Charles Lutwidge Dodgson

“ Ellen Terry, a beautiful tiny creature, who played the child’s part of Mamillius in the most charming way. This was the first of many meetings with the famous actress, who became one of his child-friends in later years. But that was when he was Lewis Carroll. As yet he was only Charles Dodgson, a struggling young Student, anxious for independence, interested in his work, simple, sincere, devout, a dreamer of dreams which had not yet taken shape, and above all, a true lover of little girls, no matter how plain, or fretful, or rumpled, or even dirty. ”

“ THE ETCHINGS OF CHARLES MERYON INTRODUCTION. CENTURY has passed since the birth of Meryon, a circumstance which excuses, if it does not actually demand, a survey in retrospect of the great etcher’s work and the growth of his renown. There is no indication, it must be said at once, that the lapse of time has weakened in any degree the sure fabric of his fame. About no other modern etcher, save Whistler, is there an equal consensus of opinion among those whose opinion counts, that he ranks among the great masters of his art. ”

“ Let him discover this as he proceeds. The love of excellence is far beyond the love of excelling; and if he should once be bewitched into a mere ambition to surpass others I need not urge that the very quality of his knowledge would be materially injured, and that his character would receive a stain of a more serious description still....
And again, when Charles was leaving Richmond, he wrote:
"Be assured that I shall always feel a peculiar interest in the gentle, intelligent, and well-conducted boy who is now leaving us." ”

“ He was Headmaster during the whole of the time Charles was at Rugby, except the last year, during which Dr. Goulburn held that office. Charles went up in February, 1846, and he must have found his new life a great change from his quiet experiences at Richmond. Football was in full swing, and one can imagine that to a new boy "Big-side" was not an unalloyed delight. Whether he distinguished himself as a "dropper,' or ever beat the record time In the "Crick" run, I do not know. Probably not; his abilities did not lie much in the field of athletics. ”

“ The engraving is an excellent copy of the picture.
The best thing in the Rectory Umbrella was a
The First Earring parody on Lord Macaulay's style in the "Lays of Ancient Rome"; Charles had a special aptitude for parody, as is evidenced by several of the best-known verses in his later books.
LAYS OF SORROW.
No. 2.
Fair stands the ancient [8] Rectory,
The Rectory of Croft,
The sun shines bright upon it,
The breezes whisper soft. ”

“ Charles Baudelaire and Théophile Gautier added their words of praise and the Galerie Notre-Dame evoked the enthusiasm of Victor Hugo. Bracquemond, by twelve years his junior in age but his contemporary in the practice and mastery of etching, gave him all the support of his appreciation, and there was a small enlightened circle of collectors, including Wasset of the War Office, Niel of the Ministry of the Interior, Meryon’s former shipmate De Salicis, the English etcher Seymour Haden, and a few others who saw the great merit of his work{2} from the first. ”

“ Bléry as an etcher has little interest for us, but he was sufficiently skilled to impart in six months a sound technique to a pupil, whose interest in the art was fostered by the study of old etchings and especially those of the Dutch etcher of architecture and marine subjects, Renier Zeeman (1623-1663) , which he used to pick up for a few sous in the boxes outside the printsellers’ shops. Meryon’s first etching of all was a head of Christ, founded on a miniature after Philippe de Champaigne; the only impression known of this etching is in the Howard Mansfield collection at New York. ”

“ Nor is an artist always the best judge of a fellow artist who pursues very different aims from his own. Meryon’s reputation, though it is ungrudgingly admitted and admired by most etchers of to-day and yesterday, was established by the critics and collectors of a generation now extinct. Philippe Burty, who published the first critical article on Meryon and the first catalogue of his etchings in the Gazette des Beaux-Arts of 1863, was the first to discern clearly and to proclaim to the world his peculiar genius. ”

“ The lonely artist, subject to hallucinations, thinking that Jesuits were watching him in every street, quarrelling with his best friends, who found it impossible to help him, almost starving because he thought it wrong to eat when others were in need, was no longer capable of the concentrated effort that had produced the masterpieces of the first half of the fifties. ”

