. It was -published about the year 1837 by Churton, but -as to the name of the artist by whom it was etched -there is a mystery which yet awaits solution. The -plate is, as will be noticed, signed with the familiar -pen-name “Phiz,” but was almost immediately -repudiated by the chartered bearer of that title, -H. K. Browne. It was promptly withdrawn from -publication, and is now, as a necessary consequence, -much sought after by the collector.<a class="afnanc" href="#fn10" id="fnanc10">10</a> -Of it the author of <i>Charles Dickens, the Story -of his Life</i>, writes:</p> - -<blockquote> -<p>A very remarkable [portrait] was etched about 1837 -with the name “Phiz” at the foot. It represents Dickens -<span class="xxpn" id="p028">{28}</span> -seated on a chair and holding a portfolio. In the background -a Punch-and-Judy performance is going on. The -face has none of that delicacy and softness about it which -are observable in the Maclise portrait. It looks, however, -more like the real young face of the older man, as revealed -in the photograph now publishing [<i>i.e.</i> just after Dickens’s -death]. This portrait is very rare, and it is understood -that it was withdrawn from publication soon after it -appeared. Mr. Hablot K. Browne, the genuine “Phiz,” -denies all knowledge of it.</p></blockquote> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc10" id="fn10">10</a> -Since writing this, I have experienced a piece of scurvy luck. -Entering a shop in the outskirts of Birmingham, I saw an impression -of the etching lying on a table. I inquired its price and was met by the -answer that it had just been sold to a lady for eighteenpence!</p></div> - -<p>The Hotten memoir thus whets the appetites -of its readers, but does not offer to satisfy them by -a reproduction. This obvious duty I therefore -here take the opportunity of discharging, and -would advise the book-hunter to make a mental -note of the etching in that pix of the brain where -is secreted the reagent which separates the rare -gold of the bookseller’s threepenny box from its -too ordinary dross. The reproduction here given -is about the size of the original etching.</p> - -<p>So much for the suppressed portrait. Now -let us take up our first edition of <i>Pickwick</i>, and -say what has to be said about the much-discussed -Buss plates and their substitutes.</p> - -<div class="dctr03" id="f1.5"> -<img src="images/i028fp.jpg" width="514" height="800" alt="" /> -<div class="dcaption"> -The suppressed portrait of Charles Dickens</div></div> - -<p><i>Pickwick</i>, as we all know, was first published -in parts, and only one number had appeared when -<span class="xxpn" id="p029">{29}</span> -Robert Seymour, its illustrator, died by his own -hand. Messrs. Chapman and Hall, the publishers, -were at their wits’ end to get the new number -illustrated in time for publication. Jackson, the -well-known wood-engraver, who was at the time -working for them, proposed for the task R. W. -Buss, a “gentleman already well known to the -public as a very humorous and talented artist.” -The publishers gladly adopted the suggestion, and -the appointment was made.</p> - -<p>All this we find very fully set out in Mr. Percy -Fitzgerald’s <i>History of Pickwick</i>, to which I -would refer the reader who is anxious to acquaint -himself with details of the transaction. The Buss -etchings, which we here reproduce, had for their -subjects “The Cricket Match” and “Tupman and -Rachel,” and are to be found respectively opposite -pp. 69 and 74 of the earliest issues of the first -edition of the immortal romance. They were, in -the words of the artist himself, “abominably bad,” -and he was immediately superseded as illustrator -by H. K. Browne, who was destined to be inseparably -connected with the novelist’s work for so long -a period. <span class="xxpn" id="p030">{30}</span></p> - -<p>This episode has been so often dwelt upon, and -so exhaustively dealt with, that I shall not do -much more than point out how those who have -written on the subject have altogether missed -what is perhaps the most important link in the -whole chain of circumstances. So put to it, as I -have said, were the publishers to get the new -number out in time lest an expectant public should -be disappointed, that they were forced to fix upon -Seymour’s substitute <i>without consulting Dickens</i>. -This was really the whole <i>crux</i> of the situation. -The author only recognised the failure of the -plates. He knew nothing of the difficulties under -which Buss had laboured, and so naturally made -no allowances, and knew of no reason why subsequent -ones should be better. The plates unquestionably -were poor, but we find from Mr. -Buss’s own private MS., to which, by his son’s -kindness, I have had access, that this was not by -any means mainly the fault of the artist. He had -previously had no experience in etching, and only -undertook the work after much pressure, to -accommodate the publishers. To quote from his -own account: <span class="xxpn" id="p031">{31}</span></p> - -<div class="dctr02" id="f1.6"> -<img src="images/i030fp.jpg" width="585" height="800" alt="" /> -<div class="dcaption"> -The “Pickwick” suppressed plate: “The -Cricket Match.”(<i>By R. W. Buss</i>)</div></div> - -<blockquote> -<p>At Seymour’s death, Hall engaged me to illustrate -Charles Dickens’s <i>Pickwick</i>. I commenced practice, and -worked hard, I may say day and night, for at least a month -on etching, and I furnished the illustrations for <i>Pickwick</i>. -Without any reason assigned, Hall broke his engagement -with me, in a manner at once unjust and unhandsome.</p></blockquote> - -<p>As a matter of fact, the plates, as they -appeared, were not etched by Buss at all, but by -a professional etcher after his designs. And it is -curious to note that each of the plates is, notwithstanding, -inscribed, “Drawn & Etch’d by R. W. -Buss.”</p> - -<p>The artist’s bitterness against his employers was -not unnatural. At the same time, we must remember -that the fact that they had on the spur -of the moment to decide upon an artist, without -consulting Dickens, puts the matter in a very -different light. The fortunes of the venture were -at stake. The author, at all hazards, must be -humoured. His will was paramount, and when -he insisted upon Buss’s supersession by H. K. -Browne, there was practically an end of the -matter. Happily Buss’s labour was not all -lost, and it was with much pleasure that I seized -the opportunity offered me by the editor of the -<span class="xxpn" id="p032">{32}</span> -<i>Magazine of Art</i> in June 1902, to point out in -that publication how perverse has been the fate -which has made the name of an artist of no mean -order more familiar by his few failures than by his -many successes. It is not generally known that -there are in existence two etched plates by Buss -showing that he contemplated a series of extra -illustrations to <i>Pickwick</i>. The one is a title-page -with Mr. Pickwick being crowned; the other is -rather a poor rendering of “The Break-down.”</p> - -<p>But to return to the plates themselves: only -about seven hundred copies were published when -plates by Browne were substituted for them. -“The Cricket Match” was wholly suppressed, and -the subject of “Tupman and Rachel” was etched -over again, considerably altered, but evidently -founded upon the Buss plate. The latter is here -reproduced for the purpose of comparison.</p> - -<div class="dctr02" id="f1.7"> -<img src="images/i032fp.jpg" width="600" height="721" alt="" /> -<div class="dcaption">The “Pickwick” suppressed plate “Tupman and -Rachel.”(<i>By R. W. Buss</i>)</div></div> - -<div class="dctr02" id="f1.8"> -<img src="images/i033fp.jpg" width="600" height="795" alt="" /> -<div class="dcaption">“Tupman and Rachel.” -(<i>By H. K. Browne</i>)</div></div> - -<p>That every Dickens collector desires to possess -one of the seven hundred copies of the first issue -of the first edition which contain the Buss plates, -is a matter of course, and enough has been said to -make clear the reason of such desire. Should -any of my readers fail to sympathise, he must take -<span class="xxpn" id="p033">{33}</span> -it as an incontrovertible sign that he is immune from -that most delightful of all diseases, bibliomania.</p> - -<p>It need only be added that, in the beautiful -“Victorian Edition” of the novel, published in two -volumes by Messrs. Chapman and Hall in 1887, -facsimiles may be seen of the original drawings -made for the suppressed plates, as well as two -unpublished drawings prepared by Mr. Buss, but -not used. The subjects of these are “Mr. -Pickwick at the Review,” and “Mr. Wardle and -his Friends under the Influence of the Salmon.” -The first is an excellent drawing, and goes far to -prove that, had Buss been given time, he would -have no more failed as illustrator of <i>Pickwick</i> -than he did as illustrator of various other most -successful publications. The same edition also -contains facsimiles of an unused drawing by -“Phiz,” “Mr. Winkle’s First Shot,” and of a -water-colour drawing of “Tom Smart and the -Chair,” sent in to the publishers by John Leech -as a specimen of his work. From which it will -be seen that the “Victorian Edition,” limited to -two thousand copies, is also one which every -Dickens lover ought, if possible, to possess. -<span class="xxpn" id="p034">{34}</span></p> - -<p>The originals of the Buss drawings were in the -possession of the artist’s daughter, Miss Frances -Mary Buss, the well-known founder of the North -London Collegiate and Camden Schools, until her -death a few years ago. They were then sold, and -I have been unable to discover into whose hands -they have passed.</p> - -<p>So much for the <i>Pickwick</i> suppressed plates, -which, if strict chronology were to be observed, -should naturally be followed by an account of the -“Rose Maylie and Oliver” plates in <i>Oliver Twist</i>. -These, however, we shall hold over for another -chapter, as they will have to be considered at some -length. Meanwhile, we will deal shortly with the -curious wood engraving in <i>The Battle of Life</i>, -and with the etching of “The Last Song” in -<i>The Memoirs of Joseph Grimaldi</i>. The former -is so far germane to our subject that it should -have been suppressed, but, out of consideration -for the artist, was not.</p> - -<div class="dctr04" id="f2.2"> -<img src="images/i035.jpg" width="473" height="800" alt="" /> -<div class="dcaption">The Battle of Life. -“Leech’s grave mistake”</div></div> - -<p>Every Dickens collector desires to possess the -complete set of the “Christmas Books” in their -dainty red cloth bindings, dated from 1843 to -1848. A really desirable set includes, of course, -<span class="xxpn" id="p036">{36}</span> -the <i>Christmas Carol</i>,<a class="afnanc" href="#fn11" id="fnanc11">11</a> -with coloured plates by -Leech, with the <i>green end-papers</i> and “stave 1”; -<i>The Chimes</i>, with the publishers’ names <i>within</i> -the engraved part of the title-page; and <i>The -Battle of Life</i>, with the publishers’ names on <i>both</i> -titles. But it is only the last of these that is -entitled to mention in a treatise on cancelled -illustrations, and that, as I have said, not because -it <i>was</i> suppressed, but because it should have been.</p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc11" id="fn11">11</a> -It may be mentioned that there are two or three copies of the -<i>Christmas Carol</i> known with the title-page and half-title printed in -green and red, instead of in red and blue. Much store is laid by this -variation amongst really moonstruck collectors.</p></div> - -<p>By those who are familiar with the story it -will be remembered that an early part of the plot -leads one to suppose that Marion Jeddler had -eloped with Michael Warden, when, as a matter -of fact, she had merely escaped to her aunt. -Leech, who was engaged as illustrator, was -immensely busy, and only read so much of the -story as seemed necessary for his purpose. As a -result he was deceived, as Dickens intended his -readers should be, and designed the double illustration -here reproduced, in which the festivities to -welcome the bridegroom at the top -of the page <span class="xxpn" id="p037">{37}</span> -contrast with the flight of the bride in company -with Michael Warden represented below. Thus -was Dickens curiously “hoist with his own -petard.” And the curious thing is that, notwithstanding -the publicity given to the mistake in -Forster’s <i>Life of Dickens</i>, this tragic woodcut, -which wrongs poor Marion’s innocence and makes -a hash of the whole story, is reproduced in the -reprints up to this very day. The poor girl’s -tragic figure remains, and seems likely to continue -to do so, a victim to the stereotype.</p> - -<p>This episode is generally referred to as “Leech’s -grave mistake,” and grave undoubtedly it was; -but the matter has its bright side, which redounds -to the credit of the great novelist. I take the -liberty of quoting from what has always seemed -to me a very noble letter when we remember that -Dickens was of all men most sensitive to any -shortcomings in the work of his collaborators. -He writes to Forster:</p> - -<blockquote> -<p>When I first saw it it was with a horror and agony not -to be expressed. Of course I need not tell <i>you</i>, my dear -fellow, Warden has no business in the elopement scene. <i>He</i> -was never there. In the first hot sweat of this surprise and -novelty I was going to implore the printing of that sheet to -<span class="xxpn" id="p038">{38}</span> -be stopped, and the figure taken out of the block. But -when I thought of the pain that this might give to our kind-hearted -Leech, and that what is such a monstrous enormity -to me, as never having entered my brain, may not so present -itself to others, I became more composed, though the fact is -wonderful to me.</p></blockquote> - -<p>Of course, had it been in these days of hurried -publication, Dickens would hardly have given the -matter a second thought. The average illustrator -of to-day is curiously superior to the requirements -of his author. He either does not read the episodes -that he is called upon to illustrate, or, if he reads -them, he does not grasp their meaning, or, if he -grasps their meaning, the meaning does not meet -with his approval. At any rate, he constantly -makes a hash of the whole thing. Take for -example <i>Penelope’s English Experiences</i>, by Miss -Kate Wiggin, now lying before me. Look at the -illustration, opposite p. 58, of Lady de Wolfe’s -butler, who struck terror into Penelope’s soul -because <i>he did not wear a livery</i>, and try, if you -can, to recognise him in the shoulder-knotted, -stripe-waistcoated, plush-breeched, silk-stockinged -menial with an “unapproachable haughtiness of -demeanour,” which the illustrator has portrayed. -<span class="xxpn" id="p039">{39}</span> -Nor is this one of a few exceptional cases: their -number might be multiplied <i>ad infinitum</i>.</p> - -<p>But to return to <i>The Battle of Life</i>. Curiously -enough, there is another little episode connected -with this book, never, I believe, noticed before, -which accentuates our impression of the generosity -of Dickens’s character.</p> - -<p>Three years after its publication a somewhat -scurrilous little volume (now excessively rare), -bearing the allusive title <i>The Battle of London -Life; or Boz and his Secretary</i>, issued from the -press. It was illustrated by six lithographs signed -with the name of George Augustus Sala. It was -a poor enough performance, but attracted attention -by its <i>ad captandum</i> title, and the portrait of “Boz -in his Study.” It is an imaginary and far from -complimentary account of Dickens’s employment -of a secretary, whose occupation it is to show him -round the haunts of vice in London, by way of -providing “local colour” for the novels. Eventually -the secretary turns out to be a detective, who has -been told off by the Government to discover -the nature of the novelist’s intimacy with the -revolutionist, Mazzini. It is a vulgar little -<span class="xxpn" id="p040">{40}</span> -brochure, and, for all its futility, must have been -very distasteful to the idol of the day. It was -therefore the more magnanimous of Dickens to -ignore the part which Sala had in it, and to speak -so generously of him as we find him doing in the -<i>Life</i>, besides employing him and pushing him, -as he did largely later on, in his periodicals. A -smaller man would not have allowed himself to -forget such youthful indiscretions, for “memory -always obeys the commands of the heart.”</p> - -<p>Judged as a work of art, <i>The Battle of Life</i> is -perhaps the least successful of Dickens’s “Christmas -Books.” Edward FitzGerald’s opinion of it was -shown in an autograph letter which came into the -market only the other day. “What a wretched -affair is <i>The Battle of Life</i>!” he writes; “it scarce -even has the few good touches that generally -redeem Dickens.”</p> - -<div class="dctr03" id="f1.9"> -<img src="images/i040fp.jpg" width="585" height="800" alt="" /> -<div class="dcaption">“The Last Song” with the suppressed border. -(<i>By George Cruikshank</i>)</div></div> - -<p>Whilst we are on the subject of an illustration -which should have been suppressed but was not, -it should be pointed out that this was not the -only occasion upon which Leech misunderstood -Dickens’s purport. This we learn from Mr. -F. G. Kitton’s monumental work, -<i>Dickens and <span class="xxpn" id="p041">{41}</span> -his Illustrators</i>. Here he tells us that in another -Christmas book, <i>The Chimes</i>, Leech delineated, -in place of Richard as described in the text, an -extremely ragged and dissipated-looking character, -with a battered hat upon his head. When the -novelist saw it the drawing had already been -engraved, but the woodcut was promptly suppressed; -there still exists, however, an impression -of the cancelled engraving, which is bound up with -what is evidently a unique copy of <i>The Chimes</i> -(now the property of Mr. J. P. Dexter), where -blank spaces are left for some of the woodcuts. -This particular copy is probably the publishers’ -“make-up,” which had accidentally left their hands.</p> - -<p>Let us now consider for a moment a very -remarkable etching which was, so far only as -regards an important portion of it, cancelled in -all but the very first issue of <i>The Memoirs of -Joseph Grimaldi</i>. These were published in two -volumes in 1838. Besides writing the preface, -Dickens was only responsible for the editing of -Mr. Egerton Wilks’s manuscript, which had been -prepared from autobiographical notes. A good -deal of fault was found with -the work, particularly <span class="xxpn" id="p042">{42}</span> -on the ground that Dickens himself could never -have seen Grimaldi. To this he very pertinently -replied, “I don’t believe that Lord Braybrooke -had more than the very slightest acquaintance -with Mr. Pepys, whose memoirs he edited two -centuries after he died!”<a class="afnanc" href="#fn12" id="fnanc12">12</a></p> - -<p>The volumes are now most valued for the -twelve etchings by George Cruikshank; but the -important thing from the bibliolater’s point of -view is to possess the earliest issue with “The Last -Song” <i>surrounded by a grotesque border</i>. This -border, which is here produced, was removed -from the plate after the first issue of the first -edition. I have just had offered to me a copy -of this edition containing “The Last Song” <i>in the -two states</i>, <i>i.e.</i> with and without the border, for -the modest sum -of eight guineas!</p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc12" id="fn12">12</a> -My attention was lately called to a copy -of the memoirs in which the former owner had pasted the -following amusingly irrelevant note:—“At the Beckford -sale a copy of the famous Grimm—the Grimm with the -illustrations printed in bronze-coloured ink—fetched £64.” -I have a very shrewd suspicion that the annotator had an -unmethodical brain, and believed Grimm to be short for -Grimaldi! <i>Requiescat in pace.</i></p></div> - -<div class="chapter"> -<h2 class="h2herein" id="p043">CHAPTER IV -<span class="h2small">DICKENS CANCELLED PLATES: “OLIVER TWIST,” - “MARTIN CHUZZLEWIT,” “THE STRANGE GENTLEMAN,” “PICTURES FROM ITALY,” - AND “SKETCHES BY BOZ.”</span></h2></div> - -<p class="pfirst"><span class="smcap">I<b>N</b></span> -dealing with the episode of the suppressed plate -in <i>Oliver Twist</i> we must be careful to bear in mind -the fact that between the publication of <i>Pickwick</i> -and the later novel there was an essential difference. -The former was first published in self-contained -parts, whereas the latter was published <i>serially</i> in -<i>Bentley’s Miscellany</i>. Hence, the first editions of -<i>Pickwick</i> in book form are to be met with bound -from the parts, whereas the first editions in book-form -of <i>Oliver Twist</i> are only to be found as -issued by the publishers complete in three volumes. -And unless we grasp this distinction at the outset -we shall find it impossible to understand the -apparently erratic appearance and disappearance -<span class="xxpn" id="p044">{44}</span> -of the suppressed plate of “Rose Maylie and -Oliver: the Fireside Scene” and its substitute.</p> - -<p>The first instalment of the novel was published -in the second number of <i>Bentley’s Miscellany</i>, -February 1837, and it continued to run for nearly -two years and a quarter. From this it will be -seen that the last instalment of the novel was not -published until three months of the year 1839 had -elapsed.</p> - -<p>In the meantime, however, the novel and the -illustrations had been completed, and the whole -story was printed in book form and published in -three volumes in the second year of its serial issue, -the exact date being November 9, 1838.</p> - -<p>As a consequence we shall find the following -curious result—namely, that the owners of the -very earliest issue of <i>Oliver Twist</i> find themselves -not in the happy possession of the suppressed -plate, as would be naturally expected, but in the -melancholy possession of its exceedingly ugly -substitute.</p> - -<p>This, to the uninitiated, would prove as great -a puzzle as to Macaulay’s New Zealander would -appear the fact that in Truro Cathedral the older -<span class="xxpn" id="p045">{45}</span> -structure is of a later style than the new. But -this is comparing small things with great. For we -are fain to confess that, unlike the law, <i>de minimis -curat helluo librorum</i>.</p> - -<p>Thus, then, we have to face this apparent -anomaly, that, to possess a copy of <i>Oliver Twist</i> -with brightest impressions of the etchings throughout, -we are under the necessity of combining the -early plates from <i>Bentley’s Miscellany</i> with the -later plates from the first edition published in -volume form. This not uninteresting fact I may, -I believe, claim to be the first to point out, and -it goes far to explain a very misleading note on -p. 151 of Reid’s monumental <i>Catalogue of George -Cruikshank’s Works</i>, which shows clearly that -the late Keeper of the Prints was greatly at sea -in the matter.</p> - -<p>Referring to the “Fireside Scene,” he says: -“The plate was used in 1838, when the work reappeared -in three volumes, in lieu of the preceding -(‘Rose Maylie and Oliver at Agnes’s Tomb’), -which was thought by the publisher to be of too -melancholy a nature for the conclusion of the -story.” From which any casual reader would be -<span class="xxpn" id="p046">{46}</span> -led to the conclusion that “Rose Maylie and -Oliver at the Tomb” was the suppressed plate, -and that the “Fireside Scene” was substituted -for it, whereas exactly the opposite was the case.</p> - -<p>The novel was ready for publication complete -in three volumes in the autumn of 1838. The -illustrations for the last volume had been somewhat -hastily executed “in a lump.” And Dickens, -who always was most solicitous about the work of -his collaborating artists, did not set eyes upon -them until the eve of publication. One of them, -“The Fireside Scene,” he so strongly objected to -that it had to be cancelled, and he wrote to the -artist asking him to design “the plate afresh and -to do so <i>at once</i>, in order that as few impressions -as possible of the present one may go forth.”<a class="afnanc" href="#fn13" id="fnanc13">13</a> -The publication of the book, however, could not -be delayed, and thus we have it that the earliest -issue of the first edition of <i>Oliver Twist</i> in book-form -contains the “Fireside Scene” opposite p. 313, -vol. iii., which it is the desire of every Dickens -collector to possess, while the later issue of the -latter part of the novel -in <i>Bentley’s Miscellany</i> <span class="xxpn" id="p047">{47}</span> -contains that which Cruikshank substituted for it -at the novelist’s request.</p> - -<p>Both the plates are here reproduced for the -convenience of the owner of this or that edition.</p> - -<p>But this is not all that has to be said upon the -subject of the “Rose and Oliver” plates, and -again I claim to be the purveyor of a little exclusive -information.<a class="afnanc" href="#fn14" id="fnanc14">14</a></p> - -<p>It has generally been supposed that Cruikshank, -although naturally put about by Dickens’s disapproval, -did immediately proceed to carry out his -author’s suggestion. For example, we find Mr. -Francis Phillimore, in his introduction to the -<i>Dickens Memento</i>, published by Messrs. Field and -Tuer, saying: “The author was so disgusted with -the last plate that he politely but forcibly asked -Cruikshank to etch another. This was done at -once.” I am, however, in a position to prove that -this was emphatically not the case. And it is -what one would naturally expect, for George was -the last person in the world to acquiesce calmly -and unhesitatingly in the condemnation of work -which he had himself -deemed sufficiently good. <span class="xxpn" id="p048">{48}</span></p> - -<p>In the year 1892 I had the privilege of examining -the splendid collection of Mr. H. W. Bruton, -of Gloucester, which has since been dispersed. -On that occasion he drew my attention to a -unique impression of the “Fireside” plate in his -possession, from which we (he was the first to see -the point) drew the necessary conclusion which -follows. The importance of the impression lies in -the fact that it shows that a large amount of -added work had been put into the plate, principally -of a stipply nature, after all the impressions -which had so displeased Dickens had been struck -off. By which it is evident that George tried -hard to improve the original plate instead of at -once falling in with the suggestion that the subject -should be designed afresh. This proof was probably -submitted to Dickens and again rejected, for -no impressions of the plate with stippled additions -are known to have been published.<a class="afnanc" href="#fn15" id="fnanc15">15</a> -And -plainly it was only after considerable effort to -make the plate do, that the -artist designed the <span class="xxpn" id="p049">{49}</span> -far worse picture of “Rose Maylie and Oliver -before the Tomb of Agnes,” which is a questionable -adornment to the later issues of the story. -And had it not been for the delay so caused, it is -more than probable that the suppressed plate -would have been even a greater rarity than it -actually is.</p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc13" id="fn13">13</a> -<i>Vide</i> Forster, <i>Life of Charles Dickens</i>, -vol. i. p. 101. (Library Edition.)</p> - -<p class="pfirst padtopc"><a class="afnlabel" href="#fnanc14" id="fn14">14</a> -I first alluded to this in <i>Temple Bar</i> for September 1892.</p> - -<p class="pfirst padtopc"><a class="afnlabel" href="#fnanc15" id="fn15">15</a> -It need hardly be said that if any of my readers finds that his -copy contains “The Fireside Scene” differing from the first of those -here produced, he may congratulate himself on the possession of a -great rarity.</p></div> - -<div class="dctr01" id="f1.10"> -<img src="images/i048fp.jpg" width="800" height="481" alt="" /> -<div class="dcaption"> -<table class="caption-table" summary=""> -<tr> - <td>The suppressed plate from “Oliver Twist”: - “The Fireside Scene”</td> - <td>The suppressed plate from “Oliver Twist”: - “The Fireside Scene,” as worked upon by - Cruikshank</td></tr></table> -</div></div> - -<p>As I have said above, Mr. Bruton’s collection -was dispersed in 1897 at Sotheby’s. No. 145 in -that sale was an unrivalled run of the <i>Oliver Twist</i> -illustrations, seeing that it consisted of a complete -set of proofs of the etchings, and included, with -other rarities, the unique proof just mentioned. -The lot sold for £32:10s. By the kindness of its -late owner, I am enabled to present to my readers -a reproduction of this unique impression of the -plate in its second state.</p> - -<p>So much then for the story of the suppressed -plate. There is, however, something more to be -said of its substitute.</p> - -<p>If we turn to our edition of <i>Oliver Twist</i>, so -long as it does not happen to be one published -subsequently to 1845, or one containing the suppressed -plate, we shall find Rose standing with her <span class="xxpn" id="p050">{50}</span> -arm on Oliver’s shoulder before a tablet put up to -his mother’s memory, and we shall find that Rose’s -dress is light in colour save for a dark shawl or -lace fichu, which is thrown across her shoulders -and bosom. In the 1846 edition of the book, the -plate has been largely touched up and shaded, and -Rose’s dress turned into a black one.<a class="afnanc" href="#fn16" id="fnanc16">16</a> -Now, it is -perfectly evident that it is the old plate altered -and used over again and not a new plate copied -from the old, for every line and every dot in the -illustration to the earlier editions reappears in this. -The perplexing matter that I have to draw your -attention to, however, is that, in the same lot (145) -at the Bruton sale mentioned above, there was -sold a proof of this plate with Rose Maylie in the -black dress, and this <i>a proof before letters</i>, an impossible -nut for the amateur to crack who does not -know that the lettering of plates may be stopped-out -or burnished away or covered up for the striking -off of misleading impressions; from which the -moral may be drawn that it is better to believe in -proof impressions after letters where -they are well <span class="xxpn" id="p052">{52}</span> -authenticated, than to presume that a proof is -before letters merely because those letters do not -appear. <i>Verb. sat sap.</i> The plate in this state is -here reproduced for the sake of comparison.</p> - -<div class="dctr01" id="f2.3"> -<img src="images/i051.jpg" width="800" height="506" alt="" /> -<div class="dcaption"> -<table class="caption-table" summary=""> -<tr> - <td><p class="pcenter"><small><i>The plate in its - first state.</i></small></p></td> - <td><p class="pcenter"><small><i>The plate in its - second state.</i></small></p></td></tr> -<tr> - <td colspan="2"><p class="pcenter padtopc">Rose Maylie and Oliver - at Agnes’s Tomb. (<i>The substituted plate in two - states</i>)</p></td></tr></table> -</div></div> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc16" id="fn16">16</a> -The dress is also black in a reprint of the -first edition published by Messrs. Macmillan in 1892, and -in the large edition with the illustrations coloured, -published by Messrs. Chapman and Hall in 1895.</p></div> - -<p>Before -passing from <i>Oliver Twist</i>, it should -be pointed out that the first issue of 1838, which -contains the suppressed plate, is also differentiated -from the second issue of the same year by what -is sometimes alluded to as the “suppressed title-page,” -which runs as follows:—“Oliver Twist; / -or, the / ‘Parish Boy’s Progress;’ / by ‘Boz,’ / in -three volumes, / Vol. I (II. or III.) / London: / -Richard Bentley, New Burlington Street. / — — / -1838.”</p> - -<p>The second issue, with the substituted plate, -has:—“Oliver Twist / By / Charles Dickens, / -Author of ‘The Pickwick Papers,’” the rest of -the title being as in the first. It is curious to -notice, further, that in a later edition the original -title is resumed.</p> - -<p>So much for <i>Oliver Twist</i>. We must not, -however, quit Dickens without mentioning one or -two other items, which more or less of right find -their place in a treatise on “Suppressed Plates.” -<span class="xxpn" id="p053">{53}</span></p> - -<p>There is, for example, the etched title-page to -the first issue of the first edition of <i>Martin -Chuzzlewit</i>, where the reward on the direction post -appears as “100£” instead of “£100,” which is -often wrongly labelled “suppressed.” As a matter -of fact it was not suppressed at all. It is nothing -more than the <i>first state</i> of a plate which was afterwards -altered. However, the bait is so valuable -a one with which to entice the bibliomaniac, that -there is no prospect of the description being lightly -relinquished, and as it is one object of this treatise -to protect the unwary, allusion to it is not out of -place. The fact that it is the title-page issued -after the book had appeared serially with its forty -illustrations, disposes of any lingering idea that in -acquiring it we are assured of the possession of -early impressions of the other plates. But the -undiscriminating bibliomaniac requires no logical -justification, and the plate will still retain its -market value.</p> - -<p>A like variation is to be found in a well-known -etching by George Cruikshank, entitled “The -Worship of Wealth.” The head of Mammon is -represented by a small -money-bag, and the <span class="xxpn" id="p054">{54}</span> -features of the face by the letters GOLD. Of -this plate only one state was known until in a -happy moment one of our best-known collectors -discovered and secured a unique proof with all the -letters printed in reverse, -<span class="nowrap">thus:—</span></p> - -<div class="dctr09"> -<img src="images/i054.png" width="192" height="114" alt="" /></div> - -<p class="pcontinue">—a triumph -which only the true <i>dilettante</i> will -appreciate at its proper value.</p> - -<p>Another variation of the same kind is to be -found in the first and second issues of Pine’s -beautiful edition of Horace (1733), in which the -text is engraved throughout. In the first there is -the misprint “Post est” on the medal of Cæsar. -In the second “Potest” has been substituted. -Copies containing the mistake fetch twice as much -in the market as those containing the correction! -This is, however, justifiable, as the mistake connotes -an early set of impressions.</p> - -<div class="dctr03" id="f2.4"> -<img src="images/i055.jpg" width="573" height="800" alt="" /> -<div class="dcaption">The Strange Gentleman</div></div> - -<p>Another Dickens plate demanding mention is -the exceedingly rare etched frontispiece by “Phiz,” -to be found in only a few copies of -<i>The Strange <span class="xxpn" id="p055">{55}</span> -Gentleman</i>, published in 1837 by Messrs. Chapman -and Hall. This “Comic Burletta” was founded -upon “The Great Winglebury Duel,” in <i>Sketches -by Boz</i>, and was first performed at the St. James’s -Theatre in September 1836. -A second edition was <span class="xxpn" id="p056">{56}</span> -published in 1860 with a coloured etching by Mr. -F. W. Pailthorpe, the last illustrator to carry on -the tradition of Cruikshank and H. K. Browne. -The “Phiz” etching is here reproduced. Even the -second edition is extremely rare, and readily sells -for between two and three pounds. The reason -for the disappearance of the “Phiz” plate is not -known, and I only give particulars of it here -because of its excessive rarity, and because it is -constantly referred to as “suppressed,” though -with no strict justification. The British Museum -copy of the book only contains Mr. Pailthorpe’s -frontispiece, but a copy with the “Phiz” plate -is to be found in the Forster Library, South -Kensington.</p> - -<p>Then, again, we have Dickens’s <i>Pictures from -Italy</i>, published by Messrs. Bradbury and Evans -in 1846, with the beautiful “vignette illustrations -on the wood,” by that master engraver, Samuel -Palmer. For some reason or other that representing -“The Street of the Tombs, Pompeii,” on the -title-page, disappears after the exhaustion of the -first and second editions, both published in the -same year. It reappears, however, -in the late <span class="xxpn" id="p057">{57}</span> -reprint of 1888, and is also only here alluded to -because sometimes referred to as “suppressed.”</p> - -<div class="dctr03" id="f1.11"> -<img src="images/i056fp.jpg" width="591" height="800" alt="" /> -<div class="dcaption">The suppressed plate from -“Sketches by Boz”</div></div> - -<p>The last of the Dickens illustrations germane to -our subject is that much-desired etching of “The -Free and Easy,” which should be found opposite -page 29 of the “second series” of <i>Sketches by Boz</i>. -Both the first and second series were originally -published in 1836. In 1839 another edition -appeared with all the etchings to the original -edition enlarged (except “The Free and Easy,” -which was cancelled), and with thirteen additional -plates. An edition on the lines of the first issue of -the second series, only with the illustrations in -lithography, was published in Calcutta in 1837.</p> - -<p>It is important, in collating the first editions of -the <i>Sketches</i>, to bear in mind the fact that the -first series was in two volumes and the second in -one. Otherwise it is impossible to understand -why “Vol. III.” is engraved on each of the plates -in the second series. As showing how eagerly -these volumes in fine condition, and of course -uncut and in the original cloth binding, are sought -after, it may be mentioned that thirty pounds is by -no means an unheard-of price. <span class="xxpn" id="p058">{58}</span></p> - -<p>Unfortunately the plates will in most cases be -found to be badly foxed. The tissue of the paper -itself has in many cases been attacked by damp -and rotted right through.</p> - -<p>In such cases any remedy except the drastic -one of punching is of course out of the question. -Hence the rarity of a really “desirable” set of the -plates,—a rarity which is largely due to the hoarding -away of books in glass cases; for books require -fresh, dry air, with the rest of God’s creatures.