Another Picture for Arthur Conan Doyle

This Howard Pyle picture went untitled when it appeared in Harper’s Weekly for December 1, 1894, illustrating Arthur Conan Doyle’s The Parasite.

However, in the book version (published in mid-December 1894, after the four-part serialization) it was called “‘Struck me with both fists’” - and indeed it shows the spellbound hero of the novella, Austin Gillroy, beating the stuffing out of his friend Charles Sadler.

When the magazine showed up on newsstands - about a week before the issue date - Dr. Doyle easily could have picked up a copy himself: he was, then, at the tail end of a whirlwind lecture tour in the United States (plus a brief stop in Canada) - a trip which is thoroughly documented in Christopher Redmond’s Welcome to America, Mr. Sherlock Holmes.

But I can only speculate where Doyle was when he first saw Pyle’s picture: Schenectady, Niagara Falls, Toronto, Buffalo? Or while he was enjoying Thanksgiving with Rudyard Kipling in Brattleboro, Vermont? Or maybe when he was in Morristown or Paterson, New Jersey?

Or maybe he never saw it at all - unless Harper & Brothers sent him their edition of The Parasite with Pyle’s four illustrations. I wonder if they did - and what he thought.

As I mentioned in my previous post, no correspondence surrounding this picture - or anything regarding Pyle’s involvement with The Parasite - has been located. I still hope something will turn up. The original painting, too, is missing, though I assume Pyle painted it in black and white oil. Again, it hints at what he could have brought to illustrations of the Sherlock Holmes stories, if only Harper’s Weekly had asked Pyle to make them - instead of the lackluster William Henry Hyde. Oh well.

Now, for want of anything more to say, here is a long except of what Pyle’s picture illustrated:

...To-night is the university ball, and I must go. God knows I never felt less in the humor for festivity, but I must not have it said that I am unfit to appear in public. If I am seen there, and have speech with some of the elders of the university it will go a long way toward showing them that it would be unjust to take my chair away from me.

10 P.M. I have been to the ball. Charles Sadler and I went together, but I have come away before him. I shall wait up for him, however, for, indeed, I fear to go to sleep these nights. He is a cheery, practical fellow, and a chat with him will steady my nerves. On the whole, the evening was a great success. I talked to every one who has influence, and I think that I made them realize that my chair is not vacant quite yet. The creature was at the ball - unable to dance, of course, but sitting with Mrs. Wilson. Again and again her eyes rested upon me. They were almost the last things I saw before I left the room. Once, as I sat sideways to her, I watched her, and saw that her gaze was following some one else. It was Sadler, who was dancing at the time with the second Miss Thurston. To judge by her expression, it is well for him that he is not in her grip as I am. He does not know the escape he has had. I think I hear his step in the street now, and I will go down and let him in. If he will -

May 4. Why did I break off in this way last night? I never went down stairs, after all - at least, I have no recollection of doing so. But, on the other hand, I cannot remember going to bed. One of my hands is greatly swollen this morning, and yet I have no remembrance of injuring it yesterday. Otherwise, I am feeling all the better for last night's festivity. But I cannot understand how it is that I did not meet Charles Sadler when I so fully intended to do so. Is it possible - My God, it is only too probable! Has she been leading me some devil’s dance again? I will go down to Sadler and ask him.

Mid-day. The thing has come to a crisis. My life is not worth living. But, if I am to die, then she shall come also. I will not leave her behind, to drive some other man mad as she has me. No, I have come to the limit of my endurance. She has made me as desperate and dangerous a man as walks the earth. God knows I have never had the heart to hurt a fly, and yet, if I had my hands now upon that woman, she should never leave this room alive. I shall see her this very day, and she shall learn what she has to expect from me.

I went to Sadler and found him, to my surprise, in bed. As I entered he sat up and turned a face toward me which sickened me as I looked at it.

“Why, Sadler, what has happened?” I cried, but my heart turned cold as I said it.

“Gilroy,” he answered, mumbling with his swollen lips, “I have for some weeks been under the impression that you are a madman. Now I know it, and that you are a dangerous one as well. If it were not that I am unwilling to make a scandal in the college, you would now be in the hands of the police.”

