coup d’essai after he was called in, and is a most spirited piece. But the variations make the second plate almost a new one. The drawing, grouping, etc., in b are an enormous improvement, and supply life and animation. The three figures, Pickwick, Wardle, and the postillion, are all altered for the better. In b Mr. Pickwick’s nervousness, as he is extricated from the chaise, is well shown. The postillion becomes a round spirited figure, instead of a mere sketch; Wardle, as in the text, instead of stooping down and merely showing his back, is tramping about gesticulating. A very spirited white horse is introduced with a postillion as spirited; the single chaise in the distance, the horses drawn back, and Jingle stretching out, is admirable. It is somehow conveyed in a clever way in b that Miss Wardle is peeping through the hind window at the scene. There is a wheel on the ground in b, and one hat; in a there are two hats—Mr. Pickwick’s, which is recognizable, and Wardle’s.
15. “First Appearance of Mr. S. Weller.” In the first issue a faint “Nemo” can be made out in the corner, and it is said the same signature is on the preceding plate, though I have never been able to trace it clearly. This plate, as is well known, represents the court of the Old White Hart Inn in the Borough, which was pulled down some years ago. On this background—the galleries, etc., being picturesquely indicated—stand out brilliantly the four figures. The plate was varied in important ways. In the b version some fine effects of light and shade are brought out by the aid of the loaded cart and Wardle’s figure. Wardle’s hat is changed from a common round one to a low broad-leafed one, his figure made stouter, and he is clothed with dark instead of white breeches, his face broadened and made more good-humoured. Sam’s face in b is made much more like the ideal Sam; that in a is grotesque. Perker’s face and attitude are altered in b, where he is made more interrogative. Mr. Pickwick in b is
much more placid and bland than in a, and he carries his hat more jauntily. Top-boots in b are introduced among those which Sam is cleaning. He, oddly, seems to be cleaning a white boot. A capital dog in b is sniffing at Mr. Pickwick’s leg; in a there is a rather unmeaning skulking animal. All the smaller figures are altered.
16. “Mrs. Bardell Faints.” The first plate is feeble and ill-drawn, though Mrs. Bardell’s and Tupman’s faces are good, the latter somewhat farcical; the boy “Tommy” is decidedly bad and too small. Mr. Pickwick’s face in a is better than in b. In the second attempt all is bolder and more spirited. The three Pickwickians are made to express astonishment, even in their legs. There is a table-desk in a, not in b. A clock and two vases are introduced, and a picture over the mirror representing a sleeping beauty with a cupid.
17. “The Election at Eatanswill.” The first plate represents an election riot in front
of the hustings, which is wild and fairly spirited. But no doubt it appeared somewhat confused to the artist. In his second he made it quite another matter. Over the hustings he introduced a glimpse of the old Ipswich gables. He changed the figure and dress of Fizkin, the rival candidate. He had Perker sitting on the rail, but substituted a standing-up figure, talking—presumably Perker, but taller than that gentleman. In b, Mr. Pickwick’s face expresses astonishment at the disorder; in a he is mildly placid. In b the figure behind Mr. Pickwick is turned into Sam by placing a cockade on his hat. Next to Fizkin is a new portly figure introduced. The figures in the crowd are changed in wholesale fashion, and yet the “root idea” in both is the same. An artist, we fancy, would learn much from these contrasts, seeing how strikingly “Phiz” could shift his characters. In the first draft there was not sufficient movement. To the left there was a stout sailor in a striped jacket who was thrusting a pole into the chest of a thin
man in check trousers. This, as drawn, seemed too tranquil, and he substituted a stouter, more jovial figure with gymnastic action—the second was made more contrasted. Next him was a confused group—a man with a paper cap, in place of which he supplied a stout man on whom the other was driven back, and who was being pushed from behind. The animation of the background is immensely increased by hats, and arms, and sticks being waved. Everything is bolder and clearer. The second trombone player, however, is not so spirited as the first, and the drum-beater becomes rather a “Punch and Judy” showman. An artistic effect of light is produced by this drum. There are a great many more boards, too, introduced in b.
“Mrs. Leo Hunter’s Fancy dress Déjeuné.” In b the finish and treatment are infinitely improved. Mr. Pickwick’s face and figure is more refined and artistic. The way he holds his hat in his right hand and his left also are improved; both are more extended. Mr.
Snodgrass’s left leg is brought behind Mr. Pickwick’s in b. Water—a pond perhaps—is in front. Tupman’s hat is altered in b, and feathers added; his face is more serious and less grotesque. Mrs. Pott is more piquant, as the author suggested to the artist. The birdcage, instead of being high in the tree, is lowered and hangs from it. The most curious change is that of Pott, who in a is out of all scale, seeming to be about seven feet high. He was lowered in b, and given a beard and a more hairy cap. It was said, indeed, that the original face was too like Lord Brougham’s, but the reason for the change was probably what I have given.
“The Young Ladies’ Seminary.” All details are changed. The rather “cranky” face of Mr. Pickwick, utterly unlike him, was improved and restored to its natural benevolence; more detail put into the faces, notably the cook’s. The girls are made more distinct and attractive—the lady principal at the back made effective; all the foliage treated