</p> - -<p>It may not be out of place here, whilst on the -subject of foxing, to warn the collector that every -plate in a book should be carefully examined -before any extravagant price is given for what is -called a fine copy. No doubt we are much -indebted to the clever “doctors” of prints who -punch the fatal spots out and pulp them in, who -fill up the worm-holes and vamp up the cleaned -prints with green-wood smoke and coffee infusions -to a respectable appearance of age. At the same -time we must never allow ourselves to forget -that there are such occupations as vamping and -“improving,” and that it is not for vamped and -improved copies that we should pay excessive prices.</p> - -<div class="chapter"> -<h2 class="h2herein" id="p059">CHAPTER V -<span class="h2small"> -ON SOME FURTHER SUPPRESSED PLATES, ETCHINGS, -AND WOOD ENGRAVINGS BY GEORGE CRUIKSHANK</span></h2></div> - -<p class="pfirst"><span class="smcap">I<b>N</b></span> -Chapter III. we have incidentally considered -the suppressed grotesque border to the etching of -“The Last Song” by George Cruikshank in the -<i>Memoirs of Joseph Grimaldi</i>. In this chapter -we shall treat of certain other suppressions to -which the “inimitable” George’s work was subjected.</p> - -<p>The first to which I shall direct your attention -has a curious and romantic history attaching to it, -instinct with the rough and brutal methods of our -immediate ancestors. It is a highly-coloured etched -broadside published in 1815, the very year of the -tragic death of the gifted and ill-fated Gillray, -whose mantle, as political caricaturist, was now -fallen upon his brilliant -young contemporary. <span class="xxpn" id="p060">{60}</span> -These were the days of hard hitting, of reckless -charges, of imprisonment for libel, of dramatic -political episodes, and the wonder is that George -Cruikshank escaped the fates of the Burdetts, the -Hones, and the Hobhouses of the period. The fact -is that George was a very shrewd young man and -had a very shrewd idea of how far it was safe to -go. Indeed, in this partially suppressed cartoon -we find him upon the very verge of recklessness -and only drawing back from danger just in the nick -of time.</p> - -<p>I have spoken of the <i>partial</i> suppression of this -broadside, and in this <i>partial</i> cancellation it is -differentiated from all others with which we have -hitherto dealt. Brutal enough as is the satire as -we see it, there is a brutality curiously hidden -within, which, unsuspected by the uninitiated, -proves to what astounding lengths satire of that -period was sometimes ready to go.</p> - -<p>Before dealing in detail with this “Financial -Survey of Cumberland or the Beggar’s Petition” -it will be as well to relate the circumstances which -led up to its perpetration.</p> - -<p>Ernest Augustus, Duke of -Cumberland, born <span class="xxpn" id="p061">{61}</span> -1771, was perhaps the best hated of all the royal -personages of the period then in England, and this -notwithstanding the fact that he was a man of -conspicuous bravery. He was, for a few years -after Queen Victoria’s accession, next heir to the -throne of England. Later he ascended the throne -of Hanover under the regulations of the Salic law, -and gained the affection of his people, proving -himself a wise and beneficent ruler. Probably -William IV. put his character into a nutshell -when he said: “Ernest is not such a bad fellow, -but if any one has a corn he is sure to tread on it.”</p> - -<p>However that may be, there is no doubt that -there is hardly a crime in the whole decalogue -which was not at one time or another laid at his -door, and not the least among these was the crime -of murder.</p> - -<p>To quote the succinct account of this affair -given in the <i>Dictionary of National Biography</i>:—“On -the night of 31st May 1810 the duke was -found in his apartments in St. James’s Palace with -a terrible wound in his head, which would have -been mortal had not the assassin’s weapon struck -against the duke’s sword. Shortly -afterwards his <span class="xxpn" id="p062">{62}</span> -valet, Sellis,<a class="afnanc" href="#fn17" id="fnanc17">17</a> -was found dead in his bed with his -throat cut. On hearing the evidence of the -surgeons and other witnesses, the coroner’s jury -returned a verdict that Sellis had committed suicide -after attempting to assassinate the duke. The -absence of any reasonable motive... caused this -event to be greatly discussed, and democratic -journalists did not hesitate to hint that he really -murdered Sellis.” One of these, Henry White, -was sentenced in 1815 to fifteen months’ imprisonment -and a fine of £200 for publishing the rumour. -The story again cropped up in 1832, when the -duke had made himself particularly obnoxious to -the radical press, and was exploited by a pamphleteer -named Phillips. The duke prosecuted him, and he -was promptly found guilty and sentenced to six -months’ imprisonment.</p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc17" id="fn17">17</a> -Not Serres, as Reid has it in his descriptive account of Cruikshank’s -works. The keeper of the prints evidently confused the name -of the valet with that of Mrs. Olive Serres, who later on called herself -Princess Olive of Cumberland, and claimed to be the duke’s legitimate -daughter.</p></div> - -<p>Notwithstanding this, there was little abatement -in the persecution of the duke. Even Lord -Brougham in the House of -Lords sneeringly called <span class="xxpn" id="p063">{63}</span> -him to his face “the illustrious duke—illustrious -only by courtesy.” I take up a few consecutive -numbers of that venomous little contemporary -paper, <i>Figaro in London</i>, and find week by week -some very plain speaking. Here are a few -examples:—</p> - -<div class="dpoemctr"><div class="dstanzactr"> -<span class="spquoteverse"><span class="spquoteblock">“</span>That - he’s ne’er known to change his mind</span> -<span class="spp01">Is surely nothing strange;</span> -<span class="spp00">For no one ever yet could find</span> -<span class="spp01">He’d any mind to change.”</span> -</div></div> - -<p>Again:—</p> - -<div class="dpoemctr"><div class="dstanzactr"> -<span class="spquoteverse"><span class="spquoteblock">“</span>He - boasts about the truth, I’ve heard,</span> -<span class="spp01">And vows he’d never break it;</span> -<span class="spp00">Why zounds a man <i>must</i> keep his word</span> -<span class="spp01">When nobody will take it.”</span> -</div></div> - -<p>Again, referring to a youth dressed <i>à la Prince -de Cumberland</i>, who had been brought up at Bow -Street charged with being an expert pickpocket, -<i>Figaro</i> says: “A similarity to the Duke of -Cumberland is a very serious matter, and in the -opinion of Mr. Halls (the police magistrate) quite -sufficient to entitle any one to a couple of months’ -imprisonment, as a common thief or an incorrigible -vagabond.”</p> - -<p>Again:— <span class="xxpn" id="p064">{64}</span></p> - -<div class="dpoemctr"> -<div class="dstanzactr"><div>“INQUEST EXTRAORDINARY</div> -<span class="spp00">Found dead of fright, a child, (how sad a case!)</span> -<span class="spp00">Verdict—Saw Cumberland’s mustachioed face.”</span> -</div></div> - -<p>Again:—“The new piece announced at Drury -Lane under the title of <i>The Dæmon Duke</i> or <i>The -Mystic Branch</i> has no reference whatever to his -Royal Highness of Cumberland.”</p> - -<p>But these might be multiplied almost to infinity. -The examples quoted make it sufficiently plain -why it was that the Whig Cabinet of the day felt -it advisable to hurry on our late Queen’s marriage.</p> - -<p>So much for a general review of the duke’s -career. We will now return to the year 1815 and -the publication of the broadside with which we are -more particularly concerned.</p> - -<p>The duke had just announced his intention of -marrying the Princess of Salm, who had been -twice a widow. The Prince Regent had raised no -objection, but the Queen, who had a rooted -aversion to second marriages, made no secret of -her disapproval. The country, too, was indignant, -because another royal marriage spelt, in accordance -with what was now the ordinary usage, a further -burden upon the exchequer.</p> - -<div class="dbigpicture" id="f1.12"> -<div class="dctr01 dhtml"> -<img src="images/i064fp.png" width="1200" height="861" alt="" /> -<div class="dcaption">“A Financial Survey of Cumberland or the Beggars - Petition.” (<i>From the only known uncoloured impression of the - Plate</i>)</div></div> - -<div class="dctr03 dhandheld"> -<img src="images/i064fp-epubmobi.png" width="799" height="1113" alt="" /> -<div class="dcaption">“A Financial Survey of Cumberland or the Beggars - Petition.” (<i>From the only known uncoloured impression of the - Plate</i>)</div></div></div> - -<div class="dbigpicture" id="f1.13"> -<div class="dctr01 dhtml"> -<img src="images/i065fp.jpg" width="1200" height="852" alt="" /> -<div class="dcaption">“A Financial Survey of Cumberland or the Beggars - Petition.” (<i>From a coloured impression of the plate, with the - figure of the valet obliterated with lamp-black</i>)</div></div> - -<div class="dctr03 dhandheld"> -<img src="images/i065fp-epubmobi.jpg" width="799" height="1125" alt="" /> -<div class="dcaption">“A Financial Survey of Cumberland or the - Beggars Petition.” (<i>From a coloured impression of the - plate, with the figure of the valet obliterated with lamp-black</i>) - </div></div></div><!--dbigpicture--> - -<div><span class="xxpn" id="p065">{65}</span></div> - -<p>On July 3 the proposal was made in the -Commons to increase the duke’s pension of -£18,000 a year, which he held in addition to his -salary of £3000 a year as Colonel of the 1st -Hussars, by £6000. The House was equally -divided on the vote, when a dramatic incident -occurred. Lord Cochrane, heir to the Dundonald -peerage, and a member of the House of Commons, -had, in the previous year, been wrongfully found -guilty of participation in a Stock Exchange fraud -and had been imprisoned. On this very 3rd day -of July he was released from prison, and immediately -repaired to Westminster. The House -was at that moment going to a division. His -lordship entered just in time to record his casting -vote against the increase of the duke’s pension, and -thus by an extraordinary coincidence the duke was -the poorer and the country the richer by £6000 a -year.</p> - -<p>This is the moment seized by Cruikshank in the -broadside here reproduced. Before the half-open -door of “St. Stephen’s,” behind which is seen a -crowd of members, Lord Cochrane fires, from a -mortar decorated with a full-bottomed wig, a -<span class="xxpn" id="p066">{66}</span> -cannon-ball labelled “casting vote.” This, striking -the duke full in the rear, drives him towards a -bank on which stand three grenadiers, the Princess -of Salm (recognisable by the flag which she -carries, labelled “Psalms”) and her little boy, who -sings—</p> - -<div class="dpoemctr"><div class="dstanzactr"> -<span class="spp00">My daddy is a grenadier</span> -<span class="spp01">And he’s pleas’d my Mammy O,</span> -<span class="spp00">With his <i>long swoard</i> and <i>broadswoard</i></span> -<span class="spp01">And his bayonet so handy O.</span> -</div></div> - -<p>The duke, from whose hand falls his petition, -and whose head is adorned with a cuckold’s horns, -cries aloud, “Pity the sorrow of a poor young -man”; whilst Cochrane thunders out, “No, no, -we’ll have no petitions here. Do you thint (<i>sic</i>) -we are not up to your hoaxing, cadging tricks? -You vagrant, do you think we’ll believe all you -say or swear? Do you think that your services -or your merits will do you any good here? If -you do, I can tell you from experience that you -are cursedly mistaken. So set off and don’t show -your ugly face here again. If you do, shiver my -timbers if I don’t send you to Ellenborough -Castle: aye, aye, my boy, I’ll clap you in the -<i>grated chamber</i>, where there’s neither -door, window, <span class="xxpn" id="p067">{67}</span> -onr (<i>sic</i>) fireplace. I’ll put you in the <i>Stocks</i>! I’ll -put you in the <i>Pillory</i>! I’ll <i>fine</i> you. I’ll, I’ll -play hell with you! D—— me, I think I have -just come in time to give you a shot between wind -and water.”</p> - -<p>On the ground below the flying duke lie documents -recording his pensions and salaries.</p> - -<p>No wonder, you will say, that such a scandalous -attack upon a personage so near the throne should -be suppressed with a high hand. The marvel is -that artist and publisher should have escaped the -fate of Henry White and the pamphleteer Phillips. -But you will be more surprised than ever when -you learn that not only did artist and publisher go -scot-free, but that the plate, so far from being -suppressed, was published and scattered broadcast -amongst the people without protest.</p> - -<p>Why, then, it will be asked, does it take its -place in a treatise on suppressed plates? I will -tell you.</p> - -<p>Do you not notice in the darker impression of -the plate here reproduced—darker because the -original has been painted—that such perspective as -the picture has is destroyed by a -great black blot <span class="xxpn" id="p068">{68}</span> -which reaches from the feet of the three soldiers -right down to the path in the right-hand lower -corner of the design? Well, that great black blot -covers what would have inevitably landed George -Cruikshank and Mr. W. N. Jones of 5 Newgate -Street, publisher, in a larger building higher up -the same street, if it had not been for a happy -afterthought of Mr. W. N. Jones, which took -shape in a liberal use of lamp-black.<a class="afnanc" href="#fn18" id="fnanc18">18</a></p> - -<p>On the space so covered the reckless George, -unmindful of the fate of Henry White, had etched -the scantily clothed figure of the unhappy valet -Sellis, with bleeding throat, crying aloud, “Is -this a razor that I see before me? Thou canst -not say I did it.”</p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc18" id="fn18">18</a> -This use of lamp-black has its parallel in the case of one of -the tailpieces to Bewick’s <i>Birds</i>, in the first edition of which an -apprentice was employed to veil certain indelicacies with a coat of -ink. Unfortunately, from want of density, the colouring rather serves -to accentuate than hide the offending details. In the next edition a -plug was inserted in the block and two bars of wood engraved in the -interests of decency.</p></div> - -<p>After but one or two proofs had been pulled, -George and his publisher would seem to have -become appalled at their temerity, and the plate -was only issued coloured and -with the peccant <span class="xxpn" id="p069">{69}</span> -figure blotted out. For many years I hoped and -hoped in vain to come across an uncoloured proof -displaying the hidden figure. But it was not until -1905 that I was fortunate enough to light upon -the probably unique proof here reproduced, which -had passed out of the Bruton collection into that of -the omnivorous collector, the late Edwin Truman.</p> - -<p>For the sake of those who have preserved the -valuable catalogue of the sale in 1897 of the Bruton -collection of the works of George Cruikshank, it -should be observed that Reid’s misnomer of the -valet to which I have drawn attention above has -been there repeated.</p> - -<p>So much, then, for the partially suppressed -broadside of 1815, which incidentally may be -looked upon as the forerunner of the blottesque -censorship of Russian newspapers. We will now -pass on to another broadside which was not only -suppressed in full, but of which the copies that had -already been sold were assiduously bought up.</p> - -<p>The circumstances surrounding this plate are -by no means so dramatic as those with which we -have last dealt. At the same time, by means of it -we obtain one of those sharp -contrasts in political <span class="xxpn" id="p070">{70}</span> -moods and tenses which pleasurably tickle the -imagination. We learn how little is absolute in -life, how much is relative. We realise how the -reactionary of to-day may have been the reformer -of yesterday. In a word, we see in this most -conservative member of the Russell administration -of 1846–1852 and of the Coalition of 1853, in -this complacent recipient of the peerage of -Broughton de Gyfford and the Grand Cross of -the Bath, in this happy husband of a Marquis’s -daughter,—we see, I say, in this Tory nobleman of -the ’fifties the irreconcilable John Cam Hobhouse -of the early years of the century, committed to -Newgate for breach of privilege, the author of -the subversive <i>Letters to an Englishman</i>, and the -representative for Parliament of the Westminster -mobocracy.</p> - -<div class="dbigpicture" id="f2.5"> -<div class="dctr01 dhtml"> -<img src="images/i071.jpg" width="1800" height="1434" alt="" /> -<div class="dcaption">“<i>A Trifling -Mistake</i>”——<i>Corrected</i>——</div></div> - -<div class="dctr02 dhandheld"> -<img src="images/i071-epubmobi.png" width="799" height="1003" alt="" /> -<div class="dcaption">“<i>A Trifling -Mistake</i>”——<i>Corrected</i>——</div> -</div> -<div class="dctr02 dhandheld"> -<img src="images/i071-epubmobi-detail.jpg" width="576" height="638" alt="" /> -<div class="dcaption">“<i>A Trifling -Mistake</i>”——<i>Corrected</i>——[detail for epub/mobi editions]</div> -</div></div><!--dbigpicture--> - -<p>In Cruikshank’s broadside here reproduced the -future President of the Board of Control is -represented twirling his thumbs in enforced retirement -and with full leisure to repent of his indiscretions. -Above the mantelpiece representations of -St. Stephen’s and Newgate are placed in sharp -contrast. Below the last a former occupant of the -<span class="xxpn" id="p072">{72}</span> -cell has scratched a rude gibbet. The grate is -empty. On the table stand an empty pewter pot -and pipe. On the wall is seen a long quotation -from his anonymous pamphlet <i>A Trifling Mistake</i>, -for which he has been committed to prison. This, -with a barbed addition, gives the title to the -broadside itself. The quotation -<span class="nowrap">runs:—</span></p> - -<blockquote> - -<p>“What prevents ye people from walking down to ye house -and pulling out ye members by ye ears, locking up their -doors and flinging ye key into ye Thames? Is it any -majesty which lodges in the members of that assembly? Do -we love them? Not at all: we have an instinctive horror -and disgust at the very abstract idea of ye boroughmonger. -Do we respect them? Not in the least. Do we regard -them as endowed with any superior qualities? On the -contrary, there is scarcely a poorer creature than your mere -member of Parliament; though, in his corporate capacity, -ye earth furnishes not so absolute a bully. Their true -practical protectors, then—the real efficient anti-reformers,—are -to be found at ye Horse Guards and ye Knightsbridge -Barracks. As long as the House of Commons majorities -are backed by the regimental muster roll, so long may those -who have got the tax power keep it and hang those who -resist”!!! !!! !!!</p> - -<div>Vide <i>Trifling Mistake</i>.</div></blockquote> - -<p>Below this hangs a bill headed “Little Hob in -the Well.” <span class="xxpn" id="p073">{73}</span></p> - -<p>The reproduction of the etching here given is -from a very interesting touched proof in the -British Museum. Upon it the artist’s work in -pencil can be plainly traced. To the right of -the picture of Newgate another roughly drawn -gibbet can be distinguished. On the bill the -words have been added, “A New Song in -Defence of the People, corrected,” etc. The -profile of the prisoner has been carefully reduced, -and a punning sub-title to the whole added, “How -Cam you to be in that Hobble?”</p> - -<p>The date on the margin is January 1, 1819 -(obviously a mistake for 1820), and its publication, -no doubt, went some way towards Hobhouse’s -election as member for Westminster, which took -place immediately after his release on the 20th -day of the month in the year 1820.</p> - -<p>After his elevation to the peerage Hobhouse -took no active part in public affairs. He died as -lately as 1869, leaving no issue. Probably the plate -was suppressed on the ground that it contained -the long quotation given above from the lawless -pamphlet for which he was imprisoned.</p> - -<p>As I have said in an earlier chapter, -it is not my <span class="xxpn" id="p074">{74}</span> -intention to make this treatise in any way a devil’s -directory for those in search of salacious curiosities. -I shall therefore not dwell upon the suppressed -woodcut, which is rather coarse than loose, of -“The Dead Rider” in the <i>Italian Tales</i> of 1823. -I merely mention it for the sake of those who -may be collating the book, and would find themselves -misled by Reid’s note on the subject. He -speaks of the “Elopement” woodcut being “wanting -in two or three copies consulted of the first edition,” -as though this were a matter for surprise. He fails -to draw the very obvious conclusion that “The -Elopement” was substituted for “The Dead Rider,” -so that the number of illustrations might continue -to tally with the announcement on the title-page, -“Sixteen illustrative drawings by George Cruikshank.” -He has apparently been confused by the -fact, which I notice confuses a good many secondhand -booksellers, that every copy has <i>a</i> woodcut -entitled “The Dead Rider,” but that it is only -the first issue that has <i>two</i> woodcuts with the -same title.</p> - -<p>And, whilst touching on the subject of Cruikshank’s -early indiscretions, it will, I -think, be only <span class="xxpn" id="p075">{75}</span> -fair to repeat a story of pretty and spontaneous -atonement which I have told elsewhere, and which -deals with another suppressed broadside.</p> - -<p>No. 887 in Reid’s catalogue is “Accidents -in High Life, or Royal Hobbys broke down, -Dedicated to the Society for the Suppression of -Vice.” Its companion picture is “Royal Hobbys -of the Hertfordshire Cock Horse,” which was -suppressed as being too suggestive even for so -latitudinarian an age as that of the Regency. In -the former the artist portrays the discomfiture -of the Prince and the Marchioness of Hertford -through the pole of the hobby-horse, upon which -they have been riding, breaking and throwing both -of them to the ground. The lady is cursing her -folly in trusting herself to “such an old stick,” -while her admirer is exclaiming that he shall try -the Richmond Road in the future, the Hertford -one being so unsatisfactory. The Duke of York -is suffering from a similar disaster, and congratulating -himself upon the softness of the cushion by -which his fall has been broken, in allusion to his -income of £10,000 for having charge of his father.</p> - -<p>Now Mr. Bruton, who, like the -late Mr. Truman, <span class="xxpn" id="p076">{76}</span> -had the advantage of George Cruikshank’s friendship -in later years, was able to obtain authentication -or repudiation of doubtful unsigned work from the -artist himself, and, amongst others, this plate was -submitted to him for judgment. The man’s honesty -forced him to acknowledge himself to be the author -of this piece of full-blooded vulgarity, but his regret -has altered the usual laconic record of “Not by me, -G. Ck.,” or “By my brother, I. R. C.,” pencilled on -the plate, to “Sorry to say this is by me, G. C.” -The old man was, when he came to look back upon -a long life of good and evil mixed, somewhat more -human than that terribly pious hero of Pope’s—</p> - -<div class="dpoemctr"><div class="dstanzactr"> -<span class="spp00">Who calmly looked on either life, and here</span> -<span class="spp00">Saw nothing to regret, or there to bear;</span> -<span class="spp00">From nature’s temp’rate feast rose satisfy’d,</span> -<span class="spp00">Thank’d heav’n that he had liv’d, and that he dy’d.</span> -</div></div> - -<p>He looked back with genuine remorse upon -youthful extravagances, and, though doubtless -inclined by nature to be something of a <i>poseur</i>, -and though he attitudinised somewhat too much -over his virtuous fads at last, was not going to -bolster up his reputation by an easy forgetfulness -of early indiscretions. <span class="xxpn" id="p077">{77}</span></p> - -<div class="dctr01" id="f2.6"> -<img src="images/i077.png" width="799" height="702" alt="" /> -<div class="dcaption">Philoprogenitiveness</div></div> - -<p>Only a few words need be said of the other -Cruikshank suppressions here reproduced. The -first is the well-known plate “Philoprogenitiveness,” -which was published in the earliest separate -edition of that noble <i>Essay on the Genius of George -Cruikshank</i>, written by Thackeray for, -and reprinted <span class="xxpn" id="p078">{78}</span> -from, <i>The Westminster Review</i> in 1840. And surely -it was a prurient and unnatural squeamishness -which condemned this illustration to exclusion -in the subsequent editions. It is from the -<i>Phrenological Illustrations</i>, published in 1826, one -of the most famous of Cruikshank’s publications. -I shall follow Thackeray’s excellent example of -refraining from any description, and just leave the -design to speak for itself, for it is a ridiculous task -“to translate his designs into words, and go to the -printer’s box for a description of all that fun and -humour which the artist can produce by a few -skilful turns of his needle.”</p> - -<p>The second is the cancelled wood engraving -entitled “Drop it,” which appears on page 18 of -the first edition of <i>Talpa; or the Chronicle of -a Clay Farm, an Agricultural Fragment</i>, by -C. M. H(oskyns), published in 1853. For some -unknown reason it disappears from subsequent -editions, and is only of importance to those who -pride themselves on being the possessors of Cruikshank -<i>editiones principes</i>.</p> - -<div class="dctr02" id="f2.7"> -<img src="images/i079.png" width="799" height="508" alt="" /> -<div class="dcaption">“Drop it!”</div></div> - -<p>There is another Cruikshank suppression which -might, were we hard up for material, -be dragged <span class="xxpn" id="p079">{79}</span> -into a treatise on suppressed illustrations. I refer -to a wood engraving of the redoubtable George -himself taking his publisher, Brooks, by the nose -with a pair of tongs, which resulted in the -suppression of the pamphlet entitled <i>A Pop-gun -fired off by George Cruikshank, etc.</i>, in which it -appeared. But if we were to open these pages -to the consideration of suppressed books and -pamphlets, I should soon find my publishers -remonstrating, and the volume too big to handle. -Further, it affords me the gratifying opportunity -of referring the reader to a small book of mine, -published in 1897, by Mr. W. P. Spencer, of -27 New Oxford Street, and -entitled <i>George</i> <span class="xxpn" id="p080">{80}</span> -<i>Cruikshank’s Portraits of Himself</i> which I, as -the author, of course consider has not attained -the circulation it deserves. There will be found -a full account of the suppressed pamphlet, -together with a reproduction of the offending -design.</p> - -<p>Let me close this chapter with “A Cruikshank -Outrage,” which I originally contributed to <i>The -Gentleman’s Magazine</i>. It is, I think, sufficiently -apropos, and will, I hope, appeal to all good -Cruikshankians.</p> - -<div class="dpoemlft"><div class="dstanzalft"> -<span class="spp00">This is the bookcase, this the key;</span> -<span class="spp00">None may open this lock but me;</span> -</div><div class="dstanzalft"> -<span class="spp00">And only those of the cult may come</span> -<span class="spp00">Into my <i>sanctum sanc-to-rum</i>.</span> -</div><div class="dstanzalft"> -<span class="spp00">Swear “by George” on his “Omnibus”</span> -<span class="spp00">You are assuredly one of us.</span> -</div><div class="dstanzalft"> -<span class="spp00">Swear “by George” on his “Almanack”</span> -<span class="spp00">You will return each volume back.</span> -</div><div class="dstanzalft"> -<span class="spp00">Swear by “Grimm” <i>in the earliest state</i></span> -<span class="spp00">Theft and pillage you reprobate.</span> -</div><div class="dstanzalft"> -<span class="spp00">Yes, that’s bound by Rivière, but</span> -<span class="spp00">Here’s <i>the original cloth, uncut</i>.</span> -</div><div class="dstanzalft"> -<span class="spp00">The “Bee and the Wasp” <i>on India, tilt</i>,</span> -<span class="spp00">Zaehnsdorf binder, <i>morocco, gilt</i>.</span> -</div><div class="dstanzalft"> -<span class="spp00">But all my “Scourges” plain bound shall bide—</span> -<span class="spp00">Plenty of “guilt” may be found inside. -<span class="xxpn" id="p081">{81}</span></span> -</div><div class="dstanzalft"> -<span class="spp00">Here’s my “Omnibus,” worth a fief</span> -<span class="spp00">Because I’ve the unpaged preface-leaf.</span> -</div><div class="dstanzalft"> -<span class="spp00">“London Characters,” set complete,</span> -<span class="spp00"><i>Sm. 8vo, in hlf. clf. neat</i>.</span> -</div><div class="dstanzalft"> -<span class="spp00">Here a set of gigantic frauds</span> -<span class="spp00"><i>In the original</i> <span class="smmaj">LABELLED</span> <i>boards</i>.</span> -</div><div class="dstanzalft"> -<span class="spp00">“Oliver Twist,” as you will have guessed,</span> -<span class="spp00">The “Rose and Oliver” plate suppressed:</span> -</div><div class="dstanzalft"> -<span class="spp00">Not with the stippling over-writ—</span> -<span class="spp00">Only Bruton<a class="afnanc" href="#fn19" id="fnanc19">19</a> -can show you <span class="smmaj">IT.</span></span> -</div><div class="dstanzalft"> -<span class="spp00">And here “The Bottle” <span class="smmaj">COLOURED,</span> date</span> -<span class="spp00">Eighteen-hundred-and-forty-eight.</span> -</div><div class="dstanzalft"> -<span class="spp00">Yes, no doubt, ’twas among the first</span> -<span class="spp00">Thrusts that the Master launched at Thirst.</span> -</div><div class="dstanzalft"> -<span class="spp00">! George, you say, was at best, you think,</span> -<span class="spp00">As a Temperance man denouncing drink !</span> -</div><div class="dstanzalft"> -<span class="spp00">!! You dare tell me you interlope</span> -<span class="spp00">In quest of books for your “Band of Hope” !!</span> -</div><div class="dstanzalft"> -<span class="spp00">!!! You swore “by George” on his “Omnibus”</span> -<span class="spp00">You were assuredly one of us !!!</span> -</div><div class="dstanzalft"> -<span class="spp00">!!!! Avaunt, I prithee, aroynt, vacate</span> -<span class="spp00">This orthodox shrine to George the Great !!!!</span> -</div><div class="dstanzalft"> -<span class="spp00">For only those of the cult may come</span> -<span class="spp00">Into my <i>sanctum sanc-to-rum</i>.</span> -</div></div> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc19" id="fn19">19</a> -Since the Bruton sale in 1897 this, alas, -is no longer true.</p></div> - -<div class="chapter"> -<h2 class="h2herein" id="p082">CHAPTER VI -<span class="h2small"> -HOGARTH’S “ENTHUSIASM DELINEATED,” “THE -MAN OF TASTE,” AND “DON QUIXOTE”</span></h2></div> - -<p class="pfirst"><span class="smcap">I<b>N</b></span> -Mr. Austin Dobson’s <i>Hogarth</i>, to which all -students of that master are so deeply indebted, -the following sentence concludes the list of -“Prints of an Uncertain Date”: “It has been -thought unnecessary to include two or three -designs, the grossness of which neither the ingenuity -of the artist nor the coarse taste of his -time can reasonably be held to excuse.” And in -this book I have made it a cardinal point to -emulate Mr. Dobson’s excellent example.</p> - -<p>We remember in one of Mr. G. Russell’s amusing -books the story of the erstwhile Member of -Parliament who had accepted a peerage, notwithstanding -his profession of democratic sentiments. -Thereupon one of his late -supporters, <span class="xxpn" id="p083">{83}</span> -with excellent, though somewhat brutal, metaphor, -remarked, “Mr. —— says as how he’s going to the -House of Lords to leaven it. I tell you he can’t -no more leaven the House of Lords than you can -sweeten a cart-load of muck with a pot of -marmalade.” <i>Per contra</i>, let us always bear in -mind, that were the cart full of marmalade, and -the pot of muck, the latter would be fully -sufficient to render the whole an abomination. -Fortunately for us, the Hogarth “Suppressed -Plates” which are befitting are of exceptional -interest. And it may as well be pointed out here -that those peculiarly gross ones which are often -alluringly alluded to as “suppressed” are nothing -of the sort. So far from being indeed effectively -withdrawn from observation, they have had, as a -matter of fact, particular attention drawn <i>to</i> them -by the fussy ingenuity with which their concealment -has been emphasised.</p> - -<p>The first of the Hogarth plates which we here -reproduce—“Enthusiasm Delineated”—is of far -greater intrinsic importance than any of those -with which we have already dealt in the preceding -chapters. It differs essentially -from them not <span class="xxpn" id="p084">{84}</span> -only in the fact that here the artist himself is the -fount and origin of the suppression but also in the -fact that it is a fine example of those palimpsest -plates of which more particular description will be -found in later chapters of this book. Peculiar -interest, too, attaches to the circumstance that, -superb as it was in execution, and elaborate to a -degree though it was in conception, it was no -sooner finished than the artist deliberately decided -against its publication, and destroyed the engraving -after only two impressions had been taken -from the copper. Fortunately for us, one of these -is now in the possession of the British Museum.</p> - -<p>It will be interesting to those who are the -happy possessors of <i>Hogarth Illustrated</i> and -the <i>Anecdotes</i> to compare this with the reduced -<i>copy</i> (a very different matter) made by -Mills and published in these volumes. For it -must always be remembered that Hogarth’s autograph -engravings are infinitely more interesting -than the copies, however eminent the journeyman -engraver may have been.</p> - -<div class="dbigpicture" id="f2.8"> -<div class="dctr03 dhtml"> -<img src="images/i085.jpg" width="877" height="1280" alt="" /> -<div class="dcaption">Enlarged detail of -Hogarth’s “Enthusiasm Delineated”</div></div> - -<div class="dctr03 dhandheld"> -<img src="images/i085-epubmobi.png" width="800" height="1167" alt="" /> -<div class="dcaption">Enlarged detail of -Hogarth’s “Enthusiasm Delineated”</div> -</div></div><!--dbigpicture--> - -<p>Another plate was engraved by Mills of the size -of the original, and published -separately by Ireland <span class="xxpn" id="p086">{86}</span> -in 1795. The date of the original plate is given -in the British Museum Catalogue as 1739, but how -that date is arrived at I am at a loss to understand.</p> - -<p>It will be noticed that there are upon the -margin of our reproduction some curious <i>remarques</i> -inscribed “the windmill,” “the scales,” -and others. These were drawn in pen-and-ink by -Hogarth on the margins of the two original impressions. -They also appear engraved in facsimile -on the second state of Mills’s full-sized plate. It -will therefore be well for owners of this last not -to jump to the hasty conclusion that they are the -fortunate possessors of one of the two impressions -mentioned above! It should be added that the -MS. inscription on the British Museum copy -differs considerably from that engraved by Mills.</p> - -<p>The method by which the suppression of this -plate came about is exceedingly curious.</p> - -<p>It is probable that, after the design was completed, -Hogarth came to the conclusion that the -intention of the satire might be mistaken, and -that, instead of bringing ridicule upon “the -superstitious absurdities of popery -and ridiculous <span class="xxpn" id="p087">{87}</span> -personification delineated by ancient painters,” it -might be considered that his objective was religion -itself.</p> - -<p>If this were so, the episode redounds greatly -to the artist’s credit, and throws an effective light -upon a little-known side of his character. It was -an act of great nobleness to suppress what was the -result of long toil, nay, more than that, what was -perhaps his highest mental, though by no means -his highest artistic, achievement, from what some -might consider hyper-conscientious motives.</p> - -<p>It must be remembered that Hogarth lived in -a gross and irreligious age, and that what appears -to us exceedingly profane was largely the result of -the outspokenness of the times.</p> - -<p>Ireland says that he altered and altered this -plate piecemeal until its final suppression. This, -however, I venture to doubt, for reasons given -below. At all events, in the end he had beaten -out and re-engraved every figure save one, and -changed, as Mr. Dobson says, what “was a compact -satire” into “a desultory work—a work of -genius for a lesser man, but scarcely worthy -of Hogarth.” The final design -was entitled <span class="xxpn" id="p088">{88}</span> -“Credulity, Superstition and Fanaticism: a -Medley,” and was published in March 1762.</p> - -<p>Let us now compare the two designs. -Hogarth’s general purpose in the first was, in his -own words, to give “a lineal representation of the -strange effects of literal and low conceptions of -Sacred Beings, as also of the idolatrous tendency -of Pictures in Churches and Prints in Religious -Books.” In the second his text was, “Believe not -every spirit, but try the spirits whether they are -of God, because many false Prophets are gone out -into the world.”</p> - -<p>Before comparing the designs in detail, I should -like to say that, besides carefully examining the -plates for myself, I have collated the various -descriptions of Ireland, Nichols, Mr. Austin -Dobson, and Mr. F. G. Stephens, whose conclusions -I have not hesitated to adopt, add to, -discard or modify, as the circumstances have -seemed to require.</p> - -<p>Let us now particularise the incidents portrayed -on the two states of the plate, both of which are -here reproduced for purposes of comparison.</p> - -<div class="dbigpicture" id="f1.14"> -<div class="dctr03 dhtml"> -<img src="images/i088fp.jpg" width="1300" height="2140" alt="" /> -<div class="dcaption"><span class="smmaj">PLATE I.</span> -“Enthusiasm Delineated. (Humbly dedicated to -his Grace the Arch Bishop of Canterbury by his Graces most -obedient humble Servant <i>Wm. Hogarth</i>”) -</div></div> - -<div class="dctr04 dhandheld"> -<img src="images/i088fp-a-epubmobi.jpg" width="799" height="145" alt="" /> -<img src="images/i088fp-b-epubmobi.jpg" width="799" height="874" alt="" /> -<img src="images/i088fp-c-epubmobi.jpg" width="799" height="299" alt="" /> -<div class="dcaption"><span class="smmaj">PLATE I.