“Do you mean - ” I cried.

“I mean that as I opened the door last night you rushed out upon me, struck me with both your fists in the face, knocked me down, kicked me furiously in the side, and left me lying almost unconscious in the street. Look at your own hand bearing witness against you.”

Yes, there it was, puffed up, with sponge-like knuckles, as after some terrific blow. What could I do? Though he put me down as a madman, I must tell him all. I sat by his bed and went over all my troubles from the beginning. I poured them out with quivering hands and burning words which might have carried conviction to the most sceptical. “She hates you and she hates me!” I cried. “She revenged herself last night on both of us at once. She saw me leave the ball, and she must have seen you also. She knew how long it would take you to reach home. Then she had but to use her wicked will. Ah, your bruised face is a small thing beside my bruised soul!”

A Forgotten Tale by Arthur Conan Doyle!

Pardon the clickbait title, but I couldn’t resist after yesterday’s “news” that a “lost” Sherlock Holmes story “by” Arthur Conan Doyle had come to light. Fortunately, last night, Mattias Boström, a bona fide Doyle scholar, wrote an article which dismantled the hastily made claims. (Before being eclipsed by Howard Pyle, Doyle and Holmes were the objects of my obsession, and I still dip into their worlds from time to time.)

Now, about “A Forgotten Tale” by Arthur Conan Doyle...

It was a poem, not a tale per se, and it has no Sherlockian content. Evidently, Dr. Doyle (as he was often referred to, then) wrote it not long before he visited the United States for the first time, in 1894. In fact, the manuscript of “A Forgotten Tale” seems to have sailed from England just a few weeks - or even days - before the doctor himself did: Scribner’s Magazine accepted it on September 27, 1894, and Doyle arrived in New York on October 2nd. As the poem was scheduled to appear in the January 1895 issue (which would be on the newsstands by mid-December), Scribner’s must have commissioned Howard Pyle to illustrate it almost immediately.

I assume Edward L. Burlingame, editor of Scribner’s Magazine, communicated by letter or in person with Doyle about the poem - and possibly its illustrations. He may even have put Doyle in touch with Pyle, seeing as he had done just that with Rudyard Kipling regarding Pyle’s illustrations for “McAndrews’ Hymn” [sic] - soon to be printed in the December 1894 Scribner’s. Then again, Kipling had asked outright “if you could kindly place me in communication with your artist as it is possible that he might see his way to using some of my suggestions.” But Doyle may not have cared as much, or at all, about the pictures for “A Forgotten Tale”.

And, unfortunately, there’s no paper trail to answer that question. I hunted extensively through the Scribner Archives at Princeton and found nothing. Equally frustrating is that, when Doyle arrived, Pyle may very well have been in the midst of - or had recently finished - illustrating Doyle’s “The Parasite” for Harper’s Weekly, which was to appear in four installments (and in book form) while Doyle was in the United States! There, too, however, I have yet to find any correspondence between Doyle and Pyle or Harper & Brothers concerning the project.

What’s also maddening is that, during his travels, Doyle met “Howells, Cable, Eugene Field, Garland, Riley” - all of whom Pyle had met, and some of whom he knew very well - and was feted again and again by folks in Pyle’s social or professional circles. And, lo and behold, Doyle and Pyle were even in Philadelphia on the same day! Saturday, November 10, 1894, found Pyle lecturing at the Drexel Institute that afternoon and Doyle lecturing that evening - but, again, who knows if they encountered each other, or if Pyle attended the Doyle event?

And later, after Doyle spent Thanksgiving with Kipling in Vermont, he wrote to his mother, “Have you read his poem, McAndrews Hymn, in Scribner’s Xmas number. It’s grand!” But God forbid he should say anything about Pyle’s illustrations. Pyle, meanwhile, must have written down something about Doyle’s writings, but so far nothing has surfaced. I’ll keep looking.

My frustrations aside...

