John Leech, His Life and Work Volume II Part 3

"I was shocked last night at the Garrick to hear from Elmore that I had nearly killed you through recommending a horse which had misbehaved himself in the Park. To be sure, I told you that I had been to look at an animal for my little girl, and that it did not suit, and I told you that it might be worth your looking at, as I had heard that it was young, sound, and steady; but if you ride a beast that you know nothing about in Rotten Row, and if that beast has not been out for a week, or probably a fortnight, I must protest against being made answerable for the consequences. I most sincerely hope, however, that you are not hurt or come to grief in any way.

"Believe me, "Yours always, "JOHN LEECH."

It goes without saying that so true-hearted a man as John Leech, would be--as indeed he was--a model of the domestic virtues--the best of husbands and fathers, and a most dutiful and affectionate son. In evidence of the latter, I put before my readers some letters written to his parents in his maturer years, which will amply justify what I say of him.

"32, Brunswick Square, "February 25, 1854.

"MY DEAR PAPA,

"I am sure you will be glad to hear that you have a little granddaughter.

"She came into the world at a quarter-past eleven o'clock--just now--and she is, with dear Annie (to me a _novel_ phrase), 'as well as can be expected.'

"Kind love to all.

"Your affectionate son "JOHN.

"Tell Polly that the flag will be hoisted!"

"8, St. Nicholas Cliff, Scarboro', "August 30, 1858.

"MY DEAR MAMMA,

"Thank you with my best love for thinking of my birthday. I hope you will be able to wish me happy returns of the day for many and many a year to come. The children gave your kisses very heartily, I a.s.sure you. You will be glad to hear, I am sure, that they were never better.

"Thank G.o.d they are thriving beautifully, which is a great happiness to me. I wish you could see them making dirt pies and gardens on the sands. A great many people notice them--indeed, although I say it, between you and me, I don't see any nicer little folks down here. If either you or papa could come here for a time we would endeavour to take the best care of you. I am no great hand at pen-and-inking, as you know, so you will excuse a very short note. I thought, however, that you would like to know that I got from Ireland safe and sound, and always believe me,

"My dear mamma, "Your affectionate son, "JOHN."

"1, Crescent, Scarboro', "August 29, 1859.

"MY DEAR MAMMA,

"It would be a great comfort to me, and I think it would be pleasant for you, if you would come here and see us for as long as you can spare the time. I want very much to go into the north, but I do not like leaving Annie quite alone with the chicks. We can give you a bed in, I think you will say, a tolerably comfortable house. Come as soon as you can, and stay as long as you can. I think it would do you good; only bring warm things, as when it is cold here, it is very cold. By the way, it is my birthday. What shall I say? Well, I wish you many happy returns of the day, and believe me, with best love from all to all,

"Your affectionate son, "JOHN."

"5, Pleydell Gardens, "Sandgate Road, Folkestone, "August 29, 1862.

"MY DEAR MAMMA,

"Many thanks for your note this morning. You will be glad to know, I am sure, that it found us all very well. May you be able to send me such a congratulation for many a year to come. And with best love to you, and to all at home, believe me ever,

"Your affectionate son,

"JOHN.

"Tell papa that if he would like to run down here, we can give him a bed. He would like to see a couple of little brown faces. I am going away for a few days (on Monday, I think); so if any of you could keep Annie with the chicks, and keep her company while I am absent, it would be very nice, I think."

A great deal has been said--and with a certain amount of truth, no doubt--about the difference between a drawing on wood as it leaves the hands of the artist, and as it appears after its sufferings at the hands of the wood-engraver. Leech is reported to have replied to an admiring friend, who was extolling one of his drawings:

"Ah, wait till you see what it looks like in _Punch_ next week."

I once saw one of Leech's drawings on the wood, and I afterwards saw it in _Punch_, and I remember wondering at the fidelity with which it was rendered. Some of the lines, finer than the finest hair, had been cut away or _thickened_, but the character, the vigour, and the beauty were scarcely damaged. To Mr. Swain, who for many years cut all Leech's drawings, the artist owed and acknowledged obligation; he thought himself fortunate in avoiding certain other wood-cutters, who were somewhat remorseless in their operations.

Mr. Swain, the wood-engraver, writes:

"For twenty-five years I engraved nearly all Mr. Leech's drawings.

I always found him kind, and willing to forgive any of my shortcomings in not rendering his touches in all things. My work was always against time. I seldom had more time than two days to engrave one of his drawings in.