</span> -“Enthusiasm Delineated. (Humbly dedicated to -his Grace the Arch Bishop of Canterbury by his Graces most -obedient humble Servant <i>Wm. Hogarth</i>”) -</div></div></div><!--dbigpicture--> - -<div class="dbigpicture" id="f1.15"> -<div class="dctr03 dhtml"> -<img src="images/i089fp.jpg" width="1300" height="2032" alt="" /> -<div class="dcaption"><span class="smmaj">PLATE II.</span> -“Credulity, Superstition, and Fanaticism. A -Medley”</div></div> - -<div class="dctr04 dhandheld"> -<img src="images/i089fp-a-epubmobi.jpg" width="799" height="976" alt="" /> -<img src="images/i089fp-b-epubmobi.jpg" width="799" height="284" alt="" /> -<div class="dcaption"><span class="smmaj">PLATE II.</span> -“Credulity, Superstition, and Fanaticism. A -Medley”</div></div></div><!--dbigpicture--> - -<p>Beginning with the preacher, -we notice that <span class="xxpn" id="p089">{89}</span> -his is the only figure practically unaltered and -common to both engravings. By his “bull-roar” -(<i>vide</i> the “scale of Vociferation” hanging on -the wall to his left) he has apparently succeeded -in cracking the sounding-board above his head. -Notice his shaven crown, exposed by the fallen -wig, which intimates that he is a Papist in disguise; -and the harlequin jacket underneath his -gown, which suggests that he is a religious merry-andrew. -A point worth remarking is that the -halo surrounds his wig, and not his head!</p> - -<p>From his right hand (Plate I.) he suspends a -puppet (caricatured from a picture of Raphael’s) -supporting the sacred triangle, which, in attempting -to personify the Trinity, was considered by -some to be a profane materialisation of a mystical -idea. This he has ingeniously turned into a gridiron -or trivet of the Inquisition by the simple -addition of three legs. In Plate II. this puppet -has been removed and its place taken by a witch, -riding on a broom-handle, who is suckling what -appears to be a huge rat. Beyond the preacher’s -hand we find a further addition in the shape of a -cherub, hunting-cap on head, bearing -in its mouth <span class="xxpn" id="p090">{90}</span> -a letter directed “To St. Moneytrap.” The -sermon paper, too, has been turned about so as to -bring the words “I speak as a fool” into greater -prominence. In which connection it may be -noticed that in “Enthusiasm Delineated” all the -lettering would seem to be from the burin of -Hogarth, whilst that in the “Medley” has been -put in by a writing engraver, with considerable -weakening of the general effect. Dangling from -the preacher’s left hand is a devil with a gridiron -(after Rubens), practically identical in both plates, -though obviously re-engraved.</p> - -<p>Further puppets hang ready for use on the -panels of the pulpit. In Plate I. they are -caricature representations, from pictures of the -Old Masters, of Adam and Eve (suggested by -Albert Dürer), of Peter with his Key, and Paul -in a black periwig armed with two swords and -elevated by high-heeled shoes (travestied from -Rembrandt), and of Moses and Aaron. In Plate -II. these scriptural puppets are exchanged for the -superstitious images of Mrs. Veal’s ghost (see the -writing on the book), who, according to Defoe, -appeared the day after her death to -Mrs. Bargrave <span class="xxpn" id="p091">{91}</span> -of Canterbury, September 8, 1705; of Julius -Cæsar’s apparition, starting at its own appearance -in the looking-glass; and of that of Sir George -Villers (<i>sic</i>), not “Villiers” as Ireland has it, whose -appearance to an officer at Windsor, charging him -to warn his son, the Duke of Buckingham, of his -approaching assassination, is recorded by Lord -Clarendon and Lilly the astrologer.</p> - -<p>In the foreground, on the right, we have in -both plates a most remarkable mental thermometer, -the bulb of which is inserted in a Methodist’s -brain. In Plate I. the mercury stands at “low-spirits”; -in Plate II. at “lukewarm.” In the -first a dove surmounts the whole; in the second -the Methodist’s brain rests upon “Wesley’s -Sermons,” and “Glanvid” (an evident misprint -for “Glanvil”) on “Witches.” The lettering, too, -is altered, and, in place of the inscription in the -top division, is a picture of the Cock Lane Ghost, -of which Walpole wrote—“Elizabeth Canning and -the Rabbit Women were modest impostors in -comparison of this.” The whole is surmounted by -a figure of the Tedworth drummer immortalised -by Addison. <span class="xxpn" id="p092">{92}</span></p> - -<p>In the adjoining pew a nobleman, as can be -seen by the decoration half concealed by his coat, -makes love to a girl, who discards a heavenly for -a very earthly affection, point to which is given -by the quotation from Whitfield’s hymn which -can be read on the paper hanging over the adjacent -clerk’s desk. The “mixed expression of religious -hypocrisy and amorous desire” on the girl’s face -is marvellously expressed. The other occupant of -the pew is a repentant thief, as may be seen from -the “T” branded on his cheek.</p> - -<p>In the first account of the plate given in the -<i>Catalogue of Prints and Drawings in the British -Museum</i>, the suggestion that the felon sniffs at -a bottle of spirits held in the hands of the image -is obviously incorrect. He is dropping his tears -into the bottle. In Plate II. a less aristocratic -and somewhat more decently behaved pair of -lovers occupy the pew. The puppet held by the -man is clearly a repetition of the Cock Lane Ghost, -only bearing in its hand a lighted candle in place -of a hammer. What the meaning of this is I fail -to understand. Of the two other occupants of -the pew one is weeping and -the other asleep. <span class="xxpn" id="p093">{93}</span> -A winged devil whispers evil thoughts into the -sleeper’s ear.</p> - -<p>In both plates, on a bracket attached to the -side of the pew and inscribed “The Poor’s Box,” -rests a wire rat-trap in place of the proper receptacle.</p> - -<p>Turning now to the clerk’s desk, which in Plate -I. has the inscription “Cherubim and Seraph [ — ] -do cry,” and in Plate II. “Continually do cry,” -we find a hideous and brutal-looking clerk singing -lustily from a book which he half supports in his -claw-like fingers. Supporting him are two winged -cherubs, the ridiculous nothingness of whose -bodies (so envied by Thackeray in his days of -pupilage) is accentuated by the significant addition -of ducks’ feet. Their pitiful faces accord with the -punning inscription on the edge of the desk. In -Plate II. the ducks’ feet have been removed, but -to make up for the loss we have the clerk himself, -now a lean and hungry-looking individual, also -decorated with a pair of wings.</p> - -<p>Below the desk in Plate I. howls a dog, his -collar engraved with Whitfield’s name, whilst, -below the hassock on which he -sits, a ragged <span class="xxpn" id="p094">{94}</span> -figure squats embracing an image. In Plate II. -a book entitled <i>Demonology, by K. James Ist.</i>, -surmounted by a shoeblack’s basket in which -<i>Whitfield’s Journal</i> is stuck, takes the place of the -dog, whilst the boy of Bilston, vomiting forth -nails, displaces the ragged figure. From the neck -of the bottle in his hand a figure, similar to that -held by the man in the pew, rises expelling the -cork, which falls to the ground.</p> - -<p>In the forefront of Plate I. lies the bloated -figure of Mother Douglas, who, after a most -licentious life, was said to have become a rigid -devotee. Hogarth, who has portrayed her in -other of his plates, here ridicules her conversion. -A hand belonging to a figure outside the plate -holds a bottle of salts to her nose. In Plate II. -Mary Tofts, “ye Godliman woman,” takes her -place. Her well-known imposture, which it would -be out of place to particularise here, gave rise to a -voluminous literature, and a sheaf of remarkable -caricatures. In place of the salts a glass of cordial -is applied as a restorative.</p> - -<div class="dbigpicture" id="f2.9"> -<div class="dctr01 dhtml"> -<img src="images/i095.jpg" width="1200" height="795" alt="" /> -<div class="dcaption"> -<table class="caption-table" summary=""> -<tr> - <td><div>The Chandelier in “Enthusiasm”</div></td> - <td><div>The Chandelier in “Credulity”</div></td></tr></table> -</div></div><!--dctr01--> - -<div class="dctr03 dhandheld"> -<img src="images/i095-a-epubmobi.jpg" width="799" height="1069" alt="" /> -<div class="dcaption">The Chandelier in “Enthusiasm”</div> -</div> - -<div class="dctr03 dhandheld"> -<img src="images/i095-b-epubmobi.jpg" width="748" height="1020" alt="" /> -<div class="dcaption">The Chandelier in “Credulity”</div> -</div></div><!--dbigpicture--> - -<p>In Plate I., behind the prostrate woman a -bearded Jew regards the -preacher with mock <span class="xxpn" id="p096">{96}</span> -devotion, what time he kills a flea between his -thumb-nails. Before him lies a book open at a -picture of Abraham offering up Isaac. In Plate -II. the figure of the Jew is much weakened, whilst -a knife inscribed “Bloody” is laid across a picture -of an altar on the page of the open book.</p> - -<p>In the background of both plates a motley -collection of devotees assists at these religious -orgies. To the extreme left of Plate II., which, -by the addition of several persons in the congregation, -has become greatly overcrowded, a minister -directs the attention of a terrified wretch, whose -hair bristles with fear, to the extraordinary double-globed -chandelier above their heads.</p> - -<p>Final emphasis is given to the whole satire by -the figure of a Turk (slightly varied in the two -plates), who regards with amusement through the -window the idolatry of those “dogs of Christians.”</p> - -<p>So much for the details of the plates. As -regards the general effect of the whole, the -superiority of the suppressed design will be evident -at a glance. In lighting, balance, and composition, -the substituted design is immeasurably removed -from the original. Nor would this -be wonderful if, <span class="xxpn" id="p097">{97}</span> -as Ireland surmised, “the alterations were made -by degrees.”</p> - -<p>With this view, however, I find it, as I have -said above, impossible to concur. If, as he suggests, -the figures were beaten out one by one, their -substitutes would occupy practically identical -spaces on the plate; but a little measurement -demonstrates the fact that, with the exception of -the figure of the preacher, which has been left -where it was, and of the mental thermometer, -which has been raised, almost the whole of the -design has been shifted downwards.</p> - -<p>I am therefore inclined to think that from the -first Hogarth, from one cause or another, made up -his mind to change the direction of his satire, and -at once beat out all the figures on the plate save -one. That the arrangement of the new design -should coincide generally with that of the first is, -I think, no more than one would naturally expect, -and does not in any way weaken the argument.</p> - -<p>In conclusion, it should be pointed out, for the -sake of those who would study the matter further, -that the accounts of the impressions of the several -plates in the <i>Catalogue of -Prints and Drawings <span class="xxpn" id="p098">{98}</span> -in the British Museum</i> are not easily found, being -somewhat arbitrarily placed at pages 301–307, vol. -iii., part i., and pages 644–648, vol. ii., respectively.</p> - -<hr class="hrblk" /> - -<p>So far we have seen Hogarth in his character of -general iconoclast and antipapist. It is now our -business to deal with him in what was a more -personal polemic.</p> - -<p>In the year 1731 Pope first published his -notorious attack upon the Duke of Chandos in his -satire <i>Of Taste: An Epistle to the Right Hon. -Richard, Earl of Burlington</i>.</p> - -<p>Hogarth forthwith entered the lists, and designed -and published a well-deserved pictorial -counterblast, allusively entitled “The Man of -Taste,” or “Burlington Gate.” This was immediately -“suppressed” on a prosecution being -threatened because of what was deemed its -scurrilous and defamatory character.</p> - -<p>Notwithstanding this prompt suppression, however, -the design reappeared the following year, -reduced in size, as frontispiece to a pirated edition -of Pope’s “Epistle,” which was included in a -pamphlet entitled <i>A Miscellany -on Taste; by <span class="xxpn" id="p099">{99}</span> -Mr. Pope, etc.</i>, published by Lawton and others. -Its contents were (1) Of Taste in Architecture, -an Epistle to the Earl of Burlington, with <i>Notes -Variorum</i>, and a complete Key; (2) Of Mr. Pope’s -Taste in Divinity: viz., the Fall of Man, and the -First Psalm, translated for the use of a Young -Lady; (3) Of Mr. Pope’s Taste of Shakespeare; -(4) His Satire on Mr. P——y; and (5) Mr. -Congreve’s fine Epistle on Retirement and Taste, -addressed to Lord Cobham. In this copy of the -plate Pope, who is shown in the original by means -of the back of his head and figure, and as wearing -a full-bottomed wig, is more distinctly satirised, -his face being displayed in profile, and his head -enclosed by a linen cap instead of a wig. Amongst -a few other minor alterations, it may be noticed -that the palette held by Kent is transferred from -one hand to the other.</p> - -<p>Referring to the republication of Hogarth’s -cartoon in this form, Mr. Dobson seems somewhat -inclined to argue against the story of -its “suppression,” or, at any rate, its effectual -suppression; but he does not allude to the important -fact that the publisher -of this pamphlet <span class="xxpn" id="p100">{100}</span> -was <i>also</i> promptly prosecuted, and the sale strictly -prohibited. From which it is clear that the -suppression was as unqualified and as prompt as -could reasonably be expected.</p> - -<p>Steevens indeed mentions a copy upon which -the following inscription had been -<span class="nowrap">made:—</span></p> - -<blockquote> - -<p>“Bo<sup>t</sup>. this book of Mr. Wayte, at the Fountain Tavern, -in the Strand, in the presence of Mr. Draper, who told me -he had it of the Printer, Mr. W. Rayner.</p> - -<p class="psignature">“J. -<span class="smcap">C<b>OSINS.”</b></span></p></blockquote> - -<p class="pcontinue">The signatory was an Attorney, and the wording of -the memorandum suggests the intended prosecution.</p> - -<p>To return to Pope’s poem. In it he passes -the most scathing criticism upon the splendid -but tasteless surroundings of “Timon” at his -stupendous villa.</p> - -<div class="dpoemlft"><div class="dstanzalft"> -<span class="spquoteverse"><span class="spquoteblock">“</span>Greatness, - with Timon, dwells in such a draught</span> -<span class="spp00">As brings all Brobdingnag before your thought.</span> -<span class="spp00">To compass this, his building is a town,</span> -<span class="spp00">His pond an ocean, his parterre a down:</span> -<span class="spp00">Who but must laugh, the master when he sees,</span> -<span class="spp00">A puny insect, shivering at the breeze!</span> -<span class="spp00">Lo, what huge heaps of littleness around!</span> -<span class="spp00">The whole, a labour’d quarry above ground.</span> -<span class="spp00">Two cupids squirt before: a lake behind</span> -<span class="spp00">Improves the keenness of the northern wind.</span> -<span class="spp00">His gardens next your admiration call,</span> -<span class="spp00">On every side you look, behold the wall! -<span class="xxpn" id="p101">{101}</span></span> -<span class="spp00">No pleasing intricacies intervene,</span> -<span class="spp00">No artful wildness to perplex the scene;</span> -<span class="spp00">Grove nods at grove, each valley has a brother,</span> -<span class="spp00">And half the platform just reflects the other.”</span> -</div></div> - -<p>And then, at the end of it all, he proceeds to -justify Providence, in giving riches to those who -squander them, in a way that will hardly commend -itself to the student of the dismal science. A bad -taste, he says in effect, employs more hands, and -diffuses wealth more usefully than a good one! -One would like to have heard John Stuart Mill on -the subject of “Pope.”</p> - -<p>The “Epistle” was addressed to Pope’s patron, -the Earl of Burlington, who was one of the noblemen -who had helped to screen him a few years -before on his publication of the <i>Dunciad</i>.</p> - -<p>“Timon” (mainly though not entirely) referred to -the Duke of Chandos, who was, Johnson says, a man -perhaps too much delighted with pomp and show, -but of a temper kind and beneficent, and who had -consequently the voice of the public -in his favour.<a class="afnanc" href="#fn20" id="fnanc20">20</a> -<span class="xxpn" id="p102">{102}</span></p> - -<p>A violent outcry was therefore raised against -the ingratitude and treachery of Pope, who was -said to have been indebted to the patronage of -Chandos for a present of a thousand pounds, and -who gained the opportunity of insulting him by -the kindness of his invitation to “Canons,” the -Duke’s seat near Edgware.</p> - -<p>In a pamphlet entitled <i>Ingratitude</i> published -in 1733, of which only a portion of the frontispiece -is in the British Museum,<a class="afnanc" href="#fn21" id="fnanc21">21</a> -the matter is thus alluded -to. “A certain animal of diminutive size, who -had translated a book into English metre (or at -least had it translated for him), addressed himself -to a nobleman of the first rank, and in the style of -a gentleman-beggar requested him to subscribe a -guinea for one of his books. The nobleman -entertained him at dinner in a sumptuous manner, -and continued so to do as often as the insignificant -mortal came to his house. After dinner this -generous man of quality, taking him aside, put a -bank-note for five hundred pounds into his hands, -and desired he might have but -one book. But <span class="xxpn" id="p103">{103}</span> -what was the consequence of this? Why, truly, -the wretch, who is a composition of peevishness, -spleen and envy, having no regard to the benefits -he had received, in a few years after, and without -any manner of provocation, or the least foundation -for truth, publishes a satire, as he terms it, but in -reality it is an infamous and calumnious libel, -calculated, with all the malice and virulency -imaginable, to defame and render odious the -character of his best benefactor.”</p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc20" id="fn20">20</a> -Bowles says, “As Pope was the first to deal in personalities, the -following severe retaliation was published in the papers of the -time:</p> - -<div class="dpoemctr"><div class="dstanzactr"> -<span class="spquoteverse"><span class="spquoteblock">“</span>Let - Pope no more what Chandos builds deride,</span> -<span class="spp00">Because he takes not Nature for his guide;</span> -<span class="spp00">Since, wond’rous critic! in thy form we see</span> -<span class="spp00">That <i>Nature</i> may mistake, as well as he.”</span> -</div></div> - -<p class="pfirst padtopc"><a class="afnlabel" href="#fnanc21" id="fn21">21</a> -Vide <i>Catalogue of Prints and Drawings in the British Museum</i>, -Division I., <i>Satires</i>, vol. ii., No. 1935.</p></div> - -<p>From which it will be seen that Hogarth was -not out of the fashion in retaliating upon Pope’s -devoted head with the cartoon which we here -reproduce.</p> - -<p>Let us examine it in detail. The gate, which -is the main feature in the picture, is a travesty -of that which is familiar to old frequenters of -Piccadilly. Until as lately as 1868, it formed the -frontage to Burlington House. It was the joint -design of Lord Burlington and Colin Campbell, -and, although well-proportioned and inoffensive, -hardly justifies the fulsome praise which has been -bestowed upon it. Kent, originally a coach-painter, -with whose statue Hogarth -has surmounted the <span class="xxpn" id="p104">{104}</span> -structure, was patronised by, and brought his -practical knowledge to the assistance of, Lord -Burlington, himself undoubtedly a man of enlightened -taste. The alteration and reconstruction -of the original Burlington House, which had been -built by his great-grandfather, the first Earl, was -the first of his many architectural projects. It -was eventually taken down to make way for the -existing Royal Academy and Science Buildings. -Lord Hervey laughed at its inconvenience in the -following -<span class="nowrap">couplet:—</span></p> - -<div class="dpoemctr"><div class="dstanzactr"> -<span class="spquoteverse"><span class="spquoteblock">“</span>Possessed - of one great hall of state,</span> -<span class="spp00">Without a room to sleep or eat.”</span> -</div></div> - -<p class="pcontinue">The best of Lord Burlington’s and Kent’s joint -work is to be found in the northern park front of -the Treasury Buildings in Whitehall, “which,” says -Fergusson, “if completed, would be more worthy -of Inigo Jones than anything that has been done -there since his time.”</p> - -<div class="dbigpicture" id="f2.10"> -<div class="dctr04 dhtml"> -<img src="images/i105.jpg" width="905" height="1561" alt="" /> -<div class="dcaption">The Man of Taste -</div></div> - -<div class="dctr04 dhandheld"> -<img src="images/i105-a-epubmobi.jpg" width="799" height="35" alt="" /> -<img src="images/i105-b-epubmobi.jpg" width="780" height="1225" alt="" /> -<img src="images/i105-c-epubmobi.jpg" width="799" height="88" alt="" /> -<div class="dcaption">The Man of Taste -</div></div></div><!--dbigpicture--> - -<p>Flanking the ex-coach-painter, Hogarth has placed reclining figures -of Raphael and Michael Angelo, who regard the modern architect with -respectful admiration! On the platform is Pope rough-casting the front -of the structure, and <span class="xxpn" id="p106">{106}</span> -incidentally bespattering the passers-by with whitewash from his -huge brush. Chief amongst these is the Duke of Chandos, who vainly -strives to protect himself with his hat. Ascending the ladder is -Lord Burlington, who carries up more whitening for the beautifying -of his own gate and the defilement of his neighbours’ clothes. Over -the gate Hogarth has sarcastically inscribed the solitary word “<span -class="smcap">T<b>ASTE.”</b></span> The double distribution of flattery -and satire is an excellent pictorial burlesque of the <i>Epistle to Lord -Burlington</i>, and who can say that it was not richly deserved? At any -rate, stroke and counterstroke were fierce and unhesitating in those -days, and, although Pope’s and his patrons’ influence was sufficient to -get Hogarth’s witty plate suppressed, it is a tribute to the wholesome -respect which the poet had for the artist, that, pugnacious and -irrepressible as his pen generally was, Pope never ventured to make any -written retaliation upon the libeller.</p> - -<p>It should be mentioned that this was not the -first occasion upon which Hogarth had attacked the -charlatanry of Kent. In the first plate published -on his own account, -in 1724—“Masquerades and <span class="xxpn" id="p107">{107}</span> -Operas”—he had included him in his ridicule of -what Mr. Dobson calls “foreign favourites and -dubious exotics.” In that plate, also, he had -ridiculed “Burlington Gate,” and, curiously -prompted by the spirit of prophecy, had labelled -it “Accademy (<i>sic</i>) of Arts!” He had also, in -the following year, burlesqued Kent’s scandalous -altarpiece at St. Clement Danes, which had lately -been taken down in response to the outcry against -its sacrilegious impudence.</p> - -<p>By the kindness of the publisher of <i>The Builder</i>, -I am enabled to reproduce a wood engraving of -Burlington Gate as it actually was, which appeared -in that journal on October 28, 1854. Comparing -this with the cartoon, it will be seen that Hogarth -did not scruple to heighten the effect of his satire -by depriving Lord Burlington’s edifice of such -merits as it undoubtedly possessed.</p> - -<p>So much for Hogarth in his polemic with Pope. -We will now turn for a moment to Hogarth and -his quarrel with Wilkes and Churchill, in which we -shall find him working over an old plate as in the -case of “Enthusiasm Delineated,” but with a very -different object in view. Here he -adopts a method <span class="xxpn" id="p108">{108}</span> -of retaliation which, as we shall learn from later -chapters of this book, had become already customary -amongst the producers of political broadsides in -the seventeenth century. Hitherto Hogarth had -kept clear of politics, but now, in his sixty-fifth -year, he threw himself into the fray. John Wilkes -had started a paper called <i>The North Briton</i> in -opposition to <i>The Briton</i>, the organ of the Tory -party of which Lord Bute was the leader. Hogarth -had long enjoyed Bute’s favour. He had also -until now been on friendly terms with Wilkes and -his henchman Charles Churchill, the poet. On -September 7, 1762, taking sides with his patron, -he published <i>The Times</i> (Plate I.). This so enraged -Wilkes that he retaliated on the Saturday following, -in the seventeenth number of <i>The North Briton</i>, -with a violent attack on Hogarth both as man and -artist. In the May following Hogarth retorted -by publishing a portrait of John Wilkes which, -professing to be a likeness, cleverly exhibited his -most repulsive characteristics. Wilkes being now -on his trial for libel, Churchill came to the rescue -with his savage and slashing <i>Epistle to William -Hogarth</i>. This was published -on August 1. <span class="xxpn" id="p110">{110}</span> -With a promptitude astonishing in those days of -tardy copper-plate engraving, Hogarth, by a clever -expedient, retaliated within a month with his -exceedingly venomous print of “The Bruiser.” The -plate from which this was printed had already done -duty as a portrait of Hogarth himself with his dog -Trump, engraved from the well-known painting -now in the National Gallery.</p> - -<div class="dctr03" id="f2.11"> -<img src="images/i109.jpg" width="600" height="915" alt="" /> -<div class="dcaption">Burlington Gate as it appeared prior to 1868 -</div></div> - -<p>Pressed for time, in ill-health, and apprehensive lest the public -might attribute delay in replying to inability to do so, he took the -old plate, burnished out his own portrait, and substituted in its place -the head of a bear, with torn and soiled clerical bands about its neck, -ruffles on its wrists, and clasping against its chest a foaming pot -of beer, in allusion to the personal habits of the poet and ci-devant -parson. With his left paw the beast clasps a huge club, the knots of -which are labelled “Lye 1,” “Lye 2,” referring to the falsities of <i>The -North Briton</i>. There are other minor alterations which may be seen at a -glance. The whole was entitled “<span class="smcap">T<b>HE</b></span> -<span class="smcap">B<b>RUISER,</b></span> -<span class="smcap">C<b>HARLES</b></span> <span -class="smcap">C<b>HURCHILL</b></span> (once the Rev<sup>d</sup>.!) -In the character of a <span class="smcap">R<b>USSIAN</b></span> -<span class="smcap">H<b>ERCULES,</b></span> regaling himself after -having killed <span class="xxpn" id="p111">{111}</span> the -<span class="smcap">M<b>ONSTER</b></span> -<span class="smcap">C<b>ARICATURE,</b></span> -that so sorely gall’d his virtuous friend, the Heaven-born -Wilkes.” The plate thus altered is to be found in five states, -particulars of which may be found on p. 286 of Mr. Austin Dobson’s -<i>William Hogarth</i>, 1891. That here reproduced is from a <i>copy</i> of -the last state engraved by Dent for John Ireland.<a class="afnanc" -href="#fn22" id="fnanc22">22</a> It is only in the last two states that -the clever little engraving in front of the palette is to be found.</p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc22" id="fn22">22</a> -In copying, the design, as will be seen, has been turned from left -to right.</p></div> - -<p>So far we have dealt with work done by Hogarth -in his individual capacity. Let us now turn to such -of his collaborative work as suffered cancellation.</p> - -<p>In dealing with the series of suppressed <i>Quixote</i> -plates we shall be brought into touch with two not -uninteresting and accessory episodes in the artist’s -career. In the first of these Hogarth made a -great success, where a rival artist had made a -signal failure. In the second, by way of righting -the balance of things, fate ordained it that this -same artist should badly best Hogarth, and that in -a manner peculiarly galling to the latter’s vanity.</p> - -<p>Hogarth’s father-in-law was Sir -James Thornhill, <span class="xxpn" id="p112">{112}</span> -whose drawing academy in Covent Garden had -not proved as valuable an institution as had been -anticipated. Johan Van der Banck, the rival -artist above alluded to, had been one of Sir -James’s pupils. By heading a secession and -establishing a rival school he had undoubtedly -largely contributed to the failure of his master’s -venture. However, in due time, his school too -proved to be lacking in the elements of success, -and came to an untimely end.</p> - -<p>On Sir James’s death the “neglected apparatus” -of his father-in-law passed into Hogarth’s hands, -and he set to work to establish the academy on a -different footing. The result was that it became -a successful educational centre, which only ceased to -exist many years afterwards on the establishment -of the Royal Academy. A picture by Hogarth of -the interior of the school with the students drawing -from life is to be seen on the staircase leading to -the Diploma Gallery at Burlington House.</p> - -<p>In this case Hogarth had the laugh on his side. -In the other, which is immediately relevant to our -subject, the laugh was with Van der Banck.</p> - -<div class="dbigpicture" id="f1.16"> -<div class="dctr01 dhtml"> -<img src="images/i112fp.jpg" width="1200" height="700" alt="" /> -<div class="dcaption"> -<table class="caption-table" summary=""> -<tr> - <td>Portrait of Hogarth with His Dog Trump<sup - id="fnanc23" title="footnote anchor 23, html edition">*</sup></td> - <td><i>The plate reversed and in its last state, - now entitled</i> “The Bruiser”</td></tr></table> -</div></div><!--dctr01--> - -<div class="dctr03 dhandheld"> -<img src="images/i112fp-a-epubmobi.jpg" width="600" height="732" alt="" /> -<div class="dcaption">Portrait of Hogarth with His Dog Trump<sup - title="footnote anchor 23, epub/mobi editions">*</sup></div></div> - -<div class="dctr03 dhandheld"> -<img src="images/i112fp-b-epubmobi.jpg" width="600" height="732" alt="" /> -<div class="dcaption"><i>The plate reversed and in its last state, -now entitled</i> “The Bruiser”</div></div> -</div><!--dbigpicture--> - -<div class="dftnt"> -<p class="pfirst"><sup id="fn23" title="footnote 23">*</sup> -The plate being re-engraved -for <i>Hogarth Illustrated</i> became transposed.</p></div> - -<p>In 1738 Lord Carteret’s Spanish -edition of <i>Don <span class="xxpn" id="p113">{113}</span> -Quixote</i> was published. For this Hogarth had -been commissioned to design a series of illustrations. -Eight of these were executed, but, on -being submitted to Lord Carteret, did not meet -with his approval. The commission was consequently -transferred to Johan van der Banck, -who thus succeeded in revenging himself for his -former failure, and at the same time unconsciously -provided us with matter for consideration in these -papers. His sixty-eight designs were engraved by -Van der Gucht and republished in the English -edition of 1756, of which Charles Jarvis was the -translator. Of Hogarth’s unsuccessful venture -John Ireland writes with some indignation, “As -they are etched in a bold and masterly style, I -suppose the noble peer did not think them <i>pretty -enough</i> to embellish his volume and therefore laid -them aside for Vandergucht’s engravings from -Vanderbank’s designs.” It is a slight satisfaction -to know that Hogarth’s completed etchings were -paid for!</p> - -<p>One curious fact about Jarvis’s edition demands -our attention. The plate representing the Don’s -first sally in quest of adventure -is without any <span class="xxpn" id="p114">{114}</span> -signature, but the “style of the etching and the -air of the figures” indisputably determine for us -the fact that it is from the pencil and burin of -Hogarth, so that it is open to any one who has -access to this edition to judge for themselves -of the justice of Ireland’s strictures upon Lord -Carteret.</p> - -<p>For those who have not access to Jarvis’s -edition it may be mentioned that a copy engraved -by J. Mills appears in Ireland’s <i>Hogarth Illustrated</i> -and in the <i>Anecdotes of William Hogarth</i>, published -by Nichols in 1833. Of Hogarth’s eight designs -we are therefore left with only seven, which were -“suppressed.” Of these six were published from -Hogarth’s own plates in Baldwin, Cradock and -Joy’s splendid collection of the <i>Works</i> in 1822; -whilst previously, in 1798, John Ireland had -published small copies of them together with an -unfinished design of “The Innkeeper” in his -possession, engraved by J. Mills. These plates -were used over again in the <i>Anecdotes</i> of 1833 -with altered lettering and the etchings considerably -worn.</p> - -<div class="dctr05" id="f2.12"> -<img src="images/i115.jpg" width="600" height="1102" alt="" /> -<div class="dcaption">Don Quixote -No. 1.—The Innkeeper</div></div> - -<p>The accompanying reproductions -are, save for <span class="xxpn" id="p116">{116}</span> -No. 1., not made from any of the foregoing, but -from the early states of the plates, never before -published, to be found in the British Museum. -Thus they will prove not only of interest to the -casual reader but also valuable, for purposes of -comparison, to the possessors of any of the three -editions of Hogarth’s <i>Works</i> mentioned above. -The full descriptions of the plates may be found in -Ireland and Nichols, but for the convenience of the -reader I append a short commentary.</p> - -<p>No. I. <i>The Innkeeper</i> is from an unfinished -etching and is of particular interest. By some its -authenticity is doubted, but John Ireland believed -in it, and I, for one, see no reason to call his -judgment into question, more particularly as this -figure bears a more than chance resemblance to -that of “The Innkeeper” in the undoubted Hogarth -referred to above published in Jarvis’s edition. -In the Van der Banck plate, which represents the -knighting of the Don by the Innkeeper, it is also -evident that Hogarth’s rival has done him the -compliment of adopting his model.</p> - -<div class="dctr02" id="f2.13"> -<img src="images/i117.jpg" width="730" height="985" alt="" /> -<div class="dcaption">Don Quixote -No. II.—The Funeral of Chrysostom</div></div> - -<p>No. II. <i>The Funeral of Chrysostom, Marcella -vindicating herself.</i> This scene -was also taken <span class="xxpn" id="p118">{118}</span> -by Van der Banck for illustration, and a comparison -of the two plates is not favourable to -Hogarth.</p> - -<p>No. III. <i>The Innkeepers Wife and Daughter -taking care of the Don after he had been beaten.</i> -“Much superior to the same scene designed by -Van der Banck.”</p> - -<p>No. IV. <i>Don Quixote seizes the Barber’s Basin -for Mambrino’s Helmet.</i> On the whole inferior to -Van der Banck’s. The barb of the Don’s weapon -is different from that in the Hogarth design published -by Jarvis. The stirrups and saddling of the -horse too are different. These points have not -been referred to before, but I mention them by -way of argument against the authenticity of the -Jarvis plate. As I have said before, personally I -have no doubt that it is from Hogarth’s burin.</p> - -<p>No. V. <i>Don Quixote releases the Galley Slaves.</i> -Here the Don is found wearing the barber’s basin -as his helmet. By a not unusual oversight it will -be noticed Hogarth has made his figures left-handed, -forgetful of the reversing process due to -printing from a plate. A superior design to that -of Van der Banck, who, as -Ireland says, “has <span class="xxpn" id="p121">{121}</span> -given to two or three of the thieves the countenances -of apostles.”</p> - -<div class="dctr02" id="f2.14"> -<img src="images/i119.jpg" width="738" height="999" alt="" /> -<div class="dcaption">Don Quixote -No. III.—The Innkeeper’s Wife and Daughter</div></div> - -<div class="dctr02" id="f2.15"> -<img src="images/i120.jpg" width="780" height="977" alt="" /> -<div class="dcaption">Don Quixote No. IV.—Don Quixote seizes - the Barber’s Basin</div></div> - -<p>No. VI. <i>The First Interview of the Valorous -Knight of La Mancha with the Unfortunate Knight -of the Rock.</i> Distinctly superior to Van der Banck.</p> - -<p>No. VII. <i>The Curate and Barber disguising -themselves to convey Don Quixote home.</i> An excellent -representation of the curate assuming the -dress of a distressed virgin who, by his tale of -having been wronged by a naughty knight, hopes -to induce the Don to return to his home.</p> - -<p>Whilst on the subject of Don Quixote it may -be mentioned that, much earlier in his career, -Hogarth had designed and engraved a plate dealing -with “Sancho’s feast,” but this must not be -in any way identified or confused with the series -begun for Lord Carteret, although Ireland groups -them all together.</p> - -<div class="dctr02" id="f2.16"> -<img src="images/i122.jpg" width="750" height="953" alt="" /> -<div class="dcaption">Don Quixote No. V.—Don Quixote releases - the Galley Slaves</div></div> - -<div class="dctr02" id="f2.17"> -<img src="images/i123.jpg" width="750" height="1001" alt="" /> -<div class="dcaption">Don Quixote No. VI.—The First - Interview</div></div> - -<p>So much for Hogarth’s suppressed illustrations, -and it is, it must be confessed, something of a -relief to turn again from his cognate art to that -which is individual and typical. For we do not -much value Hogarth as an illustrator. In this -character he rarely does more than -repeat for us <span class="xxpn" id="p124">{124}</span> -in another medium the obvious matters already -dealt with in the letterpress. “Illustration,” as -Mr. Laurence Housman has well said, “should -be something in the nature of a brilliant commentary -throwing out new light upon the subject, -an exquisite parenthesis of things better said in -this medium than could be said in any other: in a -word, the result of another creative faculty at -work on the same theme.” And this in no way -describes Hogarth’s work as an illustrator. It is -as a great original painter working out consummately -the homeliest of morals that he appeals to -us. Those morals which, to quote Thackeray, are -“as easy as Goody Twoshoes,” the moral of -“Tommy was a naughty boy and the master -flogged him, and Jacky was a good boy and had -plum-cake.” For it is in “Marriage à la Mode,” -“A Rake’s Progress,” “Industry and Idleness,” -that he succeeds inimitably, carrying out the -motto beneath “Time Smoking a -<span class="nowrap">Picture”:—</span></p> - -<div class="dpoemctr"><div class="dstanzactr"> -<span class="spquoteverse"><span class="spquoteblock">“</span>To - Nature and your Self appeal</span> -<span class="spp00">Nor learn of others what to feel.”