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@@ -1,43 +1,4 @@ -The Project Gutenberg EBook of Randolph Caldecott, by Henry Blackburn - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Randolph Caldecott - A Personal Memoir of His Early Art Career - -Author: Henry Blackburn - -Illustrator: Randolph Caldecott - -Release Date: October 17, 2012 [EBook #41086] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK RANDOLPH CALDECOTT *** - - - - -Produced by Chris Curnow, Diane Monico, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - - - - +*** START OF THE PROJECT GUTENBERG EBOOK 41086 *** RANDOLPH CALDECOTT. @@ -508,7 +469,7 @@ _The unpublished illustrations are marked with an asterisk_ * *HEADPIECE. CALDECOTT'S PICTURE BOOKS 212 - AESOP'S FABLES 214 + ÆSOP'S FABLES 214 A SKETCH BOOK 215 @@ -692,9 +653,9 @@ DRAWING FOR "LONDON SOCIETY." It was in February 1871, in the pages of _London Society_--a magazine -which at that time included amongst its contributors J. R. Planche, +which at that time included amongst its contributors J. R. Planché, Shirley Brooks, Francis T. Palgrave, Frederick Locker, G. A. Sala, -Edmund Yates, Percy Fitzgerald, F. C. Burnand, Arthur a Beckett, Tom +Edmund Yates, Percy Fitzgerald, F. C. Burnand, Arthur à Beckett, Tom Hood, Mortimer Collins, Joseph Hatton, &c.; and amongst its artists Sir John Gilbert, Charles Keene, Linley Sambourne, G. Bowers, Mrs. Allingham, W. Small, F. Barnard, F. W. Lawson, M.E.E., and many other @@ -761,7 +722,7 @@ Whiffles's instructions were to keep his eyes on the other trombone and imitate his movements exactly; but unfortunately _the other trombone was a substitute also_. The leader looks round, and seeing the two trombones apparently perfectly ready to begin, gives the signal, -and the curtain rises. The _denoument_ may be imagined! Other stories +and the curtain rises. The _dénoûment_ may be imagined! Other stories were illustrated by Caldecott, about this period, in _London Society_; one of Indian life, another called _Crossed in Love, &c._, but the artist wished that some illustrations should not be reprinted. Several @@ -1059,7 +1020,7 @@ from our diaries is necessary here to explain the illustration. early, taking regular exercise and drinking daily several pints of a dark mixture having the appearance, taste, and effect of taraxacum or senna. The bottles are supplied at - the public gardens and cafes situated at convenient + the public gardens and cafés situated at convenient distances in the suburbs of Goslar." [Illustration: DRINKING THE WATERS AT GOSLAR.] @@ -1085,7 +1046,7 @@ corner of a street. [Illustration: "A SCHOOL ON THE MARCH"--HARZ MOUNTAINS, 1872.] -Sketches at various _table d'hotes_ in hotels, public gardens and the +Sketches at various _table d'hôtes_ in hotels, public gardens and the like, were plentiful and perpetual. But the majority were destroyed or put away; out of fifty only one such as "A General in the Prussian Army" (see page 44) being selected for reproduction.[4] @@ -1134,7 +1095,7 @@ _Baedeker_" in the familiar practical manner:-- wayfarers met with. "The route hence south-west over high open land with fine - views to the iron works of Rothehuette in an hour. Thence up + views to the iron works of Rothehütte in an hour. Thence up a hill for half an hour and through dense fir woods, then out on the high road again, resting at the 'Brauner Hirsch' at Braunlage. From thence over hills commanding a vast @@ -1423,7 +1384,7 @@ In November he writes the following to a friend in Manchester:-- there adjacent lie, I think of you on these calm Sunday evenings about the hour when my errant legs used to repose beneath the deal of the sequestered inn at Bollington. How - are you? I was pleased to see that the _Athenaeum_ gave a + are you? I was pleased to see that the _Athenæum_ gave a long space to your book, although I presume you did not care for the way they reviewed it. That is nothing. I have been very busy--not coining money, oh no!--but occupied, or I @@ -1630,9 +1591,9 @@ in after years would delight the world. But fortunately for his health and peace of mind, and also for his future career, the young artist, who two years before had given up a -clerkship in a Manchester bank (a "certainty" of more than L100 a +clerkship in a Manchester bank (a "certainty" of more than £100 a year), was advised to refuse an engagement on the _Pictorial World_ of -L10 10_s._ a week, which, had it been carried out, would have done much +£10 10_s._ a week, which, had it been carried out, would have done much to raise the fortunes of that newspaper. But the rush and hurry of journalistic work was distasteful to him; he @@ -1740,7 +1701,7 @@ From Farnham Royal he writes at another time to a friend:-- hearts." About this time it was suggested to Caldecott to make studies of -animals and birds, with a view to an illustrated edition of _AEsop's +animals and birds, with a view to an illustrated edition of _Æsop's Fables_, a work for which his talents seemed eminently fitted. The idea was put aside from press of work, and when finally brought out in 1883 was not the success that had been anticipated. This was principally @@ -1748,7 +1709,7 @@ owing to the plan of the book. [Illustration: "STUDYING FROM NATURE."] -As Caldecott's _AEsop_ was often talked over with the writer in early +As Caldecott's _Æsop_ was often talked over with the writer in early days, a few words may be appropriate here. Caldecott yielded to a suggestion of Mr. J. D. Cooper, the engraver, to attach to each fable what were to be styled "Modern Instances," consisting of scenes, social @@ -1989,7 +1950,7 @@ Mountains. His feeling for the sentiment and beauty of landscape, especially the open land,--generally absent from the sketches in the Harz Mountains,--is noticeable here. The statuesque grace of the younger women, the picturesqueness of costume, operations of husbandry, -outdoor _fetes_ and the like, and the open air effect of nearly every +outdoor _fêtes_ and the like, and the open air effect of nearly every group of figures seen in these summer journeys--all came as delightful material for his pencil. @@ -2130,7 +2091,7 @@ permitted, the world might have seen more of. [Illustration: STUDY IN LINE.] -On the 25th of January he "made a dry point sketch of a Quimperle +On the 25th of January he "made a dry point sketch of a Quimperlé Brittany woman," and in February he was busy modelling as usual. On the 5th of February, "took to Lucchesi (moulder) wax bas-relief of @@ -2333,7 +2294,7 @@ then thirty years of age. (Oil Painting) Royal Academy, 1876. -Cat. No. 415. 49 x 32.] +Cat. No. 415. 49 × 32.] In the same room (Gallery V.) were collected that year, the works of painters whose names are familiar--W. B. Richmond, A. Gow, H. R. @@ -2358,7 +2319,7 @@ year, and in the _Saturday Review_, June 10th, 1876, we read:-- Metal bas-relief exhibited in the Royal Academy, 1876. -Cat. No. 1499. Size 14 x 5-1/2 in.] +Cat. No. 1499. Size 14 × 5-1/2 in.] In 1876 Caldecott also produced a relief in metal of "A Boar Hunt," which was exhibited in the Grosvenor Gallery in 1878. @@ -2434,7 +2395,7 @@ artistic qualities and fully sustaining the reputation of the artist. The originals were drawn about one third larger, in pen and ink, photographed on wood and engraved in facsimile. The effect of many of the drawings in the first editions was injured by the want of margin on -the printed page; but an _edition de luxe_ is now printed with _Old +the printed page; but an _édition de luxe_ is now printed with _Old Christmas_ and _Bracebridge Hall_ in one volume. [Illustration: "GENERAL HARBOTTLE AT DINNER."] @@ -2522,7 +2483,7 @@ all his own, these spontaneous and delightful letters form the best picture of Caldecott that can be given in 1877. "Round the tables," he writes, "from noon to nearly midnight--seven -days a week--the _monde elegant_ congregates, from the Yorkshireman to +days a week--the _monde élégant_ congregates, from the Yorkshireman to the Japanese." Then follow sketches of an Englishman in Scotch tweed, and a young man from Japan. Next is a general sketch of the crowd at the round table, the artist's own figure, admirably given, standing @@ -2770,7 +2731,7 @@ sketch in _Grosvenor Notes_. [Illustration: "A BOAR HUNT" (BAS-RELIEF). Grosvenor Gallery, 1878. -No. 232. 8 in. x 18 in.] +No. 232. 8 in. × 18 in.] Special interest attaches to this design, also to "The Horse Fair in Brittany," reproduced on page 137, for the insight it gives of @@ -2818,7 +2779,7 @@ colours. [Illustration: SKETCHING UNDER DIFFICULTIES.] -The summer fetes and "pardons," all through the country, furnished +The summer fêtes and "pardons," all through the country, furnished capital material for his pencil, the women's caps of different districts were each recorded, and here and there a solemn suggestive landscape noted for a picture which was never to be completed. @@ -2901,7 +2862,7 @@ It was in this district that he made one of his most successful sketches; a typical Breton (p. 177), in ancient costume with long hair and knee breeches; a figure rarely met with in these days. -In the south-west corner of Brittany, a few miles south of Quimperle, +In the south-west corner of Brittany, a few miles south of Quimperlé, at a point where the river spreads out into a narrow estuary four miles from the sea, is the primitive little village called appropriately Pont Aven. @@ -2917,7 +2878,7 @@ visited, done, sketched, interviewed and memorandumed"--he adds:-- "On this journey I have seen more pleasing types of Bretons (and Bretonnes, especially) than in my former rambles in the - Cotes du Nord; but there is generally something wrong about + Côtes du Nord; but there is generally something wrong about each hotel. This particular inn is comfortable. Seven Americans, two or three of them ladies, and about four French people dined with us, mostly of the artist persuasion. @@ -2949,7 +2910,7 @@ writes:-- "The Hotel du Midi where we put up is conducted in a simple manner; ladies would not like its arrangements. Several - inhabitants, and a visitor or two, dine at the table d'hote, + inhabitants, and a visitor or two, dine at the table d'hôte, but all are unable to carve a duck excepting the English visitor, who is accordingly put down as a cook." @@ -3061,7 +3022,7 @@ In the late Autumn of 1878 Caldecott is again in the south of France, sending home letters--one with a portrait of himself (back view), seated next to a young lady, "whose father is rather deaf." -[Illustration: Hotel Gray et d'Albion Cannes, 15 Nov. 1878.] +[Illustration: Hôtel Gray et d'Albion Cannes, 15 Nov. 1878.] "I have come here," he says, "in order that rheumatism may forget me and not recognise me on return to Albion's shores. * * * @@ -3097,7 +3058,7 @@ friends. (nearly) is very fine and worth coming to see." In another letter he sends the following sketch of himself at table in -the vast _salle a manger_ of the hotel.[12] +the vast _salle à manger_ of the hotel.[12] [Illustration] @@ -3108,7 +3069,7 @@ the vast _salle a manger_ of the hotel.[12] "DEAR ----,--The above view will give you a more correct idea of the _splendour_ of this hotel than a page of writing, I think, could possibly do. It represents our - _table d'hote_ last night. I fled yesterday from Cannes, + _table d'hôte_ last night. I fled yesterday from Cannes, which--although called a very quiet place by most visitors--I found to be too lively for one who has much work to do and a desire to do it." @@ -3296,7 +3257,7 @@ known, but there are drawings in it of great personal interest, now that the artist's hand is still. The _Sketch Book_ suggests many thoughts and calls up many associations to those who knew him. -In 1883 he illustrated _AEsop's Fables_ with "Modern Instances" +In 1883 he illustrated _Æsop's Fables_ with "Modern Instances" (referred to on page 94). The kind of work that Caldecott liked best, and of which he would have @@ -3501,7 +3462,7 @@ LONDON AND NEW YORK Some of -AEsop's Fables. +Æsop's Fables. With "Modern Instances." @@ -3623,366 +3584,4 @@ Page 156: Deleted duplicate "in". 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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/license - - -Title: Randolph Caldecott - A Personal Memoir of His Early Art Career - -Author: Henry Blackburn - -Illustrator: Randolph Caldecott - -Release Date: October 17, 2012 [EBook #41086] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK RANDOLPH CALDECOTT *** - - - - -Produced by Chris Curnow, Diane Monico, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - - - - - -RANDOLPH CALDECOTT. - -[Illustration: RANDOLPH CALDECOTT, - -_Born 1846; Died 1886._] - - - - -RANDOLPH -CALDECOTT: - -A Personal Memoir - -OF HIS EARLY ART CAREER. - -BY - -HENRY BLACKBURN, - -EDITOR OF "ACADEMY NOTES," ETC.; AUTHOR OF "BRETON FOLK," -"ARTISTS AND ARABS," ETC. - -WITH - -_ONE HUNDRED AND SEVENTY-TWO ILLUSTRATIONS_ - -NEW YORK: GEORGE ROUTLEDGE & SONS, - -9, LAFAYETTE PLACE. - -LONDON: - -SAMPSON LOW, MARSTON, SEARLE, & RIVINGTON, - -CROWN BUILDINGS, 188, FLEET STREET. - -1886. - - -In Affectionate Remembrance. - - - - -[Illustration: DECORATIVE DESIGN BY R. CALDECOTT.] - - - - -PREFACE. - - -The object of this memoir is to give some information as to the early -work of Randolph Caldecott, an artist who is known to the world chiefly -by his _Picture Books_. - -The extracts from letters have a personal charm apart from any literary -merit. The majority of the letters, and the sketches which accompanied -them, were sent to the author's family; others have been kindly lent -for this memoir by Mr. William Clough, Mr. Locker-Lampson, Mr. -Whittenbury, and other friends. Acknowledgments are also due to the -publishers who have lent engravings. - -At the desire of Mr. Caldecott's representatives,--to whom the author -is indebted for extracts from diaries and other material--the -consideration of his later work is reserved for a future time. - -Although the text of this book is little more than a setting for the -illustrations, it is hoped that the material collected may be found -interesting. - - H. B. - -103, VICTORIA STREET, WESTMINSTER, - _September 1886_. - - - - -CONTENTS. - - - PAGE - -CHAP. I.--HIS EARLY ART CAREER 1 - -II.--DRAWING FOR "LONDON SOCIETY" 13 - -III.--IN LONDON, THE HARZ MOUNTAINS, ETC. 29 - -IV.--DRAWING FOR "THE DAILY GRAPHIC" 51 - -V.--DRAWING FOR "THE PICTORIAL WORLD" 67 - -VI.--AT FARNHAM ROYAL, BUCKS 90 - -VII.--"OLD CHRISTMAS" 100 - -VIII.--LETTERS, DIAGRAMS, ETC. 117 - -IX.--ROYAL ACADEMY, "BRACEBRIDGE HALL," ETC. 134 - -X.--ON THE RIVIERA 148 - -XI.--"BRETON FOLK," ETC. 165 - -XII.--AT MENTONE, ETC. 190 - -XIII.--CONCLUSION 203 - -APPENDIX 211 - - - - -LIST OF ILLUSTRATIONS. - - -_The unpublished illustrations are marked with an asterisk_ * - - PAGE - - PORTRAIT _Frontispiece_ - -*DECORATIVE DESIGN BY R. CALDECOTT vii - -*TAILPIECE xvi - -*AIR--"I KNOW A BANK" 1 - -*FIRST CLERK--SECOND DO. 2 - -*COOM, THEN 3 - -*THREE FRIENDS 4 - -*GOING TO THE DOGS 5 - -*A SKETCH IN COURT 7 - -*FULL CRY 8 - -*IN THE HUNTING FIELD 9 - -*STREET SKETCH--POLICEMAN, ETC. 10 - -*SOCIETY IN MANCHESTER 11 - -*A NEW CONTRIBUTOR (_London Society_) 13 - - EDUCATION UNDER DIFFICULTIES 14 - - YE MONTHE OF APRILE 15 - - SKETCH IN HYDE PARK 16 - - THE CHANCELLOR OF THE EXCHEQUER 17 - -*THE TROMBONE 18 - - THE TWO TROMBONES 19 - - CHRISTMAS DAY, 4.30 A.M. 20 - - CLINCHING AN ARGUMENT 21 - - SNOWBALLS 22 - - HEIGH-HO, THE HOLLY! 23 - - GOING TO COVER 25 - - HYDE PARK--OUT OF THE SEASON 26 - - COMING OF AGE OF THE PRIDE OF THE FAMILY 27 - -*THE END OF ALL THINGS 28 - -*SKETCH ON A POST CARD 29 - - FIRST DRAWING IN "PUNCH," 22ND JUNE, 1872 31 - -*A COOL SEQUESTERED SPOT 32 - - A TOUR IN THE TOY COUNTRY (_Harz Mountains_) 33 - - A MOUNTAIN BEER GARDEN 34 - - A FRAULEIN 35 - - A MOUNTAIN PATH 35 - - A WARRIOR OF SEDAN IN A BEER GARDEN AT GOSLAR, 1872 36 - - THE ARK OF REFUGE 37 - -*THE DANCE OF WITCHES 38 - - SPECTRES OF THE BROCKEN 39 - - A SKETCH AT SUPPER 40 - - BACK TO THE VIEW 40 - - THE GUIDE AT GOSLAR 41 - - PROCESSION OF THE SICK 42 - - DRINKING THE WATERS AT GOSLAR 43 - - A GENERAL IN THE PRUSSIAN ARMY 44 - -*A SCHOOL ON THE MARCH--HARZ MOUNTAINS, 1872 45 - - SKETCH--HARZ MOUNTAINS, 1872 46 - - SKETCH--HARZ MOUNTAINS, 1872 48 - - AT CLAUSTHAL 49 - -*SKETCH 50 - - SKETCH IN "PUNCH," 8TH MARCH, 1873 51 - - A CHECK 53 - - SKETCH (Published in _Pall Mall Gazette_) 55 - - LOOKING OUT FOR THE "GRAPHIC" BALLOON 57 - - OFF TO THE EXHIBITION--VIENNA, 1873 59 - -*A VIENNESE DOG 60 - - SKETCH (Published in _Pall Mall Gazette_) 62 - -*EARLY DECORATIVE DESIGN 64 - - THIS IS NOT A FIRST-CLASS COW 66 - -*STUDIES FOR A LARGE DECORATIVE DESIGN, 1874 67 - - THE POLLING BOOTH (_Pictorial World_) 70 - -*HOME RULE--MARCH 1874 71 - - ON THE STUMP 72 - - THE SCOTCH ELECTIONS--GOING TO THE HUSTINGS 73 - - PAIRING TIME 74 - - COURSING 75 - - HER FIRST VALENTINE 76 - - A VALENTINE 76 - - SOMEBODY'S COMING! 77 - - I WONDER WHO SENT ME THESE FLOWERS 78 - - THE YOUNG HAMLET 79 - - HOUSE OF COMMONS, MARCH 1874--ARRIVAL OF NEW MEMBERS 80 - - THE SPEAKER GOING UP TO THE LORDS 81 - - AT THE BAR OF THE HOUSE OF LORDS 82 - - THE NEW PRIME MINISTER 83 - - THE TICHBORNE TRIAL--BREAKING-UP DAY 84 - - THE MORNING WALK 86 - -*DECORATIVE PAINTING FOR A DINING-ROOM 89 - -*THE COTTAGE, FARNHAM ROYAL 90 - -*SKETCH FROM THE COTTAGE, FARNHAM ROYAL 91 - -*BRINGING HOME THE SULTANAS 92 - -*THE PADDOCK, FARNHAM ROYAL 93 - -*STUDYING FROM NATURE 95 - - SKETCH (Published in _Pall Mall Gazette_) 96 - - SKETCH (Published in _Pall Mall Gazette_) 97 - -*DRAWING FROM FAMILIAR OBJECTS 98 - -*COULD NOT DRAW A LADY! 99 - - HEADPIECE (_Old Christmas_) 100 - - THE STAGE COACHMAN 103 - - IN THE STABLE YARD 104 - - THE TROUBADOUR 106 - - THE FAIR JULIA 107 - - MASTER SIMON AND HIS DOGS 109 - - ON THE ROAD SIDE, BRITTANY 111 - -*AT GUINGAMP, BRITTANY 113 - -*TO M. H.--CHRISTMAS, 1874 114 - -*FACSIMILE OF LETTER 116 - -*ST. VALENTINE'S DAY 117 - -*AT FARNHAM ROYAL 118 - -*SUNRISE 119 - -*DIAGRAM. STUDY IN LINE 120 - -*DIAGRAM. STUDY IN LINE 120 - -*DIAGRAM. DESIGN FOR A PICTURE, 1875 121 - -*DIAGRAM. A MAD DOG 122 - -*DIAGRAM. THE LECTURER 123 - - DIAGRAM. CHILD 124 - - DIAGRAM. MAD DOG 125 - -*SKETCH 127 - -*SHOWS HIS TERRA COTTAS 129 - -*THE FIRST YEAR OF ACADEMY NOTES 130 - -*THREE PELICANS AND TORTOISE 131 - -*INSPECTING EMBROIDERIES 132 - -*FRESHWATER, ISLE OF WIGHT 132 - -*A CHRISTMAS CARD TO K. E. B. 133 - - OPINIONS OF THE PRESS (_Manchester Quarterly_) 134 - - THERE WERE THREE RAVENS SAT ON A TREE 135 - -*PRIVATE VIEW OF MY FIRST R.A. PICTURE 136 - -*A HORSE FAIR IN BRITTANY 137 - - CAPTAIN BURTON 139 - - PREFACE 1 _Bracebridge Hall_ 140 - - PREFACE 2 _Bracebridge Hall_ 140 - - THE CHIVALRY OF THE HALL PREPARED TO TAKE THE FIELD 141 - - THE FAIR JULIA AND HER LOVER 143 - - GENERAL HARBOTTLE AT DINNER 144 - - AN EXTINGUISHER 145 - -*AT WHITCHURCH 146 - - AT BUXTON 147 - -*A CHRISTMAS CARD 148 - - GAMING TABLES AT MONTE CARLO (_Graphic_) 151 - - PRIEST AND PLAYER (_Graphic_) 153 - - THE PRIEST'S SERVANT (_North Italian Folk_) 155 - - THE HUSBANDMAN 157 - - GOSSIP 158 - - DIGNITY AND IMPUDENCE (_National Gallery_) 160 - - SPANIELS, KING CHARLES'S BREED 160 - - PORTRAIT OF A LAWYER BY MORONI 161 - -*WAITING FOR A BOAT 163 - -*TAILPIECE 164 - -*CLEOPATRA 165 - - THE THREE HUNTSMEN (_L'Art_) 167 - - A BOAR HUNT (_Grosvenor Notes_) 168 - - THE TRAP (_Breton Folk_) 170 - - SKETCHING UNDER DIFFICULTIES 171 - - BRETON FARMER AND CATTLE 172 - - A WAYSIDE CROSS 173 - - AT THE HORSE FAIR, LE FOLGOET 174 - - TROTTING OUT HORSES AT CARHAIX 175 - - CATTLE FAIR AT CARHAIX 176 - - A TYPICAL BRETON 177 - - A BRETONNE 178 - -*SKETCH 179 - - A CAP OF FINISTERRE 180 - - RETURNING FROM LABOUR--PONT AVEN, 1878 181 - - A BRETON 183 - -*A FAMILY HORSE 184 - -*SKETCH IN WOBURN PARK 185 - -*A CARNATION 186 - -*HOTEL GRAY ET D'ALBION, CANNES 189 - -*AT MENTONE 190 - -*SKETCH 191 - - SKETCH 192 - - NOT SUCH DISAGREEABLE WEATHER AFTER ALL--SOME PEOPLE - THINK (from _Punch_) 193 - -*A PIG OF BRITTANY 194 - -*A BOOKPLATE 195 - -*SKETCH 196 - -*SKETCH 197 - -*FACSIMILE OF LETTER 199 - - SKETCH 200 - - SKETCH OF WYBOURNES 201 - -*A NEW YEAR'S GREETING 203 - - - APPENDIX. - -*HEADPIECE. CALDECOTT'S PICTURE BOOKS 212 - - ÆSOP'S FABLES 214 - - A SKETCH BOOK 215 - - BRETON FOLK 216 - - - - -[Illustration: AIR--"I KNOW A BANK."] - - - - -CHAPTER I. - -HIS EARLY ART CAREER. - - -Randolph Caldecott, the son of an accountant in Chester, was born in -that city on the 22nd of March, 1846, and educated at the King's -School, where he became the head boy. He was not studious in the -popular sense of the word, but spent most of his leisure time in -wandering in the country round. Thus, his love of sport and fondness -for rural pursuits, which never forsook him, were evidenced at an early -age. His artistic instincts were also early developed, and many -treasured sketches, models of animals, &c., cut out of wood, were -produced in Chester by the boy Caldecott. - -Perhaps the best and most characteristic record of his early life is, -that he and his brother were "two of the best boys in the school;" the -genius that consists in "an infinite faculty for taking pains" having -much to do with his after career of success. - -[Illustration: FIRST CLERK--"GOT JONES' LEDGER?" - -SECOND DO. (NEWLY MARRIED)--"YES, LOVE!"] - -In 1861 Caldecott was sent to a bank at Whitchurch in Shropshire, -where, for six years, he seems to have had considerable leisure and -opportunity for indulging in his favourite pursuits. Here, living at an -old farm-house about two miles from the town, he used to go fishing -and shooting, to the meets of hounds, to markets and cattle fairs, -gathering in a store of knowledge useful to him in after years. The -practical, if half-unconscious, education that he thus obtained in his -"off-time," as he termed it, whilst clerk