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Published online by Cambridge University Press: 02 December 2020
That graphic illustrations have value as criticism through the illumination they throw on the interpretation of a literary work at various periods of its history is an idea which, though not new by any means, has been somewhat neglected by scholars and critics. To those interested in such study it is apparent that the closer the relationship between author and illustrator, the greater the chance of a pictorial interpretation of the work acceptable to the author. For this reason Edward Burney's rare and almost forgotten illustration for Evelina is herewith reproduced.
1 The best account of his life is given by Annie Raine Ellis in her edition of The Early Diary of Frances Burney, 1768-1778, with a Selection from her Correspondence, and from the Journals of her Sisters Susan and Charlotte Burney (London, 1889), ii, 291-293.
2 Hubert François Bourguignon, called “Gravelot,” worked in England from 1732 to 1746.
3 Austin Dobson, ed. Diary & Letters of Madame D'Arblay (1778-1840) (London, 1904), i, 23.
4 Ellis, ed. The Early Diary of Frances Burney, ii, 215.
5 Actually it was Fanny herself who posed for a portrait. Of this visit and of Edward, she wrote:
Chessington, Monday, August 12.—I set out for this ever dear place, accompanied by Edward, who was sent for to paint Mr. Crisp for my father. I am sure you will rejoice in this. I was a little dumpish in the journey, for I seemed leaving my Susan again. However, I read a Rambler or two, and “composed the harmony of my temper,” as well as I could, for the sake of Edward, who was not only faultless of this, but who is, I almost think, faultless of all things. I have thought him more amiable and deserving than ever, since this last sojourn under the same roof with him ; and, as it happened, I have owed to him almost all the comfort I have this time met with here.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The instant dinner was over, to my utter surprise and consternation, I was called into the room appropriated for Edward and his pictures, and informed I was to sit to him for Mr. Crisp! Remonstrances were unavailing, and declarations of aversion to the design were only ridiculed; both daddies [Dr. Burney and “Daddy” Crisp] interfered, and, when I ran off, brought me back between them, and compelled my obedience;—and from that time to this, nothing has gone forward but picture-sitting. (Dobson, ed. Diary & Letters of Madame D'Arblay, ii, 94-95).
6 Ellis, ed. The Early Diary of Frances Burney, ii, 288-291.
7 Algernon Graves, The Royal Academy of Arts: A Complete Dictionary of Contributors and their Work from its Foundation in 1769 to 1904 (London, 1905-06), i, 354.
8 Dobson, ed. The Diary & Letters of Madame D'Arblay, i, 338-339.
9 “Introduction” to Evelina (London, 1904), p. xviii.
10 In a letter to Dr. Burney, Sept. 5, 1782, in which he wants to know why he did not get the right to publish Cecilia, Lowndes writes of these illustrations: “On my Determination to print Evelina a third Time, I prevailed on Mr. Mortimer to make me three Drawings. I told him the Author did not chuse to be known, but was an accomplished young Lady in genteel Life. I begged he would make Evelina as elegant as his Mind could conceive. I engaged Mr. Bartolozzi and two eminent Artists to do the Engravings; I meant this as a Compliment to the Lady-Author. The Plates cost me Seventy-three pounds. I shewed you the Drawings and Proofs before Publication.” (Dobson, ed. The Diary & Letters of Madame D'Arblay, ii, 481-482.)
11 The engravings from Mortimer's three designs are also included in this edition.
12 It is possible that Burney's design was republished in later nineteenth-century editions, though I have been unable to discover any which contains it. In 1904 Archdeacon Burney, of Surbiton, had one of the original drawings. (Dobson, ed. The Diary & Letters of Madame D'Arblay, i, 339 n.)