</span> -</div></div> - -<div class="dctr03" id="f2.18"> -<img src="images/i125.jpg" width="705" height="982" alt="" /> -<div class="dcaption">Don Quixote - No. VII.—The Curate and the Barber</div></div> - -<p>But this only in passing, for our subject -debars us from lingering -over Hogarth’s best. <span class="xxpn" id="p126">{126}</span> -From the nature of our theme we are confined to -the examination in the majority of cases of that -which verges upon failure either from artistic or -social considerations.</p> - -<div class="chapter"> -<h2 class="h2herein" id="p127">CHAPTER VII -<span class="h2smallctr"> - CANCELLED DESIGNS FOR <i>PUNCH</i> AND <i>ONCE A - WEEK</i></span></h2> - -<div class="fsz7">[<span class="smcap">C<b>HARLES</b></span> <span -class="smcap">K<b>EENE</b></span> <span class="smmaj">AND</span> -<span class="smcap">F<b>REDERICK</b></span> <span -class="smcap">S<b>ANDYS</b></span>]</div></div><!--chapter--> - -<p class="pfirst"><span class="smcap">I<b>N</b></span> -the present chapter I propose to deal with -three masterly drawings prepared for the publications -of Messrs. Bradbury and Evans (the predecessors -of Messrs. Bradbury and Agnew) which -were suppressed for various reasons. Two of -them are drawings by Charles Keene done for -<i>Punch</i>, which were never even “brought to the -block.” The third is by Frederick Sandys, -designed for <i>Once a Week</i>, and actually engraved, -but cancelled before publication for reasons which -shall appear.</p> - -<p>For leave to reproduce the first—one of the -rare cartoons (in this case a double-page one) -drawn by Keene for <i>Punch</i>—I -am indebted to <span class="xxpn" id="p128">{128}</span> -the generosity of Messrs. Bradbury and Agnew, -to whom the original drawing now belongs. For -years it has hung amongst other well-nigh priceless -treasures in the dining hall in Bouverie Street, -Whitefriars, and, until reproduced by me in the -<i>Pall Mall Magazine</i> in 1899, was only known -to the privileged few whose good fortune it has -been to penetrate into that Temple of the Comic -Muse. It is therefore with the greater satisfaction -that it is here reproduced for the delight -of that surely increasing public which recognises -in Charles Keene the greatest master of pen-and-ink -drawing that England has produced. But -this is not the place to linger over the qualities -of artists. At the same time we cannot but -congratulate ourselves that, by good fortune, our -chosen subject brings us into contact not only -with work to which adventitious interest attaches, -but also with artistic work evidencing a technical -mastery hard indeed to surpass.</p> - -<div class="dbigpicture" id="f1.17"> -<div class="dctr01 dhtml"> -<img src="images/i128fp.jpg" width="1243" height="800" alt="" /> -<div class="dcaption">The Cancelled Cartoon. -(<i>By Charles Keene</i>)</div></div> - -<div class="dctr03 dhandheld"> -<img src="images/i128fp-epubmobi.jpg" width="800" height="1243" alt="" /> -<div class="dcaption">The Cancelled Cartoon. -(<i>By Charles Keene</i>)</div></div></div><!--dbigpicture--> - -<p>The only public mention before the year 1899 -made of this splendid pen-and-ink drawing is to be -found on page 60 of Mr. Spielmann’s monumental -work, <i>The History of Punch</i>. There, -in his most <span class="xxpn" id="p129">{129}</span> -interesting description of <i>The “Punch” Dining -Hall</i>, it is described as “a masterly drawing, -2 feet long, by Keene, bought by the late Mr. -Bradbury at a sale—the (unused) cartoon of -Disraeli leading the principal financiers of the day -in hats and frock-coats across the Red Sea. -(‘Come along, it’s getting shallower!’)”</p> - -<p>Now, since this was written, further inquiries -have been made upon the subject, and two theories -present themselves for consideration. The first -of them in its general outline supports Mr. -Spielmann’s account, and maintains that the -picture was bought direct from Keene himself by -the late Mr. Agnew (not Mr. Bradbury), as a -<i>solatium</i> on account of its not being used, and -that the reason for suppressing it was the anti-Jewish -feeling by which it was inspired.</p> - -<p>In support of this view it should be remembered -that Keene all along refused to accept a fixed -salary for his <i>Punch</i> work, and was always paid -by the piece. Considering, too, that the subject -of the weekly cartoons was (and still is) a matter -of general discussion at the Wednesday <i>Punch</i> -dinners, it is not unreasonable to -suppose that the <span class="xxpn" id="p130">{130}</span> -subject was embarked upon with the authority of -the editor, and that other counsels only prevailed -after the drawing had reached the stage at which -it now appears.<a class="afnanc" href="#fn24" id="fnanc24">24</a> -This being so, it seems not -unlikely that a generous employer would feel -himself in some degree answerable for the futile -labour to which the artist had been put, and would -offer to buy the picture as it stood rather than -that the artist should in any way be prejudiced. -If this were the case (which does not sound -improbable) it throws an interesting and edifying -side-light upon the relations existing between the -artists and publishers of our great comic paper.</p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc24" id="fn24">24</a> -Of course Sir John Tenniel was cartoonist in -chief, but sometimes the cartoon was duplicated, and on -very rare occasions Sir John took a holiday.</p></div> - -<p>Against this theory, however, I have the opinion -of Sir John Tenniel and Mr. Linley Sambourne -that the drawing was done on Keene’s own initiative -by way of frontispiece to one of the <i>Punch</i> -pocket-books. But this view of the matter I am, -with submission, not myself inclined to accept, -and for two reasons. First and foremost, the -drawing differs in shape from the pocket-book -folding frontispieces; and secondly, -it was the <span class="xxpn" id="p131">{131}</span> -practice in these yearly productions rather to -satirise some social folly or fashion of the period -than to deal with matters political or international. -In addition to which it does tally in shape with -the double-page cartoons of <i>Punch</i> itself, and, as a -matter of fact, Keene’s few cartoons were mostly -done during the years 1875, 1876, and 1877, when -the matter of the Suez Canal was making a new -departure in politics—a fact which, as will appear, -has some bearing upon the matter before us.</p> - -<p>So much for the circumstances connected with -the production and proposed destination of the -picture. Let us now consider its subject and the -probable reason of its suppression.</p> - -<p>And, if we take down our volume of collected -<i>Punch</i> cartoons and turn to those dealing with -Disraeli, we shall be disinclined to think that it -was out of any consideration for “Benjamin -Bombastes” himself that this splendid drawing -was withheld from publication. But thinly -disguised contempt is the attitude almost invariably -maintained towards him, whilst but -thinly disguised personal admiration for his great -rival discounts even the -bitterest political taunts <span class="xxpn" id="p132">{132}</span> -flung at that devoted head. No! I am inclined -to think that events at this time, to which this -cartoon referred, were wringing unwilling approbation -even from “The Asiatic Mystery’s” most -bitter enemies, and that Bouverie Street could -not but acknowledge that here at least “Ben-Dizzy” -deserved well of his country. For surely -the cartoon has reference to nothing less than -that crowning act of wisdom, the purchase of -nearly half the shares in the Suez Canal for four -millions sterling. Here we have Disraeli with -his umbrella pointing the way, not across the Red -Sea as Mr. Spielmann imagines, but up the Canal -<i>towards</i> the Red Sea. He calls out, “Don’t be -afraid! it’s getting shallower,” thus possibly referring -to the original notion (afterwards disproved) -that the level of the Mediterranean was 30 feet -below that of the Red Sea. On the right-hand, -and Egyptian, side of the water, if we look -carefully, we discover the shadowy outline of the -Sphinx and the Pyramids, which latter rise dimly -to the margin of the drawing. On the bank -indistinct forms of the Liberal “Opposition” wave -their arms, hurl stones and shout -“Yah” at the <span class="xxpn" id="p133">{133}</span> -wading financiers. Such was the hardly congratulatory -attitude assumed towards this masterly -move by Charles Keene.</p> - -<p>But when we turn to the cartoons dealing with -this subject by Sir John Tenniel,<a class="afnanc" href="#fn25" id="fnanc25">25</a> -which <i>did</i> -appear, what do we find? The first is “Mosé in -Egitto”!!! published on December 11, 1875, to -which, in the collected cartoons, the following -note is -<span class="nowrap">appended:—</span>“Mr. Disraeli extorted the -admiration of the country by purchasing for -£4,000,000, on behalf of the Government, the -shares in the Suez Canal held by the Khedive of -Egypt.” The second is entitled “The Lion’s -Share—<i>Gare à qui la touche</i>,” on February 26, -1896, to which the note appended runs: “The -acquisition of the Suez Canal shares was accepted -by the country as securing the safety of ‘The -Key to India.’” These, as will be seen, frankly -recognise the wisdom of the purchase. Hence -it is not surprising if the feeling against the -suggestion contained in Keene’s cartoon—that -the financiers of the day were being -put into a <span class="xxpn" id="p134">{134}</span> -ridiculous position by the Conservative Leader—was -strong enough to result in its rejection. Its -inclusion would have gone far to stultify the effect -of the congratulatory attitude taken up by <i>Punch’s</i> -chartered cartoonist. At any rate, this view of -the case appears to be most reasonable, and I give -it for what it is worth.</p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc25" id="fn25">25</a> -It may be mentioned as an interesting fact -that no engraved cartoon after Sir John Tenniel has ever -failed to find its place in the number for which it was -designed.</p></div> - -<p>The drawing is a fine example of Keene’s -power of endowing his models with the qualities -requisite to his design. Not a man of these seventeen -financiers suggests a model posing, and yet -all, for this was Keene’s invariable custom, were -drawn from the life. Not one of them but is -balanced as though he were wading in water up -to his knees; and yet not one of them, we may -be sure, was wading against a stream when, probably -unconsciously, he was forced into the service -of the artist’s pencil. The pose of one and all is -as inevitable as is the expression on the face of -each. I would ask all my readers who are seekers -after consummate draughtsmanship to give more -particular attention to this beautiful drawing than -its mere subject would demand, remembering that -Keene’s achievements -in black-and-white are <span class="xxpn" id="p135">{135}</span> -unsurpassed, and, I am inclined to think, unsurpassable.</p> - -<p>We will now turn to the consideration of the -other suppressed Keene drawing. This, we shall -find, owed its rejection not to political but -to social considerations. And it is of peculiar -interest, not only as showing the scrupulous care -taken by the then editor of <i>Punch</i> to avoid the -risk of offending the susceptibilities of his readers, -but also as an example of the extensive collaboration -which existed between Keene and the late -Mr. Joseph Crawhall in the supply of “socials” -to that paper week by week.</p> - -<p>Let us pause for a moment, then, to recall the -particulars of this remarkable co-operation. Early -in the ’seventies, Keene, who was often gravelled -for humorous subjects on which to exercise his -pencil, was by good fortune introduced to the -author of <i>Border Notes and Mixty-Maxty</i>, and -many other droll books of a like character. This -gentleman, always a lover of things quaint, -grotesque and jocular, had been for years in the -habit of jotting down any telling incident that -came in his way, illustrating it at -leisure for his <span class="xxpn" id="p136">{136}</span> -own amusement. He was no great artist; but, -like Thackeray, his inadequate pencil was so compelled -and inspired by the appreciation of his -subjects that he was able to set them down -pictorially in a manner so naïve and at the same -time so intelligent that they are a joy to the -beholder. These suggestive drawings, by the -time the introduction had taken place, filled -several volumes.</p> - -<p>Keene’s delight, then, may be well imagined -when he was given <i>carte blanche</i> to cull the best -of the subjects for use in <i>Punch</i>. He -<span class="nowrap">wrote:—</span></p> - -<blockquote> - -<p>“I can’t tell you how strongly I have felt your rare -generosity and unselfishness in letting me browse so freely -in your pastures.”</p></blockquote> - -<p>And -<span class="nowrap">again:—</span></p> - -<blockquote> - -<p>“Many thanks for the loan of the sketch-books. I enjoyed -them again and again, with renewed chucklings; but what -a mouth-watering larder to lay open to a ravenous joke-seeker!”</p></blockquote> - -<div class="dbigpicture" id="f1.18"> -<div class="dctr01 dhtml"> -<img src="images/i136fp.jpg" width="1158" height="800" alt="" /> -<div class="dcaption"> -<table class="caption-table" summary=""> -<tr> - <td>The Cancelled “Social.” -(<i>By Charles Keene</i>)</td> - <td>Suggestion by Joseph Crawhall for the Cancelled -“Social”</td></tr></table> -</div></div><!--dctr01--> - -<div class="dctr04 dhandheld"> -<img src="images/i136fp-a-epubmobi.jpg" width="496" height="800" alt="" /> -<div class="dcaption">The Cancelled “Social.” -(<i>By Charles Keene</i>)</div></div> - -<div class="dctr03 dhandheld"> -<img src="images/i136fp-b-epubmobi.jpg" width="609" height="800" alt="" /> -<div class="dcaption">Suggestion by Joseph Crawhall for the Cancelled -“Social”</div></div> -</div><!--dbigpicture--> - -<p>Fortunately Mr. Crawhall was as delighted to -be of service to the great artist as Keene was to -avail himself of his opportunity. Hence we have -that delightful partnership of -which full particulars <span class="xxpn" id="p137">{137}</span> -may be found in my <i>Life and Letters of Charles -Keene of</i> “<i>Punch</i>.”</p> - -<p>It is necessary to say so much for the purpose -of introducing the subject of the second -of Keene’s cancelled drawings. By a great piece -of good fortune I have in my possession Mr. -Crawhall’s pictorial suggestion for the rejected -picture itself, presented to me by the artist. I -reproduce it here alongside Keene’s drawing for -the purpose of comparison. The humour of it is -certainly rather brutal, and one is not surprised -to find that the editor considered that it would -“jar upon feelings.” Keene, on the other hand, -was naturally disgusted at his labour being thrown -away, and vented his wrath somewhat unreasonably -upon the “Philistine editor.”</p> - -<p>For the sake of those who would like to gain -some idea of the personality of the artist’s friend -who acted, as Boswell did to Johnson, in the -capacity of a “starter of mawkins,” it may be -mentioned that an excellent back view of Mr. -Crawhall, drawn by Keene, appears in <i>Punch</i>, -March 11, 1882, over the following delicious -“legend”:— <span class="xxpn" id="p138">{138}</span></p> - -<blockquote class="dkeeptgth"> -<div><i>LAPSUS LINGUÆ</i></div> - -<p><span class="smcap">P<b>ATER:</b></span> “Now, look here, my boy, I -can’t have these late hours. When I was your age my father wouldn’t let -me stay out after dark.”</p> - -<p><span class="smcap">F<b>ILIUS:</b></span> “Humph! nice sort o’ -father you must have had, I should say.”</p> - -<p><span class="smcap">P<b>ATER</b></span> (<i>waxing</i>): “Deuced -sight better than you have, you young——” -   (<i>Checks himself, and -exit.</i>)</p></blockquote> - -<p>The original of the <i>Punch</i> drawing here reproduced -was presented to Mr. Crawhall by Charles -Keene. This was the latter’s method of repaying -the former for his unqualified generosity. Mr. -Crawhall was, however, somewhat embarrassed by -what he considered to be excessive payment for -services which he held required no other recompense -than the honour thus conferred on his poor -drawings. The result was a generous contest -which resulted in his finally refusing to accept -them, “For,” said he, “you don’t know the value -of your work. The reward is too great, and our -happy connection must cease if you put me under -these obligations.”</p> - -<p>Keene, nevertheless, always afterwards made a -colourable excuse to send them when he could -think of one, although by this time -he was well <span class="xxpn" id="p139">{139}</span> -aware that he was as great a magician as the -Old Lady of Threadneedle Street, and could by -a few strokes of his pen make the back of an -old envelope rival the value of one of <i>her</i> crisp -bank-notes.</p> - -<p>But we must not linger over the cancelled -drawings of an artist who, had he been as great in -imagination as he was in originality of method -and mastery over his pencil, would have been as -great as the greatest in Art. It is now our -delightful task to turn to another of the men of -the ’sixties, whose imagination and sympathy with -high romance has rarely been surpassed, and -whose technical mastery, though not the equal of -his great contemporary, was yet so distinguished -that, even divorced from his other qualities, it -would give him a niche in the Temple of Fame. -Frederick Sandys has but lately left us, and -how few there are who recognise the greatness -of his work! For years it has been a matter of -astonishment to me that his name was not on -every tongue. Keene, alive, was practically unknown. -Keene, dead, occupies an unassailable -position. Sandys is known and -esteemed only by <span class="xxpn" id="p140">{140}</span> -the few. The time will come when his pictures -will be a fashionable craze, and every woodcut -after him, whether it be in <i>Once a Week</i>, <i>The -Cornhill</i>, <i>Good Words</i>, <i>London Society</i>, <i>The -Churchman’s Family Magazine</i>, <i>The Shilling -Magazine</i>, <i>The Quiver</i>, <i>The Argosy</i>, or what not, -will be eagerly appropriated by those who wish -to pass as discerning dilettanti.</p> - -<p>But we must not generalise, for our concern is -here with one particular design, and enthusiasm -must not be allowed to run. Done for <i>Once a -Week</i>, and cut exquisitely on the wood by Swain, -that with which we have to do was at the last -moment cancelled by a timidly fastidious editor.</p> - -<p>If we turn to page 672 of vol. iv. of <i>Once -a Week</i> (new series), 1867, we shall find the -following set of verses, signed “W.,” the origin -and authorship of which I am now able to make -public:—</p> - -<div class="dpoemlft"> -<div class="dstanzalft"> -<p class="pfirst"><span class="smcap">D<b>ANAË</b></span></p> -<span class="spp03">The hour of noonday sleep was o’er,</span> -<span class="spp03">And Danaë dreamt her dream no more;</span> -<span class="spp00">Yet still its image lingered on her loom;</span> -<span class="spp03">For there in woven colours bright,</span> -<span class="spp03">And touched to life by purpling light,</span> -<span class="spp00">Smiled the one godhead of the captive’s room. -<span class="xxpn" id="p141">{141}</span></span> -<span class="spp03">She raised her from the Tyrian sheet,</span> -<span class="spp03">And clasped her sandals on her feet,</span> -<span class="spp00">And lightly drew around her virgin zone;</span> -<span class="spp03">And sighed—and knew not why she sighed;</span> -<span class="spp03">And murmured, while her work she plied,</span> -<span class="spp00">“The World may leave my love and me alone.”</span> -<span class="spp00">Thus sang the maiden of the brazen tower,</span> -<span class="spp00">And longed, unconscious, for the golden shower.</span> -</div><div class="dstanzalft"> -<span class="spp03">“The days and months have grown to years,</span> -<span class="spp03">And I have dried my childish tears,</span> -<span class="spp00">And half forgotten why they ever ran;</span> -<span class="spp03">My soul is plighted to the sky,</span> -<span class="spp03">And we,—my wrinkled nurse and I,—</span> -<span class="spp00">What matter if we see no more of man?</span> -<span class="spp03">She wearies me with omens dire,</span> -<span class="spp03">My son foredoomed to kill my sire,—</span> -<span class="spp00">But sire and son are empty names to me.</span> -<span class="spp03">My love! I only rest awhile,</span> -<span class="spp03">To dream the beauty of thy smile.</span> -<span class="spp00">And only wake again to picture thee.”</span> -<span class="spp00">Thus sang the maiden of the brazen tower,</span> -<span class="spp00">And longed, unconscious, for the golden shower.</span> -</div><div class="dstanzalft"> -<span class="spp03">She ceased: for now began to fade</span> -<span class="spp03">The figure of that mighty shade,</span> -<span class="spp00">With loins and shoulders meet to sway the world;</span> -<span class="spp03">And awful through the gloom appeared</span> -<span class="spp03">His massive locks of hair and beard,</span> -<span class="spp00">Like clouds in lurid light of thunder curled.</span> -<span class="spp03">Yet, long as twilight glimmered there,</span> -<span class="spp03">She gazed upon a vision fair;</span> -<span class="spp00">His brow more beautiful than Parian stone,</span> -<span class="spp03">And nestling nearer like a dove,</span> -<span class="spp03">Soft on his lips she breathed her love, -<span class="xxpn" id="p142">{142}</span></span> -<span class="spp00">And lit his eyes with lustre of her own.</span> -<span class="spp00">Then passion stung the maiden of the tower,</span> -<span class="spp00">And fast she panted for the golden shower.</span> -</div><div class="dstanzalft"> -<span class="spp03">She stood, with white arm fixed in air,</span> -<span class="spp03">And head thrown back, and streaming hair,</span> -<span class="spp00">“Oh, Lord of Dreams!” she cried, “dost thou behold?”</span> -<span class="spp03">Then thunderous music shook the cell,</span> -<span class="spp03">And, sliding through the rafters, fell</span> -<span class="spp00">On Danaë’s burning breast, three drops of gold.</span> -<span class="spp03">Her bosom thrilled—but not with pain:—</span> -<span class="spp03">Faster and brighter flowed the rain,</span> -<span class="spp00">And starred with light the chamber of the bride:</span> -<span class="spp03">Her cheek sank blushing on her hand,</span> -<span class="spp03">Her eyelids drooped, her silken band</span> -<span class="spp00">Unloosed itself,—and Jove was at her side.</span> -<span class="spp00">Black loured the earth around the captive’s tower,</span> -<span class="spp00">But Heaven embraced her in the golden shower.</span> -</div></div> - -<p>I insert the poem here, as it constitutes the -only trace in the pages of <i>Once a Week</i> of the -matter with which we have to deal.</p> - -<p>Before proceeding to detail the circumstances connected -with the production and final suppression of the engraving, -which prompted this passable set of verses, I shall -endeavour to correct certain statements regarding it which -have gained currency. In the <i>Artist</i> monograph on “The Art -of Frederick Sandys,” in 1896, we find a few lines only -given to the consideration of the <span class="xxpn" id="p144">{144}</span> -wood-engraving -of “Danaë in the Brazen Chamber”; but in these few lines -we have one undoubtedly incorrect statement, and another -which is open to the gravest suspicion. The first is that -the “Danaë” was engraved for <i>The Hobby Horse</i> in 1888; the -second that it was drawn for <i>Once a Week</i> in 1860.</p> - -<div class="dbigpicture" id="f2.19"> -<div class="dctr03 dhtml"> -<img src="images/i143.jpg" width="800" height="1227" alt="" /> -<div class="dcaption">Danaë in the Brazen Chamber</div></div> - -<div class="dctr03 dhandheld"> -<img src="images/i143-epubmobi.jpg" width="700" height="1073" alt="" /> -<div class="dcaption">Danaë in the Brazen Chamber</div></div> -</div><!--dbigpicture--> - -<p>As regards its engraving, this was done by -Swain for <i>Once a Week</i>, when the drawing was -sent in. That it was first <i>published</i> in <i>The Hobby -Horse</i> as an illustration to an article by the late -J. M. Gray is another matter altogether. As -regards the date of its design, 1860 is almost -certainly some years too early. Indeed, I had -it from Sandys himself that the probable date of -the <i>first sketch</i> of the subject was as late as 1865, -and that it was not till after he had traced it on -a panel<a class="afnanc" href="#fn26" id="fnanc26">26</a> -(the figure some two feet high) for a -never-completed oil-painting, and later had made -a chalk-drawing of it for a Yorkshire gentleman, -that he decided to make a drawing on the wood -at all. This being done, its beauty prompted two -poems by two of his personal -friends, the one <span class="xxpn" id="p145">{145}</span> -given above by Mr. Ward, the other, so far as -I can gather never published, by Colonel Alfred -Richards. Now, the fact that Mr. Ward’s poem -did not appear in <i>Once a Week</i> till 1867 lends -such overwhelming weight to Mr. Sandys’s recollection -of the matter that we may, I think, -unhesitatingly reject the date of 1860 given by -the author of the <i>Artist</i> monograph and adopt a -date at least five years later. Further evidence, -too, is to be found in the fact that Mr. Sandys -continued to draw on the wood certainly as late -as 1866, and his recollection is clear as to “Danaë” -being his last essay in that medium.</p> - -<p>I have been thus particular to correct this -matter because it will, I believe, prove of importance, -when Sandys’s artistic career comes finally -to be described, to get his different productions -into chronological order for a proper understanding -of his artistic development.</p> - -<p>So far, then, we have arrived, at any rate approximately, at the -date when Sandys did what proved to be not only his one “suppressed” -drawing, but, as I have said, the very last drawing done by him on the -wood. <span class="xxpn" id="p146">{146}</span></p> - -<p>Let us now consider the circumstances under -which it was produced for, but in the event suppressed -by, the editor of <i>Once a Week</i>. And that -this periodical is the poorer for its loss will be -obvious to all who love beautiful drawing, “splendid -paganism,” and fine wood-engraving.</p> - -<p>Sandys began to draw for <i>Once a Week</i> in 1861, -his initial effort being that splendid design, “Yet -once more on the Organ play,” which is fit to rank -with Rethel’s “Der Tod als Freund,” with which -there is a certain similarity of sentiment. This -was followed by eleven drawings within the five -succeeding years, all breathing the spirit of Dürer, -and carrying on the effort which Rethel, who had -only died in 1859, had made to renew the life put -into wood-engraving by the old German master. -In either 1865 or 1866 Sandys projected an oil -picture on the subject of “Danaë in the Brazen -Chamber.” He had conceived a new version of -the Danaë legend. Instead of Jove appearing -to the imprisoned maiden in the form of a golden -shower, he adopted the belief in Jove as the God -of Dreams and adapted it to -the legend.<a class="afnanc" href="#fn27" id="fnanc27">27</a> -Danaë, <span class="xxpn" id="p147">{147}</span> -who has never seen a man, is haunted by the -appearance of Jove as he has presented himself -in her sleeping hours. To comfort herself and -satisfy her passionate longing she has spent her -days in weaving the image so vouchsafed to her -in tapestry. For the moment her work is discarded. -The ball of wool with which she has -been working lies at her feet, and she stands, -“with white arm fixed in air,” calling upon the -“Lord of Dreams” to come to her in very sooth.</p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc26" id="fn26">26</a> -This is now, I believe, in the -possession of Mr. Ashby-Sterry.</p> - -<p class="pfirst padtopc"><a class="afnlabel" href="#fnanc27" id="fn27">27</a> -καὶ γὰρ τ’ ὄναρ ἐκ Διός ἐστιν.—Homer, -<i>Iliad</i> i. 63.</p></div> - -<p>Frankly sensuous as is the picture, one cannot -but admit that the theme is treated with all -necessary restraint. This, however, does not -appear to have been the opinion of Walford, the -then editor of <i>Once a Week</i>. He wrote to Sandys -requiring a modification of the design. This the -artist flatly refused. The design must appear -as it was or not at all. In this refusal he was -gallantly supported by the proprietors of the -periodical, Messrs. Bradbury and Evans. The -editor, however, would not give way, and the -result was a deadlock. The block was actually -engraved by Mr. Swain, and in his best manner, -but the editor’s will was paramount, -and it never <span class="xxpn" id="p148">{148}</span> -adorned the pages for which it was intended. It -was reserved to the <i>Century Guild Hobby Horse</i>, -in 1888, to rescue it from the oblivion into which -it had passed.</p> - -<p>I am indebted to Messrs. Bradbury and Agnew -for permission to reproduce the design. Of it -Mr. J. M. Gray says in his article on “Frederick -Sandys and the Woodcut Designers of Thirty -Years Ago”:—“It ranks among the very finest -of Sandys’s woodcuts,” and the artist, who had -not been uniformly satisfied with the engraved -versions of his work, himself wrote to me: “It -was engraved for <i>Once a Week</i>. Perfectly cut by -Swain. From my point of view the best piece -of woodcutting of our time.”</p> - -<p>And all who love this beautiful but fast disappearing handmaiden of -the arts will heartily endorse Mr. Sandys’s opinion.</p> - -<div class="chapter"> -<h2 class="h2herein" id="p149">CHAPTER VIII - -<span class="h2smallctr">MISCELLANEOUS</span></h2></div> - -<p class="pfirst">I <span class="smmaj">PROPOSE</span> in this chapter -to group together certain sporadic suppressions in lithography, -etching, wood-engraving, and process work. They are not sufficiently -important each to demand a chapter to itself, nor do they fall into any -particular categories as do the “Dickens,” “Hogarth,” and “Cruikshank” -plates. At the same time each has an interest of its own, and is a -footprint upon the byway of art with which we are concerned.</p> - -<p>Fortunately for us the first of these cancelled -illustrations is, at a time when we have but lately -been celebrating the centenary of Senefelder’s -great invention, lithography, of extraordinary -interest, for it was one of the earliest book illustrations -produced in England by -this method. The <span class="xxpn" id="p150">{150}</span> -volume in which it appears (if we are lucky enough -to possess one of the first three hundred copies -issued) is the <i>Antiquities of Westminster</i>, with -two hundred and forty-six engravings by J. T. -Smith.</p> - -<p>The date of the volume is 1807—a fact which -would at first sight seem to tell against our claim -to be dealing with a pioneer English lithograph. -We must, however, remember that a book of this -kind took many years to produce, and that the -publication of the illustrations was, in many cases, -of necessity years later than their execution.</p> - -<p>Lowndes oddly refers to the lithograph as the -first “<i>stone-plate</i>” ever attempted, but in this he -claims for it too great a distinction. To name -no others, there was, we know, as early as 1803 a -portfolio containing drawings by West, Fuseli, -Barry, and Stothard issued as <i>Specimens of -Polyautography</i>, by which term lithography was -for a few years described, which contains lithographs -dated 1801 and 1802.</p> - -<div class="dctr01" id="f1.19"> -<img src="images/i150fp.jpg" width="800" height="950" alt="" /> -<div class="dcaption">“The Painted Chamber.”<br /> -(From <i>Antiquities of Westminster</i>, 1807.)</div></div> - -<p>The subject of the design here reproduced in -facsimile is the inside of the Painted Chamber -which was part of the Old -Palace of Westminster. <span class="xxpn" id="p151">{151}</span> -The mural paintings which were discovered at -the beginning of this century, after the removal -of the tapestry hangings which are to be seen in -the lithograph, were, it will scarcely be credited, -promptly ordered by the authorities of the day -to be “improved” away by a coat of whitewash -because of their untidiness! And this although -they were known to have been in existence since -1322, and although there were strong reasons for -the belief even at that time that they were -executed as early as the reign of Henry III.! -Such an act of vandalism would be inconceivable -were it not that we have learnt to look upon its -like as so lamentably common.</p> - -<p>The account of the preparation of the lithograph, -and of the stone’s untimely fate, is fully set -forth on pages 49 and 50 of the <i>Antiquities</i>. -It is too long to quote in this place, but is well -worth looking up by those who are interested in -the history of this method. It is sufficient for our -purpose to say that after three hundred impressions -had been taken off, the stone was laid -by for the night without care having been taken -to keep it properly moist. The -result was that <span class="xxpn" id="p152">{152}</span> -on the application of the ink balls in the morning -they proved too tenacious, and on their removal -were found to have torn up portions of the drawing -from the stone. Consequently we have it -that impressions of this, one of the first English -lithographs, are exceedingly scarce, and are only -to be found in the first three hundred copies of -the book issued. This fact connotes the further -result that the impressions of the etchings throughout -the book in their earliest states are to be found -in the copies containing the lithograph.</p> - -<p>Before quitting this subject it should be stated -that in “collating” this book we must bear in -mind a very pretty quarrel which took place -between the artist and J. S. Hawkins, who was -largely responsible for the letterpress. As has -been pointed out, the first 300 copies contained the -“stone-plate.” But in only a very few copies is -to be found the suppressed title-page bearing the -name of John Sidney Hawkins, and the dedication -to George III., signed “The Author.” These -few copies contain the very earliest impressions -of the plates. In the later copies the dedication -is signed “John Thomas Smith,” -and bound up <span class="xxpn" id="p153">{153}</span> -in most of these is found a “Vindication” by -J. T. Smith in answer to “A Correct Statement -and Vindication of the conduct of John Sidney -Hawkins, Esq., F.A.S., towards Mr. John Thomas -Smith, drawn up and published by Mr. Hawkins -himself.” Lond. 1807, 8vo, p. 87. J. T. Smith’s -answer was further replied to in another pamphlet -by Hawkins dated 1808.</p> - -<p>We will now turn from this specimen of -lithography to a very remarkable example of the -sister art of wood-engraving. (<i>Vide</i> Frontispiece.)</p> - -<p>In the April number 1896 of <i>Good Words</i>, I -dealt with some bibliographical curiosities, one of -which was the remarkable suppressed title-page -in my possession here reproduced. My object on -that occasion was to verify the fact of which I -felt practically certain, that the book for which it -was prepared had never come into being, and that -therefore we had the curious anomaly of an -elaborately engraved title-page wanting a book. -Books wanting their engraved title-page are -unfortunately common enough, owing to the -barbarism of certain ruthless collectors. But a -title-page not only wanting a -book, but which <span class="xxpn" id="p154">{154}</span> -never had one, was as extraordinary as the grin of -the Cheshire Cat in <i>Alice in Wonderland</i>, which -was left behind after its author had disappeared.</p> - -<p>“Well! I’ve often seen a cat without a -grin,” thought Alice, “but a grin without a cat! -It’s the most curious thing I ever saw in all my -life.”</p> - -<p>But then Alice had never seen this title-page -of a book by “Sholto Percy” which was never -written, and of which <i>Death in London</i> was to -have been the title. The wood-block is a very -beautiful one, cut by Mason, no doubt Abraham -John, who engraved Cruikshank’s illustrations to -<i>Tales of Humour and Gallantry</i>.</p> - -<p>“Sholto Percy” was the pen-name of Joseph -Clinton Robertson, who, with Thomas Byerley, -published the <i>Percy Anecdotes</i>, 1821–23. Their -full pseudonyms were “Sholto and Reuben Percy, -Brothers of the Benedictine Monastery, Mount -Benger.” The anecdotes were published in forty-one -parts, at half-a-crown a-piece, before the close -of the year 1823, and, of these, two hundred and -sixty thousand copies were sold during the four -years of issue! What -number subsequent editions <span class="xxpn" id="p155">{155}</span> -have run to it is impossible to conjecture. The -title of the book had its origin from the Percy -Coffee-House in Rathbone Place, which the -collaborators frequented. They also compiled -<i>London, or Interesting Memorials of its Rise, -Progress, and Present State</i>. 3 vols. 1823.</p> - -<p>In the dedication of this last work to George -IV. we find facsimile signatures of the two -“Brothers.” That of “Sholto Percy,” the author -of the book which was evidently projected but -never published, tallies with that on the title-page -here reproduced. From the fact that Reuben’s -signature is absent we gather that, for some -reason or other, the collaboration had come to an -end. At any rate nothing more is heard of the -partnership, nor indeed was anything else published -under one or other of these <i>noms-de-plume</i>. And -although I received various communications from -strangers upon the subject of the bibliographical -curiosities dealt with in the <i>Good Words</i> article, -no light was thrown upon this perplexing title-page. -Suppressed, therefore, it doubtless was, -because it had no reason to be anything else, and -remains a rather pathetic memorial -of the gifted <span class="xxpn" id="p156">{156}</span> -artist and the author whose projected enterprise -was perchance cut short by one of the forms of -the Dread Enemy here portrayed.