TYPES.
During one of the "sittings" which Dickens gave me when I painted his portrait, I asked him if, when he drew the character of Pecksniff, any of his inspiration had arisen from a knowledge of the character, and even personal appearance, of an individual known to both of us, whose name I mentioned.
"Why, yes," was the reply; "I had him in my eye."
In like manner, I think, in his most favourite type of beauty, Leech was thinking of his wife, who was in all respects a charming woman. She permeates a little to the destruction of variety of character many of the lovely figures in Punch, where now and again may be found an excellent likeness of Mrs. Leech. That she was a striking person is evident from the fact that she struck Leech to the heart as he met her in the street; so hard was the blow, that the artist forgot his errand, and followed the enslaver to her own door. Inquiries were set on foot; an introduction followed; he came, he saw, conquered, and was married in 1843 to Miss Eaton, who made the best of wives and mothers.
It goes without saying that Leech was a worshipper of female beauty in all its bewitching variety. I remember watching with him the riders in Rotten Row, and after some startlingly lovely creatures had passed us, he said:
"Ah, my Frith, don't you wish you were a Turk, and able to marry all that little lot?"
Only two of Leech's children lived to maturity, and both survived him. His son, John Charles Warrington Leech—a fine boy, whom I well remember—was the darling of his father's heart, and the boy returned his love with all the fervour of his loving nature. If Leech had lived to learn that his son was accidentally drowned by the capsizing of a boat at South Adelaide—a deplorable event that took place in 1876—the intelligence would have broken his heart. This affliction was mercifully averted from him, as also was the death of his daughter, which occurred a few years ago, soon after she became a happy mother.
Leech's working coat was made of black velvet, something in shape like a shooting-coat; Leech the younger, at the age of five, was allowed to dress exactly like his father; and he might have been seen on most mornings, palette in hand, standing before a little easel, working away at copies of the engravings in the Illustrated London News, which he coloured literally with all the colours of the rainbow, whilst the father sat by with block and pencil. The young gentleman not only inherited his father's love of art, but also some of his humour; for he informed a new servant, who appeared for the first time in the nursery, that his papa said that he was "one of those children that can only be managed by kindness"—"So please go and get me some sponge-cake and an orange." This served Leech for an excellent cut in Punch.
Mr. Hole gives another instance of Master Leech's Leech-like cleverness. He says:
"My wife's maid had paid a long visit to the nursery for a chat with his lady-in-waiting, and when he began some display of disobedience, she said:
"'Really, Master Leech, if you won't be good, I must tell your mamma.'
"'And I shall tell her,' he rejoined, 'if you do, what a time you've been idling here.'"
I may add in this place an anecdote sent to me by an intimate lady friend of Leech's, who, after speaking of his devotion to his wife and children, tells me that she was taking luncheon with him one day at his house in Brunswick Square.
"His two children dined at the same time. Leech said with a very grave voice:
"'Now, children, say your grace.'
"Both children began to say it together as fast as they could. Leech said when they had finished:
"'Well run—Ada first, Bougie a good second.'"
Mrs. Hall, a daughter of Mr. Adams—the Chattie of Leech's letters—supplies me with an example, "one out of many instances of great kindness to her as a child," which I present to my readers:
"I was about eight years old," says Mrs. Hall, "and on one rough morning during my stay with him at Broadstairs I was sent in charge of a maid to play upon the beach. The wind carried away my bonnet. Regardless of danger, I rushed into the sea after it, and after many struggles I recovered it, but was horrified to find that a crowd had collected round me. I was taken home dripping, and feeling very guilty. You can imagine the relief it was to find my dear friend ready to comfort and not to scold; and I have a happy recollection of being snugly tucked up on his knee for some hours after the event, while he continued his drawing."
The publication of my desire for information respecting John Leech's youthful days has put into my possession one of his earliest drawings; for this I am indebted to one of his Charterhouse schoolfellows, a very young old gentleman indeed. Mr. Charles Maitland Tate's name may be found in the first division of the fourth form in the list of scholars of 1828. Mr. Maitland's first acquaintance with "little Johnny Leech" began at Brighton in 1823, where he found our embryo six-year-old artist learning equestrian accomplishments, with the help of a small pony and the instruction of "an old retired jockey," who was one of the stable servants of George IV. at the Pavilion.
"Leech was a gentle, dear little fellow," says Mr. Maitland. "I accompanied him on several of his pony excursions, and the more I saw of him, the better I liked him."
Leech was entered at Charterhouse in 1824, Maitland a year or two afterwards, having grown into a strapping boy of eleven. Mr. Maitland's father was a Dean of St. Paul's, able, no doubt, from his position to procure a presentation—as he did from Lord Grey—for his son, who entered as a Gown boy, thus taking, and maintaining, a higher position in the school than Leech ever succeeded in reaching. Young Maitland had been a few days in the Charterhouse, when he was accosted by a small boy, who was obliged to tell his name before his early friend could recognise him. Boy-like, Maitland immediately took young Leech under his protection, and threatened dire consequences to anyone who bullied or ill-treated him. The protector's prowess, however, was not wanted, for Leech never made an enemy then or afterwards.
Amongst the scholars was one named Douglas, whose powers of sketching in caricature were very remarkable. Of this I convinced myself by a book of drawings in the possession of Mr. Maitland. Douglas's talent made him very attractive to Leech, and the boys became great friends.
"Leech copied several of his friend's drawings," says Mr. Maitland; but, as might have been expected, he soon abandoned copying and took to original work, a specimen of which I give below, as perhaps the earliest known drawing by Leech.[A]
If, before I had written the first portion of this book, I had known Mr. Maitland's story, I should have introduced it earlier; for this and other shortcomings and irregularities, I hope to be forgiven on the ground of my inexperience and ignorance of the laws of literary composition. With this apology I proceed to make more mistakes, but mistakes only in the order in which the truth should be told.