Besides the original "working" drawings for "Dombey and Son" and "David Copperfield," Her Grace the Duchess of St. Albans also possesses those for "Bleak House." They vary considerably in treatment, some being carefully rendered, while those reproduced with the mezzotint shading are very broadly and vigorously executed by means of a soft lead-pencil, the lights heightened with chinese-white. In comparing the drawings with the etchings, slight variations may here and there be noted; for example, in the design for "Mr. Guppy's Entertainment," Mr. Jobling was first seen wearing his hat, but this was partly obliterated and the contour of the head afterwards drawn in; in "Visitors at the Shooting Gallery," the figure of Mr. George is slightly different in pose, while the sword rests on his shoulder; in "Mr. Smallweed Breaks the Pipe of Peace," Miss Smallweed stands a short distance from her father's chair, holding his "long clay;" in the charming design representing "Lady Dedlock in the Wood," we see Ada coming up behind her ladyship, the figure of Charley (differently posed) being transferred to the other side of the picture. A more remarkable alteration, however, occurs in the design "Mr. Chadband 'Improving' a Tough Subject." Chadband's attitude is entirely changed from that in the etching, and Jo is placed on the other side of the drawing, with his back to Guster, while a cat reposes upon an ottoman near Mrs. Snagsby. In the drawing of "Attorney and Client," the face of Mr. Vholes is of a type differing from the published version, and his arms rest upon the desk; also, there is no waste-paper basket, and the deed-box is nearer the table. Mr. J. F. Dexter has another sketch for this illustration (presumably an earlier one), in which Richard Carstone stands with his back to the table, with his right hand pressed despondingly against his forehead. The original drawings for the sombre scenes, although more effective than the etched reproductions, are remarkably crude in treatment—a criticism which applies more especially to those depicting, "The Lonely Figure" and "The Night." The etchings of these subjects are technically superior to the drawings, their quality, however, being principally owing to the results obtained by means of the ruling-machine. The late Mr. James Payn once expressed the belief that it was "Phiz's" selection of subjects such as these which made him so acceptable an illustrator to Dickens.
In 1882, a writer in The Academy, who considered the illustrations in "Bleak House" as being practically perfect, said of them: "Not only is the comic side, the even fussily comic, such as 'The Young Man of the Name of Guppy,' understood and rendered well, but the dignified beauty of the old country-house architecture, or the architecture of the chambers of our Inns-of-court, is conveyed in brief touches; and there is apparent everywhere that element of terrible suggestiveness which made not only the art of Hablôt Browne, but the art of Charles Dickens himself, in this story of 'Bleak House,' recall the imaginative purpose of the art of Méryon. What can be more impressive in connection with the story—nay, even independently of the story—than the illustration of Mr. Tulkinghorn's chambers in gloom; than the illustration of the staircase of Dedlock's own house, with the placard of the reward for the discovery of the murderer; than that of Tom All Alone's; the dark, foul darkness of the burial-ground under scanty lamplight, and the special spot where lay the man who 'wos wery good to me—he wos!'? And then again, 'The Ghost's Walk,' and once more the burial-ground, with the woman's body—Lady Dedlock's—now close against its gate. Of course it would be possible to find fault with these things, but they have nothing of the vice of tameness—they deliver their message effectually. It is not their business to be faultless; it is their business to impress."
The design for the monthly wrapper is emblematical of the Court of Chancery, the artist availing himself of this opportunity of indulging in humorous pencillings reflecting upon the integrity of lawyers. "Phiz" contributed the frontispiece to the first cheap edition, 1858, representing Mr. Jarndyce and his friends in Bell Yard. He also designed the usual vignettes for the two volumes in the Library Edition (1858-59), which were engraved on steel; in the first is delineated Lady Dedlock and Jo, and in the second we behold Lady Dedlock and Esther Summerson in the wood, the latter composition much resembling the original etching of the same incident.
Little Dorrit, 1855-57.Among the illustrations in "Little Dorrit" there are some as feeble in execution as there are others remarkable for exceptionally vigorous treatment; and it is worthy of note that, whereas in "Bleak House" the artist began partly to relinquish the custom of appending his familiar nom de guerre to the plates, in "Little Dorrit" not a single design bears his signature.
An examination of the "Dorrit" etchings discloses the fact that no less than eight are toned by means of the ruling-machine, the result being even more satisfactory than usual. The first of these "ruled" plates represents the interior of a French prison, and the effect of deep gloom, enhanced by a few bright rays of light darting through the barred window, is remarkable for its Rembrandt-like chiaroscuro. Pleasantly contrasting with this sombre subject there is the plate depicting "The Ferry," a delightfully rural view, with trees and winding river, and that entitled "Floating Away," where the moon, rising behind the trees, imparts a romantic aspect to the scene. The old house in the last illustration but one, "Damocles," indicates "Phiz's" power in expressing the picturesqueness of ancient architecture, and his appreciation of the effect of light as it falls upon quaintly-carved door and window. The plate entitled "Mr. Flintwinch has a Mild Attack of Irritability" is probably one of the most forcible etchings ever executed by "Phiz," and it is difficult to conceive that the same master-hand was responsible for the apparently inexperienced work to be found in an earlier illustration, "Little Mother," the execution of which is as timid and lifeless as the other is bold and expressive.
"Phiz" etched one complete set of the plates, and duplicated the tinted subjects, the variations from the originals being slight and unimportant. Of the forty illustrations, thirty-four are on octavo plates containing single subjects, and three are quarto plates having two subjects on each.
Plate XXXVII
STUDY FOR MISS HAREDALE
Facsimile of an Original Drawing by H. K. BROWNE ("Phiz")
Designed for the series of extra plates for "Barnaby Rudge." This Drawing differs from the published Engraving.