</p> - -<p>The block is worthy of careful scrutiny. The -only impression in existence (as I believe it to be) -and in my possession is beautifully printed on -India paper. In it we find Bewick’s white line -used with excellent effect. Behind the main panel -the colossal form of Death is just visible, holding -in either hand “Death in the Cup” and “Death -in the Dish.” At the lower corners his skeleton -feet are just visible, fixed on the Arctic and -Antarctic portions of the Globe. At the top of -the panel Death drags a wheel off the chariot -which is making a dash from London to Gretna -Green. Immediately below this is a nail-studded -coffin from which hangs a pall inscribed with the -words “Death in London.” This overhangs the -central group, in which Death spectacled and -seated on a tombstone at a desk supported by -human thighs, with a human skull as footstool, -receives despatches and directs his myrmidons. -Supporting this central panel two skeletons hurl -death-dealing darts, whilst -below one skeleton <span class="xxpn" id="p157">{157}</span> -starves in prison, and another, crowned with straw, -rages as a maniac.</p> - -<p>On the right-hand border a skeleton highwayman, -pistol in hand, awaits his victim, ignoring the -gallows which is seen under the moon in the background, -and ignorant of the noose already round -his neck, manipulated by a skeleton hangman in -the division above. On the left-hand border a -somewhat cryptic design represents a skeleton -toper surmounting a skeleton quack physician who -sucks a cane and, with medicine bottle in hand, -goes forth on his death-dealing mission.</p> - -<p>At the base Death, in a deluge of wind and -rain, overturns a sailing boat, and incidentally -presses down a struggling victim with his foot. -The whole effect is finely decorative, and far -surpasses anything else of Seymour’s of which I -have knowledge.</p> - -<p>But we must not linger too long over each item -of our promiscuous collection of cancelled illustrations.</p> - -<p>I shall now bring to your notice a very rare -coloured plate by Henry Alken, which, though -not suppressed in the strictest -sense, is yet <span class="xxpn" id="p158">{158}</span> -sufficiently relevant to the subject to admit of its -inclusion in these papers. It was undoubtedly -prepared for a book of which Alken was the -illustrator, but, for some reason or other, although -engraved, it was not included among the published -plates.</p> - -<p>During the years 1831–39 there appeared in -<i>The New Sporting Magazine</i>, edited by R. Surtees, -a series of sporting sketches of which “Mr. John -Jorrocks” was the hero. These papers were -collected and published in 1838 under the -alliterative title of <i>Jorrocks’s Jaunts and Jollities</i>, -illustrated by “Phiz.” This volume was brought -to the notice of Lockhart, who thereupon advised -Surtees to try his hand at a sporting novel. The -immediate result was <i>Handley Cross</i>. In 1843 a -third edition of <i>Jorrocks’s Jaunts and Jollities</i> -appeared, with sixteen coloured plates after Henry -Alken. The novels in the meantime were being -issued with illustrations by Leech and “Phiz.” -That the former has at this distance of time lost -nothing of its popularity (rather, of course, on -account of the illustrations than for the letterpress, -which reads poorly enough now) -is evidenced by <span class="xxpn" id="p159">{159}</span> -the fact that only the other day a copy fetched at -public auction the remarkable sum of £20. One -wonders what the bidding would have reached had -the book been extra-illustrated with the unused -illustration of which it is here my purpose to treat.</p> - -<p>Now we must be careful, in considering any -work signed “Alken,” to bear in mind the fact -mentioned by Mr. R. E. Graves in the <i>Dictionary -of National Biography</i>, that although the fertility -of Alken’s pencil was amazing, the idea of it might -be fictitiously enhanced if the fact were not grasped -that he left two or three sons—one of whom was -also named Henry—all artists and all sporting -artists, who have, since their father’s time, been -incessantly painting, lithographing, aquatinting -and etching for the sporting publishers and for -private patrons of the turf.</p> - -<p>But the original Henry Alken did his work -between 1816 and 1831; hence it is clear that the -illustrations to <i>Jorrocks</i> were the work of Henry -the younger. And this is a point which should be emphasised -for the guidance of the bibliomaniac, for -it is the practice of many second-hand booksellers -to lump all work by “Alken” under -one head, from <span class="xxpn" id="p160">{160}</span> -ignorance possibly—in some cases I fear from -unworthy motives. For it is the work of Henry -Alken, the founder of the line, which is of greatest -rarity and greatest merit, and to palm off work -done by a namesake as work done by him is -plain cheating. We remember the parallel case -of George Cruikshank, who exposed a certain -publisher, in a somewhat intemperate pamphlet -afterwards suppressed, entitled <i>A Popgun fired -off by George Cruikshank, etc., etc.</i> In that -case the publisher had been guilty of the more -than questionable proceeding of advertising certain -“story-books” as “illustrated by Cruikshank,” -which were in reality the work of George’s -nephew, Percy, who, I fancy, would have been -the last to concur in what was an undoubted -attempt to mislead the public.<a class="afnanc" href="#fn28" id="fnanc28">28</a></p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc28" id="fn28">28</a> -The woodcut of the irascible George suspending -the unhappy Brooks by the nose from a pair of tongs is -reproduced in my little book on <i>Cruikshank’s Portraits of -Himself</i>.</p></div> - -<div class="dctr03" id="f1.20"> -<img src="images/i160fp.jpg" width="799" height="1268" alt="" /> -<div class="dcaption">The suppressed portrait of “John Jorrocks, -Esq., M.F.H., etc.” (<i>By Henry Alken, the younger</i>)</div></div> - -<p>Let it be clearly understood, then, that the -plate which we here reproduce was the work of -Henry Alken the younger. Though of little -artistic merit, it is yet not unworthy of those -which were published, and the -reason of its <span class="xxpn" id="p161">{161}</span> -suppression is difficult to fathom. The plate -should be undoubtedly annexed, on its very rare -appearance, by him who values his <i>Jorrocks</i>. -This would make his copy, in the words of the -second-hand booksellers, a “really desirable” one. -Our reproduction is not quite the size of the -original, which exactly tallies in size and shape -with the published plates. The line of publication -runs: “London, Published by R. Ackermann at -his Eclipse Sporting Gallery, 191 Regent St. -1843.” The method employed in its production -is a mixture of etching and aquatinting, and this -impression has been coloured by hand with the -brilliant tints which appealed to our sporting -forebears. There need be no complaint about its -lowness of tone. It would put to the blush the -most versi-coloured of kaleidoscopes! To parody -Dr. Johnson’s animadversion upon a certain ode, -it would be just from the strict artistic standpoint -to say, “Bolder colour and more timorous meaning, -I think, were rarely brought together.”</p> - -<hr class="hrblk" /> - -<p>So much for some unattached suppressions of -the first half of the century. -We will conclude <span class="xxpn" id="p162">{162}</span> -this chapter with certain cancelled plates of only -yesterday.</p> - -<p>To those who have not yet grasped the fact -(cried aloud in the wilderness by Mr. Kipling) -that our age is as romantic as any other if we -only know how to regard matters, the fact will -probably come as something of a surprise that the -last decade of the nineteenth century has as surely -its crop of “suppressed plates,” as have those ages -which were, we choose to flatter ourselves, more -brutal than our own. Less unmannerly in some -respects doubtless we tend to become, and that -perhaps is the very reason (paradoxical though it -may sound) why we do not have to search in -vain for “modern instances.” For now that Mrs. -Grundy is sharper-eyed than she was (notwithstanding -her age), and the libel laws are more -closely knit by precedents, slips which would have -been treated as passing peccadilloes by our less -squeamish forebears rise to the dignity of “copy” -for the pressman, and form staple conversation for -the insatiate tea-table.</p> - -<p>And when we mention the late most five-o’clock -and kind-hearted of artists, Mr. -du Maurier, and <span class="xxpn" id="p163">{163}</span> -the still living most dainty limner of hoops and -patches, Mr. Hugh Thomson, as the providers -of century-end “cancelled illustrations,” we may -be sure that the details will not be very scandalous, -nor the outrages very shocking.</p> - -<p>Not but that I was forced to go somewhat warily -when originally recording the famous incident of -du Maurier and the peccant illustration of the -“Two Apprentices” in <i>Trilby</i>, for was I not thereby -involving myself with another, and greater, artist -(very much alive indeed!), whose pen was only not -mightier than his pencil because the latter was -unsurpassable, but who might in turn pillory me -in his gallery of artfully constructed Enemies?</p> - -<p>It was indeed a topsy-turvy world which found -the “Butterfly,” which is popularly supposed to -end its life wriggling upon the pin of the “soaring -human boy,” revenging itself upon humanity with -epigrams that “stick for ever.”</p> - -<p>Sad to relate, Whistler could never be brought -to see du Maurier’s rather caustic “retaliation,” -particulars of which are given below, in its proper -proportions. Indeed, when I asked him to allow -me to reproduce, as a -pictorial curiosity, the <span class="xxpn" id="p164">{164}</span> -suppressed print of the “Two Apprentices,” which -only the owners of <i>Trilby</i>, as it appeared in -serial form, are now destined to possess, he informed -me in the politest manner possible that -my doing so would involve me in an expensive -and uncomfortable correspondence with his -solicitors. And what could not be done then -cannot be done now, for reasons into which I need -not enter. Nevertheless, to treat seriously a hyperbolical -and exaggerated caricature as anything more -than a legitimate response to a not altogether -kindly sarcasm on the part of Mr. Whistler himself, -appears to me now, as it appeared to me -then, well-nigh incredible. No one looked upon -“Joe Sibley” as a true likeness, either pictorially or -verbally. It was written and read as a joke, part -true, but mostly false, and so would have stood -had it not been given undue importance by the -correspondence in the <i>Pall Mall Gazette</i>. As a -result, in book form “Joe Sibley” is wanting in -that delightful gallery which contains “Durier,” -Pygmalion to Trilby’s Galatea—a Galatea whose -marble heart would never beat for him; “Vincent,” -the great American oculist, -“whose daughters are <span class="xxpn" id="p165">{165}</span> -so beautiful and accomplished that they spend -their autumn holiday in refusing the matrimonial -offers of the British aristocracy”; “The Greek,” -who was christened Poluphoisboiospaleapologos -Petrilopetrolicoconose “because his real name -was thought much too long”; “Carnegie,” -who “is now only a rural dean, and speaks the -worst French I know, and speaks it wherever -and whenever he can”; “Antony, the Swiss” -(substituted for “Joe Sibley”); “Lorrimer,” who -was so thoroughgoing in his worship of the -immortals, Veronese, Tintoret and Co., and was -“so persistent in voicing it, that he made them -quite unpopular in the Place St. Anatole des -Arts”; not to speak of “Dodor” and “l’Zouzou,” -who were distinguished for being “<i>les plus mauvais -garniments</i> of their respective regiments,” and the -rest of Trilby’s delightful adorers. Why, it seems -to me that to have obtained a niche in that pillory -(forgive the mixing of metaphors), and to see the -fun of a little exaggerated banter, and perchance -learn a little lesson from it, would not be so -very bad a fate after all. But I suppose it all -depends on the -point of view. <span class="xxpn" id="p166">{166}</span></p> - -<p>As I say, I have by me a delightfully ironic -missive from the late president of the Society of the -Butterfly himself, acknowledging “the exceedingly -amiable and flattering form of the playful request” -contained in my letter, with a hint at the end that -lawyers might look upon any reproduction of the -forbidden matter as less than tolerable.</p> - -<p>Alas! that it is so, and all I can do is to refer -my readers to the columns of the <i>Pall Mall -Gazette</i> for May 15 and 25, 1894, in which -appeared Whistler’s two letters, and quote here -the interview with du Maurier upon the matter. -They form a curious commentary upon the -“Gentle Art of Losing—Friends.”</p> - -<blockquote> -<div class="dkeeptgth"> -<div>Extract from <i>Pall Mall Gazette</i>, May 19, 1894.<a class="afnanc" -href="#fn29" id="fnanc29" title="to note 29">*</a></div> - -<div class="padtopc"><span class="smcap">M<b>R.</b></span> <span -class="smcap">W<b>HISTLER</b></span> <span class="smmaj">AND</span> -<span class="smcap">M<b>R.</b></span> <span class="smmaj">DU</span> -<span class="smcap">M<b>AURIER</b></span> <span -class="smmaj">THE</span> <span class="smcap">“P<b>UNCH”</b></span> -<span class="smcap">A<b>RTIST’S</b></span> <span -class="smcap">A<b>TTITUDE</b></span></div> - -<p class="padtopc">Mr. George du Maurier, “hidden in Hampstead” as Mr. -Whistler put it in his letter to us a day or two ago, was -discovered by a <i>Pall Mall Gazette</i> reporter without the aid -of any exploring party yesterday, when that representative -called to see what the famous <i>Punch</i> artist had to say in -reply to Mr. Whistler. Mr. du Maurier was not disposed -at first to vouchsafe any answer. “If a -bargee insults one <span class="xxpn" id="p167">{167}</span> -in the street,” he said, “one can only pass on. One cannot -stop and argue it out.” But on second thoughts Mr. du -Maurier added a few words. “I should,” he said, “have -avoided all reference to Mr. Whistler, or anything which -could have been construed into reference to him, if I had -imagined it would have pained him. I should have written -privately to him to say so, if his letter had been less violent -and less brutal. Certainly, in the character of Sibley, in -my serial story <i>Trilby</i> I have drawn certain lines with Mr. -Whistler in my mind. I thought that the reference to -those matters would have recalled some of the good times -we used to have in Paris in the old days. I thought that -both with Mr. Whistler and with other acquaintances I -have similarly treated, pleasurable recollections would have -been awakened. But he has taken the matter so terribly -seriously. It is so unlike him.</p></div><!--dkeeptgth--> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc29" id="fn29">*</a> -By kind permission of the Proprietor.</p></div> - -<p>“You know of no reason why he should not have taken -it all good-naturedly?”—“No. I thought it might have -drawn from him something funny, something droll, to which -I could have replied in kind. But, of course, a letter like -his puts a reply out of the question. I think he must have -been quite out of sorts to have allowed himself to get so -angered.” “I believe Mr. Whistler has himself said things -which the objects of them have not particularly relished!” -“Why, he has gone about all his life in England making -unkind remarks and publishing them. Here is a little book -of his, <i>The Gentle Art of making Enemies</i>, and I am one of -his victims. It is not very terrible what he says. It is -rather droll. Listen! ‘Mr. du Maurier and Mr. Wilde, -happening to meet in the rooms where Mr. -Whistler was <span class="xxpn" id="p168">{168}</span> -holding his first exhibition of Venice jottings, the latter -brought the two face to face, and, taking each by the arm, -inquired, “I say, which one of you two invented the other, -eh?”’ The obvious retort to that on my part would have -been that if he did not take care I would invent him, but -he had slipped away before either of us could get a word -out. This is really too small a matter to refer to; but the -explanation of this bit of drollery of Mr. Whistler’s is that -it suggested that I was unknown until I began to draw -Postlethwaite, the æsthetic character, out of whom I got -some fun. Postlethwaite was said to be Mr. Oscar Wilde, -but the character was founded, not on one person at all, -but a whole school. As a matter of fact, I had been drawing -for <i>Punch</i> twenty years before the invention of Postlethwaite. -However, that was Mr. Whistler’s little joke, and one would -have thought that if he made jokes about me, he might -have expected me to play the same game upon him without -anticipating that I should hurt his feelings. Then Mr. -Whistler implies that I am a foul friend, stating that I -have thought a foul friend a finer fellow than an open enemy. -I am neither his friend nor his enemy. I am a great admirer -of his genius and his wit; but I cannot say that I could call -myself his friend for thirty years past. We were intimate in -the old days, but that is all. No, his whole letter is incomprehensible -to me. Of course, he has been embittered -through life, by reason of his genius not being recognised at -its full value by the wide public, and it certainly has not. -This circumstance, and possibly illness, may account for the -leave he has taken of good manners. He talks of my pent-up -envy and malice. I must ask you to believe -that I am not <span class="xxpn" id="p169">{169}</span> -such a beast as that. I have no occasion either for malice -or for envy, and, as I say, I should never have written even -what I have, had I imagined it would give Mr. Whistler pain.”</p> - -<p>“Do you contemplate deleting the character of Sibley -when you publish in volume form?” “If I had a word or -sign of regret from Mr. Whistler for the savage things he -says in his letter I might consider that. I did what I did in -a playful spirit of retaliation for this little gibe about me in -his book. A man so sensitive as Mr. Whistler now seems to -be should beware how he goes about joking of others. I -had no idea of taking any notice of Mr. Whistler’s letter, -but since you have come and asked me I say that if I had -known it would have given pain and brought such a torrent -of abuse upon me, I should have denied myself the little -luxury of the playful retaliation in which I indulged.”<a class="afnanc" href="#fn30" id="fnanc30">30</a></p></blockquote> - -<p>Let me then here put it on record that <i>Trilby</i> -in book form is not only innocent of “Joe Sibley” -and the “cut” of the “Two Apprentices” but is in -other respects far inferior to its serial issue. The -illustrations have been greatly reduced, and in the -process have lost much of their charm. There -was, however, a large-paper edition of the novel -published in 1895, containing the -same number of <span class="xxpn" id="p170">{170}</span> -illustrations as the small-paper, together with -“facsimiles of the pencil studies.” This is the -most desirable edition outside <i>Harper’s</i>. The -ideal form is, of course, the serial issue extracted -from the Magazine and bound up, “Joe Sibley,” -the suppressed “cut” and all.</p> - -<p>This, then, is all that must be said about the -“suppressed plate,” which is so rigidly put under -hatches that it must not even be paraded, on this -occasion only, with its fellows. “When the -sleeper wakes,” perchance, and copyright is out, a -cheap edition of this present volume, with the -suppressed block inserted, will be published, and -our children’s children will marvel.<a class="afnanc" href="#fn31" id="fnanc31">31</a></p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc30" id="fn30">30</a> -After reading Mr. Menpes’s <i>Whistler as I knew -Him</i>, one discovers that extraordinary phenomenon, a man -who would rather destroy a friendship by what he considered -a brilliant phrase than sacrifice the brilliant phrase -and preserve the friendship. It is not wonderful that -all Whistler’s friends did not prove so complaisant and -generous as Mr. Menpes.</p> - -<p class="pfirst padtopc"><a class="afnlabel" href="#fnanc31" id="fn31">31</a> -The curious should refer to a delightful open Letter entitled -<i>Trilby</i> from Mr. Whistler’s pen, which appeared in the initial number -of Mr. Harry Furniss’s late lamented <i>Lika Joko</i>.</p></div> - -<p>The whole episode is a nice commentary upon -Mr. George Meredith’s distinction between Irony -and Humour. “If,” says he, “instead of falling -foul of the ridiculous person with a satiric rod, to -make him writhe and shriek aloud, you prefer to -sting him under a semi-caress, by which he shall in -his anguish be rendered dubious whether indeed -anything has hurt him, you are -an engine of <span class="xxpn" id="p171">{171}</span> -Irony.” But “if you laugh all round him, tumble -him, roll him about, deal him a smack, and drop a -tear on him, own his likeness to you and yours to -your neighbour, spare him as little as you shun -him, pity him as much as you expose, it is a spirit -of Humour that is moving you.”</p> - -<p>In conclusion, it may be interesting to record -the fact that no communication passed between -du Maurier and Whistler upon the subject, other -than that which appeared in print.</p> - -<p>So much for the episode of the suppressed -<i>Trilby</i> illustration, which, as we have seen, was -complicated by personal considerations.</p> - -<p>Let us now turn our attention for a moment -to a charming little tailpiece which has fallen a -victim, not to the susceptibilities of an individual, -but to an undue consideration for the feelings of -that most living of Tom Morton’s creations, Mrs. -Grundy. It is to be found in the first edition of -the immortal <i>Vicar of Wakefield</i> as pictured by -Mr. Hugh Thomson. And in, entering our -protest against the deference which has in this -instance been shown to prudishness, we must at -the same time admiringly recognise -the spirit by <span class="xxpn" id="p172">{172}</span> -which the action has been prompted. The -“young person” no doubt succeeds on occasion -in rendering us a little ridiculous. At the same -time we must not forget that to her we largely -owe our immunity from what would often shock -even the moral olfactories of her elders.</p> - -<div class="dctr05" id="f2.20"> -<img src="images/i172.png" width="457" height="800" alt="" /> -<div class="dcaption">Suppressed Illustration from <i>The Vicar -of Wakefield</i></div></div> - -<p>Surely, however, the tender morals which could -bear to read of Thornhill’s attempted seduction of -Olivia could not logically find -offence in the <span class="xxpn" id="p173">{173}</span> -charming little conceit, which by its suppression -has rendered a first edition of the <i>Vicar</i>, as illustrated -by Mr. Hugh Thomson, an allurement to -the modern Mæcenas.</p> - -<p>Unlike <i>Coaching Days and Coaching Ways</i>, -illustrated by the same artist, after the first edition -of which certain drawings also disappeared, but -without others being substituted in the later -editions, the first edition of the Thomson <i>Vicar of -Wakefield</i>, dated 1890, which was published both -on small and large paper, contains the same -number of illustrations as those which succeeded -it. This, of course, is because in this instance -the type was not reset, and so it was obligatory -to substitute an illustration for that which was -suppressed.</p> - -<p>The tailpiece, here reproduced by the kind permission -of Mr. Thomson and Messrs. Macmillan, -only appears on page 95 of the issues of 1890.</p> - -<p>After that date we have a drawing which, -though a pretty enough little picture of Lady -Blarney and Miss Carolina Wilhelmina Amelia -Skeggs (I love, like the Vicar himself, to give the -whole name), is to my mind far -inferior to that <span class="xxpn" id="p174">{174}</span> -which seems to have given offence to some extraordinarily -constructed purists.</p> - -<p>Mr. Austin Dobson, to whom we are indebted -for the enlightening Prefatory account, in this -volume, of the more important illustrated editions -of the <i>Vicar</i>, tells me that he has an impression -that the immediate cause of the disappearance -of the peccant tailpiece was a certain objection -raised by a reviewer in the <i>Spectator</i>. In justice, -however, to that organ I must at once put it on -record that I can find no trace of its having so -demeaned itself.</p> - -<p>As a matter of fact I have reason to believe -that suggestions were made by certain persons who -arrogate to themselves a sort of private proprietorship -in the “fine old English novel” and the “fine -old English caricature” that the little tailpiece was -in rather bad taste, and that the artist, rather than -allow the slightest grounds for such an imputation -to exist, hastened to remove the offender, and substituted -one that was irreproachable. Personally -I grieve to think that there should be any one in -existence with a moral digestion so dyspeptic as -to discover the least coarseness -or ill-flavour in <span class="xxpn" id="p175">{175}</span> -this dainty little fancy, And though the artist, -we may be sure, has not troubled himself unduly -about the insinuation, I cannot but feel indignant -that even a hint of indecorousness should be made -against one who, above all others, has kept his -pencil free from any taint of unworthiness. However, -it is an ill wind that blows nobody any good, -and we are fain to congratulate ourselves upon -thus being enabled to enrol Mr. Hugh Thomson -in a brotherhood which he certainly will not -repudiate.</p> - -<p>Passing allusion has been made above to -certain illustrations which also disappeared from -Mr. Outram Tristram’s very readable book -<i>Coaching Days and Coaching Ways</i>, illustrated by -Mr. Hugh Thomson and Mr. Herbert Railton, -after the first edition of that very charming volume -was exhausted. It had been my intention to reproduce -these cancelled drawings here, but I have -since come to the conclusion that it would be -little short of an outrage to perpetuate what -would be cruelly unrepresentative of Mr. Hugh -Thomson’s work. So far as the artist himself -is concerned no obstacle is raised, -for he writes <span class="xxpn" id="p176">{176}</span> -to me in the most generous way, “‘Calling -for the Squire’s Mailbag’ was withdrawn for the -same reason as ‘Wild Darrell’ (viz. because it was -not considered sufficiently good). <i>I should like to -withdraw scores of other drawings.</i> However, one -cannot help oneself. It is not very pleasant to -have these reproduced again, but I quite understand -the motive of your book, and should be very -churlish indeed to put any obstacle in your way.” -This seems to me so nobly altruistic an attitude -that I feel I should be lacking in mannerliness -were I to take advantage of it.</p> - -<p>It will be enough merely to draw attention -to facts which will be of interest to those who -possess one or other of the editions of this book.</p> - -<p>First and foremost then, take down your copy -and note whether the number of the illustrations is -216 or 219. Happy as you are if you possess the -latter, twice happy will you be if the former be -yours, for in this case you will be the owner, -not only of a first edition, not only of an edition -containing the cancelled illustrations, but also of -the edition from which the best idea of the beauty -of the original drawings may be got. -And for this <span class="xxpn" id="p177">{177}</span> -reason, that in all but this, the 1888 edition, the -reproductions have been greatly reduced in size. -Of course we are here concerned with the cancelled -pictures, “Wild Darrell” on page 43 and -“Calling for the Squire’s Mailbag” on page 311, -but we must remember that their chief value lies -in their being the guarantees of our having an -<i>editio princeps</i>. So we have it that in this instance -as in the case of <i>Trilby</i> the earliest issues have the -double charm of satisfying at the same time our -taste for the beautiful and our appetite for the -curious. Unlike the case of <i>Trilby</i>, however, we -have here no romantic circumstances such as -appeal to the true bibliomaniac. The cancellation -is merely the result of a laudable determination on -the part of the artist and his publisher to eliminate -such illustrations as they do not consider altogether -exemplary. Incidentally of course their action -enhances, in the eyes of the bibliomaniac, the value -of those copies which they rightly consider marred -by their inclusion. But this is no business of -theirs. They are not concerned with diseased -humanity but with the poor sane public for whom -they cater. <span class="xxpn" id="p178">{178}</span></p> - -<p>The above remarks apply of course to many -minor suppressions of the same kind. There is, -to take one example, the well-known case of -Curmer’s 1838 edition of <i>Paul et Virginie</i> and -<i>La Chaumière Indienne</i> superbly illustrated by -Meissonier, Tony Johannot, Huet, and others. -This book is a standing compliment to British -wood-engraving of the day, for, though published -in Paris by a French publisher, by far the larger -number of the blocks were entrusted to Samuel -Williams, Orrin Smith, and other British hands. -In the earliest issue appears on page 418 the -wood-engraving of “La Bonne Femme.” Engraved -by Lavoignat after Meissonier it was -suppressed in later issues probably because of its -ugliness, whether the fault of artist or engraver -I know not. At any rate the engraver was not -one of the British contingent.</p> - -<div class="chapter"> -<h2 class="h2herein" id="p179">CHAPTER IX - -<span class="h2smallctr"> -THE SUPPRESSED OMAR KHAYYAM ETCHING</span></h2> - -<p class="pfirst"><span class="smcap">W<b>HEN</b></span> -the iconography of Edward FitzGerald’s -<i>Ruba’iyat of Omar Khayyam</i> comes to be compiled, -there will be one item which will be found -to be well-nigh unattainable by the enthusiastic -collector. That item is not unnaturally dismissed -in a very few words by Colonel W. F. Prideaux -in his “Notes for a Bibliography of Edward FitzGerald.” -He is dealing with the third edition, -published by Quaritch in the year 1872. “It -may be added,” he writes, “that a weird frontispiece -to this edition was designed and etched by -Mr. Edwin Edwards, the artist friend to whom -FitzGerald lent his house at the beginning of -1871, and whose death in 1879 was a source -of sorrow to him. A few copies of the etching -were struck off, but it did not -meet with the <span class="xxpn" id="p180">{180}</span> -approval of FitzGerald, and was consequently -never used.”</p></div><!--chapter--> - -<p>Now, I am inclined to think that this, as I -believe, the only published reference to an -interesting rarity, will hardly satisfy the craving -of the FitzGerald enthusiast. I shall therefore -give the fullest information on the subject, -whereby the modern Mæcenas will be afforded -full particulars of what only a few of the cult of -Omar can ever hope to possess.</p> - -<p>Those who know their <i>Ruba’iyat</i> as they -should will remember that there are several -allusions made by the philosopher to the amusements -of his countrymen.</p> - -<p>Take the FitzGerald -<span class="nowrap">quatrain:—</span></p> - -<div class="dpoemlft"><div class="dstanzalft"> -<span class="spquoteverse"><span class="spquoteblock">“</span>When - you and I behind the veil are passed,</span> -<span class="spp00">Oh, but the long, long while the world shall last,</span> -<span class="spp03">Which of our Coming and Departure heeds</span> -<span class="spp00">As the Sea’s self should heed a pebble cast.”</span> -</div></div> - -<p>Here, in the last line, we have what is probably -an allusion to the game of “Ducks and Drakes,” -“which,” says Mr. Edward Heron-Allen in the -notes to his admirable translation, “was known to -the Egyptians and also to the -Greeks under the <span class="xxpn" id="p181">{181}</span> -name of ἐποστρακισμος. It was played with oyster-shells. -The curious are referred to Minutius Felix -(<span class="smmaj">A.D.</span> 207), who describes the game in his preface.” -This last is a gentleman with whose name I am -free to confess I have hitherto been unfamiliar, -and to whose writings I have no access. I must -therefore leave the enthusiastic reader to follow -up the clue for himself. However, with the aid -of Liddell and Scott, I find myself able to go -one better than Mr. Heron-Allen, and would refer -the reader to Archæologus Pollux, the author of -<i>Onomastikon</i>, whose date is prior to Felix by -twenty-nine years!</p> - -<p>Another game which we find Omar Khayyam -alluding to is that of chequers, which is familiar -to us in FitzGerald’s oft-quoted -<span class="nowrap">quatrain:—</span></p> - -<div class="dpoemlft"><div class="dstanzalft"> -<span class="spquoteverse"><span class="spquoteblock">“</span>But - helpless pieces of the game he plays</span> -<span class="spp00">Upon this Chequer-board of Nights and Days;</span> -<span class="spp03">Hither and thither moves, and checks and slays,</span> -<span class="spp00">And one by one back in the Closet lays”;</span> -</div></div> - -<p class="pcontinue">altered in the later edition -<span class="nowrap">to:—</span></p> - -<div class="dpoemlft"><div class="dstanzalft"> -<span class="spquoteverse"><span class="spquoteblock">“</span>’Tis - all a Chequer-board of Nights and Days,</span> -<span class="spp00">Where Destiny with Men for Pieces plays;</span> -<span class="spp03">Hither and thither moves, and mates, and slays</span> -<span class="spp00">And one by one back in the Closet lays.”</span> -</div></div> - -<div><span class="xxpn" id="p182">{182}</span></div> - -<p>Again we have allusion to what is probably -some form of the game of tennis in the -<span class="nowrap">following:—</span></p> - -<div class="dpoemlft"><div class="dstanzalft"> -<span class="spquoteverse"><span class="spquoteblock">“</span>The - Ball no question makes of Ayes and Noes</span> -<span class="spp00">But Right or Left as strikes the Player goes,</span> -<span class="spp03">And He that tossed Thee down into the Field</span> -<span class="spp00">He knows about it all—<span class="smcap">H<b>E</b></span> knows—HE knows.”</span> -</div></div> - -<p>Other passages might be quoted, but these are -enough for our purpose, for the form of amusement -with which we have immediately to concern -ourselves is rather a toy than a game—a toy indeed -which would seem to have been the forerunner of -a somewhat elaborate apparatus which, being used -at first for more frivolous purposes, has now been -largely adapted to educational ends.</p> - -<p>The Magic Lantern of modern times is generally -referred back to Athanasius Kircher, who died in -1680, although, according to some, it was known -four centuries earlier to Roger Bacon. This may -be true enough so far as the “projecting lantern” -is concerned, but it can hardly be doubted that it -had in the line of its earlier ancestors the Persian -Fanus i Khiyal or Lantern of Fancy, which -is used with such effect by the Philosopher of -Naishápur, and which instigated the -design of the <span class="xxpn" id="p183">{183}</span> -rare suppressed etching of which I here propose -to treat with some particularity.</p> - -<p>As literally translated by Mr. Heron-Allen, the -quatrain referring thereto runs as -<span class="nowrap">follows:—</span></p> - -<div class="dpoemfarlft"><div class="dstanzalft"> -<span class="spquoteverse"><span class="spquoteblock">“</span>This - vault of heaven, beneath which we stand bewildered,</span> -<span class="spp00">We know to be a sort of magic-lantern;</span> -<span class="spp00">Know thou that the sun is the lamp flame and the universe is the lamp,</span> -<span class="spp00">We are like figures that revolve in it.”</span> -</div></div> - -<p>As literally translated by Mr. John Payne it -run:—“This sphere of the firmament, wherein -we are amazed, The Chinese lantern I think a -likeness of it; The sun the lamp-stand and the -world the lantern; We like the figures are that -in it revolve.”</p> - -<p>As metrically translated by him into a throwback -quatrain it -<span class="nowrap">runs:—</span></p> - -<div class="dpoemfarlft"><div class="dstanzalft"> -<span class="spquoteverse"><span class="spquoteblock">“</span>The - Sphere and mankind, who therein in amaze are,</span> -<span class="spp00">Chinese-lantern like, well it may seem, to our gaze are;</span> -<span class="spp00">See, the sun is the lamp and the world is the lantern</span> -<span class="spp00">And the figures ourselves, that revolve round the blaze are.”</span> -</div></div> - -<p>As rendered by FitzGerald more literally than is -his wont it ran in its first state as -<span class="nowrap">follows:—</span></p> - -<div class="dpoemlft"><div class="dstanzalft"> -<span class="spquoteverse"><span class="spquoteblock">“</span>For, - in and out, above, below,</span> -<span class="spp00">’Tis nothing but a Magic Shadow-show,</span> -<span class="spp03">Play’d in a box whose Candle is the Sun</span> -<span class="spp00">Round which we Phantom Figures come and go.”</span> -</div></div> - -<div><span class="xxpn" id="p184">{184}</span></div> - -<p>As altered later, it assumed the following more -familiar -<span class="nowrap">form:—</span></p> - -<div class="dpoemlft"><div class="dstanzalft"> -<span class="spquoteverse"><span class="spquoteblock">“</span>We - are no other than a moving row</span> -<span class="spp00">Of Magic-Shadow shapes that come and go</span> -<span class="spp03">Round with the Sun-illumin’d Lantern held</span> -<span class="spp00">In Midnight by the Master of the Show.”</span> -</div></div> - -<p>All who have read the published letters of -Edward FitzGerald will have been struck by the -infinite pains which he took to make this highest -effort of his genius, the translation of Omar, as -perfect as possible. His correspondence with his -friend Professor Cowell teems with allusions to, -and innumerable discussions on, minute points of -meaning in the Persian.