at the Whitchurch and -Ellesmere Bank, was often referred to afterwards with pleasure. Thus -from the earliest time it will be seen that he lived in an atmosphere -favourable to his after career. But the bank work was never neglected; -from the day he left his school in Chester in 1861 to become a clerk in -Whitchurch, until the spring of 1872 when he left Manchester finally -for London, the record of his office work was that he "did it well." - -[Illustration: "COOM, THEN."] - -[Illustration: "THREE FRIENDS."] - -During the Whitchurch days he had, as we have indicated, unusual -advantages of leisure, and the opportunity of visiting many an old -house and farm, driving sometimes on the business of the bank, in his -favourite vehicle, a country gig, and "very eagerly," writes one of his -fellow clerks and intimate friends, "were those advantages enjoyed. We -who knew him, can well understand how welcome he must have been in many -a cottage, farm, and hall. The handsome lad carried his own -recommendation. With light brown hair falling with a ripple over his -brow, blue-grey eyes shaded by long lashes, sweet and mobile mouth, -tall and well-made, he joined to these physical advantages a gay good -humour and a charming disposition. No wonder that he was a general -favourite." - -But soon he was transferred to Manchester, where a very different life -awaited him--a life of more arduous duties--in the "Manchester and -Salford Bank," but with opportunities for knowledge in other -directions, of which he was not slow to avail himself. If in his early -years his father discouraged his artistic leanings, he was now in a -city which above all others encouraged the study of art--"as far as it -was consistent with business." In the Brasenose Club, and at the houses -of hospitable and artistic friends in Manchester, Caldecott had -exceptional opportunities of seeing good work, and obtaining -information on art matters. - -[Illustration] - -One who knew him well at this time, writing in the _Manchester Courier_ -of Feb. 16th, 1886, says:-- - - "Caldecott used to wander about the bustling, murky streets - of Manchester, sometimes finding himself in queer - out-of-the-way quarters, often coming across an odd - character, curious bits of antiquity and the like. Whenever - the chance came, he made short excursions into the adjacent - country, and long walks which were never purposeless. Then - he joined an artists' club and made innumerable pen and ink - sketches. Whilst in this city so close was his application - to the art that he loved that on several occasions he spent - the whole night in drawing." - -For five years, from 1867 to 1872, Caldecott worked steadily at the -desk in Manchester, studying from nature whenever he had the chance in -summer; and at the school of art in the long evenings, sometimes -working long and late at some water colour drawing. Caldecott owed much -to Manchester, as he often said, and he never forgot or undervalued the -good of his early training. The friends he made then he kept always, -and they were amongst his dearest and best. - -In Manchester on the 3rd of July, 1868--his first drawings were -published in a serio comic paper called _Will o' the Wisp_; and in -1869, in another paper called _The Sphinx_, he had several pages of -drawings reproduced. He was painting a little at the same time, making -many hunting and other studies; they were chiefly for friends, but one -picture was exhibited at the Manchester Royal Institution in 1869. - -[Illustration: "CONSIDER, LADIES AND GENTLEMEN OF THE JURY, THE SAD -POSITION IN WHICH MY CLIENT IS PLACED--DESERTED BY HIS WIFE AND LEFT TO -SUPPORT HIMSELF AND TENDER INFANT BY HIS OWN EXERTIONS."] - -[Illustration: FULL CRY.] - -[Illustration: "IN THE HUNTING FIELD."] - -There was no restraining Caldecott now, his artistic bent and his -delightful humour were finding expression in sketches in odd hours and -minutes, on bits of note paper, on old envelopes, and on the blotting -paper before him at his desk, until everybody about him must have been -alive to his talent. He might no doubt have eventually attained a good -position in the bank, for, as one of his friends writes of him very -truly, - - "Caldecott's ability was general, not special. It found its - natural and most agreeable outlet in art and humour, but - everybody who knew him, and those who received his letters, - saw that there were perhaps a dozen ways in which he would - have distinguished himself had he been drawn to them." - -The unpublished sketches dispersed through this chapter indicate but -slightly the originality and fecundity of Caldecott's genius at this -time. - -[Illustration: "THIS IS NOT A CULPRIT GOING TO GAOL--IT IS ONLY A -GENTLEMAN IN LOVE WHO HAPPENS TO BE WALKING BEFORE A POLICEMAN!"] - -There was clearly but one course to pursue--to give up commercial -pursuits and go to London--if such sketches as these were to be found -scattered amongst bank papers! - -[Illustration: "SOCIETY IN MANCHESTER."] - -And so, in May, 1870, Caldecott, as his diary records, went to London -for a few days with a letter of introduction to Mr. Thomas Armstrong -from Mr. W. Slagg; and in the same year, 1870, some of his drawings -were shown to Shirley Brooks, and to Mark Lemon, then editor of -_Punch_. Mr. Clough thus records the event:-- - - "Bearing an introductory letter he went up to London on a - flying visit, carrying with him a sketch on wood and a small - book of drawings of the 'Fancies of a Wedding.' He was well - received. The sketch was accepted, and with many compliments - the book of drawings was detained. - - "'From that day to this,' said Mr. Caldecott, 'I have not - seen either sketch or book.' Some time after, on meeting - Mark Lemon, the incident was recalled, when the burly, - jovial editor replied, 'My dear fellow, I am vagabondising - to-day, not _Punching_.' I don't think Mr. Caldecott rightly - appreciated that joke." - -From this date and all through the year 1871, Caldecott was at work in -Manchester and sending to London drawings, some of which have hardly -been exceeded for humour and expression in a few lines. - - - - -[Illustration: "A NEW CONTRIBUTOR."] - - - - -CHAPTER II. - -DRAWING FOR "LONDON SOCIETY." - - -It was in February 1871, in the pages of _London Society_--a magazine -which at that time included amongst its contributors J. R. Planché, -Shirley Brooks, Francis T. Palgrave, Frederick Locker, G. A. Sala, -Edmund Yates, Percy Fitzgerald, F. C. Burnand, Arthur à Beckett, Tom -Hood, Mortimer Collins, Joseph Hatton, &c.; and amongst its artists -Sir John Gilbert, Charles Keene, Linley Sambourne, G. Bowers, Mrs. -Allingham, W. Small, F. Barnard, F. W. Lawson, M.E.E., and many other -notable names--that Caldecott made his first appearance before a London -public. - -[Illustration: "EDUCATION UNDER DIFFICULTIES."] - -On November 3rd, 1870, his diary says:-- - - "Some drawings which I left with A. in London have been - shown, accompanied by a letter from Du Maurier, to a man on - _London Society_. Must wait a bit and go on - working--especially studying horses, A. said." - -From this parcel of Caldecott's drawings the present writer, being the -"man" referred to, selected a few to be engraved; the sketch of the Rt. -Hon. Robert Lowe on horseback in Hyde Park, on page 17, "Ye monthe -of Aprile" and "Education under Difficulties" being amongst the first -published. - -[Illustration: Ye monthe of Aprile.] - -[Illustration: SKETCH IN HYDE PARK--"ROTTEN ROW."] - -It was suggested to him early in 1870 that he should come to London for -a short time and make sketches in Hyde Park, and it touched -Caldecott's fancy, (as he often mentioned afterwards,) that he whose -experiences were far removed from such scenes should have been chosen -as a chronicler of "Society." The sketches were made always from his -own point of view, and some were so grotesque, and hit so hard at the -aristocracy, that they were found inappropriate to a fashionable -magazine!--one especially of Hyde Park in the afternoon, called "Sons -of Toil," had to be declined by the Editor with real regret. - -[Illustration: "A PASSING GLIMPSE OF A GENTLEMAN WHOM I TOOK TO BE THE -CHANCELLOR OF THE EXCHEQUER."] - -The packet of original sketches lies before the writer now; the pen and -ink drawing of "The Chancellor of the Exchequer" is dated June 3rd, -1870. But the best and funniest of these early works could not be -published in a magazine. - -[Illustration: "THE TROMBONE."] - -For Christmas time, 1871, Caldecott made many sketches. Two were to -illustrate a short story called "The Two Trombones," by F. Robson, the -actor. It was a ridiculous story, bordering on broad farce, depicting -the adventures of Mr. Adolphus Whiffles, a young man from the country, -who in order to get behind the scenes of a theatre undertakes to act as -a substitute for a friend as "one of the trombones," unknown to the -leader of the orchestra. His friend assures him that in a crowded -assembly "one trombone would probably make as much noise as two," and -that, if he took his place in the orchestra, he had only to "pretend to -play and all would be right." - -[Illustration: "THE TWO TROMBONES."] - -In the first sketch we see him in his bedroom contemplating the -unfamiliar instrument left by his friend; in the second he is at the -theatre at the crisis when the leader of the band calls upon him to -"play in" (as it is called) one of the performers on to the stage! Mr. -Whiffles's instructions were to keep his eyes on the other trombone -and imitate his movements exactly; but unfortunately _the other -trombone was a substitute also_. The leader looks round, and seeing the -two trombones apparently perfectly ready to begin, gives the signal, -and the curtain rises. The _dénoûment_ may be imagined! Other stories -were illustrated by Caldecott, about this period, in _London Society_; -one of Indian life, another called _Crossed in Love, &c._, but the -artist wished that some illustrations should not be reprinted. Several -drawings from _London Society_ are omitted, from the same cause. - -[Illustration: CHRISTMAS DAY, 4.30 A.M. "PLEASE, SIR, GIVE ME A -CHRISTMAS-BOX."] - -[Illustration: "CLINCHING AN ARGUMENT." SKETCH AT A "DEBATING AND -MUTUAL IMPROVEMENT SOCIETY."] - -The freshness of fancy, not to say recklessness of style, in many of -the drawings which came by post at this time--the abundance of the flow -from a stream, the course of which was not yet clearly marked--raised -embarrassing thoughts in an editor's mind. "What to do with all the -material sent?" was the question in 1871--a question which Caldecott -was soon able to answer for himself. - -[Illustration: "SNOWBALLS"] - -In 1871, many favourable notices appeared in the press referring to the -humorous illustrations in _London Society_; but the sketch of all -others which attracted attention to the work of the unknown artist was -"A Debating and Mutual Improvement Society" on page 21, a -recollection probably of some meeting or actual scene in Manchester.[1] -Here the artist was on his own ground, and the result is one of the -most rapid and spontaneous sketches in pen and ink ever achieved. It -had many of the characteristics of his later work, a lively and -searching analysis of character, without one touch of grossness or -ill-nature--fun and satire of the subtlest and the kindliest. Here was -the touch of genius unmistakable, an example of expression in line -seldom equalled. - -[Illustration: "HEIGH-HO, THE HOLLY!" - - * * * * - "That's not Rosalind: oh dear no-- - That damsel under the misletoe, - Who seems to think life jolly: - And as to the gentleman there behind, - He wouldn't have pluck to kiss Rosalind, - Can't you fancy his 'Heigh-ho, the Holly!'" - - MORTIMER COLLINS.] - -In an altogether different vein, drawing with pen, and a brush for the -tint,--the new artist tries his hand at illustrating one of Mortimer -Collins's madrigals called "Heigh-ho, the Holly!" - -Amongst the most ambitious and interesting of Caldecott's drawings at -this time were his "hunting and shooting friezes," of which several -examples will be found in the pages of _London Society_ for 1871 and -1872, drawn in outline with a pen; showing, thus early, much decorative -feeling and a liking for design in relief which never left him in after -years. - -Two of the best that he did were the hunting subjects, entitled "Going -to Cover" and "Full Cry." - -[Illustration: "GOING TO COVER."] - -"The Coming of Age of the Pride of the Family" is another example, in a -different style, of Caldecott's drawing in line at this period. It is -reproduced opposite, in exact facsimile from the pen and ink drawing in -possession of the writer. - -[Illustration: HYDE PARK--"OUT OF THE SEASON."] - -Trivial as these things may seem now, the arrival in Manchester of the -red covers of _London Society_ containing almost every month something -new by R. C., were among the events in the life of the young banker's -clerk which soon set the tide of his affairs towards London. - -[Illustration: "COMING OF AGE OF THE PRIDE OF THE FAMILY."] - -Referring to drawings made for the magazine after Midsummer 1872, when -Mrs. Ross Church succeeded to the editorship, Caldecott writes to a -friend:-- - - "Florence Marryat wants me to illustrate a novelette, very - humorous, to run through five or six numbers of _London - Society_, beginning in February. Engraved illustrations, no - 'process.' I think I shall do them, I want coin!" - -But he had soon other work in hand as will be seen in the next chapter. - -[Illustration: "THE END OF ALL THINGS."] - - - - -[Illustration: SKETCH ON A POST CARD.] - - - - -CHAPTER III. - -IN LONDON, THE HARZ MOUNTAINS, ETC. - - -Early in the year 1872 Caldecott left Manchester for London, "bearing -with him the well wishes of the Brazenose Club and of an extensive -circle of friends." This great change was not decided upon without -considerable hesitation; but, to quote again from a Manchester -letter:-- - - "Caldecott was greatly encouraged to take this step by the - sale of some small oil and water colour paintings at modest - prices, and by the acceptance of drawings by London - periodicals. The clinking of sovereigns and the rustling of - bank-notes became sounds of the past--the fainter the - pleasanter, so at least Caldecott thought at that time, with - energy, ardour, and the world before him." - -In February and March, 1872, he was still drawing for the magazines and -illustrating short stories. - -In March, 1872, he exhibited hunting sketches in oil at the Royal -Institution, Manchester. - -On the 16th April he went to the Slade School to attend the Life Class -under E. J. Poynter, R.A., until the 29th June. - -As this was the turning point in Caldecott's career, it should be -recorded that at this time, and ever afterwards, Mr. Armstrong, the -present Art Director at the South Kensington Museum, was his best -friend and counsellor.[2] He had also the advantage of the friendship -of George du Maurier, M. Dalou, the sculptor, Charles Keene, Albert -Moore, and others. - -On the 8th June he records, "A. urged me to prepare caricatures of -people well known," probably with the view of making drawings for -periodicals. - -Several drawings of Caldecott's were under consideration by the -proprietors of _Punch_, and on the 22nd June, 1872, the first appeared. - -In the same month he exhibited a frame of four small sepia drawings at -the Black and White Exhibition, Egyptian Hall, London. - -[Illustration: FIRST DRAWING IN "PUNCH," 22ND JUNE, 1872.] - -On the 28th June his diary records, "in the gallery of the House of -Commons attending the debate on the Ballot Bill;" and again on the 8th -July. On the 9th he is "engaged on chalk caricatures all day." - -A letter dated 21st July, 1872, to one of his Manchester friends is -worth having for the ludicrous sketch accompanying it. He writes:-- - - "London is of course the proper place for a young man, for - seeing the manners and customs of society, and for getting a - living in some of the less frequented grooves of human - labour, but for a residence give me a rural or marine - retreat. I sigh for some 'cool sequestered spot, the world - forgetting, by the world forgot.'" - -[Illustration: "A COOL SEQUESTERED SPOT."] - -About this time it was suggested to him to illustrate a book of summer -travel, and on the 20th August 1872 he enters in his diary:-- - -"To Rotterdam, Harzburg, &c., to join Mr. and Mrs. B. in the _Harz -Mountains_." - -[Illustration: "A TOUR IN THE TOY COUNTRY."] - -This was the first book that Caldecott illustrated;[3] the title -suggested was "_A Tour in the Toy Country_," and before leaving London -he made the drawing on the preceding page. Caldecott, being then -twenty-six, started on this journey with great readiness. The idea was -altogether delightful to him; and here, as in every country he visited -in after years, his playful fancy and facility for seizing the -grotesque side of things stood him in good stead. - -[Illustration: A MOUNTAIN "BEER GARDEN."] - -In a strange land, amidst unfamiliar scenes and faces, he roamed "fancy -free"; in a country so compact in size that the whole could be -traversed in a month's walking tour. - -With _Baedeker's Guide_ (English edition) in his pocket, and a dialogue -book of sentences in German and English, he used to delight to -interrogate the wondering natives; the necessary questions difficult to -find, and "the elaborate and quite unnecessary" (as he expressed it), -always turning up. Such little incidents gave opportunity to the -observant artist to study the faces of the listeners; the interviews -conducted slowly and gravely, and ending in a peal of laughter from the -natives. - -[Illustration: A "FRAULEIN."] - -[Illustration: A MOUNTAIN PATH.] - -Life at a German watering-place, as seen on a small scale in summer in -the Harz mountains, was Caldecott's first experience of scenes with -which his name afterwards became familiar in the pages of the _Graphic_ -newspaper. In looking at these early sketches we must bear in mind that -they were made at a time when Caldecott, as an "artist," was scarcely -two years old; that although his sense of humour was overflowing, his -hand was comparatively untrained; that with his keen eye for the -grotesque he turned his back upon much that was beautiful about him, -that his sense of the fitness of things, of the requirements of -composition and the like, were in embryo, so to speak. - -[Illustration: A WARRIOR OF SEDAN IN A BEER GARDEN AT GOSLAR, 1872.] - -Nevertheless, as indicated in the next few pages he has left us work -which, if ever a more complete life of Caldecott should be written, -would form an important chapter in his art career. - -Although little fitted for a mountaineer, he could not resist -excursions to the highest points, and with a will which surmounted all -difficulties, reached one evening the summit of the famous "Brocken." -What he saw is recorded in the sketch below. - -[Illustration: "THE ARK OF REFUGE."] - -There is a legend that when the deluge blotted out man from most parts -of the earth, the waters of the northern seas penetrated far into -Germany, and that the enormous rock which forms the top of the Brocken -formed a shelter and resting-place. - -There was no need of a romantic legend to suggest to the mind, at the -first sight of the primitive hostelry on the top of the Brocken, its -similitude to the "ark of refuge." The situation was delightful; we -were in the "toy country" without doubt. There was the identical form -of packing-case which the religious world has with one consent provided -as a plaything for children; there were Noah and his family, people -walking two and two, and horses, sheep, pigs, and goats stowed away at -the great side door. - -The resemblance was irresistible, and more attractive to Caldecott's -mind than any of the legends and mysteries with which German -imagination has peopled the district. - -[Illustration: THE DANCE OF WITCHES.] - -There is "no holding" Caldecott now; on the "Hexen Tanzplatz," the -sacred ground of Goethe's poetic fancy, within sound almost of the -songs of the spirit world that haunt this lonely summit, he sets to -work. - -[Illustration: "SPECTRES OF THE BROCKEN."] - -The dance of witches, so weird and terrible, (as lately seen on the -Lyceum stage in Henry Irving's production of _Faust_) took a different -form in the young artist's eyes, whose fancy sketch from the Hexen -Tanzplatz is reproduced opposite. He had been properly "posted," as he -expressed it, he had read all that should be read about ghosts, -witches, and spectres, and the result is before us. The last sketch -from the dreary summit, showing the patient tourists waiting to see the -view, was all we could get from him of spectres of the Brocken. - -[Illustration: A SKETCH AT SUPPER.] - -One or two sketches of the interior of his Noah's ark, when some sixty -travellers had assembled to supper, completed his subjects. - -[Illustration: "BACK TO THE VIEW."] - -It may be noted that the feeling for landscape which Caldecott -possessed in after years in such a high degree, if it touched him -here, was not recorded in pencil. The magnificent scenery eastward -through the valley of the River Bode, the grim iron foundries and ochre -mines, and the wonderful view from the heights above Blankenberg, -familiar to all travellers in the Harz, was recorded in only two -sketches; one of a roadside inn, where we were invited to stay, the -other of two tourists _en route_. - -[Illustration: THE GUIDE AT GOSLAR.] - -How, at the little wayside sheds and "drink gardens" scattered on the -mountain paths, the tourists sat persistently back to the view which -they had toiled miles to see, were depicted by the artist in pencil, -and many little incidents on the road were dotted down for future use. - -In the old tenth-century city of Goslar, Caldecott's pencil was never -at rest. Taking a guide to save time (whose portrait he gives us, with -a note of a curious sixteenth-century street door) he explores from -morning to night, choosing as subjects always "the life of the place." - -[Illustration: PROCESSION OF THE SICK.] - -"Drinking the waters at Goslar" in 1872 was a crude effort -artistically, which may be contrasted with his sketches of the same -scenes at Buxton in 1876, but the humour is irresistible. An extract -from our diaries is necessary here to explain the illustration. - - "The figures are pilgrims, that have come from far and wide - to combine the attractions of a summer holiday with the - benefits of a wonderful 'cure' for which the city is - celebrated. The promenades and walks on the ramparts lined - with trees, are going through the routine of getting up - early, taking regular exercise and drinking daily several - pints of a dark mixture having the appearance, taste, and - effect of taraxacum or senna. The bottles are supplied at - the public gardens and cafés situated at convenient - distances in the suburbs of Goslar." - -[Illustration: DRINKING THE WATERS AT GOSLAR.] - -On another day he encounters a school starting for two or three days on -the mountains, the band making hideous noises as the procession passes -out of Goslar. Everything is characteristic here and full of local -colour; the order of march, the costumes and the boots of the boys, and -the general gravity of the company are given exactly--making the usual -allowance for exaggeration. In the background is seen one of the iron -factories and an indication of a bit of Harz scenery; the sketch -recalling the incident with wonderful vraisemblance. The "School on the -March" in its humour and exaggeration may remind the reader of some -drawings by Thackeray. - -[Illustration: A GENERAL IN THE PRUSSIAN ARMY.] - -Here, as in Belgium, the harnessing of dogs to carts, drawing sometimes -two people over the rough cobble stones of Goslar, excited Caldecott's -pity and anger; he made several sketches of the animals and one -portrait of their master who had just got down to enjoy a pipe at the -corner of a street. - -[Illustration: "A SCHOOL ON THE MARCH"--HARZ MOUNTAINS, 1872.] - -Sketches at various _table d'hôtes_ in hotels, public gardens and the -like, were plentiful and perpetual. But the majority were destroyed or -put away; out of fifty only one such as "A General in the Prussian -Army" (see page 44) being selected for reproduction.