If Scribner’s Magazine accepted “A Forgotten Tale” on September 27, 1894, they probably didn’t get Pyle on board for upwards of a week or more. And as the printed magazine would need to be out in mid-December (and factoring in time before that to prepare photo-engraved plates of the illustrations), it’s safe to say that Pyle made his drawings sometime between mid-October and late November 1894 - all the while Doyle was travelling across the United States.

I have to admit that I’ve never been overly fond of Pyle’s “A Forgotten Tale” pictures. The first one feels too Daniel Vierge-like: but Pyle may have deliberately tried to inject some “Spanish” flavor into it, since the poem is set in Mediaeval Spain. And the second drawing is somewhat hampered by the backlighting. Then again, Pyle’s pen-work was in a sort of transitional phase, and he may have done these in a hurry: he was his usual busy self, writing and illustrating, and he had also just started teaching. His original pen-and-inks haven’t turned up, by the way, nor have his oil paintings for “The Parasite”. Somehow I’m not surprised.

Anyway, after two exhausting months, Doyle sailed off on December 8, 1894. I assume Scribner’s Magazine for January 1895 was still in production at the time, but surely Doyle saw a copy of the finished product (either the American or British edition) not long after he returned home.

Incidentally, Doyle’s departure date conflicted with the Authors’ Reception at the Juvenile Order of the Round Table in New York, to which he had been invited. And who was also invited and - reportedly - attended? Howard Pyle. Of course.

In the end, since Doyle didn’t return to the States until 1914 and since Pyle didn’t go to Europe until 1910-11 - and stayed almost entirely in Italy (where Doyle wasn’t) - they never met again, if they ever met in the first place.

However, the Sherlockian in me takes some solace in the fact that while a sickly Pyle was recuperating in a Rome hotel room in December 1910, his secretary noted how he “was soon absorbed in the Strand Magazine” - the Christmas issue of which featured “The Adventure of the Devil’s Foot” by Arthur Conan Doyle.

A FORGOTTEN TALE
by Arthur Conan Doyle

There still remains in one of the valleys of the Cantabrian mountains in northern Spain a small hill called “Colla de los Inglesos.” It marks the spot where three hundred bowmen of the Black Prince’s army were surrounded by several thousand Spanish cavalry, and after a long and gallant resistance, were entirely destroyed.


Say, what saw you on the hill,
Garcia, the herdsman?
“I saw my brindled heifer there,
A trail of bowmen, spent and bare
A little man on a roan mare
And a tattered flag before them.”

Say, what saw you in the vale,
Garcia, the herdsman?
“There I saw my lambing ewe,
And an army riding through,
Thick and brave the pennons flew
From the lance-heads o’er them.”

Say, what saw you on the hill,
Garcia, the herdsman?
“I saw beside the milking byre,
White with want and black with mire,
A little man with face afire
Marshalling his bowmen.”

Say, what saw you in the vale,
Garcia, the herdsman?
“There I saw my bullocks twain
And the hardy men of Spain
With bloody heel and slackened rein,
Closing on their foemen.”

Nay, but there is more to tell,
Garcia, the herdsman.
“More I might not bide to view,
I had other things to do,
Tending on the lambing ewe,
Down among the clover.”

Prithee tell me what you heard,
Garcia, the herdsman?
“Shouting from the mountain side,
Shouting until eventide,
But it dwindled and it died
Ere milking time was over.”

Ah, but saw you nothing more,
Garcia, the herdsman?
“Yes, I saw them lying there,
The little man and roan mare,
And in their ranks the bowmen bare
With their staves before them.”

And the hardy men of Spain,
Garcia, the herdsman?
“Hush, but we are Spanish too,
More I may not say to you,
May God’s benison, like dew,
Gently settle o’er them.”

Mark Twain and Howard Pyle’s Robin Hood

Mark Twain and G. W. Cable via www.twainquotes.com

On February 13, 1884, author George Washington Cable - then in the midst of an extended stay at the Hartford, Connecticut, home of Samuel L. Clemens (a.k.a. Mark Twain) - concluded a letter to his wife with this comment:

Mrs. Clemens is reading aloud to Mark & the children Howard Pyle’s beautiful new version of Robin Hood. Mark enjoys it hugely; they have come to the death of Robin & will soon be at the end.