</p> - -<p>Therefore it will not surprise us to find that the -figure of the Fanus i Khiyal (literally the lanthorn<a class="afnanc" href="#fn32" id="fnanc32">32</a> -of fancy), here made use of in so masterly a manner, -had its characteristics and peculiarities carefully -considered.</p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc32" id="fn32">32</a> -It is a not uninteresting fact that the old -English spelling of the word “lantern” used above is due -to the mistaken association of the word with the plates of -transparent horn formerly used in place of glass.</p></div> - -<p>By the kindness of Mrs. Edwin Edwards and -the late Professor Cowell, I am enabled to give -extracts from an unpublished letter -written by the <span class="xxpn" id="p185">{185}</span> -latter to FitzGerald in the year 1868, dealing somewhat -exhaustively with the matter. This letter -appears to have been forwarded by FitzGerald to -Edwin Edwards, the artist, by way of inspiration for -an etched frontispiece to the edition of <i>The Ruba’iyat</i> -which was to be published by Quaritch in 1871, -not, I think, in 1872, as Colonel Prideaux has it.</p> - -<blockquote> -<div class="dkeeptgth"> -<div><i>From Professor Cowell to Edward FitzGerald.</i></div> - -<p class="padtopc"><span class="smcap">M<b>Y</b></span> - <span class="smmaj">DEAR</span> - E. F. G.—I have sent off one letter to you -to-day, but I did not answer a question of yours in it, after -all, which you remind me of in your letter just received by -this evening’s post.</p></div> - -<p>First as to the famous Fanus i Khiyal—you will find it -explained in a note by the editor at the end of my Calcutta -Review Paper. I have often seen them in Calcutta. The -lantern is about a foot and a half high—and nearly a foot -in diameter, and it moves round with a slow and slightly -vibratory motion. The candle is placed inside, and the -draught sends it round. The editor in his note explains -how the draught is produced:—They are made of a talc<a class="afnanc" href="#fn33" id="fnanc33">33</a> -cylinder with figures of men and animals cut out of paper -and pasted on it. The cylinder, which is very light, is -suspended on an axis, round which it easily -turns. A hole <span class="xxpn" id="p186">{186}</span> -is cut near the bottom, and the part cut out is fixed at an -angle to the cylinder so as to form a vane. When a small -lamp or candle is placed inside, a current of air is produced -which keeps the cylinder slowly revolving. (Here is a -small drawing.)</p> - -<p>I cannot recollect how it was suspended, the reviewer -says, “on an axis.” I think it was hung by a string from -the top over a candle. I remember seeing it go round one -evening in our dining-room—the Khánsamah brought one -to show me. . . .</p> - -<div class="dkeeptgth"> -<p>Nicolas’s Fanus<a class="afnanc" href="#fn34" id="fnanc34">34</a> -is more elaborate than our Calcutta one, -but on the same principle. He says the figures move round -from right to left or <i>vice versa</i>—as may be. His <i>fanal</i><a class="afnanc" href="#fn35" id="fnanc35">35</a> -is -like mine, only it has a metal top and bottom—the -cylindrical sides being of waxed cloth and painted; it has a -handle fixed on the top which the man holds; the candle is -placed inside on the metal floor. . . .</p> - -<p>(Here is another small drawing.) . . .</p> - -<div class="padtopc">Yours affectionately,</div> - -<p class="padtopc psignature"> - <span class="smcap">E<b>DW.</b></span> - B. <span class="smcap">C<b>OWELL.</b></span></p> - -<p><span class="smcap">C<b>AMBRIDGE,</b></span></p> - -<p class="pcontinue"><i>January 16, 1868.</i></p> -</div><!--dkeeptgth--></blockquote> - -<div><span class="xxpn" id="p187">{187}</span></div> - -<p>The letter was illustrated with two rough -drawings of the Fanus for FitzGerald’s guidance. -The last of them represented the toy held out by -a truncated arm. Edwin Edwards, to whom the -letter was forwarded, at once with true artistic -instinct caught at the suggestion unintentionally -conveyed, and, as will be seen from the etching -here reproduced, accentuated the hidden presence -of the “Master of the Show,” by making the -arm which holds suspended this “Sun-illumined -Lantern” of a world issue from the impenetrable -darkness which hides its mysterious lord. Unfortunately, -the Fanus is not etched with great -success, although the artist made a special visit -to the old India Museum, now dispersed, to study -an example there on exhibition. Had the etching -equalled the conception, the design could hardly -have failed to satisfy even FitzGerald’s fastidious -requirements. As it was, only a limited number<a class="afnanc" href="#fn36" id="fnanc36">36</a> -of -proofs (from twenty to twenty-five) were printed -by that cleverest printer of etchings, Mrs. Edwin -Edwards, and the plate destroyed. Hence their -rarity.</p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc33" id="fn33">33</a> -This word is curiously enough misprinted -“tall” in both Nichols’ and Quaritch’s editions of Mr. -Heron-Allen’s book, whilst in the note to Professor -Cowell’s article it is printed “tale.” It is something of -a record, I should think, to find so many compositors and -readers all at fault.</p> - -<p class="pfirst padtopc"><a class="afnlabel" href="#fnanc34" id="fn34">34</a> -Professor Cowell here refers to J. B. Nicolas, author of a -French translation of Omar, published at Paris, 1867. In a note -to <i>Les quatrains de Khéyam traduit du Persan</i>, he says: “In -Persia the lantern is made of two copper basins, separated by a -shade of waxed calico about a yard high. The lower one contains -the candle, and the upper one has a handle for the arm of the ferrásh -who carries it. The shade is folded like the familiar ‘Chinese lantern.’ -Ornaments are painted on the cloth, and it is to the vacillation of these, -as the carrier shifts it from one hand to another, that Omar refers.”</p> - -<p class="pfirst padtopc"><a class="afnlabel" href="#fnanc35" -id="fn35">35</a> Qy.: Has this French word for lantern the same root as -Fanus?</p> - -<p class="pfirst padtopc"><a class="afnlabel" href="#fnanc36" id="fn36">36</a> -At least six of these have lately gone -to America where they were feverishly bought up by -enthusiastic Omarians.</p></div><!--dftnt--> - -<div><span class="xxpn" id="p188">{188}</span></div> - -<p>The conception is a really fine one, and might -well have proved an illustration of the text in the -best sense of that much-abused term, being, as it -is, a very different thing from a mere translation -of the words into pictorial form. It is far more -than this. It is an illuminator of the meaning, -and accentuates its spiritual significance. This -is what illustration should do, but rarely does -do, in these days of rapid and perfunctory -production.</p> - -<p>Of Edwin Edwards the artist I should like to -take this opportunity of saying a word. His -name is little known outside artistic circles, and -it would be somewhat unfair to advertise it in -connection with an etched plate which failed to -give satisfaction without at the same time -making allusion to pictorial work which was -successful and meritorious. That he did produce -work of real value is evident from the fact that -one of his oil pictures of the Thames hangs at -the Luxembourg in the Salle des Étrangers (for he -was always more appreciated in France than in -England), and that two years ago another canvas, -and that hardly one of the best -examples of his <span class="xxpn" id="p189">{189}</span> -work, was chosen by Sir Edward Poynter to be -well hung in the Tate Gallery.</p> - -<div class="dctr01" id="f1.21"> -<img src="images/i188fp.jpg" width="800" height="888" alt="" /> -<div class="dcaption">The suppressed frontispiece For “Omar Khayyam.” -(<i>By Edwin Edwards</i>)</div></div> - -<p>It may also be mentioned that high appreciation -of his talents has been shown across the -Channel by eulogistic articles in the <i>Gazette des -Beaux Arts</i>, <i>Les Beaux Arts Illustrés</i>, <i>La Vie -Moderne</i>, <i>L’Art</i>, etc., etc.</p> - -<p>It is, however, on his work as an etcher that his -reputation must chiefly rest, and it would be more -than unjust to allow the artist who produced such -a <i>tour de force</i> as the great etching of “London -from the Greenwich Observatory,” to mention -only one of his three hundred and seventy-one -works in this medium, to be advertised by an -etching, finely conceived it is true, but unsatisfactorily -carried to an issue.</p> - -<p>Not that these facts will in any way affect the -thoroughgoing rarity-hunter in his estimate of -the suppressed plate here described. It will be -enough for him to know that not more than a -quarter of a hundred of his rivals can own a proof -of the etching to make him ready to sell his last -shirt for its acquisition. He will continue to value -a print for its rarity rather than -for its beauty, <span class="xxpn" id="p190">{190}</span> -a book for its height in millimetres rather than -for its depth in thought.</p> - -<p>No doubt these be hard words. Then why, it -will be asked, pander to so foolish a passion? -Shall I confess? Yes, indeed, and glory in the -confession that I, too, am of the gentle brotherhood, -that I, too, am a subscriber to <i>The -Connoisseur</i> (or “The Connoyzer,” as one of my -friends at Mr. W. H. Smith’s bookstall used to -call that delightful publication), that I, too,—in -fine, that I am, by the favour of Fortune, the -happy possessor of two proofs of the suppressed -etching to the Omar of 1872!</p> - -<p>And now just one word with that gentle hunter, -Mr. Thomas B. Mosher of Portland, Maine, U.S.A., -who did me the honour of transferring a large -portion of the above, originally written for <i>The -Bookman</i>, to the pages of his beautiful 1902 edition -of <i>The Ruba’iyat</i>. Of that I make no complaint, -for I think it very probable that he asked and -obtained my permission. What I do complain of -is that, in a footnote, he falls foul of me for being -“ungracious” to Colonel Prideaux in suggesting -the date 1871 as the year of -publication of the <span class="xxpn" id="p191">{191}</span> -third edition, instead of the year 1872, as Colonel -Prideaux has it in his most valuable little -“Notes for a Bibliography of Edward FitzGerald” -1901. Mr. Mosher says “no manner of doubt -exists as to the date.” Let me tell him that I -have it on the authority of one who was on -intimate terms both with FitzGerald and Edwin -Edwards at the time when this third edition was -published that, though the book bore the date -1872 on the title, as a matter of fact it was -<i>published</i> in the autumn of 1871 and <i>post-dated</i>. If -it be “ungracious” to give Colonel Prideaux a piece -of information which he had not the opportunity -of obtaining for himself, then I sincerely hope that -all who read this volume, and find themselves -better informed, as well they may, than I am, will -be equally “ungracious” to me. <i>La plupart des -hommes n’ont pas le courage de corriger les autres, -parcequ’ils n’ont pas le courage de souffrir qu’on -les corrige.</i></p> - -<div class="chapter"> -<h2 class="h2herein" id="p192">CHAPTER X -<span class="h2smallctr"> -ADAPTED OR PALIMPSEST PLATES</span></h2> - -<div class="dpoemctr fsz7"><div class="dstanzactr"> -<span class="spquoteverse"><span class="spquoteblock">“</span>God - bless the King, I mean the faith’s defender,</span> -<span class="spp00">God bless—no harm in blessing—the Pretender.</span> -<span class="spp00">Who that Pretender is, and who is King—</span> -<span class="spp00">God bless us all!—that’s quite another thing.”</span> -</div></div> - -<p class="pfirst"><span class="smcap">S<b>O</b></span> sang the old -Jacobite John Byrom, and, taking my cue from him, I do not propose -to enter here into the vexed question of James Francis Edward -Stuart’s claim to this or that title.<a class="afnanc" href="#fn37" -id="fnanc37">37</a> It is merely a happy accident that lends me -so picturesque a figure round which to group certain pictorial -rarities, germane to our subject, of which little is known, and -of which the <i>petit-maître</i> will be therefore grateful for some -particulars.</p></div> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc37" id="fn37">37</a> -It may be mentioned that Jesse, in his -<i>Memoirs of the Pretenders</i>, always calls him James -<i>Frederick</i>.</p></div> - -<p>The history of the engraved copperplate is full -of that kind of romance which -peculiarly <span class="xxpn" id="p193">{193}</span> -commends itself to the lover of what is quaint and -curious in the byways of art, and perhaps the most -romantic phase of its history is that with which -I am about to deal. It is the sort of romance -which was inseparable from what may be called -the pre-machinery days, and is as foreign to the -spirit of this age as are the slashed doublets of -our forefathers or the starched irrelevances of -their wives.</p> - -<p>It may be, of course, that the Process block of -to-day will be found to be as full of romance -to-morrow. Indeed we have already found some -indications of this in a former chapter, and it -is probably true that romance is as all-pervading -in the mental as ether is in the physical world, -and that it is only lack of the proper intellectual -reagent that makes the discovery of it difficult.</p> - -<p>However that may be, one thing is certain, that -most of us find it easier to come at the “poetry -of circumstance” when centuries or decades have -left it behind than when it is at our immediate -threshold.</p> - -<p>In these days of lightning pictorial satire, when -Monday’s political move is on -Tuesday served up <span class="xxpn" id="p194">{194}</span> -in genial topsy-turvy by “F. C. G.” in the <i>Westminster</i> -or “G. R. H.” in the <i>Pall Mall</i>, and when -<i>Punch’s</i> weekly cartoon is voted seven days late -by the Man in the Street, it is difficult for us -to realise the shifts to which political satire was -put when the laborious engraved or etched broadside -was the quickest method of getting at the -picture-loving masses. Just imagine the agony -of impatience of the political satirist who had -designed his broadside and had to await the tardy -engraving of the copperplate, to be followed by -the deliberate hand-printing and hand-painting of -the impressions before they could be published, -perhaps only to find in the end that the nine-days’ -wonder was past, or that events had blunted his -most telling points.</p> - -<p>So, too, when satirist was employed against -satirist, how hopeless it seemed for retaliation to -follow swiftly enough upon the occasion to make -any retort in kind worth while at all.</p> - -<p>Then it was that the wit of man, quickened -by necessity, conceived the clever stratagem of -the <i>adapted</i> copperplate, of which it is here my -purpose to give -some remarkable examples. <span class="xxpn" id="p195">{195}</span></p> - -<p>I fancy I see the victim of some shrewder libel -than usual, with which the town has been flooded, -pricking off in hot haste to the pictorial satirist -in his pay, and demanding the production of a -trenchant and immediate reply, so that the retort -may be in the printsellers’ windows before the -attack has had time to do its deadly work.</p> - -<p>The satirist names a month as the earliest -possible date. His employer curses him for a -blundering slowcoach. Before a month is out the -mischief will be done beyond repairing. And he -is flinging himself out of the workshop when a -happy thought comes with a flash into his head.</p> - -<p>How about the copperplate of that broadside -which fell so flat a year ago because of its tardiness? -It was meant to be a counter-thrust to -just such another attack as this, but it was a -month too late. Is there no way of fitting a new -barb on to the old arrow? Is there no way of -adapting the year-old weapon to the present -necessity?</p> - -<p>And then there follows anxious discussion and -careful examination. The head of A. burnished -out here can be re-engraved in the -similitude of B. <span class="xxpn" id="p196">{196}</span> -C. will stand as he is and do duty, with a new -index number and altered footnote, for D. Here -an inappropriate object can be replaced by a panel -of appropriate verse. The inscriptions on the -banderoles issuing from the characters’ mouths -must be altered. And, hey presto! in the -twinkling of a bedpost we have our answer ready -for a not too critical public.</p> - -<p>The original lampooner, who counted on a good -month’s start, will be confronted with a retort -before he has time to turn round. The whole -town will be set buzzing about the successful ruse, -and the laugh will be turned upon the aggressor.</p> - -<p>Of course it would be comparatively rarely that -the adapted plate could be wholly <i>apropos</i>, but -such capital ingenuity was exercised, once the -stratagem had been imagined, that the practice -was not so uncommon nor so unsuccessful as -might be naturally expected. In this chapter I -am only treating of those dealing with one -particular episode, but I have in my possession -at least thirty of these remarkable productions.</p> - -<p>From them we find that it was not always the -engraver of a plate who -re-adjusted his own <span class="xxpn" id="p197">{197}</span> -handiwork, but piratical hands were sometimes laid -upon the work of a master by mere journeymen -engravers who did not scruple to leave the original -artist’s name for the better selling of the plate, -although it had ceased to represent even in the -remotest degree his sentiments or intentions.</p> - -<p>Indeed, I could tell of at least one remarkable -plate originally prepared in honour of a certain -great personage, which, being thievishly appropriated -by his opponents, was by them so -judiciously metamorphosed as to cover him with -as much confusion as it had originally panoplied -him with honour.<a class="afnanc" href="#fn38" id="fnanc38">38</a></p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc38" id="fn38">38</a> -Mozley, in his entertaining <i>Reminiscences</i>, tells the following -story of the latter days of the Oxford Movement, which is somewhat -parallel: “Isaac Williams published a volume of poetry called <i>The -Baptistry</i>, upon a series of curious and very beautiful engravings, -by Boetius a Bolswert, in an old Latin work, entitled <i>Via Vitæ -Æternæ</i>. In these pictures, besides other things peculiar to the -Roman Church, there frequently occurs the figure of the Virgin -Mother, crowned and in glory, the object of worship, and distributing -the gifts of Heaven. For this figure Williams substituted the Church, -and thereby incurred a protest from Newman for adopting a Roman -Catholic work just so far as suited his own purpose, without caring for -the further responsibilities.”</p></div> - -<p>This is, I believe, the first time that any -attempt has been made to bring this fascinating -subject before the public. -Incidentally it has <span class="xxpn" id="p198">{198}</span> -been touched upon once or twice in publications -of my own as it affected other byways in art, and -has been alluded to in the Introductions to the -<i>Catalogue of Prints and Drawings in the British -Museum</i> (<i>Satires</i>), prepared under the direction -of the late Keeper of the Prints and Drawings, -George William Reid, by F. G. Stephens, to -which monumental work all students of such -subjects are profoundly indebted. But it has -never been treated with anything approaching the -completeness that it deserves. It is practically an -unworked phase of print-collecting—a new craze -in which the dilettante may specialise.</p> - -<p>As I have said, we are fortunate in having in -this place so picturesque a figure as that of the -Old Pretender, or the Chevalier de St. George, as -some like to call him, round whom to group our -first batch of these pictorial palimpsests.</p> - -<p>James Francis Edward Stuart was, as all who -know their history will remember, the son of -James II. by his second wife, Mary of Modena. -He was born on June 10, 1688, at St James’s -Palace.</p> - -<p>James II. was then in his -fifty-fifth year. By <span class="xxpn" id="p199">{199}</span> -his cruelties after Monmouth’s rebellion, by his -attack on the Universities, by the Trial of the -Seven Bishops, by his Court of Commissioners of -Ecclesiastical Causes, and by his misuse of the -Dispensing Power he had alienated the whole -nation, with the exception of a few Roman -Catholics and hangers-on of the Court, and his -throne was tottering.</p> - -<p>The only element of strength in his position -was the certainty that sooner or later the crown -was bound to pass to one of the Protestant -daughters of his first marriage; for though the -present Queen had borne him four or five children -they had all died young. It was now six years -since there had been any hint of a royal birth. -What were probably grossly exaggerated accounts -of the King’s early irregularities were matter of -common gossip, and the Queen’s health was far -from robust. Suddenly, at a most opportune -moment for the Roman Catholics—so opportune -a moment indeed that intrigue at once suggested -itself—it was announced to the world that Mary -was with child, and a day of thanksgiving was -appointed five months before -the Queen’s delivery. <span class="xxpn" id="p200">{200}</span></p> - -<p>Now was the occasion for reviving a report -which had been sedulously spread by the enemies -of the Court from the very earliest days of the -Queen’s marriage—<i>that the King, in order to -transmit his dominions and his bigotry to a Roman -Catholic heir, had determined to impose a surreptitious -offspring on his Protestant subjects</i>.</p> - -<p>In due course came her Majesty’s lying-in at St. -James’s, and although the King took every precaution, -by the solemn depositions of forty-two -persons of rank who were present, against questions -arising as to the child’s identity, the celebrated -“warming-pan” story was hatched, which continued -to gain credence for more than half a -century. Nor were circumstantial details of the -most intimate nature in support of the lie wanting. -During the labour, it was maintained, the curtains -of the bed were drawn more closely than usual on -such occasions; neither the Princess of Orange, -the nearest Protestant heir to the throne, nor her -immediate adherents were asked to be in attendance; -an apartment had been selected for the -Queen’s accommodation in which there was a door -near the head of the bed which opened -on a back <span class="xxpn" id="p201">{201}</span> -staircase. Though the weather was hot, and the -room heated by the great crowd of persons -present, a warming-pan was introduced into the -bed; and finally the pan contained a new-born -child, which was immediately afterwards presented -to the bystanders as the offspring of the Queen!</p> - -<p>The following song, sung by two gentlemen -at the Maypole in the Strand, is sufficiently -explanatory:</p> - -<div class="dpoemfarlft"><div class="dstanzalft"> -<span class="spquoteverse"><span class="spquoteblock">“</span>As - I went by St. James’s I heard a bird sing,</span> -<span class="spp00">That the Queen had for certain a boy for a King;</span> -<span class="spp00">But one of the soldiers did laugh and did say,</span> -<span class="spp00"><i>It was born overnight and brought forth the next day.</i></span> -<span class="spp00">This bantling was heard at St. James’s to squall,</span> -<span class="spp00">Which made the Queen make so much haste from Whitehall.”</span> -</div></div> - -<p>The last line referred to the fact that the Queen -had played at cards at Whitehall Palace till -eleven o’clock on Saturday, June 9, whence she -was carried in a chair to St. James’s Palace, and -on the Sunday, June 10, between the hours of -nine and ten in the morning, “was brought to -bed of a prince.”</p> - -<blockquote> - -<p>It is a remarkable fact [says Jesse] that as early as 1682 -(six years before this), when the Queen, then Duchess of -York, was declared to be pregnant, the same rumours were -<span class="xxpn" id="p202">{202}</span> -propagated as on the present occasion—that an imposture -was intended to be obtruded upon the nation. Fortunately -on that occasion the infant proved to be a female, or doubtless -some improbable fiction would have been invented -similar to that which obtained credit in 1688.</p></blockquote> - -<p>Undoubtedly the whole thing was a lie, but it -did its deadly work.<a class="afnanc" href="#fn39" id="fnanc39">39</a> -The whole nation was -prepared to accept the flimsiest evidence, and -within six months father, mother, and child had -fled to France.</p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc39" id="fn39">39</a> -Certain imprudent Roman Catholics gave colour to the popular -belief by loudly expressing their opinion that a miracle had been -wrought. One fanatic had even gone so far as to prophesy that the -Queen would give birth to twins, of whom the elder would be King of -England and the younger Pope of Rome!</p></div> - -<p>So much for the story that inspired the remarkable -broadsides with which it is here our -purpose to deal. It will be noticed that these -broadsides are all Dutch in their origin, a fact -that is not surprising when we remember that they -formed part of the propagandum which was soon -to land William of Orange, the husband of James’s -eldest daughter, on the throne of England.</p> - -<p>The first that we reproduce is entitled -“L’Europe Alarmée pour le Fils d’un Meunier.”</p> - -<p>The artist is that -remarkably clever Dutchman, <span class="xxpn" id="p203">{203}</span> -Romeyn de Hooghe, whose delicate and facile -handling of the point is well exemplified in the -seascape at the back of the picture.</p> - -<p>Let us examine in detail the most important -features of this elaborate broadside.</p> - -<p>The centre of attraction is, of course, the surreptitious -infant Prince of Wales, who lies in his -cradle to the left of the picture. Those assembled -about him are discussing the possibility of the plot -having been discovered. On his coverlet are -various playthings, amongst which is conspicuous -a toy mill, emphasising, of course, the generally -accepted belief that he was the son of a miller, -for, in their lying, James’s enemies were nothing -if not circumstantial. This allusive toy figures -in almost all the satiric prints dealing with the -Old Pretender.</p> - -<p>At the foot of the cradle, which is decorated -with an owl, an owlet, and a snake (emblems of -evil), is a pap-bowl and spoon, half concealed by -the arm of “the first mother”<a class="afnanc" href="#fn40" id="fnanc40">40</a> -(1) <span class="xxpn" id="p204">{204}</span> -who seems to -be pointing out to Father Petre (2), the instigator -of the plot, that the child has been <i>born too old</i>. -The Father, whose intimacy with the lady is -suggested by a tender fondling of her right hand -with his left, fingers his rosary with the other, and -gazes fixedly into her eyes.</p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc40" id="fn40">40</a> -It is not easy to decide which of the female -figures is intended to represent Mary of Modena and which -the miller’s wife. At first sight one would expect the -Queen to be represented by the central figure 3, but, -on the other hand, I have in my possession a very rare -mezzotint -of the period which represents Father Petre and the Queen -in almost identical attitudes as figures 1 and 2 in the -present plate. This view of the matter is supported by the -following scandalous verse of the day: -</p> -<div class="dpoemlft"><div class="dstanzalft"> -<span class="spp00">Some priests, they say, crept nigh her honour,</span> -<span class="spp00">And sprinkled some good holy water upon her,</span> -<span class="spp00">Which made her conceive of what has undone her.</span> -</div></div> -</div> - -<p>Edward Petre was one of the best-hated men -in the country, and was popularly looked upon as -James’s evil genius. The King would have made -him Archbishop of York, but the Pope refused his -dispensation. In the year preceding the production -of this satire he had been made a Privy -Councillor.</p> - -<div class="dbigpicture" id="f1.22"> -<div class="dctr01 dhtml"> -<img src="images/i204fp.jpg" width="1200" height="1073" alt="" /> -<div class="dcaption">“L’Europe alarmée pour le Fils d’un -Meunier.” (<i>The plate in its first state</i>)</div></div> - -<div class="dctr01 dhandheld"> -<img src="images/i204fp-epubmobi.jpg" width="800" height="716" alt="" /> -<div class="dcaption">“L’Europe alarmée pour le Fils d’un -Meunier.” (<i>The plate in its first state</i>)</div></div></div><!--dbigpicture--> - -<div class="dbigpicture" id="f1.23"> -<div class="dctr01 dhtml"> -<img src="images/i205fp.jpg" width="1200" height="959" alt="" /> -<div class="dcaption"><i>The plate in its second state, now entitled</i> -“La Cour De Paix solitaire, entre les Roses piquantes et -les Lis”</div></div> - -<div class="dctr01 dhandheld"> -<img src="images/i205fp-epubmobi.jpg" width="800" height="639" alt="" /> -<div class="dcaption"><i>The plate in its second state, now entitled</i> -“La Cour De Paix solitaire, entre les Roses piquantes et -les Lis”</div></div></div><!--dbigpicture--> - -<p>In the middle of the picture sits the “second -mother” (3) in a highly-wrought chair, round the -legs of which twine carved serpents. Tears -course down her cheeks. With her right hand -she points to the cradle as she listens to the -counsels of the papal nuncio Count Ferdinand -d’Adda (4), who, with armour peeping -from under <span class="xxpn" id="p205">{205}</span> -his robes and with his armoured foot treading on -his naked weapon, recommends submission of the -whole matter to the arbitrament of the sword.</p> - -<p>Immediately beyond the Cardinal stands Louis -XIV. (5), James’s faithful ally. In one hand he -carries a bag of money, referring, doubtless, to his -offer of five hundred thousand livres for the equipment -of an English fleet to oppose the Prince of -Orange’s threatened invasion; with the other he -exposes to view a list of his army.</p> - -<p>Behind, and to the right of Cardinal d’Adda, -Louis’ son, the Dauphin of France, makes as -though he would draw his sword, whilst the Pope -(Innocent XI.), in shadow at the extreme right -of the picture (7, the number is very indistinctly -seen on the dark clothing) grasps the keys of -St. Peter, and would seem to be sarcastically -doubtful of the whole affair. “The Pope,” -says Voltaire, “founded very little hopes on the -proceedings of James, and constantly refused -Petre a cardinal’s hat.”</p> - -<p>Beyond the Pope is seen the armoured figure -of Leopold I. (8), with the German eagle on his -helmet. With his right hand -he grasps his <span class="xxpn" id="p206">{206}</span> -sword-hilt; with his left he gesticulates as though reminding -the war party that he also has to be -reckoned with. No. 9 I cannot identify.</p> - -<p>Behind Mary of Modena’s chair stands (13, the -figure is on her breast) Catherine of Braganza, the -childless wife of Charles II. She is doubtless -lamenting that, when residing at Whitehall, she -had not herself manufactured a prince on the -Modena plan. Next to her (11, the figure is on -the pillar) a doctor of the Sorbonne promises them -all dispensations—a hit at James’s well-known -misuse of the dispensing powers. Next to him, -with his right hand convulsively grasping a roll of -charters, stands James himself (10). In his left -he carries parliamentary and corporation papers. -With despairing eyes he gazes at the baby who, -so far from giving, as he had fondly hoped, the -finishing touch to the Roman Catholic triumph -in England, is likely to prove the most damning -count in the country’s indictment of his iniquities -and treasons. To the left the midwife (12) encourages -him to proceed with the imposture. -Below her two monks (14 and 15), greatly -alarmed, pray aloud at the head -of the cradle. <span class="xxpn" id="p207">{207}</span></p> - -<p>Immediately behind them two heralds, one -mounted on an ass, blow on trumpets to call -attention to the Dutch fleet, which is seen -approaching through the right-hand arch, whilst -through the left a fort is seen belching forth -smoke and resisting the landing of the longboats.</p> - -<p>In the left corner of the picture certain -Quakers (17, 18, 19), whose curious friendship with -James must not be forgotten, deprecate the priests’ -blasphemies, whilst beyond them a crowd of Irish -papists is suggested by their waving symbols and a -torn flag embroidered with the sacred monogram. -Behind the Quakers an oriental-looking person -scans the heavens through a telescope.</p> - -<p>The colonnade beneath which all this takes -place has its pillars surmounted by owls and a -demoniacal bat. The arches are inscribed with the -words “Het word hier nacht,” and other inscriptions -are seen on the walls. On the extreme -right of the picture is reared a banner bearing -what appear to be the words “In utrumque -Turgam,” of which it is difficult to imagine the -meaning. “In utramque Furcam,” which would -be intelligible, has been suggested to -me as an <span class="xxpn" id="p208">{208}</span> -alternative reading, but cannot, I think, be -accepted. Another friend hazards “In utrumque -(modum) resurgam,” which may be freely translated, -“I shall be ‘dormy’ either way,” and would -certainly make sense. Farther than that I cannot -go with him.</p> - -<p>So much for the first state of this elaborate -copperplate which did its part in propagating the -lie which went far to lose for James II. the crown -of England.</p> - -<p>After having served this purpose the plate -was laid aside for nearly a quarter of a century. -During this period the throne of England had -been occupied by James II.’s two daughters, Mary -and Anne, to the exclusion of their father, who -died in exile in 1701, and of the Chevalier de St. -George, whose proclamation by Louis of France -as James III. of England<a class="afnanc" href="#fn41" id="fnanc41">41</a> -had been followed by -the war of the Spanish Succession.</p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc41" id="fn41">41</a> -In the Stuart Room at Madresfield Court Lord -Beauchamp lately showed me a portrait of the Chevalier, -labelled “James III.”!</p></div> - -<p>In 1713, just twenty-four years after the plate -had been engraved, the Peace of Utrecht, so -vitally important as marking -the beginning of <span class="xxpn" id="p209">{209}</span> -England’s commercial prosperity, was signed -between England and France. Amongst other -things it secured the Protestant Succession to -the throne of England through the House of -Hanover, and the dismissal of the Chevalier from -France. The suspension of arms between the -English and the French which preceded the -signing of the treaty was seized upon as the -opportunity for resuscitating the plate and adapting: -it to the altered circumstances. Now did some -pictorial vandal wrench and twist the figures to -new and undreamt-of uses and turn the Council -of War of 1688 into the Court of Peace between -the Roses and Lilies of 1712! The plate now -professes to be published in London, though, -from the fact that the publication line runs. “A -Londres chez Turner,” and from sundry misspellings, -it would appear certain that the alterations -on the plate were effected abroad.</p> - -<p>In this second state the plate has been reduced -at the top as far as the capitals of the pillars, and -at the bottom as far as the left foot of the figure -which represented Father Petre in the original. -The index figures have -also been changed. <span class="xxpn" id="p210">{210}</span></p> - -<p>The explanation of the design as it now stands is -contained in eighty-three lines of doggerel French -verse. Taking the alterations one by one we find -in the first place that the infant and cradle have -been bodily removed, and (1) the “Plan de Paix” -substituted. It bears the legend “Vrede tussen -het Lelien en Roosen hof. Paix entre les Lis et -les Roses picantes.”</p> - -<p>The central figure (2) of the picture is now -changed into an allegorical personage labelled -“Pax,” who holds in her left hand a paper -inscribed “Juste Protestation des Alliés,” whilst -with her right she indicates the “Plan de Paix.” -In this way the new artist, with some ingenuity, -suggests that the spirit of peace is in sympathy with -the dissatisfaction of the Allies at the negotiations -which are proceeding between England and France. -Her remonstrances are addressed to the figure on -her left (3), which formerly represented Cardinal -d’Adda, but is now labelled “Pole.” (the Abbé -Melchior de Polignac), who tries to allay her -forebodings. The difficulty of the Cardinal’s hat, -which is of course out of place on an Abbé, is -ingeniously got over by the writer -of the French <span class="xxpn" id="p211">{211}</span> -libretto, who refers to him as a Cardinal <i>in petto</i>. -As a matter of fact the writer proved a good -prophet, for, on the conclusion of the peace, for -which Polignac was largely responsible, he was, -on the nomination of the Chevalier de St. -George, created and appointed Cardinal Maître -de la Chapelle du Roi. He was at the time of -the publication of the altered plate plenipotentiary -in Holland for the French. It will be noticed -that the <i>pince-nez</i> and moustache have now been -dispensed with.</p> - -<p>The figure behind Polignac (4), which originally -stood for the Dauphin, who, by the way, was but -lately dead, is now labelled at the foot “Mont-or” -(the Duke of Ormond’s name reversed), and at the -head “Tori.” By an ingenious turn of thought, -the Dauphin’s warlike action of <i>drawing</i> his sword -is now metamorphosed into the Duke’s conciliatory -action of <i>sheathing</i> his. This refers, of course, to -the instructions which he had received from the -English Government, on taking over the command -of the troops in the Low Countries from the Duke -of Marlborough, to do all in his power to bring -about a peaceful issue. <span class="xxpn" id="p212">{212}</span></p> - -<p>Beyond Polignac the figure (5) which formerly -represented Louis XIV. is now put to humbler -uses, and merely represents a French herald. The -paper in his left hand, which originally enumerated -Louis’ forces, now bears the gratifying legend:</p> - -<div class="dpoemctr"><div class="dstanzactr"> -<span class="spp00">Bonne Paix</span> -<span class="spp00">De l’Anglois</span> -<span class="spp00">Me rend guai.