[4] - -[Illustration] - -At Clausthal we joined a party to explore one of the iron mines, and -Caldecott gives a sketch of the preparations. A note from our diary -will best explain the situation. - -"In order to descend the mines at Clausthal, visitors have to divest -themselves of their ordinary costumes and put on some cast-off suits of -ill-fitting garments left at the entrance to the mine for the purpose. -As we approach the mouth of the shaft where the miners are waiting with -lanterns to commence the descent, our party,--consisting of four -Englishmen--a professor of geology, a director of mines, an editor and -an artist--present the somewhat undignified aspect in the sketch. This -change of costume is necessary on account of the wet state of the -mines, the thick caps being a protection against loose pieces of ore -and the wet earth that falls from time to time in the galleries." - -Caldecott gives the generally dismal and disreputable appearance of the -party with great verve; his own portrait is presented in a few touches -in the background, hurrying into garments much too big for him. - -[Illustration] - -On one occasion the artist takes a solitary walk between Thale and -Clausthal, a pathway lined in some parts by rows of trees with -forbidden fruit, a novel and tempting experience. There being no -mention of this route in the guide books, he writes as he says his "own -_Baedeker_" in the familiar practical manner:-- - - "I start at 3.40 P.M. from the 'Tenpounds Hotel' at Thale to - walk up the valley of the Bode, over a wooden bridge, then - through a beer garden, round a rocky corner," &c. "The way - next through woods of beech, birch and oak; a stream can be - heard but not seen. Treseburg is reached at 5.40; a prettily - situated village by the water side; homely inn, damp beds." - - "Leave Treseburg at 9.40 A.M. over a bridge on the right - bank of the Bode. Altenbrack at 10.50, Wendefurth at 11.50. - Rubeland reached at 2.30 P.M., and so on to Elbingerode, - where a halt is made for the night at the 'Blauer Engel,' a - tolerable inn. Women of burden and foresters are the only - wayfarers met with. - - "The route hence south-west over high open land with fine - views to the iron works of Rothehütte in an hour. Thence up - a hill for half an hour and through dense fir woods, then - out on the high road again, resting at the 'Brauner Hirsch' - at Braunlage. From thence over hills commanding a vast - extent of country with the familiar form of the Brocken - continually in view. The road descends by easy stages - through a district full of small reservoirs and leads the - traveller in about two hours into the wide, clean, empty - streets of Clausthal." - -On the 19th September, 1872, Caldecott is at work again in his rooms at -46, Great Russell Street (opposite the British Museum) arranging with -the writer for some of his Harz Mountain drawings to accompany an -article in the London _Graphic_ newspaper. These appeared in the autumn -of 1872. - -[Illustration: AT CLAUSTHAL.] - -On the 18th October, the following entry appears in Caldecott's diary: -"Called at _Graphic_ office, saw Mr. W. L. Thomas, who took my -address." This entry is interesting as the beginning of a long -connection with the _Graphic_ newspaper which proved mutually -advantageous. - -In November, 1872, the present writer went to America, taking a -scrap-book of proofs of the best of Caldecott's early drawings, a few -of which were published in an article on the _Harz Mountains_ in -_Harper's Monthly Magazine_ in the spring of 1873.[5] His drawings were -also shown to the conductors of the _Daily Graphic_, of New York, which -led to an engagement referred to in the next chapter. - -During the latter part of 1872 numerous small illustrations were -produced for _London Society_. - -[Illustration] - - - - -[Illustration: SKETCH IN "PUNCH," 8TH MARCH, 1873.] - - - - -CHAPTER IV. - -DRAWING FOR "THE DAILY GRAPHIC." - - -Some idea of the work on which Caldecott was engaged in 1873 and 1874, -may be gathered from extracts from his diary in those years. They are -interesting if only to show that at that early period his art studies -were varied, and that his experience was not confined to book -illustration as has generally been supposed. - -In January, 1873, he made six illustrations for _Frank Mildmay_ by -"Florence Marryatt," and on January 22nd, an "Initial for _Punch_." - -In February-- - - "Began wax-modelling for practice, hearing that my hunting - frieze (white on brown paper) had been successful in - Manchester, and that I should perhaps be asked to model some - animals for a chimney-piece." - -24th April.--"A. came to see my wax models; liked them, said I must do -something further." - -Several hunting subjects were also in progress at this time. Next are -two letters to a friend in Manchester. - - - "46, GREAT RUSSELL STREET, LONDON, W.C., - - "_March 28, 1873_. - - "MY DEAR ----,--The ancient Romans said, or ought to have - said, that ingratitude was the greatest of human crimes. - But, my dear fellow, I am not an ingrate. I have not - forgotten you--unless, as the poet sings, 'if to think of - thee by day and dream of thee by night, be forgetting thee, - thou art indeed forgot.' I did receive your last collected - joke, and a very good joke it was--for a Manchester joke. - I'm sorry that I have not power to use it, but it will keep, - although it will tread on some people's feelings when used. - The fact is that this same joke nearly brought me to an - untimely end. I went out hunting on the day I received it, - and at one fence and ditch I had quite enough to do to avoid - a rabbit-hole on the taking-off side and some barked boughs - of fallen timber on the landing side--not to mention some - low-hanging oak trees. Well, just when I was in the air I - thought of your joke and smiled all down one side; my - hunter--by King Tom, out of Blazeaway's dam, by - Boanerges--took the opportunity of stumbling, and, before an - adult with all his teeth could get as far as the third - syllable in 'Jack Robinson,' my nose was engaged in cutting - a furrow all across a fine grass field, some eight acres and - a half in extent, laid down after fine crops of seeds and - roots, and well boned last winter. However, in less than - half a minute (having retained possession of the reins), I - was again chasing the flying hounds. - -[Illustration: A CHECK.] - - "About the middle of February I went down into the country - to make some studies and sketches, and remained more than a - month. Had several smart attacks on my heart, a little - wounded once, causing that machine to go up and down like a - lamb's tail when its owner is partaking of the nourishment - provided by a bounteous Nature. Further particulars in our - next--no more paper now. I hope you and ---- are well, and - with kind regards, remain yours faithfully, - - "R. C." - -[Illustration] - - - "46, GREAT RUSSELL STREET, LONDON, W.C., - - "_April 27, 1873_. - - "MY DEAR ----,--I was delighted to receive your - letter--quite a long one for you. I hope that you had a fine - time of it at the ball. Dancing is not absolutely necessary - to a man's welfare temporally or spiritually; so if you be a - 'Wobbler,' wobble away and fear not, but see that thou - wobblest with all thy might, then shall thy zeal compensate - for lack of skill. I've nearly given up gymnastics. I only - danced twenty-one times at the last ball. - - * * * * * - - "I now find that during quadrilles my mind wanders away from - the subject before it, and I am continually reminded that I - ought to be idiotically squaring away at some one instead of - cogitating with my noble back leaning against the wall. 'Sed - tempora new potater,' &c. I hope you are all well, and with - kind regards, remain yours faithfully, - - "R. C." - -In May he is "working in clay in low relief." - -6th June.--"Began modelling mare and foal in round." - -In the latter part of June, and in July, he is "at Vienna with Mr. -Blackburn," engaged on various illustrations for the _Daily Graphic_. - -It was in the summer of 1873 that it occurred to the proprietors of the -_Daily Graphic_ (the American illustrated newspaper referred to) that -the Gulf Stream, and the strong prevailing current of wind easterly -from the continent of America in that latitude, might be turned to -profitable account for advertising purposes. They constructed a large -balloon which hung high above the houses in Broadway for some weeks, -and announced that on a certain day the _Daily Graphic_ balloon would -sail for Europe. The start was telegraphed to London and gravely -announced in the _Times_ and other London papers, and every one was on -the _qui vive_ for this new arrival in the air. - -[Illustration: "LOOKING OUT FOR THE 'GRAPHIC' BALLOON."] - -The humour and absurdity of the situation was seized at once by the -comic journals, but probably nothing that appeared at the time was more -telling than the drawing made by Caldecott at Farnham Royal for the -_Daily Graphic_, and published in New York as a page of that newspaper. - -Other drawings followed, descriptive of various scenes in London and -England, such as a special service by Cardinal Manning at the -Pro-Cathedral in Kensington; an address by Bradlaugh at the east end of -London; a London picture exhibition; hunting in a northern county, &c., -and Caldecott, to whom all this was a new experience, was pleased to -work for the American newspaper as "London artistic correspondent." - -In this capacity Caldecott went with the writer to Vienna to the -International Exhibition of 1873, and there were sent to America -various satirical sketches, accompanying letters, notably one of the -banquet held on the 4th of July, with portraits of some well-known -American citizens. One of the most successful and life-like of the -smaller sketches was a Vienna horse-car entitled--"Off to the -Exhibition," reproduced here. - -[Illustration: OFF TO THE EXHIBITION--VIENNA, 1873.] - -The experience gained in various excursions during Caldecott's -engagement with the _Daily Graphic_, was most valuable to him in after -years; although as we have elsewhere said, illustrated journalism -properly so-called, was never sympathetic to him, nor would his health -have been equal to the strain of so trying an occupation. As -_occasional_ contributor to an illustrated newspaper he was destined to -be without a rival, as the columns of the London _Graphic_ for many -years have testified. - -[Illustration: A VIENNESE DOG.] - -The humour and vivacity, the _abandon_, so to speak, exhibited in some -of these early drawings, form a delightful episode in his early art -career, and many will wonder, looking at the variety of movement and -expression (in the drawing of the overloaded car, for instance), that -the artist should have been amongst us so long without more -recognition. It is true that his drawings were uncertain, and that the -results of want of training were sometimes too palpable; that the -accusation made in 1872 that the editor of _London Society_ had chosen -"an artist who could not draw a lady," could hardly be gainsaid in -1873. - -The artistic interest in these drawings is great, if only from the fact -that they are amongst the few of his works drawn in pen and ink for -direct reproduction without the intervention of the wood-engraver. -Caldecott was one of the first to try, and to avail himself of, the -various methods of reproduction for the newspaper press; and in the -pages of the _Daily Graphic_, his facile touch and play of line was -made to appear with startling emphasis on the printed page.[6] - -But after all, the humour and drollery of Caldecott's nature appears -with more unrestrained effect in the sketches on his letters to -friends, such as are scattered through this volume; the natural awe of -publication in any form having a restraining effect. - -In July and August he is working "in the loose box at Farnham Royal," -the country cottage sketched on page 90 and referred to in the -following and other letters. - -[Illustration "HOGARTH CLUB, 84, CHARLOTTE STREET, FITZROY SQUARE, W.] - - "Dear ----,--The poet sings, 'Oh! have you seen her lately?' - to which I answer, 'Yes.' But, whether or no, I returned - to-day from a fortnight's sojourn in Buckinghamshire, and - the first thing I was going to do was to write to you and - say that I have no acquaintance with the happy medium who - resides in my very old rooms in Great Russell Street. I have - left those rooms, and am a wanderer and an Ishmaelite. I - dare not take those rooms when she leaves. I called at the - house just now and found another note from you. I had a good - look at Europe during my Vienna expedition. I was away a - month and saw many towns, and conversed with many peoples - and tongues. I could say much, but will defer till we meet - over the flowing bowl. Since I came back I have been staying - with a friend at Holborn Circus, and also with some friends - at Farnham Royal, near Slough, a lovely country place. There - I have been working off some sketches of Vienna and England - for the use of the neighbouring country of America. But I - could not help being interrupted. Fancy a being like this - bobbing about! Howsomedever, I am again in town at Bank - Chambers, Holborn Circus, E.C., where I may be consulted - daily. Please observe signature on the box, without which - none others are genuine, post free for thirteen stamps. So - you see that I have had a seven weeks' delightful mixture of - toil and pleasure, and ought now to have a bout of toil - only. There is a book waiting to be illustrated. - - "R. C." - -In the same month (August 1873), he went with a letter of introduction -to Dalou, the French sculptor, then living in Chelsea. Of this -interview he writes, "M. Dalou very kind in hints, showing me clay, -&c." A friendship followed, cemented in the first instance by a -bargain that Caldecott should come and work at the studio and teach the -sculptor to talk English, whilst Dalou helped him in his modelling! -Caldecott profited by the arrangement, and often spoke in after years -of the value of Dalou's practical teaching. Many visits were paid to -the sculptor's studio in the year 1873. - -[Illustration: EARLY DECORATIVE DESIGN, THE PROPERTY OF G. AITCHISON, -A.R.A.] - -In the intervals of work Caldecott also made life studies at the -Zoological Gardens in London, and anatomical studies of birds. - -In September he made a drawing of Mark Twain lecturing in London, for -the _Daily Graphic_, and in October records the purchase by Mr. G. -Aitchison, the architect, of a cast of his "first bas relief," a -hunting subject; also of "two brown paper pelican drawings," one -reproduced on the last page. - -In November he writes the following to a friend in Manchester:-- - - "46, GREAT RUSSELL STREET, W.C., - - "_November 16, 1873_. - - "Dear ----,--I have nothing to say to you--nothing at all. - Therefore I write. I don't like writing when I have aught to - say, because I never feel quite eloquent enough to put the - business in the proper light for all parties. Having a love - and yearning for Bowdon and Dunham, and the 'publics' which - there adjacent lie, I think of you on these calm Sunday - evenings about the hour when my errant legs used to repose - beneath the deal of the sequestered inn at Bollington. How - are you? I was pleased to see that the _Athenæum_ gave a - long space to your book, although I presume you did not care - for the way they reviewed it. That is nothing. I have been - very busy--not coining money, oh no!--but occupied, or I - should say have descended into the country, during last - month. 'Graced with some merit, and with more effrontery; - his country's pride, he went down to the country.' My summer - rambles shall be talked of, and the wonderful works in the - regions of art shall be described when next I see you. Till - then, farewell! This short letter is like a call.