With the name of Richard Doyle we come to the first of a group of artists whose main work was, or is still, done for the time-honoured miscellany of Mr. Punch. So familiar an object is "Punch" upon our tables, that one is sometimes apt to forget how unfailing, and how good on the whole, is the work we take so complacently as a matter of course. And of this good work, in the earlier days, a large proportion was done by Mr. Doyle. He is still living, although he has long ceased to gladden those sprightly pages. But it was to "Punch" that he contributed his masterpiece, the "Manners and Customs of ye Englyshe," a series of outlines illustrating social life in 1849, and cleverly commented by a shadowy "Mr. Pips," a sort of fetch or double of the bustling and garrulous old Caroline diarist. In these captivating pictures the life of thirty years ago is indeed, as the title-page has it, "drawn from ye quick." We see the Molesworths and Cantilupes of the day parading the Park; we watch Brougham fretting at a hearing in the Lords, or Peel holding forth to the Commons (where the Irish members are already obstructive); we squeeze in at the Haymarket to listen to Jenny Lind, or we run down the river to Greenwich Fair, and visit "Mr. Richardson, his show." Many years after, in the "Bird's Eye Views of Society," which appeared in the early numbers of the "Cornhill Magazine," Mr. Doyle returned to this attractive theme. But the later designs were more elaborate, and not equally fortunate. They bear the same relationship to Mr. Pips's pictorial chronicle, as the laboured "Temperance Fairy Tales" of Cruikshank's old age bear to the little-worked Grimm's "Goblins" of his youth. So hazardous is the attempt to repeat an old success! Nevertheless, many of the initial letters to the "Bird's Eye Views" are in the artist's best and most frolicsome manner. "The Foreign Tour of Brown, Jones, and Robinson" is another of his happy thoughts for "Punch;" and some of his most popular designs are to be found in Thackeray's "Newcomes,"where his satire and fancy seem thoroughly suited to his text. He has also illustrated Locker's well-known "London Lyrics," Ruskin's "King of the Golden River," and Hughes's "Scouring of the White Horse," from which last the initial at the beginning of this chapter has been borrowed. His latest important effort was the series of drawings called "In Fairy Land," to which Mr. William Allingham contributed the verses.
In speaking of the "Newcomes," one is reminded that its illustrious author was himself a "Punch" artist, and would probably have been a designer alone, had it not been decreed "that he should paint in colours which will never crack and never need restoration."Everyone knows the story of the rejected illustrator of "Pickwick,"whom that and other rebuffs drove permanently to letters. To his death, however, he clung fondly to his pencil. In technique he never attained to certainty or strength, and his genius was too quick and creative--perhaps also too desultory--for finished work, while he was always indifferent to costume and accessory. But many of his sketches for "Vanity Fair," for "Pendennis," for "The Virginians," for "The Rose and the Ring," the Christmas books, and the posthumously published "Orphan of Pimlico," have a vigour of impromptu, and a happy suggestiveness which is better than correct drawing. Often the realisation is almost photographic. Look, for example, at the portrait in "Pendennis" of the dilapidated Major as he crawls downstairs in the dawn after the ball at Gaunt House, and then listen to the inimitable context: "That admirable and devoted Major above all,--who had been for hours by Lady Clavering's side ministering to her and feeding her body with everything that was nice, and her ear with everything that was sweet and flattering--oh! what an object he was! The rings round his eyes were of the colour of bistre; those orbs themselves were like the plovers' eggs whereof Lady Clavering and Blanche had each tasted; the wrinkles in his old face were furrowed in deep gashes; and a silver stubble, like an elderly morning dew, was glittering on his chin, and alongside the dyed whiskers, now limp and out of curl." A good deal of this--that fine touch in italics especially--could not possibly be rendered in black and white, and yet how much is indicated, and how thoroughly the whole is felt! One turns to the woodcut from the words, and back again to the words from the woodcut with ever-increasing gratification. Then again, Thackeray's little initial letters are charmingly arch and playful. They seem to throw a shy side-light upon the text, giving, as it were, an additional and confidential hint of the working of the author's mind. To those who, with the present writer, love every tiny scratch and quirk and flourish of the Master's hand, these small but priceless memorials are far beyond the frigid appraising of academics and schools of art.
After Doyle and Thackeray come a couple of well-known artists--John Leech and John Tenniel. The latter still lives (may he long live!)to delight and instruct us. Of the former, whose genial and manly "Pictures of Life and Character" are in every home where good-humoured raillery is prized and appreciated, it is scarcely necessary to speak. Who does not remember the splendid languid swells, the bright-eyed rosy girls ("with no nonsense about them!")in pork pie hats and crinolines, the superlative "Jeames's," the hairy "Mossoos," the music-grinding Italian desperadoes whom their kind creator hated so? And then the intrepidity of "Mr. Briggs,"the Roman rule of "Paterfamilias," the vagaries of the "Rising Generation!" There are things in this gallery over which the severest misanthrope must chuckle--they are simply irresistible.