The Clemens children were Susy, 11, Clara, 9, Jean, 3, and the “beautiful new version” was The Merry Adventures of Robin Hood of Great Renown, in Nottinghamshire, published by Charles Scribner’s Sons just a few months earlier. The first edition was bound in full leather, embossed with Pyle’s own designs.

Clemens’s fondness for the book endured: on New Year’s Day of 1903, he sent what was essentially a fan letter to Pyle, saying, “Long ago you made the best Robin Hood that was ever written.”

The particular copy from which Mrs. Clemens read that winter evening might still be around: a copy owned by Clara (which also contains a bit of marginalia in handwriting resembling that of Clemens: on page 145 the word “goodliness” is crossed out and changed to “godliness”), which was subsequently presented to the actress Elsie Leslie, now belongs to the University of Texas at Austin.

A Nice Trade

“A Dream of Young Summer” by Howard Pyle (1901)

“As you know,” said Howard Pyle to the sculptor Augustus Saint-Gaudens in a letter of January 2, 1902, “I have always admired your work extremely - have always considered you as a representative of that steadfast and lofty effort toward an Art that cannot condescend to tricks and effects to catch the eye, but that speaks with a deeper intonation to the hearts and the souls of men.”

Saint-Gaudens seems to have felt much the same way about Pyle, and for several years the two had intended to exchange works. Finally, at the end of 1901, the sculptor sent a bronze cast of the “Head of Victory” - a “sketch” for the allegorical figure in his wonderful Sherman Monument.

“Head of Victory” by Augustus Saint-Gaudens

Pyle received the piece on January 2. “I shall regard it as one of the treasures of my life,” he wrote the same day. “I care for it much more than I should for a more finished work; it is, as it were, a pure and noble thought from a large, and I am sure, a noble mind.” He also vowed to send “something in return that shall represent an earnest, even if an inarticulate effort of my Art.”

At last, on February 10, 1902 - after having trouble getting the 22 x 12" oil on canvas framed to his liking - Pyle shipped “A Dream of Young Summer”:

Now that it has been sent I feel horribly conscious that it is no adequate return for the beautiful “Victory” which I possess. The only thing that reconciles me to it is that it is sent with the most friendly good wishes in the world. Moreover, whatever its short-comings it is a sincere effort to express a thought.

“A Dream of Young Summer” wasn’t a custom-made piece, but something Pyle already had on hand: it had been published the previous year, in Harper’s Monthly Magazine for June 1901, accompanied by Edith M. Thomas’s poem of the same name (which may have been written for the picture, instead of the other way around - but I’ll explain myself in a later post, I hope).

The painting - which, by the way, Pyle and inscribed “To Augustus Saint Gaudens this Picture of Young Summer with the Fraternal Greetings of His Brother in Art” - eventually wound up in the hands of Pyle’s grandson, who presented it to the Brandywine River Museum, where you can see it today.

Unfortunately, I don’t know where Pyle’s particular copy of the “Head of Victory” is, but it was the topic of this news item in The Evening Journal of Wilmington in March 1904:

AN INTERESTING ART TREASURE

A great many people of Wilmington have doubtless seen the equestrian statue Sherman that stands in the Plaza at Fifth avenue in New York, for that work is not only local but national and it is, moreover, regarded by those who should know as being one of the five great equestrian statues of the world. Perhaps the finest part of the entire group is the figure of Victory and it is rather interesting to know that the study for the head, cast in bronze, is now in possession of an artist in Wilmington to whom it was given by Saint-Gaudens.

And Pyle’s student N. C. Wyeth mentioned it in a letter of October 29, 1905:

Mr. Pyle has gone to Chicago today to lecture, etc. Enclosed you will find a photo of him. The cast is a head St. Gaudin’s [sic] gave him. He had a photo taken of it so as to use it in an illustrated lecture in Chicago and Milwaukee. He considers the piece of sculpture (original study for the figure of “Victory” on the Sherman Statue, NY) a masterpiece.