</span> -</div></div> - -<p>The lady in front of him (6), who formerly stood -for Catherine of Braganza, now represents Maria -Louisa of Savoy, the first wife of Philip V. of -Spain (fortunately for him not such a firebrand -as his second wife proved to be). She turns to -her handsome young husband (7) (here somewhat -libellously represented by the whilom “Old -Hatchet Face”) who has just renounced for -himself and descendants all claims of succession -to the crown of France. His right hand rests -on the scroll of “charters” as before, but the -document in his left now bears the legend: “Leli -afstand onder Conditie” (The lily to surrender -under conditions).</p> - -<p>Passing almost to the extreme right of the -picture, the eagle-helmeted -figure (8) which <span class="xxpn" id="p213">{213}</span> -before represented the Emperor Leopold I. now -represents his son Charles VI., “Le Seigneur -juste de la Cour d’Orient et Occident.” Clutching -his huge sword, he expresses the anger of the -Imperialists at the project for peace between -England and France. In the end he refused to -concur in the peace of Utrecht, and continued at -war with France until 1714.</p> - -<p>On either side of him are two figures numbered -alike (9, 9). That on his right, which bears the -word “Wigh” engraved on his hat, represents the -Duke of Marlborough, the deposed military leader -of the Whigs. That on his left is one of the -Duke’s followers, who, by his drawn sword, points -the allusion of the librettist to the “Pacificateur -par le fer.”</p> - -<p>To the extreme right of the picture (10) the -Pope, now Clement XI. in place of Innocent XI., -encourages Polignac in his efforts for peace, and -promises him “La Pourpre” as his reward.</p> - -<p>Returning to the middle background of the -crowd we find (11, 11) two Jesuits. The one -who looks over the left shoulder of No. 7 was -in the first state of the plate a -doctor of the <span class="xxpn" id="p214">{214}</span> -Sorbonne. The index number of this figure is -now on his hat. Originally it was on the pillar -above him. This the adapter has apparently -attempted to turn into a rough ornamentation -by the addition of parallel strokes. Becoming -dissatisfied, he has crossed out the whole by -irregular horizontal lines. To the left of figure -7 is seen (12) the Pretender, the surreptitious -infant of the original, now grown to manhood, -whispering in Philip of Spain’s ear that though -he claims as a Protestant the throne of his father, -he is in his heart of the Romish faith. This figure -originally represented the midwife, but has been -metamorphosed by the addition of a man’s hat, -wig, and ruffles.</p> - -<p>To the extreme left of the foreground of the -picture the erstwhile Father Petre is now transformed -(13) into a Jesuit confessor, who amorously -converses with (14) “La Courtisane de Bourbon,” -Madame de Maintenon. This cruel aspersion on -the character of one who was really, though -secretly, Louis XIV.’s wife, and whose nobleness -of character is now fully established, was -characteristic of the times. The -Plan de Paix, <span class="xxpn" id="p215">{215}</span> -which was so obnoxious to the author of the -satire, would seem to have just fallen from her -fingers, and doubtless he is right in recognising -that she had a hand in its consummation. -Beyond the table sit a monk and friar (15, 15), -as formerly, except that the removal of the cradle -has necessitated an extension of their figures. In -the background, against the left-hand pillar, is (16) -the “Harlequin de France.” In front of him the -three figures (17, 18, 19), originally Quakers, are -now referred to as “Esprits Libres.” The man -with the telescope (20) is “The Observer of Foreign -Countries.” The other subordinate figures are the -same as before, save for the addition, in some cases, -of index numbers.</p> - -<p>It is interesting to notice that this plate was -so successful in its adapted state that it was made -the basis of a design engraved for a German broadside -of the following year entitled “Der Fridens-Hoffzwischen -der Rose und der versöhnten Lilie,” -with which it has many points in common.</p> - -<p>I have treated of this plate at considerable -length because it is the most important of the -palimpsest plates of this period. -I shall close <span class="xxpn" id="p216">{216}</span> -this chapter by reproducing one other remarkable -example designed in its first state to expose the -same supposed wicked plot. In the next chapter -I shall give another dealing with the birth of the -Old Pretender, from which we shall gain some idea -of the extent to which this clever stratagem of the -adapted copperplate was made use of in the deliberate -days of the seventeenth and eighteenth centuries.</p> - -<p>For the present I must pass over two elaborate -broadsides engraved by Jean Bollard, and entitled -respectively “Aan den Experten Hollandschen -Hoofd-Smith” (To the Expert Dutch Head-Smith), -and “Aan der Meester Tonge-Slyper” -(To the Master Tongue-Grinder). These, as we -shall see later, after doing their work against -James II. and the Old Pretender, were seized upon -many years afterwards by the piratical publisher -of a remarkable Jansenist tract, called “Roma -Perturbata, Ofte’t Beroerde Romen, etc.,” and -adapted to the uses of the anti-Jesuit propagandum, -in the same way as “L’Europe -Alarmée pour le Fils d’un Meunier,” described -above, was adapted after twenty-five years of -idleness as a satire upon the -Peace of Utrecht. <span class="xxpn" id="p217">{217}</span></p> - -<p>It was this same piratical tractarian who seized -upon the elaborate plate which I am here reproducing, -divorced it from its letterpress, cut the plate -down to the size of his tract, and appropriated it -in its second state to the purposes of “Roma -Perturba ta.”</p> - -<p>In its first state, which I give here, together -with its accompanying letterpress, the line of -publication runs: “Gisling, Geneve, exc.” and -the title:</p> - -<div class="dpoemlft"><div class="dstanzalft"> -<span class="spp00">Het beest van Babel is aan’t vluesten</span> -<span class="spp00">Die Godsdienst heeft niet méer te duckten.</span> -</div><div class="dstanzalft"> -<span class="spp00">(The beast of Babel is flying,</span> -<span class="spp00">Religion has nothing more to fear.)</span> -</div></div> - -<div class="dbigpicture" id="f2.21"> -<div class="dctr01 dhtml"> -<img src="images/i218.jpg" width="1200" height="966" alt="" /> -<div class="dcaption">Het beest van Babel, etc. -(<i>The plate in its first state.</i>)</div></div> - -<div class="dctr02 dhandheld"> -<img src="images/i218-epubmobi.jpg" width="800" height="994" alt="" /> -<div class="dcaption">Het beest van Babel, etc. -(<i>The plate in its first state.</i>)</div></div></div><!--dbigpicture--> - -<div class="dbigpicture" id="f2.22"> -<div class="dctr01 dhtml"> -<img src="images/i219.jpg" width="1400" height="900" alt="" /> -<div class="dcaption">Het beest van Babel, etc. -(<i>The plate in its second state.</i>)</div></div> - -<div class="dctr03 dhandheld"> -<img src="images/i219-epubmobi.jpg" width="705" height="1096" alt="" /> -<div class="dcaption">Het beest van Babel, etc. -(<i>The plate in its second state.</i>)</div></div></div><!--dbigpicture--> - -<p>The design is very elaborate and crowded with -figures, those in the foreground being executed -with considerable spirit. The Dutch Lion (1) -carries a sword in its right front claws, as does -that on the Persian flag of to-day. On its back -rides William of Orange (7) with lance in rest -and bearing a shield upon which St. Michael -is represented combating sin in the shape of -a dragon. William is supported by mounted -soldiers, one of whom bears a -flag inscribed with <span class="xxpn" id="p218">{218}</span> -the words “Prot religion and libe”—(For religion -and liberty). Over his head flies a winged Revenge -(3) carrying a shield in one hand and the lightnings -of God’s wrath in the other. Before him flies the -seven-headed Beast of Babel (2), shorn of two of -his heads, which lie bleeding on the ground beneath -the lion. The monster, which “utters horrible -shrieks,” bears upon its back between its wings -Father Petre (6), who holds on his lap the infant -Pretender (5), to whom his “brains have so -infamously given birth.” The too-old infant -carries in his hand the ever-present toy windmill. -Blood pours from the decapitated necks of -the Beast as he plunges with his accompanying -rabble into the “pool of horrors.” Priests and -other Romish officials, some mounted on goats, -asses, and wolves, flee (4) or are trampled under -foot (8).</p> - -<p>In the mid background William of Orange (9), -by a poetic licence able to be in two places at -once, a fairly common convention even in serious -pictures of that and an earlier -date,<a class="afnanc" href="#fn42" id="fnanc42">42</a> -is being <span class="xxpn" id="p221">{221}</span> -greeted by the English nobles as their saviour. -To the left, through an archway, James II. (10) is -seen fleeing by boat with his wife and infant, -though, as a matter of fact, he remained in -England some months after the latter were safely -abroad. To the right, through another arch, -Louis XIV. (11) is seen “embracing the child and -taking pity on his mother,” and putting two of -the curious, hearse-like carriages of the period at -their disposal. Here we not only find Mary of -Modena duplicated, but the infant Pretender -triplicated in the same picture! So much for the -plate in its first state.</p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc42" id="fn42">42</a> -See, for example, Tintoret’s great picture of -“Adam and Eve” in the Accademia at Venice.</p></div> - -<p>In its second and adapted state it takes its -place in the armoury of the anti-Jesuits. The -Jansenist controversy was at its height in the year -of grace 1705, and Jansenism, although nominally -subject to Rome, was regarded favourably by the -Protestant Dutch as being a reforming movement -within the Roman Catholic Church against the -theological casuistry of the Jesuits.</p> - -<p>This is not the place to go into the anti-Jansenist -polemics of the Jesuits since the publication -of the “Augustinus” of -1640, though the <span class="xxpn" id="p222">{222}</span> -interest of the matter is sufficiently tempting. -We must content ourselves with remembering that -now at the beginning of a new century a supreme -effort was being made by the Jesuits in France -to destroy completely the pious community of -Port Royal; that within four years they were to -succeed in dispersing the nuns; within another -year the cloister itself was to be pulled down; -that in 1711 the very bodies of the departed -members of the community were destined to be -disinterred from the burial ground with the -greatest brutalities and indecencies; and in 1713 -the church itself demolished.</p> - -<p>But, though Port Royal itself was doomed, -Jansenism was finding freedom under the Protestant -Government of Holland.</p> - -<p>In 1689 Archbishop Codde had been appointed -by the Pope Vicar Apostolic in Holland. Soon, -however, it was discovered by the Jesuits that he -favoured the Jansenists.</p> - -<p>By the machinations of the Jesuits he was -therefore <i>invited</i> to Rome, and treacherously -detained there for <i>three years</i>, in defiance of all -canonical regulations. In the -meantime the Pope <span class="xxpn" id="p223">{223}</span> -appointed Theodore de Cock in his place, with the -intention of crushing the Jansenists in Holland. -Codde thereupon made his escape from Rome, -and the well-known struggle of the Jansenists of -Utrecht and Haarlem for a legitimate episcopal -succession began.</p> - -<p>This was the juncture at which our copperplate -was to do duty a second time, and for such -different ends.</p> - -<p>It has been divorced from its letterpress, altered -in certain details and slightly cut away at the top -and bottom. Like those dealing with the Head -Smith and Tongue Sharpener, as will be seen in -the next chapter, it has been appropriated to the -uses of “Roma Perturbata.” It is now entitled -on the panel which has been inserted at the spring -of the arches “Door Munnike-Jagt, Word Babel -Verkracht” (By chasing monks, Babel is assailed), -and the piratical publisher has made many -ingenious alterations. The possibly punning -publication line runs: “Benedictus Antisolitarius -excudit Rom.” Above this appears the chronograph: -<span class="smmaj">“HOS</span> -<span class="smmaj">HEROS</span> -<span class="smcap">M<b>ONA</b>C<b>HOS</b></span> -<span class="smcap"><b>APPREN</b>D<b>E</b></span> -<span class="smcap"><b>BATA</b>V<b>E</b></span> -<span class="smcap"><b>REBE</b>LL<b>ES</b>.”</span> <span class="xxpn" id="p224">{224}</span></p> - -<p>The Lion (1) still represents Holland and hunts -the Beast of Babel (2) assisted by the winged -Revenge (3), whose lightnings have now been -increased to seven to represent the heraldic arrows -of the Seven United Provinces. This device also -now appears on the shield of Holland’s Knight -(7) in place of that of St. Michael and the -Dragon. The banner of his followers is now -inscribed “Pro Secularibus.” As champion of -the Jansenists the Knight puts to rout “all the -bald heads (4, 4, 4, 4), together with ‘their -protector Kok’” (6), who “in disguise” rides -between the wings of the Beast with an illegitimate -child (5) on his lap, from whose right -hand the toy windmill of the infant Pretender -has been removed. In the background to the -left, others, in the quaint words of the Dutch -letterpress (10), “escape quickly from the town -by water, while they are clothed like gentlemen -in order not to be known as monks.” In the -background to the right, others flee “like great -gentlemen in carriages,” a fairly ingenious adaptation -of James II.’s flight and Louis’ welcome of -the fugitives. <span class="xxpn" id="p225">{225}</span></p> - -<p>The group in the middle background is now -made to represent Codde (8.B), who has escaped -from Rome and is being welcomed back by the -representatives of the -State (9, 9).</p> - -<div class="chapter"> -<h2 class="h2herein" id="p226">CHAPTER XI -<span class="h2smallctr"> -ADAPTED OR PALIMPSEST PLATES -(<i>continued</i>).</span></h2> - -<p class="pfirst"><span class="smcap">I<b>N</b></span> -the last chapter I claim to have introduced the -reader to a phase of print-collecting which has -in it a sporting element of a peculiarly enticing -character. The pursuit of what I have called -palimpsest copperplates offers entertainment of -the very best to one who would make it a -speciality, and, perhaps, the most alluring thing -about this curious quarry is that the hunter will -never be satisfied after running it to earth until -he has secured and coupled it in his portfolio with -its necessary and enchanting fellow.</p></div> - -<p>I propose in this chapter to give a few more -specimens of these curious adapted plates.</p> - -<p>Many examples of reheaded statues and adapted -portraits lie around us. Mr. Augustus Hare tells -of a representation of Lady Georgina Fane in -Brympton Church, which consists of -the head of <span class="xxpn" id="p227">{227}</span> -that ready-witted lady “added to the body of an -ancestress who was headless,” whilst any visitor to -Yarmouth Church, Isle of Wight, may see the -imposing marble effigy of Admiral Sir Robert -Holmes, which consists of the head of that -gallant sailor surmounting the body of Louis -XIV. It appears that Sir Robert, having -captured the vessel in which the Italian-made -torso of the Grand Monarque was being conveyed -to France for the modelling of the head, retained -the unfinished work and crowned it with his own -august features—a good example of the resourcefulness -of the English character.</p> - -<p>Again, Macaulay, enlarging upon the popularity of Frederick the -Great in England, tells how at one time enthusiasm reached such a -height that the sign-painters were everywhere employed in touching -up the portraits of Admiral Vernon, which hung outside innumerable -public-houses, into the likeness of the King of Prussia, a curious -commentary, by the way, on the family motto, “Ver non semper virit.”<a -class="afnanc" href="#fn43" id="fnanc43">43</a> Further, it is on -record <span class="xxpn" id="p228">{228}</span> that after Trafalgar -such was Nelson’s popularity, that Daniel Orme, engraver to George -III., bought a plate of Napoleon at the sale of a Ludgate Hill -printseller’s effects, and altered it into a portrait of our national -hero.</p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc43" id="fn43">43</a> -The following extract from a recent newspaper -shows that the practice has not yet altogether died -<span class="nowrap">out:—</span></p> - -<blockquote><p> -“In the action of Tussaud <i>v.</i> Stiff, heard in the Chancery -Division by -Mr. Justice Buckley yesterday, the plaintiff, Mr. Louis -Tussaud, sought to restrain defendant by injunction from -carrying on his business of exhibiting models in such a -way as to induce the public to believe that the models he -showed were the work of the plaintiff. It was stated by the -plaintiff’s counsel that, in consequence of an injunction -granted some years ago, it became necessary for the -plaintiff to carry on his exhibition as Louis Tussaud’s New -Exhibition in Regent Street. It was afterwards turned into -a limited liability company, and removed to the Alexandra -Palace. Some of the models were sold to the defendant, but -no goodwill of the business was sold. The defendant had -since opened several exhibitions of waxworks, other models -had been added to those sold by the plaintiff, and the -models of the plaintiff had been split into a considerable -number of pieces, while models made by other persons than -the plaintiff were exhibited as Louis Tussaud’s waxworks. -Counsel informed the Court that <i>in one case the head of -the Archbishop of Canterbury had been put on the body -of Charles Peace, and in another instance Napoleon was -represented as taking part in the execution of Mary Queen -of Scots</i>. The defendant’s present exhibition was a penny -show in the Edgware Road. <i>In another instance the head of -Mr. Ritchie, the Chancellor of the Exchequer, was put upon -a dying soldier.</i>”</p></blockquote> - -<p>The Mr. Louis Tussaud here mentioned must not be confused -with Mr. John Tussaud of the Marylebone Road Exhibition.</p></div> - -<p>Examples such as these might be multiplied, but -here are enough for our purpose. They show that -the systematic practice of copperplate adaptation -has its counterpart in other departments of art.</p> - -<div class="dbigpicture" id="f2.23"> -<div class="dctr01 dhtml"> -<img src="images/i229a.jpg" width="1200" height="955" alt="" /> -<div class="dcaption">Aan der Meester Tonge-Slyper. -(<i>The plate in its first state</i>)</div></div> - -<div class="dctr01 dhandheld"> -<img src="images/i229a-epubmobi.jpg" width="800" height="637" alt="" /> -<div class="dcaption">Aan der Meester Tonge-Slyper. -(<i>The plate in its first state</i>)</div></div> - -<div class="dctr01 dhtml"> -<img src="images/i229b.jpg" width="1200" height="793" alt="" /> -<div class="dcaption">Aan der Meester Tonge-Slyper. -<i>As adapted by the Anti-Jesuits</i></div></div> - -<div class="dctr01 dhandheld"> -<img src="images/i229b-epubmobi.jpg" width="800" height="529" alt="" /> -<div class="dcaption">Aan der Meester Tonge-Slyper. -<i>As adapted by the Anti-Jesuits</i></div> -</div></div><!--dbigpicture--> - -<p>We will now consider a -curious broadside <span class="xxpn" id="p230">{230}</span> -published about the year 1688, the copperplate -heading of which was destined to be seized upon -and adapted to other purposes nearly twenty years -later by the piratical publisher referred to in the -last chapter.</p> - -<p>As will be seen from our reproduction, its letterpress -is addressed, “Aan der Meester Tonge-Slyper” -(“To the Master Tongue Grinder”). -The engraver’s name does not appear, but the -work is easily distinguished as that of Jean -Bollard, by comparing it with other signed engravings -of the same series of pictorial satires.</p> - -<p>Two men at a grindstone sharpen a tongue, -Another tongue lies on the anvil. Two labourers -empty a large hamper of tongues into a basket, -which is steadied by a woman. Point is given to -the picture by the gossiping groups seen through -the door and window, and especially by the two -Xantippes who, with arms akimbo, are slanging -each other in good earnest.</p> - -<p>The doggerel letterpress refers to the birth of -the Old Pretender, and the mendacious tongues of -the conspirators are being delivered to the smith -to be coerced into -speaking the truth. <span class="xxpn" id="p231">{231}</span></p> - -<p>Here is a free translation of the passage, -beginning “Heden zyn my over -<span class="nowrap">London”:—</span></p> - -<blockquote> -<p>“To-day I received from London a cargo of those goods -which you have to take in hand; I have some of the biggest -size, <i>The Admiral of the First Flag</i>, which has been used so -much and has become black from lying, and which, after all -appearances, seems to have had his end bitten off; scrape -thoroughly his thick skin or he will be up to anything; -swearing oaths, breaking bonds, falsely protecting the -Church is his daily work.”</p></blockquote> - -<p>And so on, until it ends with the -<span class="nowrap">moral:—</span></p> - -<div class="dpoemctr"><div class="dstanzactr"> -<span class="spquoteverse"><span class="spquoteblock">“</span>Nothing - more useful than whetting the tongue</span> -<span class="spp00">When its aim is to speak the truth.</span> -<span class="spp00">But when it is given to lying,</span> -<span class="spp00">It must be pierced, flayed, and scraped.”</span> -</div></div> - -<p>So much for the plate in its first state. In its -second we find it published seventeen years later, -and somewhat ingeniously adapted to the new -exigencies. It now takes its place in the armoury -of the anti-Jesuits, and is published without any -acknowledgment in the pamphlet, entitled <i>Roma -Pertubata Ofte’t Beroerde Romen, etc., etc.</i>, -referred to in the last chapter. This pamphlet, -which is a very warren of palimpsest plates (it has -at least four, and possibly there -are others), may <span class="xxpn" id="p232">{232}</span> -be seen in the print-room of the British Museum. -It may, too, as I have myself proved, be discovered -at rare intervals in the shops of the old printsellers -in Holland. Mine is in a parti-coloured paper -wrapper, whether as issued or added later I -cannot say. It consists of title-page, table of -contents, and eleven full-page copperplate engravings -of extraordinary interest. Curiously enough, -the table of contents makes no reference to the -eleventh and last. Our palimpsest is number -9.<a class="afnanc" href="#fn44" id="fnanc44">44</a></p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc44" id="fn44">44</a> -Grateful acknowledgments are here due to the -splendid <i>Catalogue of Prints and Drawings in the British -Museum</i>, 5 vols., which should be in the library of every -collector of satirical prints.</p></div> - -<p>In its new surroundings it has (<i>vide</i> reproduction) -been divorced from its letterpress, and been -cut away at the bottom. A descriptive panel has -been engraved over the doorway, and other lettering -added here and there. The publication line, -“tot Tongeren by J: la Langue,” apparently a -bogus one, playing on the words of the original, -“à Langres chez Tongelel,” now appears within -the border of the design.</p> - -<p>The tongue which lies on the anvil is now -pierced by the seven heraldic arrows of the Dutch -Provinces, and words are engraved -below to the <span class="xxpn" id="p233">{233}</span> -effect that “There is no worse evil than that a -Pope’s tongue dares slander the State,” and on -the base of the anvil, “He has given way to -slander. You must forge him before you grind -him.”</p> - -<p>Below the quarrelling women are the words: -“These maids are quarrelling for de Kok,” referring -to scandals which were afloat concerning the -morality of the Pope’s vicar-general, and a Latin -chronograph appears at the feet of the chief smith.</p> - -<p>The inscription over the door gives directions -to “The Romish Dutch Grinder of Tongues,” -and, amongst other things, says of the tongue on -the anvil, “That is de Kok’s tongue, wounded by -seven arrows, because he has slandered the State -by his speech,” which statement hardly tallies with -the inscription on the anvil, unless the vicar-general -may be regarded as the very mouthpiece -of the Pope.</p> - -<p>This is no place, as I have said, to enlarge upon -the Jansenist propagandum, but it will well repay -the enthusiastic historian to follow out the above -allusions to their original source.</p> - -<p>So much for our adapted broadside.</p> - -<div class="dbigpicture" id="f2.24"> -<div class="dctr03 dhtml" id="p234"> -<img src="images/i234.png" width="972" height="1604" alt="" /> -<div class="dcaption">The Stature of a -Great Man, or the English Colossus</div></div> - -<div class="dctr04 dhandheld"> -<img src="images/i234-epubmobi-a.jpg" width="679" height="1120" alt="" /> -<div class="dcaption">The Stature of a -Great Man, or the English Colossus</div></div> - -<div class="dctr01 dhandheld"> -<img src="images/i234-epubmobi-b.png" width="800" height="272" alt="" /> -<div class="dcaption">[English Colossus, detail for - epub/mobi editions]</div></div> -</div><!--dbigpicture--> - -<div class="dbigpicture" id="f2.25"> -<div class="dctr03 dhtml" id="p235"> -<img src="images/i235.png" width="1028" height="1610" alt="" /> -<div class="dcaption">The Stature of a -Great Man, or the Scotch Colossus</div></div> - -<div class="dctr04 dhandheld"> -<img src="images/i235-epubmobi.png" width="543" height="850" alt="" /> -<div class="dcaption">The Stature of a -Great Man, or the Scotch Colossus</div></div> -</div><!--dbigpicture--> - -<p>I would ask you now to look at the two prints -entitled respectively “The Stature of a Great -Man, or the English Colossus,” and “The Stature -of a Great Man, or the SCOTCH Colossus.”</p> - -<div><span class="xxpn" id="p236">{236}</span></div> - -<p>The first, dated 1740, represents Sir Robert -Walpole, then in the plenitude of his power. He -stands on two woolpacks. Between his legs is -seen the British fleet lying inactive. He is -flanked by Marines on the left crying “Let us -fight,” and sailors with drawn swords on the right -declaring their readiness to die “Pro Patriâ.” The -plate teems with allusions to his reluctance to -go to war, by which he was subjecting his -country to the insults and aggressions of Spain -and France.</p> - -<p>Twenty-two years later the plate was resurrected -and altered to its second state, in which it -is made to represent Lord Bute. The lower part -of the plate, bearing the quotation from Shakespeare -and the “Description,” has been now cut -away, and “Scotch” inserted in the place of -“English” in the title. The chief alterations are -the reduction of the full-bottomed wig and the -addition of a wig-tie of black -ribbon, the addition <span class="xxpn" id="p237">{237}</span> -of a star on the breast, and a new and abusive -inscription on the right-hand document. In this -case the adapter has shown but little ingenuity.</p> - -<div class="dbigpicture" id="f1.24"> -<div class="dctr01 dhtml"> -<img src="images/i236fp.jpg" width="1001" height="836" alt="" /> -<div class="dcaption">Queen Anne presiding over the House of Lords. -(<i>The plate in its first state</i>)</div></div> - -<div class="dctr02 dhandheld"> -<img src="images/i236fp-epubmobi.jpg" width="800" height="958" alt="" /> -<div class="dcaption">Queen Anne presiding over the House of Lords. -(<i>The plate in its first state</i>)</div></div> -</div><!--dbigpicture--> - -<div class="dbigpicture" id="f1.25"> -<div class="dctr01 dhtml"> -<img src="images/i237fp.jpg" width="1200" height="892" alt="" /> -<div class="dcaption"><i>The plate in its second state, now representing</i> -George I. presiding over the House of Lords</div></div> - -<div class="dctr03 dhandheld"> -<img src="images/i237fp-epubmobi.jpg" width="800" height="1076" alt="" /> -<div class="dcaption"><i>The plate in its second state, now representing</i> -George I. presiding over the House of Lords</div></div></div><!--dbigpicture--> - -<p>We will now turn to a far more elaborate -example, which, in its first state, as will be seen -in the reproduction, represents Queen Anne presiding -in state over the House of Lords. The -plate is etched by Romeyn de Hooghe.</p> - -<p>At the top of the picture, between female -figures representing Plenty and War, is suspended -a cloth, on which the Queen is shown presiding -over the House of Commons. At her side sits -Prince George of Denmark. The whole is surmounted -by the words, “Het Hoog en Lager -Huys van Engeland.” Left and right of the cloth -are scrolls bearing the legends, “Hinc gloria -regni” and “Hinc felicitas publica.”</p> - -<p>At the base of the plate are two small self-contained -etchings. That on the left shows the -heralds proclaiming the Queen; that on the right -shows Her Majesty sitting in Council. Between -these are inscribed the following -<span class="nowrap">words:—</span></p> - -<div class="padtopc">“Annæ D. G.</div> -<div class="">Magnæ Britanniæ Reginæ,” etc., etc.</div> - -<p class="padtopc" id="p238">The -main design is crowded with details and -figures of the utmost interest, any description of -which is forbidden by the space at my disposal. -The artist’s signature is to be seen on the floor of -the Hall.</p> - -<p>Thirteen years were now to elapse before it was -transformed into the glorification of George I. -The King now takes the place of the late Queen -in the House of Lords. The throne in the House -of Commons is vacant. The inscription on the -cloth has been re-engraved, and “Engeland” -changed to “Engelandt.” The title and the -panels at the bottom of the plate have been cut -away, and the index numbers on the main design -and the index letters on the cloth have been -altered. The designer’s name has been removed -from the floor of the House, and engraved on the -right-hand corner of the plate.</p> - -<p>These are the main differences. The curious -reader may occupy himself in discovering others.</p> - -<p>The next example here reproduced I give -because of the peculiarly drastic changes which -have been made by the pirate into whose hands -the plate has fallen. <span class="xxpn" id="p239">{239}</span></p> - -<div class="dbigpicture" id="f1.26"> -<div class="dctr01 dhtml"> -<img src="images/i238fp.jpg" width="1400" height="971" alt="" /> -<div class="dcaption">“The Races of the Europeans, with their -Keys.” (<i>The plate in its first state</i>)</div></div> - -<div class="dctr03 dhandheld"> -<img src="images/i238fp-epubmobi.jpg" width="750" height="1082" alt="" /> -<div class="dcaption">“The Races of the Europeans, with their -Keys.” (<i>The plate in its first state</i>)</div></div></div><!--dbigpicture--> - -<div class="dbigpicture" id="f1.27"> -<div class="dctr01 dhtml"> -<img src="images/i239fp.jpg" width="1400" height="966" alt="" /> -<div class="dcaption">“A Skit on Britain.” (<i>The plate in its -second state</i>)</div></div> - -<div class="dctr03 dhandheld"> -<img src="images/i239fp-epubmobi.jpg" width="750" height="1087" alt="" /> -<div class="dcaption">“A Skit on Britain.” (<i>The plate in its -second state</i>)</div></div></div><!--dbigpicture--> - -<p>In its original state it bears the punning title, -“The Races of the Europeans with their Keys.” -The line of publication runs:—“Geo. Bickham, -jun<sup>r.,</sup> inv<sup>t.</sup> et sculp. According to the late Act, -1740. Price 1s. Sold at ye Black Moors Head -against Surry Street in y<sup>e</sup> Strand.” The composite -design is made up of variorum copies of four -separate prints recently published. These are -enclosed in the four quarters of an elaborate -design, surmounted by a crouching wolf. At the -point where the four corners meet is a grotesque -horned head. At the foot are a mask and a -poniard. Each panel is differently dated, and -surmounts its own set of explanatory notes. The -allusions to contemporary politics are most ingeniously -conceived, but are so numerous that -space forbids even their barest description.</p> - -<p>In its second state the plate is entitled “A Skit -on Britain.” The line of publication runs the same -as before, saving the name of the artist, which has -been changed into “Ged Bilchham.” A line of -script has also been added on this copy, which -states that “This plate is upon the same copper -as ‘The Races of the Europeans,’ -much of the <span class="xxpn" id="p240">{240}</span> -allusions not having been obliterated,” which seems -considerably to understate the case. The enclosing -design is certainly much the same as before, though -in this there are many alterations in detail, but of -the four engravings by far the greater portion has -been removed. The aerial parts are practically -untouched, but of the crowds of figures only a -few unimportant groups remain. All the tables -of reference have been burnished out, and are -replaced by doggerel verses. The dates have been -removed from the four compartments, and in the -places of three of them appear “Porto Bello, Nov. -1739,” “Cartagena,” and “The Havana,” while the -fourth is left blank. The main part of the satire -is directed against the policy of Sir Robert -Walpole, but is of too elaborate a nature to -be entered upon here.</p> - -<div class="dctr03" id="f1.28"> -<img src="images/i240fp.jpg" width="800" height="1223" alt="" /> -<div class="dcaption">The Headless Horseman. -(<i>The plate with the head burnished out.</i>)</div></div> - -<p>Before concluding this account of palimpsest -plates I shall reproduce three very curious prints -in which the substitution of one head for another -is more than usually -outrageous.<a class="afnanc" href="#fn45" id="fnanc45">45</a> -The original <span class="xxpn" id="p241">{241}</span> -engraving was by Pierre Lombart after a made-up -portrait of Charles I., on horseback, professing to -be by Vandyck.</p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc45" id="fn45">45</a> -The earliest example of the artist as Headsman -that I have come across is a very rare portrait of Queen -Elizabeth, full length, seated on a throne, dressed in a -robe of state, holding globe and sceptre, engraved about -1590. The Queen’s figure was subsequently burnished -out, and that of James I. substituted. This, -unfortunately, I do not possess.</p></div> - -<p>The plate was executed before the execution -(save the mark!) of the Martyr King. After his -death the head of Cromwell was substituted, no -doubt for commercial purposes. Finally, Charles -the First’s head was restored (again save the -mark!) after the Restoration. Our reproductions -are from what would seem to be the second, third, -and fourth states of the plate though a first state -is not known. It will be observed that, in the -earliest—namely, that in which the head has been -removed altogether—the scarf is brought across -the left shoulder, and tied under the right arm, -whilst the page-boy has bands and frills to his -breeches. In the next, or third state, in which -Cromwell’s head has been inserted, the scarf has -been removed from the shoulder, and is tied round -the waist, whilst the bands and frills have been -removed from the page-boy’s nether garments. In -the next, or fourth stage of the -plate, in which <span class="xxpn" id="p242">{242}</span> -Charles’s head has been re-inserted, there are, -besides the substitution of one head for the other, -a few minor alterations, such as the addition of the -Cavalier moustache to the face of the page-boy, -the restoration of the frills to his breeches, the -alteration of the pattern of the rider’s collar, the -addition of the order of St. George to the rider’s -breast, and the substitution of the royal coat of -arms for those of the Protector at the bottom of -the engraving. There are also other known states -of the plate, reproductions of which may be seen -in Mr. Alfred Whitman’s <i>Print-Collector’s Handbook</i>. -These were unknown to me when I wrote -the above description.<a class="afnanc" href="#fn46" id="fnanc46">46</a></p> - -<div class="dftnt"> -<p class="pfirst"><a class="afnlabel" href="#fnanc46" id="fn46">46</a> -Since writing this I paid a visit to the Hall -of the Middle Temple, when the very intelligent custodian -told me that Cromwell ordered the great Vandyck, which -hangs over the high table, to be taken down, and his own -somewhat repellent countenance painted in in the place -of that of Charles I. Fortunately for posterity this -outrageous order was not carried out. The whole affair -reminds one of the unconsciously grim entry in a certain -bookseller’s catalogue which ran, “Memoirs of Charles the -First with a head <i>capitally executed</i>.”</p></div> - -<div class="dctr03" id="f1.29"> -<img src="images/i242fp.jpg" width="800" height="1228" alt="" /> -<div class="dcaption">The plate with Cromwell’s head</div></div> - -<div class="dctr03" id="f1.30"> -<img src="images/i243fp.jpg" width="800" height="1244" alt="" /> -<div class="dcaption">The plate with Charles I.’s head</div></div> - -<p>So much for historical instances of putting new -heads on old shoulders. But, if I am not mistaken, -the very modern restoration of the west front of -one of our great cathedrals shows a late Dean’s -head surmounting the body of a -saint or king, <span class="xxpn" id="p243">{243}</span> -which had been mutilated by Cromwell. It would -be cruel, perhaps, to be more specific, as vanity -is not the most pleasing of the Christian virtues.</p> - -<p>Again, there was lately a good deal of laughter -caused by one of the whims of the German -Emperor. It appears that his artistic eye had -been offended by the incompleteness of a fine -headless torso which was brought to the fatherland -some years since. Everything, he was aware, -could be <i>made in Germany</i>, so what more natural -than to offer a prize for the best completion of the -work of a Phidias or a Praxiteles? <i>Finis coronat -opus</i>, and the sculptors of Germany were called -upon to compete. None of the results, however, -satisfied His Imperial Majesty, and two of the -artists have been commissioned to try again. -Would it be <i>lese-majestie</i> to suggest that there is -only one head in Germany that would prove quite -acceptable? I present the idea to the competitors.