And Doré père gave way, under circumstances curious enough.
II
In 1847 the family visited Paris, there to Gustave's delight spending four months. Loitering one day in the neighbourhood of the Bourse, his eye lighted upon comic papers with cuts published by MM. Auber and Philipon. Their shop windows were full of caricatures, and after a long and intent gaze the boy returned home, in two or three days presenting himself before the proprietors with half-a-dozen drawings much in the style of those witnessed. The benevolent but businesslike M. Philipon examined the sketches attentively, put several questions to his young visitor, and, finding that the step had been taken surreptitiously, immediately sat down and wrote to M. and Mme. Doré. He urged them with all the inducements he could command to allow their son the free choice of a career, assuring them of his future.
A few days later an agreement was signed by father and publisher to this effect: During three years the latter was to receive upon certain terms a weekly cartoon from the sixteen-year-old artist, who, on his side, bound himself to offer no sketches elsewhere.
[Footnote: This document was reproduced in Le Figaro of December 4, 1848.]
Meanwhile, Gustave would pursue his studies at the Lycée Charlemagne, his patron promising to look after his health and well-being. The arrangement answered, and in Le Journal pour rire the weekly caricature signed by Doré soon noised his fame abroad. Ugly, even hideous, as were many of these caricatures, they did double duty, paying the lad's school expenses, and paving the way to better things. Of caricature Doré soon tired, and after this early period never returned to it. Is it any wonder that facile success and excessive laudation should turn the stripling's head? Professionally, if not artistically speaking, Doré passed straight from child to man; in one sense of the word he had no boyhood, the term tyro remained inapplicable. This undersized, fragile lad, looking years younger than he really was, soon found himself on what must have appeared a pinnacle of fame and fortune.
Shortly after his agreement with Philipon, his father died, and Mme. Doré with her family removed to Paris, settling in a picturesque and historic hôtel of the Rue St. Dominique. Here Doré lived for the rest of his too short life.
The house had belonged to the family of Saint Simon, that terrible observer under whose gaze even Louis XIV. is said to have quailed. So aver historians of the period. The associations of his home immediately quickened Doré's inventive faculties. He at once set to work and organized a brilliant set of tableaux vivants, illustrating scenes from the immortal Mémoires. The undertaking proved a great social success, and henceforth we hear of galas, soirées, theatricals and other entertainments increasing in splendour with the young artist's vogue—and means.
The history of the next twenty years reads like a page from the Arabian Nights. Although dazzling is the record from first to last, and despite the millions of francs earned during those two decades, the artist's ambition was never satisfied. We are always conscious of bitterness and disillusion. As an illustrator, no longer of cheap comic papers but of literary masterpieces brought out in costly fashion, Doré reached the first rank at twenty, his Rabelais setting the seal on his renown. So immense was the success of this truly colossal undertaking and of its successors, the Don Quixote, the Contes de fées of Perrault and the rest, that he meditated nothing less than the illustration of cosmopolitan chefs 'd' oeuvre, en bloc, a series which should include every great imaginative work of the Western world! Thus in 1855 we find him noting the following projects, to be carried out in ten years' time:—illustrations of Æschylus, Lucan, Ovid, Shakespeare, Goethe (Faust), Lamartine (Méditations), Racine, Corneille, Schiller, Boccaccio, Montaigne, Plutarch's Lives—these names among others. The jottings in question were written for a friend who had undertaken to write the artist's biography.
The Rabelais, Don Quixote, The Inferno, and several more of these sumptuous volumes were brought out in England. Forty years ago Doré's bold and richly imaginative work was in great favour here; indeed, throughout his life he was much more appreciated by ourselves than by his countrymen. All the drawings were done straight upon wood. Lavish in daily life, generous of the generous, Doré showed the same lavishness in his procedure. Some curious particulars are given upon this head. Fabulous sums were spent upon his blocks, even small ones costing as much as four pounds apiece. He must always have the very best wood, no matter the cost, and it was only the whitest, smoothest and glossiest boxwood that satisfied him. Enormous sums were spent upon this material, and to his honour be it recorded, that no matter the destination of a block, the same cost, thought and minute manipulation were expended upon a trifling commission as upon one involving thousands of pounds. The penny paper was treated precisely the same as the volume to be brought out at two guineas. In the zenith of his fame as an illustrator, at a time when tip-top authors and editors were all clamouring for his drawings, he did not despise humbler admirers and clients. His delight in his work was only equalled by quite abnormal physical and mental powers. Sleep, food, fresh air, everything was forgotten in the engrossment of work. At this time he would often give himself three hours of sleep only.