--Yours, R. C." - -The last entry of interest in his diary in 1873, is on December 3rd. - - "To _Graphic_ office, saw Mr. Thomas. Fixed that I should go - down to Leicestershire next week for hunting subjects." - -[Illustration: "THIS IS NOT A FIRST-CLASS COW."] - - - - -[Illustration: STUDIES FOR A LARGE DECORATIVE DESIGN, 1874.] - - - - -CHAPTER V. - -DRAWING FOR "THE PICTORIAL WORLD," ETC. - - -Let us now glance at Caldecott's diary for 1874, which, with his -letters to friends and the sketches which so often accompanied them, -give an insight into the character of his work at this time. It is -altogether an extraordinary record. - -On the 14th of January, 1874, he is "working in the afternoons, -sketching swans at Armstrong's." This was part of a large decorative -design which he afterwards assisted in painting (see illustration on -page 89). - -On the 23rd January, 1874, is an interesting note. - - "J. Cooper, engraver, came and proposed to illustrate, with - seventy or eighty sketches, Washington Irving's _Sketch - Book_. Went all through it and left me to consider. I like - the idea." - -In February he completed a drawing of the Quorn Hunt for the _Graphic_ -newspaper. - -On the 12th March, he enters in his diary, "Preparing sketch of choir -for W. Irving's _Sketch Book_;" showing that he was already at work on -the book which was to make his reputation. - -At the same time he was preparing illustrations and trying new -processes of drawing for reproduction, to aid in founding a new -newspaper. - -How far Mr. Caldecott was ready to conquer difficulties in his art, and -how heartily he aided his friends in any project with which he was -connected, are matters of history closely connected with his engagement -on the _Pictorial World_, which had a bright promise for the future in -1874. - -Some of the large illustrations were produced by Dawson's "Typographic -Etching" process. The drawings were made with a point on plates covered -with a thin coating of wax, the artist's needle, as in etching, -removing the wax and exposing the surface of the plate wherever a line -was required in relief--"a fiendish process!" as Caldecott described -it, but with which he succeeded in obtaining excellent results--better -than any artist previously. - -On the 7th of March, 1874, a new illustrated newspaper called the -_Pictorial World_ was started in London, of which the present writer -was the art editor. - -It was the time of the general election of 1874, when the defeat of Mr. -Gladstone, the question of "Home Rule," and many exciting events were -being recorded in the newspapers. Caldecott was asked to make a cartoon -of the elections, and at once sat down and made the pencil sketch -overleaf. - -For some reason this drawing was not completed; but instead, a group of -various election scenes was drawn by him and appeared in the _Pictorial -World_. - -[Illustration: THE POLLING BOOTH.] - -There were numerous sketches combined on one page, three of which are -reproduced here. The illustrations on pages 70, 72, 80, 81, 82, and -84 were drawn (generally under great pressure of time) with an -etching needle on Dawson's plates. This was the beginning of what are -now familiarly known as "process" drawings in newspapers, but the -system of photographic engraving, now largely used, was not then -perfected. In 1874 it would have been impossible to reproduce rapidly -in a newspaper, either the delicate lines of a pen and ink sketch, or -such a pencil drawing as that given above. - -[Illustration: HOME RULE--MARCH 1874. - -Facsimile of pencil sketch for the _Pictorial World_.] - -Caldecott rendered valuable assistance at this time, and the early -numbers of the paper are worth having if only for the reproduction of -his work. It is not generally known how many of the large illustrations -in the _Pictorial World_ were by his hand, or how much he was -identified with the publication in the first days of its career. - -[Illustration: "ON THE STUMP."] - -Amongst the best illustrations by Caldecott for the newspaper at that -period were sketches and studies that he had made for pictures, -selected from his studio; such for instance as "Coursing," "Somebody's -Coming," and the "Morning Walk," on pp. 75, 77, and 86. The latter -design was not drawn specially for the _Pictorial World_, but Caldecott -made a drawing of it for the paper, which appeared in the number for -18th July, 1874. - -[Illustration: THE SCOTCH ELECTIONS--"GOING TO THE HUSTINGS."] - -From a bundle of sketches (some very pretty) of subjects connected with -Saint Valentine, he made a page for the same paper. These again, may -seem small matters to record, but they are facts in the history of a -life teeming with interest, and show that Caldecott's talent as an -illustrator was revealed in 1874; that he was "invented," as the saying -is, long before the publication of Washington Irving's _Sketch Book_. - -[Illustration: PAIRING TIME] - -[Illustration: COURSING.] - -[Illustration: HER FIRST VALENTINE] - -On the 31st of October, 1874, Mr. Henry Irving made his first -appearance in London as Hamlet, one of those occasions on which the -theatre was crowded with critics and well-known personages. Caldecott, -altogether inexperienced in such work, made several rough sketches, -seizing the grotesque side "as far as he dared" as he said. - -[Illustration: A VALENTINE.] - -The trying nature of that performance, and the flitting about on the -stage of the nervous anxious figure, with the ever-present white -pocket-handkerchief in his belt--will be remembered by many. Caldecott -made the best sketch that he could from the left side of the -dress-circle, the only position in the house that could be obtained for -him. - -[Illustration: "SOMEBODY'S COMING!"] - -[Illustration: I WONDER WHO SENT ME THESE FLOWERS] - -[Illustration: "THE YOUNG HAMLET."] - -In company with the writer, Caldecott made various sketches in the -House of Commons, the Law Courts, the theatres, and the like. The first -three sketches of the House of Commons--one showing "The Arrival of the -New Members," another, "The Speaker going up to the Lords," and a -third, "At the Bar of the House of Lords"--were amongst the funniest of -the series. Others followed from week to week, such as "The new Prime -Minister," on page 83. On one occasion he went down to Westminster -Hall to see the Rt. Hon. Benjamin D'Israeli enter the House of -Commons as the _new prime minister_, and to a large illustration -showing the north door of Westminster Hall (the architecture drawn by -Mr. Jellicoe), he added the figures, a grotesque group of bystanders, -presumably Conservatives, welcoming their new representative. (See the -_Pictorial World_, March 7th, 1874.) - -[Illustration: HOUSE OF COMMONS, MARCH 1874--ARRIVAL OF NEW MEMBERS.] - -[Illustration: "THE SPEAKER GOING UP TO THE LORDS."] - -[Illustration: "AT THE BAR OF THE HOUSE OF LORDS."] - -It was an exciting time politically and socially, and many events of -interest had to be recorded. Amongst them the conclusion, amidst -general rejoicing, of the great Tichborne Trial on March 2nd, 1874, a -trial which had lasted 188 days. This was an opportunity for the -artist. Caldecott's original sketch of this subject, if it is in -existence, should be treasured; some idea of the humour of it may be -gathered from the drawing overleaf which was crowded into the corner of -the newspaper. He also made a highly grotesque and artistic model in -terra-cotta of the Tichborne Trial, now in the possession of Mr. -Stanley Baldwin of Manchester. - -[Illustration: "THE NEW PRIME MINISTER."] - -About this time, Caldecott went to the "farewell benefit" of the late -Benjamin Webster and sketched the actor--surrounded by members of his -company--making his final bow to the public. - -[Illustration: THE TICHBORNE TRIAL--"BREAKING-UP DAY."] - -On the eighteenth birthday, the "coming of age," of the late Prince -Imperial of France, Caldecott went to Chislehurst. The drawing of the -crowd on the lawn of Camden House in a state of general -congratulation, the ceremony of presentation of enormous bouquets of -violets and the like; of Frenchmen and their wives, of diplomatists, -and others, will be found in the _Pictorial World_ for March 21st, -1874. - -Here was a comparatively unknown artist at work, revealing talent which -in after years would delight the world. - -But fortunately for his health and peace of mind, and also for his -future career, the young artist, who two years before had given up a -clerkship in a Manchester bank (a "certainty" of more than £100 a -year), was advised to refuse an engagement on the _Pictorial World_ of -£10 10_s._ a week, which, had it been carried out, would have done much -to raise the fortunes of that newspaper. - -But the rush and hurry of journalistic work was distasteful to him; he -had many commissions at this time, work of a better kind, requiring -quiet and study. He was willing, and wishing always, to aid his -friends, and so for some time he kept up a connection with the paper -and made sketches on special occasions. - -[Illustration: THE MORNING WALK.] - -His health was delicate, but he was not suffering as in later years; -his spirits were overflowing, and his kindliness and personal charm had -made him friends everywhere. - -On the 10th of April he enters in his diary--"At Armstrong's all day. -Began to paint pigeons on canvas panel. Looking at pigeons in British -Museum quadrangle;" and on the 11th again, "painting pigeons." - -On the 15th of April he is "making a drawing of storks, &c.," and on -the 17th, 21st, and 22nd, "painting swans at Armstrong's all day." - -On the 23rd of April he enters: "Bas-relief hunting scene going on," -and on 24th, "painting storks and pigeons," and on 28th, "swans." - -The painting of swans, storks, and pigeons, referred to above, was very -important work for Caldecott. In conjunction with his friend Mr. -Armstrong, he painted the birds in two panels, one of swans (reproduced -overleaf), and one of a stork and magpie. These panels were about six -feet high, and form part of a series of decorations in the dining-room -of Mr. Henry Renshawe's house at Bank Hall, near Buxton, Derbyshire. - -The series of decorative paintings (by Thomas Armstrong) which included -these panels, was exhibited at Mr. Deschamps' Gallery in New Bond -Street in 1874, and attracted much attention at the time. The birds -showed to great advantage, and will remain in the memory of many as -amongst the most vigorous and effective of Caldecott's paintings in -oils. They showed, thus early, a mastery of bird form and a power in -reserve of an unusual kind. - -"I have paid a little attention to decorative art," he writes to a -friend at this time; besides being "at work on the _Sketch Book_," the -results of which will be seen in the next chapter. - -[Illustration: DECORATIVE PAINTING FOR A DINING-ROOM.] - -[Illustration: "THE COTTAGE," FARNHAM ROYAL.] - - - - -CHAPTER VI. - -FARNHAM ROYAL, BUCKS. - - -During the summers of 1872, 1873, and 1874, Caldecott stayed often at a -cottage belonging to the writer, three miles north of Slough, in -Buckinghamshire, in the picturesque neighbourhood of Stoke Pogis and -Burnham Beeches. - -A "loose box" adjoining the stable--a few yards to the right of the -little verandah in the above sketch--had been fitted up for him by -friendly hands; and it was here in this temporary studio, in the quiet -of the country, looking out on woods and fields, that he made many of -the drawings for _Old Christmas_. - -Several entries in Caldecott's diary in 1874 mention that in June and -July he was "working in the 'loose box' at Farnham Royal, on the -_Sketch Book_." - -Those were happy, irresponsible days, before great success had tempered -his style, or brought with it many cares. Take the following letter -(one of many) written in the full enjoyment of the change from lodgings -in London:-- - -[Illustration: The Cottage. Farnham Royal. in Slough. 26 June 1874.] - - "We are passing a calm and peaceful existence here and were - therefore somewhat startled the other day, when Sharp asked - for the cart and donkey to take to the common for the - purpose of bringing us a few Sultanas. We stroked our - beards, but as Sharp seemed bent upon the affair reluctantly - consented." - -[The boy Sharp attended to the wants of Caldecott and his friend L., -and wanted to make a pudding. The end of the letter is reproduced in -facsimile.] - -[Illustration] - -[Illustration: THE PADDOCK, FARNHAM ROYAL.] - -The illustration on the last page is a copy of a water-colour sketch -made from "the loose box" at Farnham Royal. It depicts the arrival of a -pony at the cottage and consequent disgust of the donkey at the -intrusion. The old man--who combined the various offices of gardener, -groom, and parish clerk--stood unconsciously as a model for several -drawings in _Old Christmas_. - -From Farnham Royal he writes at another time to a friend:-- - - "We are fast drifting into a vortex of dissipation--eddying - round a whirlpool of gaiety; but I hope that through all, - our heads will keep clear enough to guide the helms of our - hearts." - -About this time it was suggested to Caldecott to make studies of -animals and birds, with a view to an illustrated edition of _Æsop's -Fables_, a work for which his talents seemed eminently fitted. The idea -was put aside from press of work, and when finally brought out in 1883 -was not the success that had been anticipated. This was principally -owing to the plan of the book. - -[Illustration: "STUDYING FROM NATURE."] - -As Caldecott's _Æsop_ was often talked over with the writer in early -days, a few words may be appropriate here. Caldecott yielded to a -suggestion of Mr. J. D. Cooper, the engraver, to attach to each fable -what were to be styled "Modern Instances," consisting of scenes, social -or political, as an "application." Humorous as these were, in the -artist's best vein of satire, the combination was felt to be an -artistic mistake. That Caldecott was aware of this, almost from the -first, is evident from a few words in a letter to an intimate friend -where he says:-- - - "Do not expect much from this book. When I see proofs of it - I wonder and regret that I did not approach the subject more - seriously." - -Circumstances of health also in later years interfered with the -completion of what might have been his _chef d'oeuvre_. - -[Illustration] - -In the following letter to a friend in Manchester (headed with the -above sketch) he refers modestly to his drawings for _Old Christmas_, -on which he was now busily engaged. - -[Illustration: ART IS LONG, LIFE IS SHORT.] - - "My dear ----,--It is so long since I have heard from you - that I have concluded that you must be very flourishing in - every way. No news being good news, and no news lasting for - so long a time, you must have a quiver full of good things. - How is ----? The woods of Dunham? The gaol of - Knutsford?--the vale of Knutsford, I mean. A fortnight ago, - when all the ability were leaving town, I returned from a - six weeks' pleasant sojourn in Bucks, at Farnham Royal. I - was hard at work all the time, for I have been very much - occupied of late, you will be glad to hear, I know. In - process of time, and if successful, I will tell you upon - what. I wish I had had a severe training for my present - profession. Eating my dinners, so to speak. I have now got a - workshop, and I sometimes wish that I was a workman. Art is - long: life isn't. Perhaps you are now careering round - Schleswig or some other-where for a summer holiday. I shall - probably go to France next month for a business and pleasure - excursion. Let me hear from you about things in general or - in particular--a line, a word will be welcome. I hope you - are all well; and with kind regards remain - - "Yours faithfully, - - "R. C." - -It is clear from the above letter that Caldecott was conscious of the -great change that was coming in his work in 1874. The suggestions of -his friends that he should draw continually from familiar objects, and -the hints he received from time to time that he "could not draw a -lady," are ludicrously illustrated in two sketches to a Manchester -friend who watched the progress of the artist with lively interest. - -[Illustration: "DRAWING FROM FAMILIAR OBJECTS."] - -[Illustration: "COULD NOT DRAW A LADY!"] - -But in spite of his moving laughter, the period referred to in this -chapter was the most serious and eventful in Caldecott's career; when -a sense of beauty and fitness in design seemed to have been revealed to -him, as it were, in a vision, and when his serious studies seemed to be -bearing fruit for the first time; when he felt, as he never felt -before, the responsibilities of his art and the want of severe training -for his profession. Then--but not till then--did the lines of _Punch_ -"On the late Randolph Caldecott," written in February 1886, apply -exactly:-- - - "Sure never pencil steeped in mirth - So closely kept to grace and beauty." - * * * * * - - - - -[Illustration] - - - - -CHAPTER VII. - -"OLD CHRISTMAS." - - -The "new departure" which Caldecott made in the summer of 1874 will be -seen clearly marked in the next few pages, where, with the permission -of the publishers, we have reproduced some characteristic drawings from -_Old Christmas_. - - "There was issued in 1876 by the Messrs. Macmillan" (writes - Mr. William Clough, an old and intimate friend of Caldecott) - "a book with illustrations that forcibly drew attention to - the advent of a new exponent of the pictorial art. These - pictures were of so entirely new a nature, and gave such a - meaning and emphasis to the text, as to stir even callous - bosoms by the graceful and pure creations of the artist's - genius. Washington Irving's _Old Christmas_ was made alive - for us by a new interpreter, who brought grace of drawing - with a dainty inventive genius to the delineation of English - life in the last century." - -It is not generally known that the drawings for _Old Christmas_, one -hundred and twelve in number, were all made in 1874; and there is a -marked alteration in style during the progress of this book, such as, -for example, between the drawing of "The Village Choir" (commenced in -March 1874), and the portrait of "Master Simon," placed opposite to -each other on pages 96 and 97 of the first edition of _Old Christmas_. - -The humour is more robust, but never in after-work was more delightful, -than in his rendering of the typical stage coachman. Until these -illustrations came it had been said that Washington Irving's coachman -stood out as a unique and matchless description of a character that has -passed away. - - "In the course of a December tour in Yorkshire," writes - Washington Irving, "I rode for a long distance on one of the - public coaches on the day preceding Christmas." - - Three schoolboys were amongst his fellow-passengers. "They - were under the particular guardianship of the coachman to - whom, whenever an opportunity presented, they addressed a - host of questions, and pronounced him one of the best - fellows in the world. Indeed I could not but notice the more - than ordinary air of bustle and importance of the coachman, - who wore his hat a little on one side and had a large bunch - of Christmas green stuck in the button-hole of his coat. - - "Wherever an English stage coachman may be seen he cannot be - mistaken for one of any other craft or mystery. He has - commonly a broad full face, curiously mottled with red, as - if the blood had been forced by hard feeding into every - vessel of the skin; he is swelled into jolly dimensions by - frequent potations of malt liquors, and his bulk is still - further increased by a multiplicity of coats in which he is - buried like a cauliflower, the upper one reaching to his - heels. He wears a broad-brimmed low-crowned hat; a huge roll - of coloured handkerchief about his neck, knowingly knotted - and tucked in at the bosom, and has in summer-time a large - bouquet of flowers in his button-hole, the present most - probably of some enamoured country lass. His waistcoat is - commonly of some bright colour, striped; and his small - clothes extend far below the knees to meet a pair of - jockey-boots which reach about halfway up his legs. - -[Illustration: THE STAGE COACHMAN.] - - "All this costume is maintained with much precision; he has - a pride in having his clothes of excellent materials; and - notwithstanding the seeming grossness of his appearance, - there is still discernible that neatness and propriety of - person which is almost inherent in an Englishman. He enjoys - great consequence and consideration along the road; has - frequent conferences with the village housewives, who look - upon him as a man of great trust and dependence; and he - seems to have a good understanding with every bright-eyed - lass. The moment he arrives he throws down the reins with - something of an air, and abandons the cattle to the care of - the ostler; his duty being merely to drive from one stage to - another. When off the box his hands are thrust in the - pockets of his greatcoat, and he rolls about the inn yard - with an air of the most absolute lordliness. Here he is - generally surrounded by an admiring throng of ostlers, - stable-boys, shoe-blacks, and those nameless hangers-on that - infest inns and taverns and run errands. Every ragamuffin - that has a coat to his back thrusts his hands in his - pockets, rolls in his gait, talks slang, and is an embryo - 'coachey.'" - -[Illustration: IN THE STABLE YARD.] - -Surely it has seldom happened in the history of illustration that an -author should be so very closely followed--if not overtaken--by his -illustrator. No literary touch seemed to be wanting from the author to -convey a picture of English life and character passed away; but -Caldecott's coachman helps to elucidate the text; and whilst it carried -to many a reader of _Old Christmas_ in the New World a living portrait -of a past age, it revealed also the presence of a new illustrator. - -Here was a reproachful lesson. The art of illustration--an art untaught -in England and unconsidered by too many--was shown in all its strength -and usefulness by a comparatively new hand. - -Of the numerous illustrations drawn by Caldecott in 1874 for _Old -Christmas_, we may select as examples the young Oxonian leading out one -of his maiden aunts at a dance on Christmas Eve; and "the fair Julia" -in the intervals of dancing listening with apparent indifference to a -song from her admirer; amusing herself the while by plucking to pieces -a choice bouquet of hothouse flowers. - -[Illustration: THE TROUBADOUR.] - -[Illustration: THE FAIR JULIA.] - -The style and treatment of the drawing, on the opposite page, differs -from anything previously done by Caldecott, and would hardly have been -recognised as his work; the handling is less firm, and colour and -quality have been more considered in deference to what was considered -the public taste in such matters. But in a few pages he emancipates -himself again, and gives us some brilliant character sketches. In the -last example from _Old Christmas_ he is in his element. Nothing could -be more characteristic, or in touch with the period illustrated, than -the picture of Frank Bracebridge, Master Simon, and the author of _Old -Christmas_, walking about the grounds of the family mansion "escorted -by a number of gentleman-like dogs, from the frisking spaniel to the -steady old staghound. The dogs were all obedient to a dog-whistle which -hung to Master Simon's button-hole, and in the midst of the gambols -would glance an eye occasionally upon a small switch he carried in his -hand."