"Photographing drawings on wood was not known in his time, or it would have been a great advantage to him; instead of drawing on the block, he would then have drawn on paper, as most artists do in the present day, and had his drawings photographed on the wood, thus preserving the finished drawings, which would have been of great value now; besides, it would have been a great help to the engraver, always to have the original drawing to refer to in engraving the blocks.

"He never had any models, and rarely ever made any sketches. He showed me a little note-book once with a few thumb-nail sketches of bits of background, but he seemed never to forget anything he saw, and could always go back in his memory for any little bit of country street he might want for background, etc.

"It was generally very late in the week before he could get his drawings ready, which gave very little time to the engraver to do justice to his work.

"His first introduction to _Punch_ was through Mr. Percival Leigh.

"Mr. Leech was a man of very nervous temperament. I will give you an instance of this. Mr. Mark Lemon told me one day that Leech had been invited to a gentleman's house in the country for a few days'

hunting. He arrived there in the evening. He was awakened early in the morning by a grating noise made by the gardener rolling the gravel under his window--noise he could never endure. This had such an effect upon his nerves, that he got up, packed his things, and was off to town before any of the family were aware of it. A barrel-organ was to him an instrument of torture.

"He had lived in Russell Square for many years, but for some time before his death he took a large house--6, The Terrace, Kensington.

"I remember going to see him at his new house. He took great delight in showing me over it, and pointing out that he had had double windows put in all over the house _to keep all noises out_."

CHAPTER V.

INVENTORS AND ILl.u.s.tRATORS.

In looking at the plethora of lovely women's faces in the "Pictures of Life and Character," the spectator may fairly ask himself to realize, if he can, anything more exquisite; and if he fail, he will also fail to imagine that the charming creatures could have suffered much in their pa.s.sage from the wood to the paper.

I have said elsewhere that Charles d.i.c.kens was an occasional guest at the _Punch_ Wednesday dinners; he was also an intimate friend of several of the writers, notably of Leech, Lemon, and Douglas Jerrold. d.i.c.kens was, of course, one of Thackeray's warmest admirers, but I am pretty sure that the friends.h.i.+p between those great men could never have reached intimacy. Though Leech failed in his application for the post of ill.u.s.trator of the "Pickwick Papers," he showed himself to be at one with the great writer in the etchings and woodcuts with which he ornamented d.i.c.kens' Christmas books, in conjunction with Stanfield, Maclise, Cattermole, and others. Though Leech's etchings are inferior as works of art to his wood-drawings, they still show the same beauty, and perfect realization of character; in this a.s.sertion I am borne out by the ill.u.s.trations in the "Christmas Carol," and by those in the "Haunted Man and the Battle of Life."

In my own profession I have observed, almost as a rule, that the artist who habitually invents his own subjects--in other words, draws upon himself for original ideas--generally fails, comparatively, in his attempts to realize the ideas of others. May I not say the same of many writers? d.i.c.kens, for instance, wrote of the life about him; but if, like Scott, he had attempted to revive the past, would he have produced work worthy to rank with "David Copperfield"? Scott seems to me a still more conspicuous supporter of my theory, for he tried modern life in "St. Ronan's Well," and produced a book incontestably inferior to "Kenilworth."

Our historical painters have almost invariably failed in their attempts upon everyday life; this extends even to the painters of _genre_.

Witness the works of the elder Leslie, who painted scenes from Shakespeare, Moliere, and the poets of the last century, with a success that would have delighted the authors; but when he sought inspiration from the life about him, the result was far from satisfactory--conspicuous, indeed, in its contrast with his perfect rendering, of "Sir Roger de Coverley" or "Uncle Toby," and the alluring "Widow Wadman."

But the greatest of English painters is the greatest help to me in the contention into which I venture to enter. Hogarth was beguiled by a spirit, which must have been evil, into painting huge Scripture subjects. The _size_ of these pictures, always of the proportion of full life, was unsuited to his hand, while the themes became ludicrous under his treatment. He failed completely also as an ill.u.s.trator, witness his designs from "Hudibras." In the Bristol Gallery, and in the Foundling Hospital, these specimens of perverted genius may be seen; and no one can look at them without regret that time should have been so misspent--time which might have given us another immortal series like the "Marriage a la Mode."

[Ill.u.s.tration: _Jack Johnson's attempt to rescue Derval._]