“ The streets of all the etchings of the sixties are filled with excited crowds or little groups of tall, unnatural looking people, and all kinds of curious monsters and allegorical figures hover in the sky or swoop in rapid flight across it. The Collège Henri IV (plate 29) in some of its states, has for background a sea with sails and whales and sea-gods, and the figures in the foreground are the most extraordinary that Meryon ever drew. ”

“ The outline drawing which Meryon made from the level of the shore, showing the towers very much lower, is reproduced in M. Delteil’s catalogue. L’Arche du Pont Notre-Dame (plate 8) , especially in the beautiful proofs on green paper, is one of the most charming of the whole series and free from any eccentricity. La Galerie Notre-Dame (plate 9) is a very beautiful rendering of Gothic architecture, and a most delicate study of effects of light, direct and reflected. The impressions vary much, some being rich in tone and rather veiled, others clean wiped and of a silvery clearness. ”

“ Lottie’s not a bad sort, but she gets fancies and they run away with her. I’ve talked with her, and I can promise you it won’t happen again. She’s been writing me angry letters for the past week, ever since you made it up with Sir Charles. I was afraid something like this would happen, so I thought I’d just run down. I wish I’d managed to get here earlier.”
He stopped suddenly, gazing toward the keeping-room door. Ruthita came out and crossed the shop. She had on one of her new dresses and was on her way to tea with Vi. ”

“ The British Museum collection is still arranged in Wedmore’s order, which has one practical advantage: it gives precedence to the important works, the etchings of Paris, and describes the other etchings as minor works after these. Thus the visitor, not an expert, who asks for Meryon’s etchings and receives the first volume, finds in it at once a number of the masterpieces. He can persevere, if he will, and see the minor works also; but, if he is more easily tired, he will at least have seen the Paris set while his eye is fresh, and will have spent none of his energy on the early experiments. ”

“ The proportions of the various masses of architecture to the oblong plate are perfectly satisfying, and the eye delights in the intricate lines, alternately light and dark, of the two wooden structures that rise out of the water like the piles of a “lake dwelling.” Meryon excuses himself, in an interesting letter, for making the towers of Notre-Dame higher than they should be, as actually seen from this point of view: “Les Tours saillent aussi un peu plus que dans la réalité ”

“ In drawing architecture Meryon always worked upwards from the bottom of his object, saying that buildings were begun from the foundation and the artist{7} should follow the same method as the builder. In the same way he would draw men from the feet upwards, saying that they must always be planted firmly on their feet before they began to do anything. Le Petit Pont well illustrates another peculiarity of his practice in drawing architecture. ”

“ Lewis S. Patrick, of Marinette, Wisconsin, who has devoted much time and painstaking labor to the work of searching for and securing authentic information of his distinguished ancestor, and Mr. Charles Henry Ludington, of New York, who has received many valuable papers and original documents and records from a descendant of Sibyl Ludington Ogden, Henry Ludington’s first-born child. It is much regretted that among all these data, no portrait of Henry Ludington [ix] is in existence, and that therefore none can be given in this book. ”

“ It is only the four oblong subjects of Paris and its vicinity after Zeeman that count for something more, because they show very plainly on what Meryon formed his taste, and anticipate, in the proportions and ordonnance of the plate and in the treatment of river boats and of the little figures on the banks of the Seine that we see in Le Pavillon de Mademoiselle and in La Rivière de Seine et l’angle du Mail, habits that we shall soon come to regard, when we consider the original etchings of Paris, as specially characteristic of Meryon himself. ”

“ The delicacy of the work, in fine proofs, is beyond the power of any mechanical process to reproduce. Two pencil studies, formerly in the Macgeorge collection, are very interesting as showing Meryon’s conscientious method of preparation for this plate. He made one very highly finished drawing of all that is seen of the city of Paris down below, reserving blank spaces for the Stryge and for the Tour St. ”