[7] Thus the minute observation of the writer is closely followed -by the illustrator, who here from his own habit of close observation of -the ways of animals, was enabled to give additional completeness to the -picture; and the effect was greatly heightened by a wise determination -on the part of Mr. Cooper the engraver, that the illustrations should -be "so mingled with the text that both united should form one picture." -This book was engraved at leisure, and not published until the end of -1875, by Messrs. Macmillan & Co., bearing date 1876. - -[Illustration: MASTER SIMON AND HIS DOGS.] - -It is interesting to note that _Old Christmas_ was offered to, and -declined by, one of the leading publishers in London; principally on -the ground that the illustrations were considered "inartistic, -flippant and vulgar, and unworthy of the author of _Old Christmas_"! It -was not until 1876 that the world discovered a new genius. - -During the progress of the drawings for _Old Christmas_ in 1874, -Caldecott went with the writer to Brittany to make sketches for a new -book; but the publication was postponed until after a more extended -tour in 1878. - -These summer wanderings of Caldecott in Brittany were prolific of work; -his pencil and notebook were never at rest, as the pages of _Breton -Folk_ testify (see Chapter xi.). The drawings, both in 1874 and -in 1878, mark a strong artistic advance upon similar work in the Harz -Mountains. His feeling for the sentiment and beauty of landscape, -especially the open land,--generally absent from the sketches in the -Harz Mountains,--is noticeable here. The statuesque grace of the -younger women, the picturesqueness of costume, operations of husbandry, -outdoor _fêtes_ and the like, and the open air effect of nearly every -group of figures seen in these summer journeys--all came as delightful -material for his pencil. - -Caldecott's studies with M. Dalou, the sculptor, in 1874, and the great -proficiency he had already obtained in modelling in clay, enabled him -to make several successful groups from his Brittany subjects. - -[Illustration: ON THE ROAD SIDE, BRITTANY.] - -The bright-eyed stolid child in sabots at the roadside (one of the -first of the quaint little figures that attracted his attention in -Brittany) stands on the writer's table in concrete presentment in -clay; the model is not much larger than the sketch--the front, the -profile, and the back view, each forming a separate and faithful study -from life. - -The young mother and child in the cathedral at Guingamp (reproduced -opposite) was another successful effort in modelling, but Caldecott was -not satisfied with it excepting as a rough sketch--"a recollection in -clay." - -It is interesting here to note the handling of the artist in his -favourite material, French clay. The model stands but six inches high, -but it was intended to have reproduced it larger. Another sketch in the -round was of "a pig of Brittany," reproduced on page 194. - - "Save up," he writes about this time to a friend in - Manchester, "and be an art patron; you will soon be able to - buy some interesting terra cottas by R. C.!" - -This was a heavy year, for many illustrations were produced not -mentioned in these pages; and in October he was busy on the wax -bas-relief of a "Brittany horse fair," afterwards cast in metal and -exhibited in the Royal Academy in 1876 (see page 137). - -[Illustration: AT GUINGAMP, BRITTANY. - -Facsimile of Model in Terra Cotta, 1874.] - -[Illustration: TO M. H.--CHRISTMAS, 1874.] - -On the 19th of November and following days Caldecott was "working at -Dalou's on a cat crouching for a spring." He had a skeleton of a cat, a -dead cat, and a live cat to work from. This model in clay was finished -on the 8th December, 1874. - -Christmas Eve was spent "in the caverns of the British Museum making a -drawing, and measuring skeleton of a white stork." This was a most -elaborate and careful record of measurements. On the 28th of December -he was "engaged on brown paper cartoon of storks at Armstrong's," and -on the 30th is the entry,--"at British Museum; had storks out of cases -to examine insertion of wing feathers." - -Thus, all through the year 1874 Caldecott, working without much -recognition excepting from a few intimates, got through an immense -amount of work; not forgetting his friends the children, to whom he -sent many Christmas greetings with letters and coloured sketches. The -drawing on the opposite page accompanied a kindly letter to a child of -six years. - -"I thank you," he says, "very much for your grand sheet of drawings, -which I think are very nice indeed. I hope you will go on trying and -learning to draw. There are many beautiful things waiting to be drawn. -Animals and flowers oh! such a many--and a few people." - -The last sketch in 1874--a postscript to a private letter--tells its -own story. - -[Illustration] - - - - -[Illustration] - - - - -CHAPTER VIII. - -LETTERS, DIAGRAMS, ETC. - - -In a letter to a friend in Manchester, on the 17th January, 1875, -Caldecott writes:-- - - "I stick pretty close to business, pretty much in that - admirable and attentive manner which was the delight, the - pride, the exultation of the great chiefs who strode it - through the Manchester banking halls. Yes, I have not - forsaken those gay--though perhaps, to the heart yearning to - be fetterless, irksome--scenes without finding that the - world ever requires toil from those sons of labour who would - be successful. - - "However, during the last year I managed to do a lot of work - away from town, and enjoyed it. Sometimes it was expensive, - because when at the cottage in Bucks, we of course mixed - with the county families and had to 'keep a carriage' to - return calls, return from dinner, and so forth." - -[Illustration: AT FARNHAM ROYAL--RETURNING VISITS.] - - Here is "a meditation for the New Year"-- - - "You will excuse me," he says, "talking of myself when I - tell you that amongst the resolutions for the New Year was - one only to talk of matters about which there was a - reasonable probability that I knew something. Now human - beings are a mystery to me, and taking them all round I - think we may consider them a failure. If I do not understand - anything that belongs to myself, how can I understand what - belongeth to another? This, my dear W., with your clear - intellect, you will see is sound. - - "I often think of the scenes and faces and jokes of banking - days, and have amongst them many pleasant reminiscences. - Perhaps we shall all meet again in that land which lies - round the corner!" - - [Here follows a grotesque sketch of a man on a winter's day, - with an umbrella, hurrying off to the "Nag and Nosebag."] - -At the beginning of 1875, in the intervals of book illustration, -Caldecott was busy "working on a cartoon of storks." This was a design -for a picture in oils, painted in March and afterwards bought by Mr. F. -Pennington, late M. P. for Stockport. - -[Illustration: SUNRISE.] - -On the 7th of January he enters in his diary, "Painted some storks on -the wing for a panel for a wardrobe." The rendering of dawn on the -upmost clouds, the storks rising from the dark earth to greet the sun, -can hardly be indicated without colour, but the design is given -accurately. It was a poetic fancy which he had had in his mind for some -time; one of many half developed designs which, if his health had -permitted, the world might have seen more of. - -[Illustration: STUDY IN LINE.] - -On the 25th of January he "made a dry point sketch of a Quimperlé -Brittany woman," and in February he was busy modelling as usual. - -On the 5th of February, "took to Lucchesi (moulder) wax bas-relief of -horse fair, and small 'sketch of brewers' waggon." - -[Illustration: STUDY IN LINE.] - -The advance of the art of reproducing drawings in facsimile in a cheap -form, suitable for printing at the type press like wood engravings, was -attracting much attention in England in 1875, and at the writer's -request Caldecott made a series of diagrams suggestive of the power of -line and of effects to be obtained by simple methods, to illustrate a -paper read before the Society of Arts in London in March, 1875, on "The -Art of Illustration." - -[Illustration: DIAGRAM. DESIGN FOR A PICTURE, 1875.] - -With his usual kindness and enthusiasm he put aside his work--some -modelling in clay which he had been studying under his friend M. Dalou, -the French sculptor--and at once began a diagram, about seven feet by -five feet, to suggest a picture in the simplest way. Without much -consideration, without models, and in the limited area of his little -studio in Great Russell Street, Bloomsbury, he set to work with a brush -on the broad white sheet, and in about an hour produced the drawing in -line of "Youth and Age" on the last page. - -[Illustration: DIAGRAM.] - -The horses were not quite satisfactory to himself; but the sentiment of -the picture, the open air effect of early spring, the crisp grass, the -birds' nests forming in the almost leafless trees, the effect of -distance indicated in a few lines--and above all, the feeling of sky -produced by the _untouched_ background--were skilfully suggested in the -large diagram. - -[Illustration: DIAGRAM. "THE LECTURER."] - -On other occasions, and for the same lecture, he made several other -diagrams, including one of the pursuit of a dog in a village, another -of a lecturer and various heads in an audience. The reproductions are -interesting to examine together as early work in a style in which he -afterwards was famous--a style, which was _not outline_ in the strict -sense of the word, and which to a great extent was his own. It had -little in common with Flaxman, it was not in the manner of Gillray, -Cruikshank, Doyle, or Leech; nor in the more academic manner of his -friend--and predecessor in children's books--Walter Crane. - -[Illustration: DIAGRAM.] - -To these somewhat tentative drawings he afterwards added to the series -a diagram, six feet high, of the famous mad dog from one of his Picture -Books, and another of the figure of a child running, reproduced above. - -The discovery of a process by which a drawing on paper in line, could -be photographed and brought into relief, like a wood-block for printing -at the type press, was not perfected in England until 1875, and did not -come into general use until 1876; had it come a year or two earlier it -would have had an important influence upon Caldecott's work. - -[Illustration: DIAGRAM.] - -Without going too far into technicalities, it may be interesting to -illustrators to mention here that all Caldecott's best drawings in his -Picture Books, _John Gilpin_, _The House that Jack Built_, &c.; in the -_Graphic_ newspaper, and in Washington Irving's _Old Christmas_, &c., -were photographed on to wood-blocks and have passed through the hands -of the engraver. - -The system of photographic engraving (by which the drawings are -reproduced on pp. 124 and 125) bids fair to supersede wood-engraving -for rapid journalistic purposes. It naturally attracted Caldecott in -the first instance; but with increased knowledge and perception of -"values," and of the quality to be obtained in a good wood-engraving -above any mechanical reproduction in relief, Caldecott was glad to -avail himself of the help of the engraver. He drew with greater -freedom, as he expressed it, preferring, as so many illustrators do, to -put in tints with a brush, to be rendered in line by skilful engravers. -But at the same time he delighted in shewing the _power of line_ in -drawing, studying "the art of leaving out as a science"; doing nothing -hastily but thinking long and seriously before putting pen to paper, -remembering, as he always said, "the fewer the lines, the less error -committed." - -In the spring of 1875 he sends this lively picture of himself from -Dodington, near Whitchurch, in Shropshire, where he had been working, -staying with friends, in the full enjoyment of country life. - -[Illustration] - -Writing on the 27th of April, 1875, he says:-- - - "I feel I owe somebody an apology for staying in the country - so long, but don't quite see to whom it is due, so I shall - stay two or three days longer, and then I shall indeed hang - my harp on a willow tree. It is difficult to screw up the - proper amount of courage for leaving the lambkins, the - piglets, the foals, the goslings, the calves, and the - puppies. We want rain, and then things will grow with - exceeding speed; as it is, the earth is dry and the buds are - slow to display their hidden beauties. A little of 'something - to drink' will cheer them, and then, like some human beings, - they will look pleasant and cheerful and 'come out.'" - -Next, from a letter to an intimate friend, dated 5th March, 1875, on -being asked to become a trustee:-- - - "The event is of a pleasing nature because it shows that - somebody still believes in the continuance of that - uprightness of principle, rectitude of conduct, and general - respectability of mind and heart which for so many years - endeared me to the nobility, clergy, gentry, gasmen, and - fowl stealers of W----." - -Life in the country with Caldecott was "worth living," and he chafed -much at this period if he had to be with his "nose to the grindstone," -as he expressed it, in Bloomsbury. Whilst in the country his letters -to town were full of sketches, but in letters from London he hardly -ever pictured life out of doors. - -[Illustration: "SHOWS HIS TERRA COTTAS."] - -In June 1875, he shows the bas-relief of "A Boar Hunt," and some small -groups in terra cotta, to his friends.[8] - -Before the favourable verdict of the press was pronounced on _Old -Christmas_, Caldecott was commissioned to illustrate a second volume; -and, in May 1875, he was already at work making studies and drawings -for _Bracebridge Hall_, which did not appear until the end of 1876. - -About this time the first number of _Academy Notes_ was published, and -in a postscript to a letter to the writer (of too private a nature to -be printed) Caldecott pictures its "first appearance in a family -circle." - -[Illustration: THE FIRST YEAR OF ACADEMY NOTES.] - -In June 1875, Caldecott had "three drawings in sepia, badly hung, in -the 'black and white' exhibition at the Dudley Gallery." - -On the 4th of August he was "making designs for pelican picture;" and -afterwards studying this subject at the Zoological Gardens. Two -pictures of pelicans were eventually painted; the second, in the -possession of Mr. W. Phipson Beale, is sketched below. - -[Illustration: THREE PELICANS AND TORTOISE (OIL PAINTING).] - -Writing on the 10th August, 1875, respecting some Cretan embroideries -just arrived in England, he sends the sketch overleaf. - -"In accordance with your letter about the embroideries," he says, "I -have placed the address of the importer in the hands of Mr. N., a man -well-skilled in detecting that which is good in a crowd of works of -art. He is great in pottery, embroidery and decoration; but he has a -mind great in forgetting, and a fine talent for losing addresses." - -[Illustration: INSPECTING EMBROIDERIES.] - -[Illustration] - -In October, whilst at the seaside, he "made six drawings;" and, later -in the year, was "modelling panels for Lord Monteagle's chimney-piece." - -In November 1875 he received the first copy of _Old Christmas_ from the -publishers, and already favourable notices of the illustrations had -begun to appear in the newspapers. - -[Illustration: A CHRISTMAS CARD TO K. E. B.] - - - - -[Illustration: READING "OPINIONS OF THE PRESS" ON "OLD CHRISTMAS."] - - - - -CHAPTER IX. - -ROYAL ACADEMY, "BRACEBRIDGE HALL," ETC. - - -The "opinions of the press" on Washington Irving's _Old Christmas_, -which Mr. J. D. Cooper, the wood engraver, is depicted reading to the -artist with so much glee, were all that could be desired; and they -fully justified the second venture (_Bracebridge Hall_), on which -Caldecott was already engaged. - -In February he was "painting a frieze for Mr. Pennington's drawing -room" at Broome Hall, Holmwood, Sussex; and, later on, was "carving -panels for a chimneypiece." - -In this year, 1876, Caldecott exhibited his first painting in the Royal -Academy, entitled, "There were Three Ravens sat on a Tree." The humour -and vigour of the composition are well indicated in the sketch. It was -hung rather out of sight, above (and in somewhat grim proximity with) a -picture of "At Death's Door," by Hubert Herkomer. Both artists were -then thirty years of age. - -[Illustration: "THERE WERE THREE RAVENS SAT ON A TREE." - -(Oil Painting) Royal Academy, 1876. - -Cat. No. 415. 49 × 32.] - -In the same room (Gallery V.) were collected that year, the works of -painters whose names are familiar--W. B. Richmond, A. Gow, H. R. -Robertson, E. H. Fahey, W. W. Ouless, Val C. Prinsep, Henry Moore, and -others. - -[Illustration: "PRIVATE VIEW OF MY FIRST R.A. PICTURE," APRIL 1876.] - -Besides "The Three Ravens" he exhibited in 1876 the metal bas-relief of -a "Horse Fair in Brittany," reproduced opposite. This was a more -masterful production than the picture, and attracted great attention in -the Royal Academy Exhibition. It was mentioned in the _Times_ of that -year, and in the _Saturday Review_, June 10th, 1876, we read:-- - - "Of low relief--taking the Elgin frieze as the standard--one - of the purest examples we have seen for many a day is Mr. - Caldecott's bas-relief, 'A Horse Fair in Brittany.' Here a - simple and almost rude incident in nature has been brought - within the laws and symmetry of art." - -[Illustration: "A HORSE FAIR IN BRITTANY." - -Metal bas-relief exhibited in the Royal Academy, 1876. - -Cat. No. 1499. Size 14 × 5-1/2 in.] - -In 1876 Caldecott also produced a relief in metal of "A Boar Hunt," -which was exhibited in the Grosvenor Gallery in 1878. - -To the world at large and in the opinion of many critics, there was, in -his Academy work of 1876, promise of an exceptionally successful -career. Decorative design and modelling in relief were Caldecott's -especial forte, and it is to be regretted that so few of these works -remain to us. "The Horse Fair in Brittany," in the possession of the -writer, is one of the few completed works of this character. He was not -destined to be a prolific painter, although strongly urged at this time -by members of the Royal Academy to devote his energies to painting. -Neither his health nor his previous training justified his leaving a -branch of art in which he was already becoming famous, that of book -illustration. - -In 1876 the system of reproducing sketches in pen and ink by -photo-engraving became general in England, and in the pages of _Academy -Notes_ of that year there appeared, for the first time, sketches by the -painters of their exhibited works. - -Amongst well-known artists--who powerfully aided in founding a system -of illustration which was destined to spread over the world--were Sir -John Gilbert, R.A., H. Stacy Marks, R.A., Marcus Stone, A.R.A., and, -the comparatively young, Randolph Caldecott. The three first-named are -masters in line each in his own style, and their methods were studied -and imitated by many other painters in England to whom line drawing was -then a sealed book. Several sketches of pictures in the _Academy -Notes_, 1876, were drawn by Caldecott, including the portrait of -Captain Burton, painted by Sir Frederick Leighton, P. R. A. - -[Illustration: CAPTAIN BURTON, R.A., 1876.] - -In June he made a series of illustrations, entitled "Christmas -Visitors," for the _Graphic_ newspaper; and about this time the -drawings for _Bracebridge Hall_ were finished. - -[Illustration: FACSIMILE OF FIRST PAGE OF "BRACEBRIDGE HALL."] - -[Illustration: "THE CHIVALRY OF THE HALL PREPARED TO TAKE THE FIELD"] - -In _Bracebridge Hall_ we meet the fair Julia again in one of the most -graceful illustrations Caldecott ever drew. An extract from the text is -necessary to show the subtle touch of the illustrator. - - "I have derived much pleasure," says Washington Irving, - "from observing the fair Julia and her lover.... I observed - them yesterday in the garden advancing along one of the - retired walks. The sun was shining with delicious warmth, - making great masses of bright verdure and deep blue shade. - The cuckoo, that harbinger of spring, was faintly heard from - a distance; the thrush piped from the hawthorn, and the - yellow butterflies sported, and toyed and coquetted in the - air. - - "The fair Julia was leaning on her lover's arm, listening to - his conversation with her eyes cast down, a soft blush on - her cheek and a quiet smile on her lips, while in the hand - which hung negligently by her side was a bunch of flowers. - In this way they were sauntering slowly along, and when I - considered them, and the scenery in which they were moving, - I could not but think it a thousand pities that the season - should ever change or that young people should ever grow - older, or that blossoms should give way to fruit or that - lovers should ever get married." The harmony here between - author and illustrator needs no comment. - -[Illustration: THE FAIR JULIA AND HER LOVER] - -There were 120 drawings made for _Bracebridge Hall_, remarkable for -artistic qualities and fully sustaining the reputation of the artist. - -The originals were drawn about one third larger, in pen and ink, -photographed on wood and engraved in facsimile. The effect of many of -the drawings in the first editions was injured by the want of margin on -the printed page; but an _édition de luxe_ is now printed with _Old -Christmas_ and _Bracebridge Hall_ in one volume. - -[Illustration: "GENERAL HARBOTTLE AT DINNER."] - -As it is the object of this memoir to record facts--and as the -originator of good ideas is seldom recognised--it should be stated -here that it is owing to Mr. Cooper, the engraver, that Washington -Irving's books were ever illustrated by Caldecott. The idea, he says in -the preface, "has been delayed in execution for many years, mainly from -the difficulty of finding an artist capable of identifying himself with -the author;" modestly adding--"whether this result has now been -attained or no, must be left to the verdict of the lovers of the gifted -writer in both hemispheres." - -[Illustration: "AN EXTINGUISHER."] - -The two next sketches mark with touching emphasis the serious change in -Caldecott's health which took place in the autumn of this year. - -[Illustration: AT WHITCHURCH.] - -In August he is writing from the country in high spirits as usual, and -planning out much work for the future. _Bracebridge Hall_ was finished, -and the success of _Old Christmas_ had brought him many commissions. -His illustrations on wood had turned out well, being fortunate in his -engravers, especially Mr. J. D. Cooper and Mr. Edmund Evans, who always -rendered his work with sympathetic care. He may also be said to have -been fortunate in his connection with the _Graphic_ newspaper under the -direction of Mr. W. L. Thomas, the artist and wood engraver. - -But alas! in the autumn of this year his health failed him, and in -October he was advised to go to Buxton in Derbyshire. - -On the 2nd November, 1876, he