</p> - -<p>Enough has been written to show that the -pursuit of the palimpsest plate is sport of the -very finest for the collector, for it is a sport -which does not cease with the running of the -quarry to earth. <span class="xxpn" id="p244">{244}</span></p> - -<p>I have reproduced, without comment, opposite -pages <a href="#f1.31" title="go to fig. 1.31">244</a> -and 246, and on pages 245, 247, and 249, -a few more of these adapted copperplates for the -sake of any one who may be fortunate enough to -possess either the original or the palimpsest. He -will find it no bad sport to go hunting for its -fellow.</p> - -<div class="dctr03" id="f1.31"> -<img src="images/i244fp-a.jpg" width="800" height="1178" alt="" /> -<div class="dcaption">Undescribed palimpsest plate. - (<i>First state</i>)</div></div> -<div class="dctr03"> -<img src="images/i244fp-b.jpg" width="800" height="1186" alt="" /> -<div class="dcaption">Undescribed palimpsest plate. -<br />(<i>Second state.</i>)</div></div> - -<div class="dctr01" id="f2.26"> -<img id="p245" - src="images/i245a.jpg" width="800" height="612" alt="" /> -<div class="dcaption">Aan -den Experten Hollandichen Hoofd-Smith.<br /> -(<i>The plate in its first state</i>)</div></div> - -<div class="dctr01" id="f2.27"> -<img src="images/i245b.jpg" width="800" height="528" alt="" /> -<div class="dcaption">Aan -den Experten Hollandichen Hoofd-Smith.<br /> -(<i>As adapted by the Anti-Jesuits</i>)</div></div> - -<div class="dctr01" id="f1.32"> -<img src="images/i246fp.jpg" width="800" height="596" alt="" /> -<div class="dcaption"> -<table class="caption-table" summary=""> -<tr> - <td><div>First state</div></td> - <td><div>Second state</div></td></tr> -<tr> - <td colspan="2"><div>Undescribed palimpsest plate.</div></td></tr></table> -</div></div> - -<div><span class="xxpn" id="p247">{247}</span></div> - -<div class="dctr02" id="f2.28"> -<img src="images/i247a.jpg" width="800" height="956" alt="" /> -<div class="dcaption">An adapted Copperplate. -<i>First state</i></div></div> - -<div class="dctr02" id="f2.29"> -<img src="images/i247b.jpg" width="800" height="984" alt="" /> -<div class="dcaption">An adapted Copperplate. -<i>Second state</i></div></div> - -<div class="dbigpicture" id="f2.30"> -<div class="dctr01 dhtml" id="p249"> -<img src="images/i249a.jpg" width="1280" height="799" alt="" /> -<div class="dcaption">A History of the New Plot. -<i>First state</i></div></div> - -<div class="dctr04 dhandheld"> -<img src="images/i249a-epubmobi.jpg" width="799" height="1280" alt="" /> -<div class="dcaption">A History of the New Plot. -<i>First state</i></div></div></div><!--dbigpicture--> - -<div class="dbigpicture" id="f2.31"> -<div class="dctr01 dhtml"> -<img src="images/i249b.jpg" width="1280" height="681" alt="" /> -<div class="dcaption">A History of the New Plot. -<i>Second state</i></div></div> - -<div class="dctr05 dhandheld"> -<img src="images/i249b-epubmobi.jpg" width="681" height="1280" alt="" /> -<div class="dcaption">A History of the New Plot. -<i>Second state</i></div></div></div><!--dbigpicture--> - -<div class="chapter"> -<h2 class="h2herein" id="p251">INDEX</h2></div> - -<p class="pindx">“Aan den Experten Hollandschen Hoofd-Smith,” - <a href="#p216" title="go to p. 216">216</a>, - <a href="#p243" title="go to p. 243">243</a></p> - -<p class="pindx">“Aan der Meester Tonge-Slyper,” - <a href="#p216" title="go to p. 216">216</a>, - <a href="#p230" title="go to p. 230">230</a>–<a - href="#p233" title="go to p. 233">233</a></p> - -<p class="pindx">ADAPTED COPPER PLATES, - <a href="#p192" title="go to p. 192">192</a>–247</p> - -<p class="pindx">Ainsworth, Harrison, - <a href="#p003" title="go to p. 3">3</a></p> - -<p class="pindx">Alken, Henry, - <a href="#p157" title="go to p. 157">157</a>–160</p> - -<p class="pindx">Allen, Archdeacon, - <a href="#p010" title="go to p. 10">10</a></p> - -<p class="pindx"><i>American Notes</i>, - <a href="#p002" title="go to p. 2">2</a></p> - -<p class="pindx">Anne, Queen, - <a href="#p237" title="go to p. 237">237</a>, - <a href="#p238" title="go to p. 238">238</a></p> - -<p class="pindx"><i>Antiquities of Westminster</i>, - <a href="#p150" title="go to p. 150">150</a>–153</p> - -<p class="pindx"><i>A Pop-Gun fired off by George Cruikshank</i>, - <a href="#p079" title="go to p. 79">79</a></p> - -<p class="pindx">“A Skit on Britain,” - <a href="#p239" title="go to p. 239">239</a>, - <a href="#p240" title="go to p. 240">240</a></p> - -<p class="pindx">“A Trifling Mistake,” - <a href="#p070" title="go to p. 70">70</a>–73</p> - -<p class="pindx"><i>Ballad of Beau Brocade, The</i>, - <a href="#p003" title="go to p. 3">3</a></p> - -<p class="pindx">“Becky Sharp,” - <a href="#p010" title="go to p. 10">10</a></p> - -<p class="pindx"><i>Bentley’s Miscellany</i>, - <a href="#p043" title="go to p. 43">43</a>–52</p> - -<p class="pindx">Bewick’s <i>Birds</i>, - <a href="#p068" title="go to p. 68">68</a></p> - -<p class="pindx"><i>Book of Snobs</i>, - <a href="#p009" title="go to p. 9">9</a></p> - -<p class="pindx">“Breeches” Bible, Barker’s, - <a href="#p002" title="go to p. 2">2</a></p> - -<p class="pindx">Brougham, Lord, - <a href="#p062" title="go to p. 62">62</a></p> - -<p class="pindx">Browne, H. K., - <a href="#p027" title="go to p. 27">27</a>, - <a href="#p028" title="go to p. 28">28</a>, - <a href="#p029" title="go to p. 29">29</a>, - <a href="#p031" title="go to p. 31">31</a>, - <a href="#p033" title="go to p. 33">33</a>, - <a href="#p054" title="go to p. 54">54</a>–56</p> - -<p class="pindx">Bruton, Mr. H. W. - <a href="#p048" title="go to p. 48">48</a>, - <a href="#p049" title="go to p. 49">49</a>, - <a href="#p069" title="go to p. 69">69</a>, - <a href="#p075" title="go to p. 75">75</a>, - <a href="#p081" title="go to p. 81">81</a></p> - -<p class="pindx">Buffon, M., - <a href="#p005" title="go to p. 5">5</a></p> - -<p class="pindx">Bunn, Alfred, - <a href="#p010" title="go to p. 10">10</a></p> - -<p class="pindx">Burlington, Earl of, - <a href="#p098" title="go to p. 98">98</a>–107</p> - -<p class="pindx">“Burlington Gate,” - <a href="#p108" title="go to p. 108">108</a></p> - -<p class="pindx">Burns, Robert, - <a href="#p002" title="go to p. 2">2</a></p> - -<p class="pindx">Buss, Miss F. M., - <a href="#p034" title="go to p. 34">34</a></p> - -<p class="pindx">Buss, R. W., - <a href="#p029" title="go to p. 29">29</a>, - <a href="#p030" title="go to p. 30">30</a>, - <a href="#p031" title="go to p. 31">31</a>, - <a href="#p032" title="go to p. 32">32</a>, - <a href="#p033" title="go to p. 33">33</a>, - <a href="#p034" title="go to p. 34">34</a></p> - -<p class="pindx">Bute, Lord, - <a href="#p235" title="go to p. 235">235</a>, - <a href="#p236" title="go to p. 236">236</a></p> - -<p class="pindx">Calcraft, Captain Granby, - <a href="#p009" title="go to p. 9">9</a></p> - -<p class="pindx">Capel, Monsignor, - <a href="#p002" title="go to p. 2">2</a></p> - -<p class="pindx">“Captain Granby Tiptoff,” - <a href="#p009" title="go to p. 9">9</a></p> - -<p class="pindx">“Captain Shindy,” - <a href="#p009" title="go to p. 9">9</a></p> - -<p class="pindx">Carteret, Lord, - <a href="#p112" title="go to p. 112">112</a> <i>et seq.</i></p> - -<p class="pindx"><i>Catalogue of Prints and Drawings in the British Museum</i>, - <a href="#p092" title="go to p. 92">92</a> -<i>et passim</i>, - <a href="#p198" title="go to p. 198">198</a> <i>et passim</i></p> - -<p class="pindx">Chandos, Duke of, - <a href="#p101" title="go to p. 101">101</a></p> - -<p class="pindx">Chapman and Hall, Messrs., - <a href="#p033" title="go to p. 33">33</a>, - <a href="#p055" title="go to p. 55">55</a></p> - -<p class="pindx">Charles I., - <a href="#p241" title="go to p. 241">241</a>–242</p> - -<p class="pindx"><i>Charles Dickens, The Story of his Life</i>, - <a href="#p027" title="go to p. 27">27</a></p> - -<p class="pindx">Churchill, Charles, - <a href="#p107" title="go to p. 107">107</a>–111</p> - -<p class="pindx"><i>Clarissa Harlowe</i>, - <a href="#p005" title="go to p. 5">5</a></p> - -<p class="pindx"><i>Coaching Days and Coaching Ways</i>, - <a href="#p175" title="go to p. 175">175</a>–178</p> - -<p class="pindx">Cochrane, Lord, - <a href="#p065" title="go to p. 65">65</a></p> - -<p class="pindx"><i>Coningsby</i>, - <a href="#p012" title="go to p. 12">12</a>, - <a href="#p013" title="go to p. 13">13</a>, - <a href="#p020" title="go to p. 20">20</a></p> - -<p class="pindx">Cowell, Professor, - <a href="#p184" title="go to p. 184">184</a>–186</p> - -<p class="pindx">Crawhall, Joseph, - <a href="#p135" title="go to p. 135">135</a>–138</p> - -<p class="pindx">“Credulity, Superstition, and Fanaticism: a Medley,” - <a href="#p088" title="go to p. 88">88</a> <i>et seq.</i></p> - -<p class="pindx">Croker, J. W., - <a href="#p012" title="go to p. 12">12</a></p> - -<p class="pindx">Cromek, R. H., - <a href="#p005" title="go to p. 5">5</a></p> - -<p class="pindx">Cromwell, Oliver, - <a href="#p241" title="go to p. 241">241</a>, - <a href="#p242" title="go to p. 242">242</a></p> - -<p class="pindx">Cruikshank, George, - <a href="#p042" title="go to p. 42">42</a>, - <a href="#p045" title="go to p. 45">45</a>–54, - <a href="#p059" title="go to p. 59">59</a>–81, - <a href="#p161" title="go to p. 161">161</a></p> - -<p class="pindx"><i>Cruikshank’s Portraits of Himself</i>, - <a href="#p080" title="go to p. 80">80</a></p> - -<p class="pindx">Cumberland, Duke of, - <a href="#p060" title="go to p. 60">60</a>–69</p> - -<p class="pindx">Cumberland, Princess Olive of, - <a href="#p062" title="go to p. 62">62</a></p> - -<p class="pindx">“Danaë in the Brazen Chamber,” - <a href="#p140" title="go to p. 140">140</a>–148</p> - -<p class="pindx"><i>Death in London</i>, - <a href="#p154" title="go to p. 154">154</a>–158</p> - -<p class="pindx">Dexter, Mr. J. P., - <a href="#p041" title="go to p. 41">41</a></p> - -<p class="pindx"><i>D’Horsay; or the Follies of the Day, by a Man of Fashion</i>, - <a href="#p013" title="go to p. 13">13</a></p> - -<p class="pindx"><i>Dickens and his Illustrators</i>, - <a href="#p040" title="go to p. 40">40</a>, - <a href="#p041" title="go to p. 41">41</a></p> - -<p class="pindx">Dickens, Charles, - <a href="#p002" title="go to p. 2">2</a>, - <a href="#p026" title="go to p. 26">26</a> <i>et seq.</i> his <i>American Notes</i>, - <a href="#p002" title="go to p. 2">2</a> -his suppressed portrait, - <a href="#p027" title="go to p. 27">27</a>, - <a href="#p028" title="go to p. 28">28</a></p> - -<p class="pindx"><i>Dickens Memento</i>, - <a href="#p047" title="go to p. 47">47</a></p> - -<p class="pindx"><i>Dictionary of National Biography</i>, - <a href="#p061" title="go to p. 61">61</a>, - <a href="#p062" title="go to p. 62">62</a></p> - -<p class="pindx">Dighton, Richard, - <a href="#p025" title="go to p. 25">25</a></p> - -<p class="pindx">Disraeli, Benjamin, - <a href="#p002" title="go to p. 2">2</a>, - <a href="#p010" title="go to p. 10">10</a>, - <a href="#p012" title="go to p. 12">12</a>, - <a href="#p131" title="go to p. 131">131</a>–134</p> - -<p class="pindx">Dobson, Mr. Austin, - <a href="#p003" title="go to p. 3">3</a>, - <a href="#p082" title="go to p. 82">82</a> <i>et passim</i>, - <a href="#p174" title="go to p. 174">174</a></p> - -<p class="pindx"><i>Don Quixote</i>, - <a href="#p113" title="go to p. 113">113</a> <i>et seq.</i></p> - -<p class="pindx">“Don Quixote releases the Galley Slaves,” - <a href="#p118" title="go to p. 118">118</a>, - <a href="#f2.16" title="go to fig. 2.16">122</a></p> - -<p class="pindx">“Don Quixote seizes the Barber’s Basin,” - <a href="#p118" title="go to p. 118">118</a>, - <a href="#f2.15" title="go to fig. 2.15">120</a></p> - -<p class="pindx">“Drop it!”, - <a href="#p078" title="go to p. 78">78</a></p> - -<p class="pindx">Du Maurier, George, - <a href="#p162" title="go to p. 162">162</a>–173</p> - -<p class="pindx">Edwards, Edwin, - <a href="#p179" title="go to p. 179">179</a>–191</p> - -<p class="pindx">Elizabeth, Queen, - <a href="#p240" title="go to p. 240">240</a></p> - -<p class="pindx">“Enthusiasm Delineated,” - <a href="#p083" title="go to p. 83">83</a> <i>et seq.</i></p> - -<p class="pindx"><i>Essay on the Genius of George Cruikshank</i>, - <a href="#p077" title="go to p. 77">77</a></p> - -<p class="pindx">Fane, Lady Georgina, - <a href="#p226" title="go to p. 226">226</a></p> - -<p class="pindx">Fanus i Khiyal, - <a href="#p185" title="go to p. 185">185</a>–191</p> - -<p class="pindx"><i>Figaro in London</i>, - <a href="#p063" title="go to p. 63">63</a>, - <a href="#p064" title="go to p. 64">64</a></p> - -<p class="pindx">“Financial Survey of Cumberland or the Beggar’s Petition,” - <a href="#p060" title="go to p. 60">60</a></p> - -<p class="pindx">FitzGerald, Edward, - <a href="#p040" title="go to p. 40">40</a>, - <a href="#p179" title="go to p. 179">179</a>–191</p> - -<p class="pindx">Frederick the Great, - <a href="#p227" title="go to p. 227">227</a></p> - -<p class="pindx">Garrick Club, The, - <a href="#p008" title="go to p. 8">8</a>, - <a href="#p009" title="go to p. 9">9</a></p> - -<p class="pindx">George I., - <a href="#p238" title="go to p. 238">238</a></p> - -<p class="pindx">George IV., - <a href="#p011" title="go to p. 11">11</a></p> - -<p class="pindx">“George Garbage,” - <a href="#p009" title="go to p. 9">9</a></p> - -<p class="pindx">Gray, J. M., - <a href="#p148" title="go to p. 148">148</a></p> - -<p class="pindx"><i>Grimm’s Fairy Tales</i>, - <a href="#p042" title="go to p. 42">42</a></p> - -<p class="pindx">“Harry Foker,” - <a href="#p009" title="go to p. 9">9</a></p> - -<p class="pindx">Hertford, Marchioness of, - <a href="#p075" title="go to p. 75">75</a></p> - -<p class="pindx">Hertford, Marquis of, - <a href="#p010" title="go to p. 10">10</a> <i>et seq.</i></p> - -<p class="pindx"><i>History of Pickwick</i>, - <a href="#p029" title="go to p. 29">29</a></p> - -<p class="pindx">Hobhouse, John Cam, - <a href="#p070" title="go to p. 70">70</a>–73</p> - -<p class="pindx"><i>Hogarth Illustrated</i>, - <a href="#p084" title="go to p. 84">84</a></p> - -<p class="pindx">Hogarth, William, - <a href="#p082" title="go to p. 82">82</a> <i>et seq.</i></p> - -<p class="pindx">Holmes, Sir Robert, - <a href="#p227" title="go to p. 227">227</a></p> - -<p class="pindx">Hook, Theodore, - <a href="#p009" title="go to p. 9">9</a>, - <a href="#p010" title="go to p. 10">10</a></p> - -<p class="pindx">Ireland, John, - <a href="#p084" title="go to p. 84">84</a> <i>et seq.</i>, - <a href="#p113" title="go to p. 113">113</a> <i>et seq.</i></p> - -<p class="pindx">Irving, Washington, - <a href="#p002" title="go to p. 2">2</a></p> - -<p class="pindx"><i>Italian Tales</i>, - <a href="#p074" title="go to p. 74">74</a></p> - -<p class="pindx"><i>Italy</i>, - <a href="#p003" title="go to p. 3">3</a></p> - -<p class="pindx">James I., - <a href="#p241" title="go to p. 241">241</a></p> - -<p class="pindx">Jansenists, the, - <a href="#p221" title="go to p. 221">221</a> <i>et seq.</i></p> - -<p class="pindx">Jesuits, The, - <a href="#p221" title="go to p. 221">221</a> <i>et seq.</i></p> - -<p class="pindx">“Joe Sibley,” - <a href="#p163" title="go to p. 163">163</a>–173</p> - -<p class="pindx">Jones, W. N., - <a href="#p068" title="go to p. 68">68</a></p> - -<p class="pindx"><i>Jorrocks’s Jaunts and Jollities</i>, - <a href="#p158" title="go to p. 158">158</a></p> - -<p class="pindx">Keene, Charles, - <a href="#p127" title="go to p. 127">127</a>–139</p> - -<p class="pindx">Kitton, F. G., - <a href="#p040" title="go to p. 40">40</a></p> - -<p class="pindx">“Lady Kew,” - <a href="#p010" title="go to p. 10">10</a>, - <a href="#p022" title="go to p. 22">22</a></p> - -<p class="pindx">Langford, Lady, - <a href="#p010" title="go to p. 10">10</a></p> - -<p class="pindx">Lawrence, Sir Thomas, - <a href="#p019" title="go to p. 19">19</a></p> - -<p class="pindx">Leech, John, - <a href="#p033" title="go to p. 33">33</a>, - <a href="#p036" title="go to p. 36">36</a>–38, - <a href="#p040" title="go to p. 40">40</a>, - <a href="#p041" title="go to p. 41">41</a></p> - -<p class="pindx">“L’Europe alarmée pour le Fils d’un Meunier,” - <a href="#p202" title="go to p. 202">202</a>–216</p> - -<p class="pindx"><i>Life of Dickens</i>, - <a href="#p037" title="go to p. 37">37</a>, - <a href="#p046" title="go to p. 46">46</a></p> - -<p class="pindx"><i>Lippincott’s Magazine</i>, - <a href="#p010" title="go to p. 10">10</a></p> - -<p class="pindx">“Lord Walham,” - <a href="#p023" title="go to p. 23">23</a></p> - -<p class="pindx"><i>Lothair</i>, - <a href="#p002" title="go to p. 2">2</a></p> - -<p class="pindx">“Marquis of Hereford,” - <a href="#p014" title="go to p. 14">14</a></p> - -<p class="pindx"><i>Martin Chuzzlewit</i>, - <a href="#p026" title="go to p. 26">26</a>, - <a href="#p053" title="go to p. 53">53</a></p> - -<p class="pindx">“Monsignor Catesby,” - <a href="#p002" title="go to p. 2">2</a></p> - -<p class="pindx">“Mr. Dolphin,” - <a href="#p010" title="go to p. 10">10</a></p> - -<p class="pindx">“Mr. John Jorrocks,” - <a href="#p158" title="go to p. 158">158</a>–161</p> - -<p class="pindx">“Mr. Pickwick at the Review,” - <a href="#p033" title="go to p. 33">33</a></p> - -<p class="pindx">“Mr.” Pitt Crawley, - <a href="#p015" title="go to p. 15">15</a></p> - -<p class="pindx"><i>Mr. Thackeray, Mr. Yates, and the Garrick Club</i>, - <a href="#p008" title="go to p. 8">8</a></p> - -<p class="pindx">“Mr. Wardle and his Friends under the Influence of the Salmon,” - <a href="#p033" title="go to p. 33">33</a></p> - -<p class="pindx">“Mr. Winkle’s First Shot,” - <a href="#p033" title="go to p. 33">33</a></p> - -<p class="pindx">Napoleon, Emperor, - <a href="#p228" title="go to p. 228">228</a></p> - -<p class="pindx">Nelson, Lord, - <a href="#p228" title="go to p. 228">228</a></p> - -<p class="pindx"><i>Oliver Twist</i>, - <a href="#p026" title="go to p. 26">26</a>, - <a href="#p043" title="go to p. 43">43</a>–52</p> - -<p class="pindx"><i>Once a Week</i>, - <a href="#p127" title="go to p. 127">127</a>, - <a href="#p140" title="go to p. 140">140</a>–148</p> - -<p class="pindx">Orange, William of, - <a href="#p217" title="go to p. 217">217</a> <i>et seq.</i></p> - -<p class="pindx">Pailthorpe, Mr. F. W., - <a href="#p056" title="go to p. 56">56</a></p> - -<p class="pindx"><i>Pall Mall Gazette</i>, - <a href="#p166" title="go to p. 166">166</a>–169</p> - -<p class="pindx">Palmer, Samuel, - <a href="#p056" title="go to p. 56">56</a></p> - -<p class="pindx"><i>Pendennis</i>, - <a href="#p009" title="go to p. 9">9</a></p> - -<p class="pindx"><i>Penelope’s English Experiences</i>, - <a href="#p038" title="go to p. 38">38</a></p> - -<p class="pindx">Phillimore, Mr. F., - <a href="#p047" title="go to p. 47">47</a></p> - -<p class="pindx">“Philoprogenitiveness,” - <a href="#p077" title="go to p. 77">77</a>, - <a href="#p078" title="go to p. 78">78</a></p> - -<p class="pindx"><i>Pickwick</i>, - <a href="#p026" title="go to p. 26">26</a>, - <a href="#p028" title="go to p. 28">28</a> <i>et seq.</i>, - <a href="#p043" title="go to p. 43">43</a></p> - -<p class="pindx"><i>Pictures from Italy</i>, - <a href="#p056" title="go to p. 56">56</a></p> - -<p class="pindx">Pine’s Horace, - <a href="#p054" title="go to p. 54">54</a></p> - -<p class="pindx"><i>Poems</i>, Burns’s, - <a href="#p002" title="go to p. 2">2</a></p> - -<p class="pindx">Pope, Alexander, - <a href="#p098" title="go to p. 98">98</a>–107</p> - -<p class="pindx">Price, Stephen, - <a href="#p009" title="go to p. 9">9</a></p> - -<p class="pindx">Prideaux, Colonel, - <a href="#p190" title="go to p. 190">190</a>–191</p> - -<p class="pindx"><i>Punch</i>, - <a href="#p127" title="go to p. 127">127</a> <i>et seq.</i></p> - -<p class="pindx">Queensberry, Duke of, - <a href="#p023" title="go to p. 23">23</a></p> - -<p class="pindx">Reid’s <i>Catalogue of George Cruikshank’s Works</i>, - <a href="#p045" title="go to p. 45">45</a>, - <a href="#p062" title="go to p. 62">62</a>, - <a href="#p069" title="go to p. 69">69</a></p> - -<p class="pindx">Ritchie, Mrs., - <a href="#p010" title="go to p. 10">10</a></p> - -<p class="pindx">Robertson, J. C., - <a href="#p154" title="go to p. 154">154</a>–158</p> - -<p class="pindx">Rogers, Samuel, - <a href="#p003" title="go to p. 3">3</a></p> - -<p class="pindx">“Roma Perturbata, Ofte’t Beroerde Romen, etc.,” - <a href="#p216" title="go to p. 216">216</a> <i>et seq.</i></p> - -<p class="pindx">“Rose Maylie and Oliver at Agnes’s Tomb,” - <a href="#p045" title="go to p. 45">45</a> <i>et seq.</i></p> - -<p class="pindx">Roxborough, Duke of, - <a href="#p002" title="go to p. 2">2</a></p> - -<p class="pindx">“Royal Hobbys of the Hertfordshire Cock Horse,” - <a href="#p075" title="go to p. 75">75</a></p> - -<p class="pindx">Ruskin, John, - <a href="#p003" title="go to p. 3">3</a>, - <a href="#p004" title="go to p. 4">4</a></p> - -<p class="pindx">Sala, G. A., - <a href="#p030" title="go to p. 30">30</a>, - <a href="#p040" title="go to p. 40">40</a></p> - -<p class="pindx">Sandys, Frederick, - <a href="#p127" title="go to p. 127">127</a>, - <a href="#p139" title="go to p. 139">139</a>–148</p> - -<p class="pindx">Scott, Sir Walter, - <a href="#p002" title="go to p. 2">2</a></p> - -<p class="pindx">Seymour, Robert, - <a href="#p029" title="go to p. 29">29</a>, - <a href="#p031" title="go to p. 31">31</a></p> - -<p class="pindx">“Sholto Percy,” - <a href="#p154" title="go to p. 154">154</a>–158</p> - -<p class="pindx"><i>Sketch Book</i>, Washington Irving’s, - <a href="#p002" title="go to p. 2">2</a></p> - -<p class="pindx"><i>Sketches by Boz</i>, - <a href="#p055" title="go to p. 55">55</a>, - <a href="#p057" title="go to p. 57">57</a>, - <a href="#p058" title="go to p. 58">58</a></p> - -<p class="pindx">Smith, J. T., - <a href="#p150" title="go to p. 150">150</a></p> - -<p class="pindx">Smith, Wyndham, - <a href="#p009" title="go to p. 9">9</a></p> - -<p class="pindx">Spielmann, Mr. M. H., - <a href="#p128" title="go to p. 128">128</a> <i>et passim</i></p> - -<p class="pindx"><i>Sporting Snobs</i>, - <a href="#p009" title="go to p. 9">9</a></p> - -<p class="pindx">Stanislaus Hoax, - <a href="#p010" title="go to p. 10">10</a></p> - -<p class="pindx">Stephens, F. G., - <a href="#p088" title="go to p. 88">88</a></p> - -<p class="pindx">Stothard, T., - <a href="#p005" title="go to p. 5">5</a></p> - -<p class="pindx">Stuart, James Francis Edward, - <a href="#p198" title="go to p. 198">198</a> <i>et seq.</i></p> - -<p class="pindx">SUPPRESSED PLATES, - <a href="#p001" title="go to p. 1">1</a>–191</p> - -<p class="pindx">Surtees, R., - <a href="#p158" title="go to p. 158">158</a></p> - -<p class="pindx">Swain, Mr. Joseph, - <a href="#p140" title="go to p. 140">140</a>–148</p> - -<p class="pindx"><i>Talpa</i>, - <a href="#p078" title="go to p. 78">78</a></p> - -<p class="pindx">Tenniel, Sir John, - <a href="#p133" title="go to p. 133">133</a></p> - -<p class="pindx">Thackeray, W. M., - <a href="#p007" title="go to p. 7">7</a> <i>et seq.</i></p> - -<p class="pindx"><i>The Artist</i>, - <a href="#p145" title="go to p. 145">145</a></p> - -<p class="pindx"><i>The Battle of Life</i>, - <a href="#p026" title="go to p. 26">26</a>, - <a href="#p034" title="go to p. 34">34</a>–40</p> - -<p class="pindx"><i>The Battle of London Life;</i> or -<i>Boz and his Secretary</i>, - <a href="#p039" title="go to p. 39">39</a></p> - -<p class="pindx">“The Bruiser,” - <a href="#p110" title="go to p. 110">110</a>, - <a href="#p111" title="go to p. 111">111</a></p> - -<p class="pindx"><i>The Builder</i>, - <a href="#p107" title="go to p. 107">107</a></p> - -<p class="pindx"><i>The Chimes</i>, - <a href="#p036" title="go to p. 36">36</a>, - <a href="#p041" title="go to p. 41">41</a></p> - -<p class="pindx"><i>The Christmas Carol</i>, - <a href="#p036" title="go to p. 36">36</a></p> - -<p class="pindx">“The Cricket Match,” - <a href="#p029" title="go to p. 29">29</a>, - <a href="#p032" title="go to p. 32">32</a></p> - -<p class="pindx">“The Curate and the Barber,” - <a href="#p121" title="go to p. 121">121</a>, - <a href="#f2.18" title="go to fig. 2.18">125</a></p> - -<p class="pindx">“The Dead Rider,” - <a href="#p074" title="go to p. 74">74</a></p> - -<p class="pindx">“The Fireside Scene,” - <a href="#p026" title="go to p. 26">26</a>, - <a href="#p044" title="go to p. 44">44</a> <i>et seq.</i></p> - -<p class="pindx">“The First Interview,” - <a href="#p121" title="go to p. 121">121</a>, - <a href="#f2.17" title="go to fig. 2.17">123</a></p> - -<p class="pindx">“The Free and Easy,” - <a href="#p057" title="go to p. 57">57</a></p> - -<p class="pindx">“The Funeral of Chrysostom,” - <a href="#p116" title="go to p. 116">116</a></p> - -<p class="pindx"><i>The History of Punch</i>, - <a href="#p128" title="go to p. 128">128</a> <i>et seq.</i></p> - -<p class="pindx"><i>The Hobby Horse</i>, - <a href="#p144" title="go to p. 144">144</a></p> - -<p class="pindx">“The Innkeeper,” - <a href="#p114" title="go to p. 114">114</a></p> - -<p class="pindx">“The Innkeeper’s Wife and Daughter,” - <a href="#p118" title="go to p. 118">118</a></p> - -<p class="pindx">“The Last Song,” - <a href="#p042" title="go to p. 42">42</a></p> - -<p class="pindx">“The Man of Taste,” - <a href="#p098" title="go to p. 98">98</a>–107</p> - -<p class="pindx" id="p254">“The Marquis of Steyne,” - <a href="#p007" title="go to p. 7">7</a> <i>et seq.</i></p> - -<p class="pindx"><i>The Memoirs of Joseph Grimaldi</i>, - <a href="#p041" title="go to p. 41">41</a>, - <a href="#p042" title="go to p. 42">42</a></p> - -<p class="pindx"><i>The Newcomes</i>, - <a href="#p022" title="go to p. 22">22</a></p> - -<p class="pindx">“The Painted Chamber,” - <a href="#p150" title="go to p. 150">150</a>–153</p> - -<p class="pindx">“The Races of the Europeans with their Keys,” - <a href="#p239" title="go to p. 239">239</a></p> - -<p class="pindx"><i>The Ruba’iyat</i> of Omar Khayyam, - <a href="#p179" title="go to p. 179">179</a>–191</p> - -<p class="pindx"><i>The Speaker</i>, - <a href="#p021" title="go to p. 21">21</a></p> - -<p class="pindx">“The Stature of a Great Man, or The English Colossus,” - <a href="#p236" title="go to p. 236">236</a></p> - -<p class="pindx">“The Stature of a Great Man, or The Scotch Colossus,” - <a href="#p236" title="go to p. 236">236</a></p> - -<p class="pindx"><i>The Strange Gentleman</i>, - <a href="#p054" title="go to p. 54">54</a>, - <a href="#p055" title="go to p. 55">55</a></p> - -<p class="pindx">“The Street of the Tombs, Pompeii,” - <a href="#p056" title="go to p. 56">56</a></p> - -<p class="pindx"><i>The Times</i>, - <a href="#f2.11" title="go to fig. 2.11">109</a></p> - -<p class="pindx"><i>The Tower of London</i>, - <a href="#p003" title="go to p. 3">3</a></p> - -<p class="pindx">“The Two Apprentices,” - <a href="#p163" title="go to p. 163">163</a>–173</p> - -<p class="pindx"><i>The Two Paths</i>, - <a href="#p003" title="go to p. 3">3</a></p> - -<p class="pindx"><i>The Vicar of Wakefield</i>, - <a href="#p171" title="go to p. 171">171</a>–175</p> - -<p class="pindx"><i>The Virginians</i>, - <a href="#p009" title="go to p. 9">9</a></p> - -<p class="pindx">“The Worship of Wealth,” - <a href="#p053" title="go to p. 53">53</a>, - <a href="#p054" title="go to p. 54">54</a></p> - -<p class="pindx">Thomson, Mr. Hugh, - <a href="#p003" title="go to p. 3">3</a>, - <a href="#p171" title="go to p. 171">171</a>–178</p> - -<p class="pindx">Thornhill, Sir James, - <a href="#p111" title="go to p. 111">111</a>, - <a href="#p112" title="go to p. 112">112</a></p> - -<p class="pindx">“Tom Smart and the Chair,” - <a href="#p033" title="go to p. 33">33</a></p> - -<p class="pindx"><i>Town Talk</i>, - <a href="#p008" title="go to p. 8">8</a>, - <a href="#p009" title="go to p. 9">9</a></p> - -<p class="pindx"><i>Trilby</i>, - <a href="#p162" title="go to p. 162">162</a>–173</p> - -<p class="pindx">Tristram, Mr. Outram, - <a href="#p175" title="go to p. 175">175</a></p> - -<p class="pindx">Truman, Edwin, - <a href="#p069" title="go to p. 69">69</a></p> - -<p class="pindx">“Tupman and Rachel,” - <a href="#p029" title="go to p. 29">29</a>, - <a href="#p032" title="go to p. 32">32</a></p> - -<p class="pindx">Van der Banck, Johan, - <a href="#p112" title="go to p. 112">112</a>, - <a href="#p113" title="go to p. 113">113</a></p> - -<p class="pindx"><i>Vanity Fair</i>, - <a href="#p007" title="go to p. 7">7</a> <i>et seq.</i></p> - -<p class="pindx">Vernon, Admiral, - <a href="#p227" title="go to p. 227">227</a></p> - -<p class="pindx"><i>Vivian Grey</i>, - <a href="#p010" title="go to p. 10">10</a></p> - -<p class="pindx">Wallace, Sir Richard, - <a href="#p020" title="go to p. 20">20</a>, - <a href="#p022" title="go to p. 22">22</a></p> - -<p class="pindx">Walpole, Horace, - <a href="#p025" title="go to p. 25">25</a></p> - -<p class="pindx">Walpole, Sir Robert, - <a href="#p234" title="go to p. 234">234</a>, - <a href="#p236" title="go to p. 236">236</a></p> - -<p class="pindx"><i>Westminster Review</i>, - <a href="#p078" title="go to p. 78">78</a></p> - -<p class="pindx">Whistler, James M’N., - <a href="#p163" title="go to p. 163">163</a>–173</p> - -<p class="pindx">Wilde, Oscar, - <a href="#p168" title="go to p. 168">168</a></p> - -<p class="pindx">Wilkes, John, - <a href="#f2.11" title="go to fig. 2.11">109</a>–111</p> - -<div class="dkeeptgth"> - -<p class="pindx">Yates, Edmund, - <a href="#p008" title="go to p. 8">8</a>, - <a href="#p009" title="go to p. 9">9</a></p> - -<div class="padtopa">THE END</div> - -<div class="fsz8 padtopa"><i>Printed by</i> - R. & R. <span class="smcap">C<b>LARK,</b></span> - <span class="smcap">L<b>IMITED,</b></span> - <i>Edinburgh</i>.</div></div> - -<div class="chapter"> -<h2 class="h2herein" title="ADVERTISEMENTS"> </h2></div> - -<div class="fsz2">KATE GREENAWAY</div> - -<div class="fsz7">BY</div> - -<div class="fsz5">M. H. SPIELMANN AND G. S. LAYARD.</div> - -<p>Containing upwards of 80 full-page illustrations (53 in -colour, reproduced from original water-colour drawings by -Kate Greenaway.) Square demy 8vo, cloth, gilt top, with -Kate Greenaway end-papers, price 20s. net.</p> - -<div><i>SOME PRESS OPINIONS</i></div> - -<blockquote> -<p>“This delightful volume, with its scores of illustrated letters, and -sketches and charming pictures, will be very widely welcomed. No one -could wish for a more satisfactory memorial of the artist and her work.”—<i>Daily -Graphic.</i></p> - -<p>“Whether as regards its subject, its letterpress, or its illustrations, -this is one of the most delightful, as it is likely to become one of the most -popular volumes of the series to which it belongs.”—<i>Aberdeen Journal.</i></p> - -<p>“Certainly one of the most beautiful monuments that could be erected -to the memory of a modest artist.”—<i>Daily Mail.</i></p> - -<p>“By reason of its sympathetic treatment of an intensely interesting -subject, of the charm, the quality, and the profusion of its illustrations, and -of the faultless taste of its get-up, should rank among the favourite -gift-books -of the approaching Christmas season.”—<i>Observer.</i></p> - -<p>“A book which will delight young and old by its engaging charm.”—<i>Jewish -World.</i></p> - -<p>“The volume, magnificent to behold, is a deeply interesting one to -read, and should be peculiarly attractive to our readers.”—<i>Gentlewoman.</i></p> - -<p>“This delightful book should prove a capital present to give to young -folks at Christmas time. The pictures in it are very beautiful, while the -story of Kate Greenaway’s fight for fame is sympathetically told.”—<i>Scottish -Review.</i></p> - -<p>“The book is admirably done, thorough, sympathetic, and - accurate.”—<i>Outlook.</i></p></blockquote> - -<div class="section padtopb"> -<div class="fsz2">BIRKET FOSTER</div> - -<div class="fsz5">By H. M. CUNDALL, F.S.A.</div> - -<p>Containing 91 full-page illustrations (73 in colour) and -numerous thumbnail sketches in the text. Square demy 8vo, -cloth, gilt top, price 20s. net.</p> - -<blockquote> - -<p>It may safely be asserted, without fear of contradiction, that the dainty water-colour -drawings executed by Birket Foster appeal to the majority of the British public more -than the works of any other artist. He produced scenes from nature with such exactness -and minuteness of detail that the most uninitiated in art are able to understand -and appreciate them, but the chief features in his paintings are the poetic feeling with -which he endued them, and the care with which his compositions were selected. He -revelled in sunny landscapes with roaming sheep and with rustic children playing in -the foreground, and in the peaceful red-bricked cottages with thatched roofs; it is, -perhaps, by these scenes of rural England that Birket Foster is best known. He, however, -was an indefatigable painter, and produced works selected from all parts of -England, Wales, and Scotland; he travelled frequently on the Continent; Venice, as -well as the Rhine, had its charms for him, and the picturesque scenery of Brittany has -also been portrayed by his brush.</p> - -<p>The collection of Birket Foster’s drawings reproduced in this volume is thoroughly -representative, and is sufficiently extensive to include all phases of his work. The -accompanying biographical text by Mr. H. M. Cundall will be found to be most -sympathetic, intimate, and interesting.</p></blockquote> - -<div class="fsz7">A. & C. BLACK, SOHO SQUARE, LONDON, W.</div></div> - -<div class="section padtopb"> -<div class="fsz2">GEORGE MORLAND</div> - -<div class="fsz5">By Sir WALTER GILBEY, Bart.</div> - -<div class="fsz7">AUTHOR OF “THE LIFE OF GEORGE STUBBS, R.A.”</div> - -<p>Containing 60 full-page reproductions in colour of the -artist’s best work. Square demy 8vo, cloth, gilt top, price -20s. net.</p> - -<p>There will also be an Édition de Luxe, with letterpress printed on -handmade paper, containing the earliest impressions of the illustrations, -and limited to 250 signed and numbered copies, price £2: 2s. net.</p> - -<blockquote> - -<p>There is plenty of room for another Morland book, especially when written by the -greatest living authority upon the works of the artist, and where the illustrations are -reproduced, with most excellent results, from masterpieces loaned from private collections -hitherto mostly unknown to the artistic public, and of which only a few have either been -engraved or gravured—at all events, not before reproduced in colour.</p> - -<p>George Morland’s work is characterised by its great strength and beauty of colouring. -To reproduce so many of his choicest pictures, and bring the book into this series, is no easy -matter, but to ensure success the publishers have spared no efforts to make their reproductions -worthy of the artist’s work and entirely satisfying to the collector and student.</p> - -<p>The collection of pictures reproduced in this volume is thoroughly representative, and -each illustration is a gem; they show the several phases of Morland’s charming scenes -of English life in the renowned Academician’s time.</p> - -<p>The student and all collectors and admirers of Morland will also rejoice to have the -appreciative text by Sir Walter Gilbey.</p></blockquote> - -<div class="fsz7">A. & C. BLACK, SOHO SQUARE, LONDON, W.</div></div> - -<div class="transnote"> -<h2 class="h2herein">TRANSCRIBER’S NOTE</h2> - -<p>Original spelling and grammar have been generally retained, -with some exceptions noted below. Original printed page -numbers are shown like this: {52}. -Footnotes have -been relabeled 1–46, and moved from within paragraphs -to nearby locations between paragraphs. The transcriber -produced the cover image and hereby assigns it to the -public domain. Original page images are available from -archive.org—search for “suppressedplates00laya”.</p> - -<p>The List of Illustrations contains two divisions, those that were -printed upon numbered pages, and those that were printed on unnumbered -pages. Most illustrations originally printed inside paragraphs of -text have been moved to nearby locations between paragraphs, and the -corresponding page numbers have been removed as necessary to maintain -proper order of the remaining page numbers. Captions of Illustrations -were sometimes altered to conform more closely—in substance or in -typography—to the titles in the List of Illustrations (LOI). In such -cases, the original captions (if any) are nevertheless retained as part -of the image. On page - <a href="#p172" title="go to p. 172">172</a>, a caption was inserted where none had been -printed, to match the LOI.</p> - -<p>The illustrations all appeared to the transcriber to have been -grayscale when initially published, but had naturally aged to a yellowed antique -white background. Illustrations have been edited with primary intent to -preserve the original image, but changed to grayscale, with secondary -motives to improve brightness and contrast, and to improve readability -of small or faint text. The illustrations in the epub and mobi editions -must be severely restricted in size. Some of the illustrations in this -book are so large and detailed that the size restrictions significantly -degrade the quality of the images. Therefore some, for example two -illustrations originally between pages -<a href="#f1.14" title="go to figs. 1.14 and 1.15">88 and 89,</a> -have been -divided into two or three fragments for the epub/mobi editions. -Each fragment was (perhaps) individually edited for brightness and -contrast to improve the readability of any text. The illustrations -originally on pages -<a href="#f2.5" title="go to fig. 2.5">71</a> and -<a href="#f2.24" title="go to fig. 2.24">234</a> -regretfully remain quite poor in quality -in the epub/mobi editions. Separate detail images showing much of the -text portions of these two illustrations -at better quality have been provided for the epub/mobi -editions. Several of the illustrations have been rotated to achieve -better quality in the epub/mobi editions while adhering to the image -size restrictions.</p> - -<p class="padtopc">Page - <a href="#p010" title="go to p. 10">10</a>. - “protoype” to “prototype”.</p> - -<p>Page - <a href="#p212" title="go to p. 212">212</a>. - “fireband” to “firebrand”.</p> - -<p>Page - <a href="#p254" title="go to p. 254">254</a>. - “Whistler, James M‘N” to “Whistler, James M’N”.</p> -</div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Suppressed Plates, Wood-engravings, &c., by -George Somes Layard - -*** END OF THIS PROJECT GUTENBERG EBOOK SUPPRESSED PLATES, WOOD-ENGRAVINGS *** - -***** This file should be named 55710-h.htm or 55710-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/5/7/1/55710/ - -Produced by Chris Curnow, RichardW, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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