In some of the etchings may be discovered a few trivial errors; for instance, in the plate entitled "Somebody Turns Up," Mrs. Heep is left-handed, an oversight which (as in previous cases) is doubtless the result of the etching being in reverse of the original design, although "Phiz" was generally careful to remember this when preparing his sketches. Strange to relate, in the scene depicting divine service at Blunderstone Church, he has omitted the officiating clergy! In "My First Fall in Life," the horses (especially the leaders) are undoubtedly disproportionate, and the same criticism applies to the figures in the illustration depicting the unexpected arrival of David and his friend at Peggotty's fireside. In the etching of "The River," the scene should have been reversed, and from this point of view (the river-side at Millbank) the dome of St. Paul's is not visible, although it is shown in the picture. Another curious mistake is apparent in the interesting plate entitled "Our Housekeeping;" here David is seen struggling with a loin of mutton, whereas in the text the joint is distinctly described as a boiled leg of mutton. It is amusing to note the appropriate character of the pictures adorning the walls of some of "Phiz's" interiors. In the etching of "The Friendly Waiter and I" he has thus introduced the scene illustrating the familiar fable of the Fox and the Stork; in "Changes at Home" we have the Return of the Prodigal Son and the Finding of Moses in the bulrushes; and in the plate delineating Steerforth and Miss Mowcher will be noticed over the fireplace a scene from Gulliver's adventures in Brobdingnag, an allusion to the diminutive proportions of the remarkable dwarf who was "so volatile."
Her Grace the Duchess of St. Albans possesses the complete series of "working" drawings for "David Copperfield." Like the "Dombey" designs, these highly-finished drawings are executed chiefly in pencil and the effects washed in with indian-ink, while a few are in pencil only. Of that well-known design, "I Make myself Known to my Aunt," there exist no less than three tentative sketches; the first (on which the artist has written "Or—so—so?") represents Miss Trotwood sitting "flat down on the garden-path,"—a pose which, although accurate enough according to the text, was rightly deemed inartistic, whereupon the artist prepared another design, and submitted it to Dickens. In the second picture (where "Phiz" has queried, "Or—so?"), the lady stands erect, but the pathetic appearance of David is lost, and the composition of the background proves less fortunate. In the etching "Phiz" combined the two designs,—that is, he used the first drawing, but substituted the standing figure of Miss Trotwood for the seated one. On the margin of the second design the artist (in a humorous mood) has limned an unmerciful caricature of the whole incident. The third tentative drawing for this subject, believed to be the first sketch, was sold at Sotheby's in 1887 for £6, 15s.; it is now in the collection of Mr. Thomas Wright, of Paris.
With the sketch for "The Friendly Waiter and I" the novelist was delighted. "Phiz" originally represented David as wearing a long jacket, but this not being quite in accordance with Dickens's idea, he wrote asking the artist to "put Davy in a little jacket instead of this coat, without altering him in any other respect," which was accordingly done.
In the drawing for the plate entitled "My Magnificent Order at the Public-house," the form of the two large spirit-vessels behind David are more jug-shaped than in the etching. The "little white hat," by-the-way, as here worn by David, is just such head-gear as Dickens himself disported when a boy. In the drawing of David on the box-seat of the coach, "My First Fall in Life," the western towers of Canterbury Cathedral are indicated in the distance, but these are omitted in the etching. In the scene, "Mr. Micawber Delivers some Valedictory Remarks," certain faint lines are observable near the principal figure, indicating that he was originally delineated in a different attitude. The effective sketch of "The Wanderer" portrays more of the woman's figure than is visible in the plate. In the design entitled "Our Housekeeping," the frame of a mirror or picture is introduced on the wall behind David, but this was afterwards considered superfluous; and in the drawing of "The Emigrants," Mr. Micawber grasps a telescope, which does not appear in the plate. The drawing of "Mr. Peggotty's Dream Comes True" varies considerably from the etching, for not only is David seen wearing a hat (which in the etching is placed upon the table), but the artist has included a fourth figure, that of Rosa Dartle, who, seated in the chair, leans her head upon her arms above the table. The introduction of Miss Dartle is, of course, incorrect, as she had left the room before Mr. Peggotty entered; but the error was detected, and the necessary alteration effected in the published design.
"Phiz's" pictorial wrapper for the monthly parts is replete with detail, around the title in the centre being displayed various figures apparently exemplifying the Seven Ages of Man, with Dame Fortune crowning the whole.
The first cheap edition of "David Copperfield," 1858, contained a frontispiece by "Phiz," engraved on wood by Swain, representing Little Em'ly and David as children on Yarmouth Sands; to the Library Edition (1858-59) the artist contributed two vignettes (engraved on steel), the subject in the first volume being Little Em'ly and David by the sea, and for the second, another version of the etching entitled "Mr. Peggotty's Dream Comes True."
Bleak House, 1852-53.In the forty illustrations for "Bleak House" the artist introduced a greater variety of subjects, and resorted more frequently to the use of the ruling-machine, no less than ten being so treated with considerable success. "Phiz" etched one complete set of the plates and duplicates of the machine-ruled designs, which were repeated probably because they could not so readily withstand the wear-and-tear of the printing.
A very few of the "Bleak House" illustrations are signed. In some of them the details do not entirely accord with the letterpress, a noteworthy instance of this inaccuracy being found in the etching entitled "Miss Jellaby," who is represented as dipping her forefinger in the egg-cup, whereas we are told that it was her "inky middle finger." A more important oversight in the same picture is the introduction of the infant Jellaby in the bed, who was not in the room at all, as a careful reading of the text readily discloses. In two instances, Turveydrop père is depicted without the false whiskers he customarily wore, and in the illustration of "The Smallweed Family," the son is incorrectly omitted. It is perhaps worth noting an odd mistake on the part of the artist—in the etching entitled "Consecrated Ground" he has represented the iron gates in a manner to lead one to suppose they could not be opened; it is unfortunate, too, that, in this pathetic scene (in which, by the way, the chiaroscuro is curiously forced) he partly destroys its sentiment by inappropriately introducing on the left the comical shadow of a man in the act of drinking from a tankard. With reference to one of the characters in "Bleak House" Dickens wrote to Forster: "Browne has done Skimpole, and helped to make him singularly unlike the great original." The "great original" was, of course, Leigh Hunt, a fact which the novelist himself did not so successfully disguise, and subsequently paid the penalty for his indiscretion.
"Phiz" invariably depended upon his imagination or memory for his scenes and characters; as the artist himself expressed it, he would merely go "to have a look at a thing," and then be able to prepare his picture without further aid. For instance, before designing the weird illustration of "The Lonely Figure" in "Bleak House," he visited a lime-pit, in order to see what the big crushing-wheels were like that he desired to introduce, and made a mental note of them without leaving the seat of his trap.