writes:-- - -[Illustration: AT BUXTON] - - "I am as above. Walking solemnly in the gardens, or sitting - limply in the almost deserted saloon listening to an - enfeebled band." - -The result of that visit was a series of delightful sketches, which -appeared in the _Graphic_ newspaper, the originals of which are in the -possession of Mr. Samuel Pope, Q.C. - - - - -[Illustration: A CHRISTMAS CARD.] - - - - -CHAPTER X. - -ON THE RIVIERA. - - -The journey to the Riviera and North Italy, which Caldecott was -compelled to make for his health, before Christmas 1876, was as usual -prolific of work. Writing from Monaco in January, 1877, he says:-- - -"This is a beautiful place, and for the benefit of you stay-at-home -bodies I will describe it--in my way;" and in four original letters -published in the _Graphic_ newspaper in March and April, 1877, there -appeared about sixty illustrations containing upwards of three hundred -figures, different studies of life and character; and these drawings do -not represent probably, one half of the sketches made. - -No such pictures of Monte Carlo and its neighbourhood had been sent -home before; they were the ideal newspaper correspondent's letters--the -sketches abounding in humour and accurate detail; the letters -accompanying them being written from personal observation. - -It would have been strange indeed if these letters had not attracted -general attention and amusement in a newspaper; but they did more than -this, they revealed an amount of artistic insight, and suggested -possibilities in Caldecott's future career as an artist which his -health never permitted him to put to the test. - -At Monaco and at Monte Carlo, Caldecott found so much that suited his -pencil that it is a wonder that he found time for any more serious -work. With touches of satire that remind us of Thackeray, and a gaiety -all his own, these spontaneous and delightful letters form the best -picture of Caldecott that can be given in 1877. - -"Round the tables," he writes, "from noon to nearly midnight--seven -days a week--the _monde élégant_ congregates, from the Yorkshireman to -the Japanese." Then follow sketches of an Englishman in Scotch tweed, -and a young man from Japan. Next is a general sketch of the crowd at -the round table, the artist's own figure, admirably given, standing -back to us, hat in hand. It was a marvellous gathering presented on the -printed page, "all intent on gambling--editors of journals, English -justices of the peace, venerable matrons and innocent girls, beloved -sons who are 'travelling,' artistes, chevaliers of the legion of -honour, dames who are not of that legion." "Such costumes and toilettes -sweep the polished floor, such delicately-gloved fingers clutch the -glittering coins--when they happen to win, and sometimes when they -don't--such a clinking of money, as the croupiers mass the rakings." - -[Illustration: THE GAMING TABLES AT MONTE CARLO.] - -From the fashionable crowd and the heated atmosphere of the Casino the -artist takes us along the cool shores of the Mediterranean, where, in -one of the best sketches in these letters, full of air and light, he -brings two figures into unexpected contrast. "Walking one afternoon -along the Mentone road, we reached a point commanding a fine view of -sea, hills, and olive trees. There was a stone seat, and on it an aged -round-backed man. On the wall and bench before him were spread out many -cards dotted with the results of numerous twirls of the roulette ball. -He was studying his chances for the future. As we turned away we met a -priest reading in a little book as he passed." - -As the landscapes suffered in reproduction in the newspaper, and were -the least successful part in these letters, it may be well to mention -that some of Caldecott's landscape studies in oils and water colours, -on the shores of the Mediterranean, were the best he ever did, -attracting much attention at the sale of his works in 1886. - -That he did not put a high estimate on his powers as a landscape -painter at that time may be gathered from a few words in a private -letter declining some commissions. - -"The drawings that G. so kindly enquires about are not in my line. I -would rather not attempt to paint what I imagine he wants--proper -professional water-colour landscape painter's work. - -[Illustration: "PRIEST AND PLAYER."] - -"Please say that my line is to make to smile the lunatic who has shown -no sign of mirth for many months (see the _Graphic_ of Saturday last, -6th January, p. 7, right-hand column--I tumbled upon it in the reading -room of the Casino), and not to portray the beauties of this southern -clime--not but what I would if I could!" - - -NORTH ITALIAN FOLK. - -It was in the same winter, during his journey in North Italy, that -Caldecott made twenty-eight illustrations for a book on _North Italian -Folk_.[9] Here Caldecott's studies, and his habit of sketching the -peasantry wherever he went, served him well. Take the picture of the -priest and his faithful servant Caterina; the latter, reproaching her -master for bringing home a neighbour, Maddalena, "to eat two _lasagne_ -with us!" Caterina is "a gaunt threadbare-looking woman of some -five-and-thirty years, and the _prevosto_ is gaunt too, and sallow; -the two match well together. Caterina's hair is smooth though scant, -and her faded print dress is neat, but the bright yellow kerchief round -her shoulders is soiled, and the cunning plaits of her grey hair are -not as well ordered as the women's are wont to be on mass days. - -[Illustration: THE PRIEST'S SERVANT ADMINISTERS A REPROOF.] - - "Presently Caterina bustles into the darkened parlour, where - sits the _prevosto_ lazily smoking his pipe and reading the - country newspaper. He has put aside even the least of his - clerical garments now, and lounges at ease in an old coat and - slippers, his tonsured head covered by a battered straw hat. - - "'Listen to me,' breaks forth the faithful woman, and she is - not careful to modulate her voice even to a semblance of - secrecy, 'you don't bring another mouth for me to feed here - when it is baking day again. _Per Bacco_, no indeed!... It - sha'n't happen again, do you hear? And I have the holy wafers - to bake besides. For shame of you! Come now to your dinner in - the kitchen!' And Caterina, the better for this free - expression, hastens to dish up the _minestra_. - - "'Poor old priest! What a shrew he has got in his house,' - says some pitying reader. Yet he would not part with her for - worlds! She is his solace and his right hand, and loves him - none the less because of her sharp tongue and uncurbed - speech. In many a lone and cheerless home of Italian priest - can I call to mind such a woman as this--such a fond and - faithful drudge, with harsh ways and a soft heart." - -Another picture in _North Italian Folk_ seems to give the character of -the peasantry and the scenery exactly. "The sun glitters on the pale -sea that is down and away a mile or more beyond the sloping fields and -gardens, and the dipping valley. Giovanni pauses to rest his burthen -upon the wall just where the way turns to the right again, leaving the -mountains and chestnut-clad hills behind it." - -[Illustration: THE HUSBANDMAN.] - -[Illustration: GOSSIP.] - -Here in the sketch we are made to feel the sunlight and the glare from -the sea on the southern slope; every detail of the pathway, to the -stones in the old wall, being accurately given. - -Never, perhaps, in any book since Washington Irving's _Old Christmas_ -and _Bracebridge Hall_ was the illustrator more in touch with the -author than in _North Italian Folk_; but for some reason--probably -because Caldecott's work and style had become identified with English -people and their ways, both abroad and at home--the illustrations made -little impression. The completeness of the pictures, and the local -colour infused into them by the author, left little to be done; -moreover, Caldecott was not on his own ground, and to draw buildings -and landscape in black and white, with the finish, and what is -technically called the "colour," considered necessary for a book of -this kind, was always irksome to him. - -Less characteristic, but charming as a drawing, is the group of country -girls under the cherry trees, reproduced on the opposite page. It is a -picture worth having for its own sake, whether it aid the text or not, -and one with which we may fitly leave this volume. - -[Illustration: "DIGNITY AND IMPUDENCE."] - -[Illustration: "SPANIELS, KING CHARLES'S BREED." SIR E. LANDSEER, R.A.] - -Early in the year 1877 Caldecott made several drawings for an -illustrated catalogue of the National Gallery. Amongst the best in the -English section were the two sketches from Sir Edwin Landseer's -pictures, reproduced here. The grave portrait of an old bloodhound in -"Dignity and Impudence," and the animation and movement in the -diminutive poodle by his side, are indicated in a few expressive -lines. The bright eyes of the two little spaniels of King Charles's -breed glitter under his hand in the original pen and ink sketch. - -[Illustration: PORTRAIT OF A LAWYER BY MORONI.] - -For the foreign section of the book on the National Gallery he made -many sketches, notably one of the "Portrait of a Lawyer" by Moroni. -Here the touch and method of line are different; quality was more -considered, and an attempt made to give something of the effect of the -picture. - -But neither he, nor those with whom he worked in those days, had -mastered the best methods of drawing for mechanical reproduction, as -they are understood now; fascinating as it seemed to him, and to many -other illustrators also, to learn that the time had come when, by -mechanical--or more properly chemical--engraving, the touch of the pen -could be printed on the page. - -It may be said generally in 1877, that Caldecott disliked drawing for -"process," and that after years of experience, and having achieved most -successful results by photographic engraving, he remained faithful to -the wood engraver. The delicate little drawings in brown ink, which -were dispersed in hundreds under the auctioneer's hammer in June, 1886, -had nearly all been photographed on to wood blocks. - -In June, 1877, Caldecott--staying at Shaldon, Teignmouth, South Devon, -for the benefit of his health, chafing under enforced idleness and -"debarred by the doctors from all sport," as he says--writes a letter -with the following little sketch of "Waiting for a Boat." - -[Illustration: "WAITING FOR A BOAT."] - - "The weather has been unwell for many of the days, and has - much interfered with the intellectual occupation of enticing - 'dabs' on to hooks let down into the sea by pieces of string - and concealed by shreds of mussels. - - "On only one occasion have I been engaged in this exciting - pursuit--all chases and pursuits are more or less - exciting--but this one on that account can hardly be - considered 'detrimental' to my health. There were three of us - in the boat when I engaged in the sport. We had a large can - of fine mussels. We threw out the lines and hauled them in - every now and then, for three good hours, being about a mile - out to sea. Two whole dabs were the result. I was quite calm - as we rowed home. - - "I do not boast of this exploit, although the larger dab was - at least seven inches long by four and a half wide, and fully - 3/8 of an inch thick. Still I glow a little as I recount his - measurements." - -Many illustrations were made in the autumn of 1877 for the _Graphic_ -and other publications which need not be detailed. A painting of one of -his favourite hunting scenes was also in progress, in spite of dark -days and delicate health. - -[Illustration] - - - - -[Illustration: "CLEOPATRA."] - - - - -CHAPTER XI. - -"BRETON FOLK," ETC. - - -For Mr. Frederick Locker-Lampson, the poet, Caldecott made in the years -1877-8, twelve drawings to illustrate _Bramble Rise_, _A Winter -Phantasy_, _My Neighbour Rose_, and other verses. These illustrations, -most delicately drawn in pen and ink, have not yet been published. One -was used in 1881 in a privately printed edition of the _London Lyrics_, -and three in 1883, in a little volume of the _Lyrics_ printed by the -"Book Fellows Club" in New York. Caldecott afterwards made four -illustrations for Mrs. Locker-Lampson's child's book, _What the -Blackbird Said_, and two years afterwards, in 1882, an illustration to -her _Greystoke Hall_. These two books are published by Messrs. -Routledge. - -In 1878 he exhibited his picture of "The Three Huntsmen" riding home in -evening light. It was hung rather high in Gallery VII. at the Royal -Academy Exhibition, and technically could hardly be pronounced a -success; but it was a distinct advance on previous exhibited work, and -drew the serious attention of critics to Caldecott as a painter. The -sketch appeared in an article on the Academy in _L'Art_, vol. xx. p. -211. Of this oil painting, Mr. Mundella, the late President of the -Board of Trade writes:-- - - "The picture was bought by me of poor Caldecott in 1878. I - think it was exhibited at the Royal Academy in that year, - but I bought it from his easel. It is an oil painting, 3 ft. - 6 in. by 2 ft. 9 in., and the subject is the 'Three - Huntsmen.' I remember his bringing the song to my house - after the purchase, and reading the song with great - enjoyment, pointing out to us how he had illustrated the - verse, 'We hunted and we holloed till the setting of the - sun.' My little granddaughter (Millais' 'Dorothy Thorpe') - was his model for several of his Christmas books. She is the - little girl in _Sing a Song of Sixpence_ and several others, - and possesses copies sent by him with little sketches and - dedications. He is indeed a national loss." - -[Illustration: THE THREE HUNTSMEN (OIL PAINTING). - -Royal Academy, 1878.] - -In the Grosvenor Gallery of the same year Caldecott exhibited a small -metal bas-relief of "A Boar Hunt," of which he made the following -sketch in _Grosvenor Notes_. - -[Illustration: "A BOAR HUNT" (BAS-RELIEF). Grosvenor Gallery, 1878. - -No. 232. 8 in. × 18 in.] - -Special interest attaches to this design, also to "The Horse Fair in -Brittany," reproduced on page 137, for the insight it gives of -Caldecott's varied artistic powers, which, by force of circumstances, -were always held in reserve. If, as a writer remarks, "The treatment of -reliefs is a test of the state of a school of sculpture," these -examples may help to "place" Caldecott amongst contemporary artists. - -Early in 1878, Mr. Edmund Evans, the wood engraver, came to him with a -proposal that he should illustrate some books for children to be -printed in colours. The plan was soon decided upon, and the first of -the _Picture Books_ was begun. In the summer of the same year, -Caldecott went with the writer for a second time to Brittany. - -It was at first intended to take a gig and drive through and through -the country, giving an account of adventures from day to day, and -Caldecott (who was more at home perhaps, in a gig than in any other -position of life) favoured the idea; but time and other circumstances -prevented. - -The next proposal was to give a general description of the country and -its people, its churches and ruined castles, as they exist to-day. But -Caldecott did not take to this idea; he never in his lifetime drew -buildings with the same facility as figures, and, at that time, to -attempt to make drawings of chateaux, cathedrals and the like, would -have been unsuccessful. So the book, _Brittany Picturesque_, which had -already been partly written, was laid aside to give space for sketches -of _Breton Folk_.[10] - -[Illustration: "THE TRAP."] - -"We obtained a trap in a few days"--not the gig, independent of a -driver, which Caldecott always sighed for. His delight and high spirits -on the first journey, in 1874, are seen in the sketch where he is -waving farewell to some astonished peasantry. To be "on the road" was -always a pleasure to Caldecott, from the "old Whitchurch days," which -he often described to his friends--driving home in the dark at reckless -speed after a late supper, in a dog-cart full of rather uproarious -company--down to 1885 at Frensham, when as host, he would drive his -friends in the lanes of Surrey. - -At least 200 sketches must have been made in these journeys; besides -jottings of heads, figures and the like, and several drawings in water -colours. - -[Illustration: SKETCHING UNDER DIFFICULTIES.] - -The summer fêtes and "pardons," all through the country, furnished -capital material for his pencil, the women's caps of different -districts were each recorded, and here and there a solemn suggestive -landscape noted for a picture which was never to be completed. - -[Illustration: BRETON FARMER AND CATTLE.] - -The circumstances under which some of the sketches were made is -indicated on page 171. - -One of the first drawings made in Brittany, both in colour and black -and white (a scene of which Caldecott was always desirous of making a -finished picture), was the buckwheat harvest, with the women at work in -the fields. Many similar scenes were put down in note-books, many were -the studies of clouds careering over the wind-blown land, which were -never engraved or published. - -[Illustration: A WAYSIDE CROSS.] - -Two of the principal events in these journeys were visits to a horse -fair at Le Folgoet, and to a cattle fair at Carhaix, where Caldecott -made the following sketches:-- - -"Le Folgoet is in the north of Finisterre, in the north-west corner of -Brittany. The country is for the most part flat and dreary in aspect; -a few fields of buckwheat, corn, and rye are passed on the road, -protected by banked-up hedges, and skirted by pollard trees. - -[Illustration: AT THE HORSE FAIR, LE FOLGOET.] - -"On the road as we approach the fair, a mile and a half from the town, -is a characteristic figure, a barefooted _gamin_ with red cap and grey -jersey trotting out an old chestnut mare." As he stops and turns to -look back, he is thus rapidly recorded in a sketch. - -[Illustration: TROTTING OUT HORSES AT CARHAIX.] - -Apart from the artistic material so abundant everywhere, Caldecott's -love for animals and knowledge of them, his interest in everything -connected with farming, markets, country life and surroundings, roused -him to exertions at Carhaix which none but the most hardy "special -artist" would have attempted. - -It was an exciting time for Caldecott, both on the road and at the -fair; materials for his pencil were everywhere, and for three days -there was little rest. - -[Illustration: CATTLE FAIR AT CARHAIX.] - -Carhaix being in the centre of Brittany, far remote from railways, had -special attractions in the variety of character and costume. Here, weak -in health as Caldecott then was, he stood and worked all day, being -especially interested in the trotting out and sale of horses. Turning -to our diary:-- - - "The horse fair was held in a large square or _place_. Under - the trees was a crowd of men and women in the dust and heat; - horses, cattle, pigs and dogs, in confused movement; with - much drinking and shouting at the booths which lined one - side of the enclosure." - -[Illustration: A TYPICAL BRETON.] - -[Illustration: A BRETONNE.] - -It was in this year (1878) that he made some extraordinarily rapid -sketches in colour with the brush direct, without a touch of the pencil -or anything to guide him on the paper. Few sketches of this kind exist, -excepting rough notes in books not intended for publication. In the -evening the figures in the streets and at the inns had to be noted -down. - -The next day, which Caldecott called "a rest," was devoted to visiting -two farms in the neighbourhood, seeing as much as possible of the -interiors of the old houses near Carhaix, with their carved bedsteads, -cabinets and clocks, old brasswork and embroideries. It was a rather -anxious time for his travelling companion, for there was no restraining -Caldecott with such material before him, and he was overworked. - -It was in this district that he made one of his most successful -sketches; a typical Breton (p. 177), in ancient costume with long -hair and knee breeches; a figure rarely met with in these days. - -In the south-west corner of Brittany, a few miles south of Quimperlé, -at a point where the river spreads out into a narrow estuary four miles -from the sea, is the primitive little village called appropriately Pont -Aven. - -Caldecott was much amused, and scandalised at the aspect of the village -on our arrival one afternoon; a scene which he thus records on a -letter, and afterwards drew for _Breton Folk_. - -[Illustration] - -Writing from Pont Aven and recounting "the places which we have -visited, done, sketched, interviewed and memorandumed"--he adds:-- - - "On this journey I have seen more pleasing types of Bretons - (and Bretonnes, especially) than in my former rambles in the - Côtes du Nord; but there is generally something wrong about - each hotel. This particular inn is comfortable. Seven - Americans, two or three of them ladies, and about four French - people dined with us, mostly of the artist persuasion. - -[Illustration: A CAP OF FINISTERRE.] - - "The village and the river sides, the meadows and the valleys - reek with artists. A large gang pensions at another inn here. - - "On approaching Pont Aven the traveller notices a curious - noise rising from the ground and from the woods around him. - It is the flicking of the paint brushes on the canvasses of - the hardworking painters who come into view seated in leafy - nooks and shady corners. These artists go not far from the - town where is cider, billiards and tobacco." - -[Illustration: RETURNING FROM LABOUR--PONT AVEN, 1878.] - -One of the best of Caldecott's sketches here was "Returning from -Labour," a quiet spot on the banks of the Aven where he made several -studies. - - "Here we feel inclined for the first time to stay and - sketch, wandering along the coast to the fishing villages, - and visiting farms and homesteads." - -From another inn, in an "out of the way" part of Finisterre, he -writes:-- - - "The Hotel du Midi where we put up is conducted in a simple - manner; ladies would not like its arrangements. Several - inhabitants, and a visitor or two, dine at the table d'hôte, - but all are unable to carve a duck excepting the English - visitor, who is accordingly put down as a cook." - -Many works, such as the frieze of a horse fair (p. 137), models in -terra cotta and paintings, were the outcome of the Brittany journeys in -1874 and 1878; but Caldecott did not give himself a chance to do what -he wished in France; other work crowded upon him in 1878, and before he -had time to finish the sketches for _Breton Folk_, he had to return to -London to complete drawings for his _Picture Books_, and other work in -hand for the _Graphic_ newspaper. - -[Illustration: A BRETON.] - -In a letter from London, received at the Abbey of St. Jacut in Brittany -on the 29th August, 1878, he says:-- - - "I have not been able to settle well down to work yet. - Sitting about on hotel benches for a month with Mr. - Blackburn is unhinging. * * * "I fancied somehow that, after - the wild career of dissipation in other parts of Brittany, - he might find the calm of a cloister insufficiently - exciting, and consequently might drag you round to more - lively places. I am glad that I am wrong." - -The drawings of the "Family Horse," (of "Cleopatra" on page 165,) -the sketch in Woburn Park, and several others, were made when on a -visit in the neighbourhood in October 1878. A letter referring to his -visit to Woburn says:--"On the last evening of Mr. Caldecott's visit -here, he was sitting at the dining-room table with the two little boys -on his knees, and the rest of the family standing round him. We asked -him to draw us each something, and he made us choose our own subjects. -The sketch of himself riding in the park is one of them; it amused him -very much to see the deer standing gazing at us." - -[Illustration: "A FAMILY HORSE."] - -[Illustration: SKETCH IN WOBURN PARK] - -At another time there comes a coloured birthday card to a child in -London who was fond of flowers; a dark red carnation the size of life, -presented by a Lilliputian figure in old-fashioned green coat, with -white frill and periwig. - -[Illustration: A CARNATION.] - -Side by side with Caldecott's missives to little children might be -printed many a kindly letter to a young author who had sent him -manuscripts to read. These letters had to be read and answered always -in the evenings. A long letter of this kind was written to a lady at -Didsbury, near Manchester, in 1878, from which the following extracts -are taken[11]:-- - - "DEAR MISS M.,--Your packet reached me safely, and as I call - to mind very readily my feelings in times gone by, after I - had posted a piece of literary or artistic composition to - some friend acquainted with the dread editor of some - magazine, or even to the dread editor himself, I think it - only your due that I should write to you without delay about - the sketches of country life which you have kindly allowed - me to read, and my opinion of which you flatter me by - desiring to know. You asked me for my candid opinion; in - these cases I always try to be candid.... I think that your - papers are, as they stand, hardly interesting enough for the - mass of readers, though to me they draw out pictures which - please, and also revive old associations.... Their fault, - however, if I may speak of faults, is not so much in subject - as in style. You have chosen simple subjects, in which is no - harm of course; but simple subjects in all kinds of art - require a masterly hand to delineate them. The slightest - awkwardness of execution is noticed, and mars the simplicity - of the whole. When a thrilling story is told, or a very - interesting and novel operation described, faults of style - are overlooked during the excitement of hearing or reading. - Is it not so?... - - "R. C." - -In another letter some remarks on the misuse of old English words (a -subject on which he says, "I am very ignorant") are worth recording. - - "As regards the misuse of certain words, I consult the - authorities when a doubt crosses my mind, and I find with - sorrow, in which I am joined by other anxious spirits, that - the English language is being ruined, chiefly by journalists, - English and American. Words of good old nervous meaning, - because common, are discarded for words of less force but - finer sound, borrowed from other tongues. The use of these - new words is often a difficulty to all but classical - scholars, for the pronunciation, the accent, the quantities, - are varied even amongst equally educated people. - - "On the introduction of a new word there is always a halo of - pedantry about it. Some admire the halo and adopt the word. - The journalists cuddle it. The readers ask what it means, - think it sounds rather fine--perhaps genteel--throw over the - humble friend who has done them and their conservative - forefathers such good service. - - "The poor ill-used old fellow of a word then only finds - friends amongst the lowly and the loyal; and if in course of - time the usurping word, as he rolls by in his carriage and - footmen, hears the former wearer of his honours come out from - the passing pedestrians, he curls his proud lip, pulls up his - haughty collar, distends his Grecian nose, and wonders where - vulgar people will go to--albeit this vulgar word is better - born, and has a higher instep than the carriage word." - -In the late Autumn of 1878 Caldecott is again in the south of France, -sending home letters--one with a portrait of himself (back view), -seated next to a young lady, "whose father is rather deaf." - -[Illustration: Hôtel Gray et d'Albion Cannes, 15 Nov. 1878.] - -"I have come here," he says, "in order that rheumatism may forget me -and not recognise me on return to Albion's shores. * * * - -"I open my bag and take out your letter of 20th November, 1877, which -has been ready at hand for reply ever since I received it with a -welcome. Letters ought always to be replied to within the twelve -months." - - - - -[Illustration: AT MENTONE.] - - - - -CHAPTER XII. - -AT MENTONE, ETC. - - -From the Riviera in 1879 came the following pictures in letters to -friends. - - "This hotel is indeed a calm spot, but the food is good, and - I have a pleasant little room or two, where I can work - comfortably. I know the inhabitant of one villa here, an - American; and I think there are two people whom I know in an - hotel, so when I feel very lonely I shall hunt them up. There - is much snow on the rocky hills near the town, and the - weather is rather cold, but the aspect of everything around - (nearly) is very fine and worth coming to see." - -In another letter he sends the following sketch of himself at table in -the vast _salle à manger_ of the hotel.[12] - -[Illustration] - - "SPLENDIDE HOTEL, MENTON, - - "_11th January, 1879_. - - "DEAR ----,--The above view will give you a more correct - idea of the _splendour_ of this hotel than a page of - writing, I think, could possibly do. It represents our - _table d'hôte_ last night. I fled yesterday from Cannes, - which--although called a very quiet place by most - visitors--I found to be too lively for one who has much work - to do and a desire to do it." - - * * * * * - -Much drawing was accomplished in the spring of this year, both abroad, -and on return to London. The success of his first Picture Books (on -which he writes, "I get a small, small royalty") was beyond all -expectation, and the _Elegy of a Mad Dog_ was now in progress. - -[Illustration] - -[Illustration: "NOT SUCH DISAGREEABLE WEATHER AFTER ALL--SOME PEOPLE -THINK." - -From _Punch_, August 2nd, 1879.] - -Writing on the 20th June, in the wet summer of 1879, from 5, Langham -Chambers, Portland Place (a studio that he had taken temporarily from -an artist friend, Mr. W. J. Hennessy), he heads the letter with the -sketch on page 192, which is interesting as the first idea for the -drawing which appeared in _Punch_ on the 2nd August, 1879, reproduced -on the preceding page by permission of the proprietors. - -[Illustration: A PIG OF BRITTANY (TERRA-COTTA). - -The Property of Mr. Armstrong.] - -The illustration on the opposite page is an example of Caldecott in a -style which will be new to most readers. The book plate was drawn for -an old and intimate friend in Manchester, and it is curious to note -how closely the style of the family crest is followed in its various -details. If it were not for certain satirical touches this ingenious -design might easily pass for the work of other hands; the touch and -treatment have little in common with Caldecott as he is known; but the -artistic completeness of the little book plate is another evidence of -his power as a designer. - -[Illustration] - -[Illustration] - -In September Caldecott modelled some birds, forming part of the -capitals of pillars for Sir Frederick Leighton's 'Arab Hall' in his -house at Kensington. They were done for the architect, Mr. G. -Aitchison, A.R.A. Besides these he was at work on other modelling; one -subject (the outcome of his Brittany travels) is given on page 194. - -In 1879 he took a small house, with an old-fashioned garden, at -Kemsing, near Sevenoaks. This was his first country home, "an -out-of-the-way place," as he expressed it, "but exactly right for me." -Here, surrounded by his four-footed friends, he could indulge his -liking and love for the country. - -[Illustration] - -Writing to a young friend on the 13th October, he sends the -following:-- - - "I am just now obliged to decline invitations to go and be - merry with friends at a distance, because I am now living in - this quiet, out-of-the-way village in order to make some - studies of animals--to wit, horses, dogs, and other human - beings--which I wish to use for the works that I shall be - busy with during the coming winter. - - "I have a mare--dark chestnut--who goes very well in - harness, and is very pleasant to ride; and a little puppy--a - comical young dachshund. My man calls the mare 'Peri,' so I - call the puppy Lalla Rookh." - -In a letter to his friend Mr. Locker-Lampson, written about this time, -in 1880, he expresses surprise at not hearing from America respecting -certain drawings by Miss Kate Greenaway and himself, which had been -sent across the Atlantic to be engraved on wood. "I wonder why?" he -says--[The rest is reproduced opposite]. - -Caldecott was soon found out in his country home, his wide reputation -as an illustrator bringing him ever-increasing work, some "not very -profitable." - -[Illustration] - -At this time he was taxing his energies to the utmost, working a long -morning always indoors, and afterwards making studies in the garden or -in the country; the evening occupied by reading and correspondence. - -[Illustration] - -But he found time always--and until the end--to remember and to write -to his old and dear friends. One more extract (the last in this book) -from a letter from Venice, to an invalid friend in Manchester in -1880:-- - - "I am sorry to hear that you are so lame," he says. "I wish - you had been with us in Venice--the going to and fro in - gondolas would have suited you well. Easy, smooth, and - soul-subduing--especially by moonlight and when the ear is - filled with the rich notes of a very uncommon gondolier's - voice and the twanging of a sentimental traveller's lute. - - "On the 18th of March we were married at a small church in - Kent--my best man drove me in a dog-cart. I sold him my mare - on the way, and she came to sad grief with him!" - -[Illustration: SKETCH OF "WYBOURNES," KEMSING, NEAR SEVENOAKS.] - -The letters after this date refer to a period in Caldecott's art which -must be considered at a future time. Only two remembrances of his later -years shall be recorded now; one of him at Kemsing, seated in his -old-fashioned garden on a fine summer's afternoon (after hard work from -nine till two) surrounded by his friends and four-footed playmates--a -garden where the birds, and even the flowers, lived unrestrained. - - "Where woodbines wander, and the wallflower pushes - Its way alone; - And where, in wafts of fragrance, sweetbriar-bushes - Make themselves known. - With banks of violets for southern breezes - To seek and find, - And trellis'd jessamine that trembles in - The summer wind. - Where clove-carnations overgrow the places - Where they were set, - And, mist-like, in the intervening spaces - Creeps mignonette." - -The other and a later remembrance of Caldecott is at a gathering of -friends in Victoria Street, Westminster, in January, 1885, when--to a -good old English tune--the "lasses and lads," out of his _Picture -Book_, danced before him, and the fiddler, in the costume of the time, -"played it wrong." - - - - -[Illustration: A NEW YEAR'S GREETING TO A FRIEND.] - - - - -CHAPTER XIII. - -CONCLUSION. - - -It will be seen in the preceding pages that it was the privilege of the -writer to know Caldecott intimately before he had made a name, when his -heart and hands were free, so to speak; when he was untrammelled by -much sense of responsibility, or by the necessity of keeping up a -reputation, and when every day, almost, recorded some new experiment or -achievement in his art. Let it be stated here that not at that time, -nor ever afterwards in the writer's hearing, was a word said against -Caldecott. With a somewhat wide and exceptional experience of the -personality of artists, it can be said with truth that Caldecott was "a -man of whom all spoke well." His presence then, as in later years, -seemed to dispel all jealousies, if they ever existed, and to scatter -evil spirits if they ever approached him. No wonder--for was he not the -very embodiment of sweetness, simple-mindedness, generosity, and -honour? - -From the sketch on page 1 of this book, made in the smoke of -Manchester, to the "New Year's Greeting" on p. 203, the same happy, -joyous spirit is evident; and so, to those who knew him, he remained to -the end. - -As this memoir has to do with Caldecott's earlier career, and -particularly with his work in black and white, the artistic value of -his illustrations in colour, especially in his _Picture Books_, can -only be hinted at here. - -_Caldecott's Picture Books_ are known all over the world; they have -been widely discussed and criticised, and they form undoubtedly the -best monument to his memory. But it may be found that some of the best -work he ever did (the work least open to criticism) was in 1874 and -1875, before these books were begun; and that the material here -collected will aid in forming a better estimate of Caldecott as an -artist. - -In March, 1883 there appeared a little oblong _Sketch Book_ with canvas -cover, full of original and delightful illustrations, many in colour, -engraved and printed by Edmund Evans. This book is not very widely -known, but there are drawings in it of great personal interest, now -that the artist's hand is still. The _Sketch Book_ suggests many -thoughts and calls up many associations to those who knew him. - -In 1883 he illustrated _Æsop's Fables_ with "Modern Instances" -(referred to on page 94). - -The kind of work that Caldecott liked best, and of which he would have -been an artistic and delightful exponent had circumstances permitted, -is indicated in the design at the head of the preface to this volume; -it was drawn on brown paper, probably for a wood carving in relief, for -the central panel of a mantelpiece. This sketch is selected from -several designs of a similar kind. - -In purely journalistic work, for which his powers seemed eminently -fitted, he was never at home, his heart was not in it. Neither on -_Punch_ nor on the _Graphic_ newspaper, would he have engaged to work -regularly. He would do anything on an emergency to aid a friend--or a -foe, if he had known one--but neither health nor inclination led him in -that direction. And yet Caldecott, of all contemporary artists, owed -his wide popularity to the wood engraver, to the maker of colour -blocks, and to the printing press. No artist before him had such -chances of dispersing facsimiles of daintily coloured illustrations -over the world. All this must be considered when his place in the -century of artists is written. - -Mr. Clough touches a true note in the following (from the _Manchester -Quarterly_):-- - - "If the art, tender and true as it is, be not of the - highest, yet the artist is expressed in his work as perhaps - few others have been. Nothing to be regretted--all of the - clearest--an open-air, pure life--a clean soul. Wholesome as - the England he loved so well. Manly, tolerant, and patient - under suffering. None of the friends he made did he let go. - No envy, malice, or uncharitableness spoiled him; no social - flattery or fashionable success, made him forget those he - had known in the early years." - -Speaking generally of his friend Caldecott, whom he had known -intimately in later years, Mr. Locker-Lampson (to whom we are indebted -for the letters and sketches on pages 191, 192, and 199), -writes:-- - - "It seems to me that Caldecott's art was of a quality that - appears about once in a century. It had delightful - characteristics most happily blended. He had a delicate - fancy, and his humour was as racy as it was refined. He had - a keen sense of beauty, and, to sum up all, he had _charm_. - His old-world youths and maidens are perfect. The men are so - simple and so manly, the maidens are so modest and so - trustful: The latter remind one of the country girl in that - quaint old ballad, - - "'He stopt and gave my cheek a pat, - He told a tender tale, - Then stole a kiss, but what of that? - 'Twas Willie of the Dale!' - - "Poor Caldecott! His friends were much attached to him. He - had feelings, and ideas, and manners, which made him welcome - in any society; but alas, all was trammelled, not obscured, - by deplorably bad health." - -These two criticisms--both coming from friends of the artist, but from -different points of view--are worth setting side by side in a memoir. - -A correspondent, writing from Manchester, sends the following -interesting letter respecting places sketched by Caldecott in Cheshire -and Shropshire and afterwards used in the illustrations in his books. - - "During occasional rambles in this and the neighbouring - county of Chester, more especially in the neighbourhood of - Whitchurch, I have been interested in the identification of - some few of the original scenes pictured by Mr. Caldecott in - his several published drawings. Thus:-- - - "Malpas Church, which occupies the summit of a gentle hill - some six miles from Whitchurch, occurs frequently--as in a - full page drawing in the _Graphic_ newspaper for Christmas, - 1883; in _Babes in the Wood_, p. 19; in _Baby Bunting_, p. - 20; and in _The Fox Jumps over the Parson's Gate_, p. 5. - - "The main street of Whitchurch is fairly pictured in the - _Great Panjandrum_, p. 6, whilst the old porch of the Blue - Bell portrayed on p. 28 of _Old Christmas_ is identical with - that of the Bell Inn at Lushingham, situated some two miles - from Whitchurch on the way to Malpas. - - "Besides these I recognise in the 'Old Stone-house, - Lingborough Hall,' in _Lob Lie-by-the-Fire_, p. 5, an - accurate line-for-line sketch of Barton Hall, an ancient - moated mansion which until quite recently stood within the - parish of Eccles, four miles from Manchester. - - "Lastly, a comparison of the illustration on p. 95 of _Old - Christmas_, with one in last year's volume of the _English - Illustrated Magazine_, p. 466, shows that the picturesque - nooks of Sussex, equally with those of Kent and Chester, - yielded their quota to the busy pencil we know so well." - -About the year 1879 Caldecott became acquainted with Mrs. Ewing, which -led to his making many illustrations for her, such as the design for -the cover of _Aunt Judy's Magazine_, and notably the illustrations to -that "book of books" for boys, "_Jackanapes_," and to "_Daddy Darwin's -Dovecot_," and others. - -Miss Gatty, in her memoir of Mrs. Ewing, says:-- - - "My sister was in London in June, 1879, and then made the - acquaintance of Mr. Caldecott, for whose illustrations she - had unbounded admiration. This introduction led us to ask - him (when _Jackanapes_ was still simmering in Julie's brain) - if he would supply a coloured illustration for it. But as - the tale was only written a very short time before it - appeared, and as the illustration was wanted early and - colours take long to print, Julie could not send the story - to be read, but asked Caldecott to draw her a picture to fit - one of the scenes in it. The one she suggested was a - fair-haired boy on a red-haired pony, thinking of one of her - own nephews, a skilful seven-year-old rider who was - accustomed to follow the hounds." - -Looking back, but a few months only, at the passing away of two such -lives--the author of "_Jackanapes_" and the illustrator of the -"_Picture Books_" (of whom it was well said lately, "they have gone to -Heaven together")--the loss seems incalculable. - -In the history of the century, the best and purest books and the -brightest pages ever placed before children will be recorded between -1878 and 1885; and no words would seem more in touch with the lives -and aims of these lamented artists than a concluding sentence in -_Jackanapes_, that--their works are "a heritage of heroic example and -noble obligation." - -The grace and beauty, and wealth of imagination in Caldecott's -work,--conspicuous to the end,--form a monument which few men in the -history of illustrative art have raised for themselves. - - * * * * * - -Here may end fittingly the memoir of his earlier work. At a future time -more may be written, and many delightful reminiscences recorded, of the -years from the time of his marriage on the 18th March, 1880, to his -lamented death at St. Augustine, in Florida, on the 12th February, -1886; when--in the sympathetic lines which appeared in _Punch_ on the -27th February, 1886:-- - - "All that flow of fun, and all - That fount of charm found in his fancy, - Are stopped! Yet will he hold us thrall - By his fine art's sweet necromancy, - Children and seniors many a year; - For long 'twill be ere a new-comer, - Fireside or nursery holdeth dear - As him whose life ceased in its summer." - - - - -APPENDIX. - - -[Illustration: "TRY CALDECOTT'S PICTURE BOOKS."] - -The following is a list of Caldecott's _Picture Books_ with the dates -of publication. Besides the ordinary shilling books, several collected -volumes of his _Pictures and Songs_, also Pictures collected from the -_Graphic_ newspaper, have been issued by the same publishers. - - -Caldecott's Picture Books. - - THE HOUSE THAT JACK BUILT } 1878 - JOHN GILPIN } - - ELEGY ON A MAD DOG } 1879 - THE BABES IN THE WOOD } - - THREE JOVIAL HUNTSMEN } 1880 - SING A SONG OF SIXPENCE } - - THE QUEEN OF HEARTS } 1881 - THE FARMER'S BOY } - - THE MILKMAID } 1882 - HEY-DIDDLE-DIDDLE, THE } - CAT AND THE FIDDLE; and } - BABY BUNTING } - - THE FOX JUMPS OVER THE } 1883 - PARSON'S GATE } - A FROG HE WOULD A-WOOING GO } - - COME, LASSES AND LADS } 1884 - RIDE A COCK HORSE TO BANBURY CROSS; } - and A FARMER WENT TROTTING UPON } - HIS GREY MARE } - - MRS. MARY BLAIZE } 1885 - THE GREAT PANJANDRUM HIMSELF } - -PUBLISHED BY -GEORGE ROUTLEDGE AND SONS, -LONDON AND NEW YORK - - -Some of - -Æsop's Fables. - -With "Modern Instances." - -Shown in designs by R. CALDECOTT. - -[Illustration] - -LONDON: -MACMILLAN AND CO. -1883. - -_Price Seven Shillings and Sixpence._ - - -A Sketch-Book, - -by R. CALDECOTT. - -Reproduced by EDMUND EVANS the Engraver and Printer. - -[Illustration] - -LONDON: -GEORGE ROUTLEDGE AND SONS, - -LONDON AND NEW YORK. -1883. - -_Price Three Shillings and Sixpence._ - - -Breton Folk. - -With One Hundred and Seventy Illustrations - -by R. CALDECOTT. - -[Illustration] - -LONDON: -SAMPSON LOW, MARSTON, SEARLE, & RIVINGTON, -CROWN BUILDINGS, 188, FLEET STREET. - -1880. - -_Price Ten Shillings and Sixpence._ - - * * * * * - -FOOTNOTES: - -[Footnote 1: The drawing, _A Debating Society_, was very well engraved -on wood by J. D. Cooper, and appeared in _London Society_ in 1871, v. -xx. p. 417; it is now reproduced on a larger scale by a mechanical -process of photo-engraving. Experts in drawing for book illustration -may be interested to compare results.] - -[Footnote 2: In a private letter to the writer of this memoir, dated -2nd November, 1876, Caldecott says:--"Pen can never put down how much I -owe, in many ways, to T. A."] - -[Footnote 3: _The Harz Mountains, a Tour in the Toy Country_, by Henry -Blackburn. London: Sampson Low and Co., 1872.] - -[Footnote 4: This, and other similar sketches, caused amusement in some -circles and offence in others, at Berlin, where it was stated -erroneously that the artist had caricatured some well-known personages -who came annually to Goslar to drink the waters, and an arrangement to -publish a translation of the _Harz Mountains_ into German fell through -in consequence.] - -[Footnote 5: Amongst the young artists in the art department of -_Harper's Magazine_ in 1873, was E. A. Abbey, the well-known -illustrator of old English subjects; in later years a great friend and -ally of Caldecott.] - -[Footnote 6: The drawings in the _Daily Graphic_ in New York were all -reproduced by photo-lithography, and printed at the lithographic -press.] - -[Footnote 7: It was more than once suggested to Caldecott to paint this -scene. It would probably have been attempted had circumstances -permitted.] - -[Footnote 8: The medallion at the head of this letter was designed by -Sir Frederick Burton and afterwards redrawn for the Arts Club by E. J. -Poynter, R.A.] - -[Footnote 9: _North Italian Folk_, by Mrs. Comyns Carr. London: Chatto -and Windus, 1878.] - -[Footnote 10: _Breton Folk_, by Henry Blackburn, with 170 illustrations -by R. Caldecott. London: Sampson Low and Co., 1880.] - -[Footnote 11: This letter was printed in the _Manchester City News_, 20 -February, 1886.] - -[Footnote 12: The portrait of Caldecott at the beginning of this -volume, is from a photograph taken at Cannes in January, 1879.] - - * * * * * - - -Transcriber's Notes - -Some illustrations were moved from their original positions to avoid -breaking up paragraphs of text. Made minor punctuation corrections and -the following change: - -Page 156: Deleted duplicate "in". - (Orig: "'Poor old priest! What a shrew he has got in in his house,') - - - - - - - - -End of the Project Gutenberg EBook of Randolph Caldecott, by Henry Blackburn - -*** END OF THIS PROJECT GUTENBERG EBOOK RANDOLPH CALDECOTT *** - -***** This file should be named 41086-8.txt or 41086-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/0/8/41086/ - -Produced by Chris Curnow, Diane Monico, 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 public domain print editions 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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Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/41086-8.zip b/41086-8.zip Binary files differdeleted file mode 100644 index 6ac00eb..0000000 --- a/41086-8.zip +++ /dev/null diff --git a/41086-h.zip b/41086-h.zip Binary files differdeleted file mode 100644 index b37914e..0000000 --- a/41086-h.zip +++ /dev/null diff --git a/41086-h/41086-h.htm b/41086-h/41086-h.htm index 8b38bfd..fe4af80 100644 --- a/41086-h/41086-h.htm +++ b/41086-h/41086-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Randolph Caldecott: A Personal Memoir of His Early Art Career, by Henry Blackburn. @@ -154,53 +154,7 @@ table { </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of Randolph Caldecott, by Henry Blackburn - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Randolph Caldecott - A Personal Memoir of His Early Art Career - -Author: Henry Blackburn - -Illustrator: Randolph Caldecott - -Release Date: October 17, 2012 [EBook #41086] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK RANDOLPH CALDECOTT *** - - - - -Produced by Chris Curnow, Diane Monico, 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>*** START OF THE PROJECT GUTENBERG EBOOK 41086 ***</div> <h1>RANDOLPH CALDECOTT.</h1> <hr class="chap" /> @@ -498,7 +452,7 @@ interesting.</p> <tr><td align="left">*<span class="smcap">A New Year's Greeting</span></td><td align="right"><a href="#newyear_greeting">203</a></td></tr> <tr><td align="center">APPENDIX.</td></tr> <tr><td align="left">*<span class="smcap">Headpiece. Caldecott's Picture Books</span></td><td align="right"><a href="#caldecotts_picture_books">212</a></td></tr> -<tr><td align="left"><span class="smcap">Æsop's Fables</span></td><td align="right"><a href="#aesops_fables">214</a></td></tr> +<tr><td align="left"><span class="smcap">Æsop's Fables</span></td><td align="right"><a href="#aesops_fables">214</a></td></tr> <tr><td align="left"><span class="smcap">A Sketch Book</span></td><td align="right"><a href="#sketch-book">215</a></td></tr> <tr><td align="left"><span class="smcap">Breton Folk</span></td><td align="right"><a href="#breton_folk">216</a></td></tr> </table></div> @@ -731,9 +685,9 @@ DRAWING FOR "LONDON SOCIETY."</h2> <p>It was in February 1871, in the pages of <i>London Society</i>—a magazine -which at that time included amongst its contributors J. R. Planché, +which at that time included amongst its contributors J. R. Planché, Shirley Brooks, Francis T. Palgrave, Frederick Locker, G. A. Sala, -Edmund Yates, Percy Fitzgerald, F. C. Burnand, Arthur à Beckett, Tom +Edmund Yates, Percy Fitzgerald, F. C. Burnand, Arthur à Beckett, Tom Hood, Mortimer<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> Collins, Joseph Hatton, &c.; and amongst its artists Sir John Gilbert, Charles Keene, Linley Sambourne, G. Bowers, Mrs. Allingham, W. Small, F. Barnard, F. W. Lawson, M.E.E., and many other @@ -826,7 +780,7 @@ Whiffles's instructions were<span class="pagenum"><a name="Page_20" id="Page_20" and imitate his movements exactly; but unfortunately <i>the other trombone was a substitute also</i>. The leader looks round, and seeing the two trombones apparently perfectly ready to begin, gives the signal, -and the curtain rises. The <i>dénoûment</i> may be imagined! Other stories +and the curtain rises. The <i>dénoûment</i> may be imagined! Other stories were illustrated by Caldecott, about this period, in <i>London Society</i>; one of Indian life, another called <i>Crossed in Love, &c.</i>, but the artist wished that some illustrations should not be reprinted. Several @@ -1222,7 +1176,7 @@ with trees, are going through the routine of getting up early, taking regular exercise and drinking daily several pints of a dark mixture having the appearance, taste, and effect of taraxacum or senna. The bottles are supplied at -the public gardens and cafés situated at convenient +the public gardens and cafés situated at convenient distances in the suburbs of Goslar."</p></div> <p><span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span></p> @@ -1261,7 +1215,7 @@ corner of a street.</p> <span class="caption"><span class="smcap">"A School on the March"—Harz Mountains, 1872.</span></span> </div> <p><span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span></p> -<p>Sketches at various <i>table d'hôtes</i> in hotels, public gardens and the +<p>Sketches at various <i>table d'hôtes</i> in hotels, public gardens and the like, were plentiful and perpetual. But the majority were destroyed or put away; out of fifty only one such as "A General in the Prussian Army" (see page <a href="#general_prussian">44</a>) being selected for reproduction.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a></p> @@ -1316,7 +1270,7 @@ tolerable inn. Women of burden and foresters are the only wayfarers met with.</p> <p>"The route hence south-west over high open<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span> land with fine -views to the iron works of Rothehütte in an hour. Thence up +views to the iron works of Rothehütte in an hour. Thence up a hill for half an hour and through dense fir woods, then out on the high road again, resting at the 'Brauner Hirsch' at Braunlage. From thence over hills commanding a vast @@ -1652,7 +1606,7 @@ and yearning for Bowdon and Dunham, and the 'publics' which there adjacent lie, I think of you on these calm Sunday evenings about the hour when my errant legs used to repose beneath the deal of the sequestered inn at Bollington. How -are you? I was pleased to see that the <i>Athenæum</i> gave a +are you? I was pleased to see that the <i>Athenæum</i> gave a long space to your book, although I presume you did not care for the way they reviewed it. That is nothing. I have been very busy—not coining money, oh no!—but occupied, or I @@ -1931,9 +1885,9 @@ in after years would delight the world.</p> <p>But fortunately for his health and peace of mind, and also for his future career, the young artist, who two years before had given up a -clerkship in a Manchester bank (a "certainty" of more than £100 a +clerkship in a Manchester bank (a "certainty" of more than £100 a year), was advised to refuse an engagement on the <i>Pictorial World</i> of -£10 10<i>s.</i> a week, which, had it been carried out, would have done much +£10 10<i>s.</i> a week, which, had it been carried out, would have done much to raise the fortunes of that newspaper.</p> <p>But the rush and hurry of journalistic work was distasteful to him; he @@ -2065,7 +2019,7 @@ our heads will keep clear enough to guide the helms of our hearts."</p></div> <p>About this time it was suggested to Caldecott to make studies of -animals and birds, with a view to an illustrated edition of <i>Æsop's +animals and birds, with a view to an illustrated edition of <i>Æsop's Fables</i>, a work for which his talents seemed eminently fitted. The idea was put aside from press of work, and when finally brought out in 1883 was not the success that had been anticipated. This was principally @@ -2077,7 +2031,7 @@ owing to the plan of the book.</p><p><span class="pagenum"><a name="Page_95" id= <span class="caption">"<span class="smcap">Studying from Nature.</span>"</span> </div> -<p>As Caldecott's <i>Æsop</i> was often talked over with the writer in early +<p>As Caldecott's <i>Æsop</i> was often talked over with the writer in early days, a few words may be appropriate here. Caldecott yielded to a suggestion of Mr. J. D. Cooper, the engraver, to attach to each fable what were to be styled "Modern Instances," consisting of scenes, social @@ -2358,7 +2312,7 @@ Mountains. His feeling for the sentiment and beauty of landscape, especially the open land,—generally absent from the sketches in the Harz Mountains,—is noticeable here. The statuesque grace of the younger women, the picturesqueness of costume, operations of husbandry, -outdoor <i>fêtes</i> and the like, and the open air effect of nearly every +outdoor <i>fêtes</i> and the like, and the open air effect of nearly every group of figures seen in these summer<span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span> journeys—all came as delightful material for his pencil.</p> @@ -2527,7 +2481,7 @@ permitted, the world might have seen more of.</p> <span class="caption"><span class="smcap">Study in Line.</span></span> </div> -<p>On the 25th of January he "made a dry point sketch of a Quimperlé +<p>On the 25th of January he "made a dry point sketch of a Quimperlé Brittany woman," and in February he was busy modelling as usual.</p> <p>On the 5th of February, "took to Lucchesi (moulder) wax bas-relief of @@ -2785,7 +2739,7 @@ then thirty years of age.</p> <small>(Oil Painting) Royal Academy, 1876.</small><br /> -<small>Cat. No. 415. 49 × 32.</small></span> +<small>Cat. No. 415. 49 × 32.</small></span> </div> <p>In the same room (Gallery V.) were collected that year, the works of @@ -2818,7 +2772,7 @@ within the laws and symmetry of art."</p></div><p><span class="pagenum"><a name= <small>Metal bas-relief exhibited in the Royal Academy, 1876.</small><br /> -<small>Cat. No. 1499. Size 14 × 5-1/2 in.</small></span> +<small>Cat. No. 1499. Size 14 × 5-1/2 in.</small></span> </div> <p><span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span></p> @@ -2923,7 +2877,7 @@ artistic qualities and fully sustaining the reputation of the artist.</p> <p>The originals were drawn about one third larger, in pen and ink, photographed on wood and engraved in facsimile. The effect of many of the drawings in the first editions was injured by the want of margin on -the printed page; but an <i>édition de luxe</i> is now printed with <i>Old +the printed page; but an <i>édition de luxe</i> is now printed with <i>Old Christmas</i> and <i>Bracebridge Hall</i> in one volume.</p> <div class="figcenter" style="width: 600px;"> @@ -3030,7 +2984,7 @@ all his own, these spontaneous and delightful letters form the best picture of Caldecott that can be given in 1877.</p><p><span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span></p> <p>"Round the tables," he writes, "from noon to nearly midnight—seven -days a week—the <i>monde élégant</i> congregates, from the Yorkshireman to +days a week—the <i>monde élégant</i> congregates, from the Yorkshireman to the Japanese." Then follow sketches of an Englishman in Scotch tweed, and a young man from Japan. Next is a general sketch of the crowd at the round table, the artist's own figure, admirably given, standing @@ -3329,7 +3283,7 @@ sketch in <i>Grosvenor Notes</i>.</p> <a id="boar_hunt"></a> <img src="images/i_187.jpg" width="600" height="253" alt=""A Boar Hunt" Bas-relief." /> <span class="caption">"<span class="smcap">A Boar Hunt" (Bas-relief).</span> Grosvenor Gallery, 1878.<br /> -No. 232. 8 in. × 18 in.</span> +No. 232. 8 in. × 18 in.</span> </div> <p>Special interest attaches to this design, also to "The Horse Fair in @@ -3386,7 +3340,7 @@ colours.</p> <span class="caption"><span class="smcap">Sketching under Difficulties.</span></span> </div> -<p>The summer fêtes and "pardons," all through the<span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span> country, furnished +<p>The summer fêtes and "pardons," all through the<span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span> country, furnished capital material for his pencil, the women's caps of different districts were each recorded, and here and there a solemn suggestive landscape noted for a picture which was never to be completed.</p> @@ -3497,7 +3451,7 @@ Caldecott with such material before him, and he was overworked.</p> sketches; a typical Breton (p. <a href="#typical_breton">177</a>), in ancient costume with long hair and<span class="pagenum"><a name="Page_179" id="Page_179">[Pg 179]</a></span> knee breeches; a figure rarely met with in these days.</p> -<p>In the south-west corner of Brittany, a few miles south of Quimperlé, +<p>In the south-west corner of Brittany, a few miles south of Quimperlé, at a point where the river spreads out into a narrow estuary four miles from the sea, is the primitive little village called appropriately Pont Aven.</p> @@ -3516,7 +3470,7 @@ visited, done, sketched, interviewed and memorandumed"—he adds:<span class <div class="blockquot"> <p>"On this journey I have seen more pleasing types of Bretons (and -Bretonnes, especially) than in my former rambles in the Côtes du Nord; +Bretonnes, especially) than in my former rambles in the Côtes du Nord; but there is generally something wrong about each hotel. This particular inn is comfortable. Seven Americans, two or three of them ladies, and about four French people dined with us, mostly of the @@ -3558,7 +3512,7 @@ writes:—</p> <div class="blockquot"><p>"The Hotel du Midi where we put up is conducted in a simple manner; ladies would not like its arrangements. Several -inhabitants, and a visitor or two, dine at the table d'hôte, +inhabitants, and a visitor or two, dine at the table d'hôte, but all are unable to carve a duck excepting the English visitor, who is accordingly put down as a cook."</p></div> @@ -3690,8 +3644,8 @@ seated next to a young lady, "whose father is rather deaf."</p> <div class="figcenter" style="width: 600px;"> <a id="hotel_gray"></a> -<img src="images/i_208.jpg" width="600" height="185" alt="Hôtel Gray et d'Albion Cannes, 15 Nov. 1878." /> -<span class="caption">Hôtel Gray et d'Albion Cannes, 15 Nov. 1878.</span> +<img src="images/i_208.jpg" width="600" height="185" alt="Hôtel Gray et d'Albion Cannes, 15 Nov. 1878." /> +<span class="caption">Hôtel Gray et d'Albion Cannes, 15 Nov. 1878.</span> </div> <p>"I have come here," he says, "in order that rheumatism may forget me @@ -3730,7 +3684,7 @@ weather is rather cold, but the aspect of everything around (nearly) is very fine and worth coming to see."</p></div> <p>In another letter he sends the following sketch of himself at table in -the vast <i>salle à manger</i> of the hotel.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a></p> +the vast <i>salle à manger</i> of the hotel.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a></p> <div class="figcenter" style="width: 600px;"> <a id="sketch_table_hotel"></a> @@ -3746,7 +3700,7 @@ the vast <i>salle à manger</i> of the hotel.<a name="FNanchor_12_12" id="FNancho <div class="blockquot"><p>"<span class="smcap">Dear</span> ——,—The above view will give you a more correct idea of the <i>splendour</i> of this hotel than a page of writing, I think, could possibly do. It represents our -<i>table d'hôte</i> last night. I fled yesterday from Cannes, +<i>table d'hôte</i> last night. I fled yesterday from Cannes, which—although called a very<span class="pagenum"><a name="Page_192" id="Page_192">[Pg 192]</a></span> quiet place by most visitors—I found to be too lively for one who has much work to do and a desire to do it."</p></div> @@ -3970,7 +3924,7 @@ known, but there are drawings in it of great personal interest, now that the artist's hand is still. The <a href="#sketch-book"><i>Sketch Book</i></a> suggests many thoughts and calls up many associations to those who knew him.</p> -<p>In 1883 he illustrated <a href="#aesops_fables"><i>Æsop's Fables</i></a> with "Modern Instances" +<p>In 1883 he illustrated <a href="#aesops_fables"><i>Æsop's Fables</i></a> with "Modern Instances" (referred to on page <a href="#Page_94">94</a>).</p> <p>The kind of work that Caldecott liked best, and of which he would have @@ -4167,7 +4121,7 @@ GEORGE ROUTLEDGE AND SONS,<br /> <hr class="tb" /><p><span class="pagenum"><a name="Page_214" id="Page_214">[Pg 214]</a></span></p> <p class="title"> Some of<br /> -<big>Æsop's Fables.</big><br /> +<big>Æsop's Fables.</big><br /> With "Modern Instances."<br /> Shown in designs by <span class="smcap">R. Caldecott</span>.<br /> <br /></p> @@ -4291,390 +4245,6 @@ Page <a href="#Page_156">156</a>: Deleted duplicate "in".<br /> <span style="margin-left: 1em;">(Orig: "'Poor old priest! What a shrew he has got in in his house,')</span><br /> </p> - - - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Randolph Caldecott, by Henry Blackburn - -*** END OF THIS PROJECT GUTENBERG EBOOK RANDOLPH CALDECOTT *** - -***** This file should be named 41086-h.htm or 41086-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/0/8/41086/ - -Produced by Chris Curnow, Diane Monico, 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 public domain print editions 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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