The Library [48]
Then again, Thackeray's little initial letters are charmingly arch and playful. They seem to throw a shy side-light upon the text, giving, as it were, an additional and confidential hint of the working of the author's mind. To those who, with the present writer, love every tiny scratch and quirk and flourish of the Master's hand, these small but priceless memorials are far beyond the frigid appraising of academics and schools of art.
After Doyle and Thackeray come a couple of well-known artists--John Leech and John Tenniel. The latter still lives (may he long live!) to delight and instruct us. Of the former, whose genial and manly "Pictures of Life and Character" are in every home where good- humoured raillery is prized and appreciated, it is scarcely necessary to speak. Who does not remember the splendid languid swells, the bright-eyed rosy girls ("with no nonsense about them!") in pork pie hats and crinolines, the superlative "Jeames's," the hairy "Mossoos," the music-grinding Italian desperadoes whom their kind creator hated so? And then the intrepidity of "Mr. Briggs," the Roman rule of "Paterfamilias," the vagaries of the "Rising Generation!" There are things in this gallery over which the severest misanthrope must chuckle--they are simply irresistible. Let any one take, say that smallest sketch of the hapless mortal who has turned on the hot water in the bath and cannot turn it off again, and see if he is able to restrain his laughter. In this one gift of producing instant mirth Leech is almost alone. It would be easy to assail his manner and his skill, but for sheer fun, for the invention of downright humorous situation, he is unapproached, except by Cruikshank. He did a few illustrations to Dickens's Christmas books; but his best-known book-illustrations properly so called are to "Uncle Tom's Cabin," the "Comic Histories" of A'Beckett, the "Little Tour in Ireland," and certain sporting novels by the late Mr. Surtees. Tenniel now confines himself almost exclusively to the weekly cartoons with which his name is popularly associated. But years ago he used to invent the most daintily fanciful initial letters; and many of his admirers prefer the serio- grotesque designs of "Punch's Pocket-Book," "Alice in Wonderland," and "Through the Looking-Glass," to the always correctly-drawn but sometimes stiffly-conceived cartoons. What, for example, could be more delightful than the picture, in "Alice in Wonderland," of the "Mad Tea Party?" Observe the hopelessly distraught expression of the March hare, and the eager incoherence of the hatter! A little further on the pair are trying to squeeze the dormouse into the teapot; and a few pages back the blue caterpillar is discovered smoking his hookah on the top of a mushroom. He was exactly three inches long, says the veracious chronicle, but what a dignity!--what an oriental flexibility of gesture! Speaking of animals, it must not be forgotten that Tenniel is a master in this line. His "British Lion," in particular, is a most imposing quadruped, and so often in request that it is not necessary to go back to the famous cartoons on the Indian mutiny to seek for examples of that magnificent presence. As a specimen of the artist's treatment of the lesser felidae, the reader's attention is invited to this charming little kitten from "Through the Looking-Glass."
Mr. Tenniel is a link between Leech and the younger school of "Punch" artists, of whom Mr. George du Maurier, Mr. Linley Sambourne, and Mr. Charles Keene are the most illustrious. The first is nearly as popular as Leech, and is certainly a greater favourite with cultivated audiences. He is not so much a humorist as a satirist of the Thackeray type,--unsparing in his denunciation of shams, affectations, and flimsy pretences of all kinds. A master of composition and accomplished draughtsman, he excels in the delineation of "society"--its bishops, its "professional beauties" and "aesthetes," its nouveaux riches, its distinguished foreigners,- -while now and then (but not too often) he lets us know that
After Doyle and Thackeray come a couple of well-known artists--John Leech and John Tenniel. The latter still lives (may he long live!) to delight and instruct us. Of the former, whose genial and manly "Pictures of Life and Character" are in every home where good- humoured raillery is prized and appreciated, it is scarcely necessary to speak. Who does not remember the splendid languid swells, the bright-eyed rosy girls ("with no nonsense about them!") in pork pie hats and crinolines, the superlative "Jeames's," the hairy "Mossoos," the music-grinding Italian desperadoes whom their kind creator hated so? And then the intrepidity of "Mr. Briggs," the Roman rule of "Paterfamilias," the vagaries of the "Rising Generation!" There are things in this gallery over which the severest misanthrope must chuckle--they are simply irresistible. Let any one take, say that smallest sketch of the hapless mortal who has turned on the hot water in the bath and cannot turn it off again, and see if he is able to restrain his laughter. In this one gift of producing instant mirth Leech is almost alone. It would be easy to assail his manner and his skill, but for sheer fun, for the invention of downright humorous situation, he is unapproached, except by Cruikshank. He did a few illustrations to Dickens's Christmas books; but his best-known book-illustrations properly so called are to "Uncle Tom's Cabin," the "Comic Histories" of A'Beckett, the "Little Tour in Ireland," and certain sporting novels by the late Mr. Surtees. Tenniel now confines himself almost exclusively to the weekly cartoons with which his name is popularly associated. But years ago he used to invent the most daintily fanciful initial letters; and many of his admirers prefer the serio- grotesque designs of "Punch's Pocket-Book," "Alice in Wonderland," and "Through the Looking-Glass," to the always correctly-drawn but sometimes stiffly-conceived cartoons. What, for example, could be more delightful than the picture, in "Alice in Wonderland," of the "Mad Tea Party?" Observe the hopelessly distraught expression of the March hare, and the eager incoherence of the hatter! A little further on the pair are trying to squeeze the dormouse into the teapot; and a few pages back the blue caterpillar is discovered smoking his hookah on the top of a mushroom. He was exactly three inches long, says the veracious chronicle, but what a dignity!--what an oriental flexibility of gesture! Speaking of animals, it must not be forgotten that Tenniel is a master in this line. His "British Lion," in particular, is a most imposing quadruped, and so often in request that it is not necessary to go back to the famous cartoons on the Indian mutiny to seek for examples of that magnificent presence. As a specimen of the artist's treatment of the lesser felidae, the reader's attention is invited to this charming little kitten from "Through the Looking-Glass."
Mr. Tenniel is a link between Leech and the younger school of "Punch" artists, of whom Mr. George du Maurier, Mr. Linley Sambourne, and Mr. Charles Keene are the most illustrious. The first is nearly as popular as Leech, and is certainly a greater favourite with cultivated audiences. He is not so much a humorist as a satirist of the Thackeray type,--unsparing in his denunciation of shams, affectations, and flimsy pretences of all kinds. A master of composition and accomplished draughtsman, he excels in the delineation of "society"--its bishops, its "professional beauties" and "aesthetes," its nouveaux riches, its distinguished foreigners,- -while now and then (but not too often) he lets us know that