“ There is also no doubt that the dictates of a conscience which was perhaps over exacting for daily life were obeyed too closely for him to be companionable to ordinary adult persons. He made, however, acquaintance with eminent men among them Ruskin, Tennyson, Millais, and Rossetti of whom he has left valuable photographs, amateur photography having been successfully practised by him almost from boyhood.
Dodgson went to Russia with Dr. Liddon in 1867, and visited London and its theatres periodically ; but he remained essentially an Oxford man to the very last. ”

“ The year 1916 was an unfavourable time for acquiring such a valuable œuvre for any national or municipal museum, and the Macgeorge collection went to America and was dispersed, only a small number of proofs remaining in, or returning to, this country, where, I suppose, no one collection of importance still remains except that of the British Museum. A Meryon exhibition is being held at the Museum this autumn to celebrate the centenary of the artist’s birth. ”

“ During the years 1849-50 he produced a number of copies after Loutherbourg, Salvator Rosa, Karel du Jardin and others, but Zeeman fascinated him above all in the double capacity of an etcher of marines and of views of old Paris, and it was from his style that he learnt most. ”

“ The street exists no longer.
La Tour de l’Horloge (plate 11) was drawn and etched in 1852 while alterations were in progress which materially altered the appearance of Le Châtelet. This plate has always struck me as being a very straightforward and masterly portrait of a building, but without so much personal expression as Meryon generally contrived to impart to his other etchings. ”

“ LIST OF MERYON’S ETCHINGS
Besides the earliest full catalogue of Meryon’s etchings, that by P. Burty, translated into English by M. B. Huish (1879) , which derives its value from Burty’s Memoir of Meryon and his notes on certain of the etchings, there are two catalogues of Meryon in general use, that written by the late Sir F. Wedmore (“Méryon and Méryon’s Paris,” 2nd ed., London, 1892) and the much more thorough catalogue by M. Loys Delteil (1907) which forms Tome II. of the series, “Le Peintre-Graveur illustré.” ”

“ On his return to Toulon he had further lessons in drawing. In 1842 he went to sea again, being gazetted as “enseigne de vaisseau” to the corvette Le Rhin, which cruised about New Zealand, New Caledonia, and the islands of the Pacific. The fruits of these years of travel in Oceania may be seen in a number of etchings which he made in later life (Delteil 63-74) . A multitude of pencil sketches made on his travels re{5}mained in his family’s possession till 1904, when they were given to the British Museum by Mr. Lewis Meryon. ”

“ He deliberately renounced any competition with the camera of the photographer, and claimed the right to arrange the different parts of what he drew in the manner best calculated to convey a certain impression, while preserving the utmost exactness in the representation of detail in each part. ”

“ He spoke stiffly. “You’ll inherit Sir Charles’s money. When I married a first and a second time, I didn’t consult his convenience, and the responsibilities I undertook are mine. Ruthita’s only your sister by accident; already you’ve been too much together. We must consider this offer apart from sentiment. He’s sowed his wild oats—well, he’s sorry. And he’ll be the Earl of Lovegrove by and by. To stand in her way would be selfishness.”
His argument took me by surprise. “Is Ruthita anxious for it? What does she say?”
“She knows nothing of the world. She takes her coloring from you. ”

“ In a pathetic letter which he addressed in 1854 to the Minister of the Interior, appealing to him for the support which he could not obtain from the public, he announced his intention of producing a set of ten etchings of Bourges, and charging fifteen francs for the set. He actually sold the whole series of his masterpieces, “Eaux-fortes sur Paris,” as a set, for twenty-five or thirty francs. They sold very slowly indeed. ”

“ A drawing by Meryon of another of the monsters of Notre Dame, a monkey, with a set of verses written beside it, is reproduced in Bouvenne’s “Notes et Souvenirs.” Then follows Le Petit Pont (plate 7) , in which the twin towers of Notre-Dame, beautifully placed on the plate, surmount the long rows of houses on the Quai du Marché Neuf and dominate the whole composition. ”