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Emma Haredale and Dolly Varden
Fred Barnard
1874
5 5⁄16 x 4 ¼ inches (13.8 cm by 10.6 cm), framed
Dickens's Barnaby Rudge: A Tale of the Riots of 'Eighty, Vol. VII of the Household Edition, Chapter XX, 80.
[Click on image to enlarge it.]
Scanned image and text by Philip V. Allingham.
Dolly nodded and smiled, and feeling in her pockets (there were pockets in those days) with an affectation of not being able to find what she wanted, which greatly enhanced her importance, at length produced the letter. As Emma hastily broke the seal and became absorbed in its contents, Dolly’s eyes, by one of those strange accidents for which there is no accounting, wandered to the glass again. She could not help wondering whether the coach-maker suffered very much, and quite pitied the poor man. [Chapter XX, 78]
To circumvent Mr. Haredale's banishing him from The Warren and all communication with his niece, Emma, Edward Chester has enlisted the aid of Dolly Varden. Phiz has described Dolly's fashionable travelling dress according to Dickens's verbal portrait in the previous chapter, where, in fact, the illustration of Emma and Dolly has been situated:
As to Dolly, there she was again, the very pink and pattern of good looks, in a smart little cherry-coloured mantle, with a hood of the same drawn over her head, and upon the top of that hood, a little straw hat trimmed with cherry-coloured ribbons, and worn the merest trifle on one side — just enough in short to make it the wickedest and most provoking head-dress that ever malicious milliner devised. And not to speak of the manner in which these cherry-coloured decorations brightened her eyes, or vied with her lips, or shed a new bloom on her face, she wore such a cruel little muff, and such a heart-rending pair of shoes, and was so surrounded and hemmed in, as it were, by aggravations of all kinds. [Chapter XIX, 151]
Again, Furniss seems to be alluding as much Barnard's 1874 Household Edition illustrations as to the original serial illustrations. Whereas Barnard emphasizes eighteenth-century fashion and the realia of the sitting-room in Emma Haredale and Dolly Varden, in Dolly is the Bearer of a Love Letter (1910), Furniss minimizes the background detail and focuses on the two very different young women.Furniss makes Emma a more intellectual type compared to the vain, self-absorbed Dolly, whose preneeing is explained by the text, for Furniss has not included a mirror. Barnard's illustration, therefore, presents the scene from an historical, revelling in the possibilities of costume and setting.
Above: Phiz's description of the delivery of the letter in Miss Haredale's sitting-room at The Warren: Reading the Love-Letter (24 April 1841).
Dickens, Charles. Barnaby Rudge in Master Humphrey's Clock. Illustrated by Phiz and George Cattermole. 3 vols. London: Chapman and Hall, 1841.
_______. Barnaby Rudge. Illustrated by Sol Eytinge, Jr. The Diamond Edition. 16 vols. Boston: Ticknor and Fields, 1867.
________. Barnaby Rudge — A Tale of the Riots of 'Eighty. Illustrated by Fred Barnard. The Household Edition. 22 vols. London: Chapman and Hall, 1874. VII.
________. The Dickens Souvenir Book. London: Chapman & Hall, 1912.
Hammerton, J. A. "Ch. XIV. Barnaby Rudge." The Dickens Picture-Book. The Charles Dickens Library Edition, illustrated by Harry Furniss. London: Educational Book Co., 1910. 213-55.
Created 20 August 2020
Last modified 18 December 2020