ns to Dickens'
writings during his lifetime, it is notable that three were "Royal
Academicians,"--Stanfield, Maclise, and Landseer,--one an "Associate of
the Royal Academy," and, besides those already mentioned, there were in
addition Richard (Dicky) Doyle, John Leech, and (now Sir) John Tenniel,
Luke Fildes, and Sir Edwin Landseer, who did one drawing only, that for
"Boxer," the carrier-dog, in "The Cricket on the Hearth." Onwyn,
Crowquill, Sibson, Kenney Meadows, and F. W. Pailthorpe complete the list
of those artists best known as contemporary with Dickens.

In creating the characters of his novels, as is well known, Dickens often
drew upon his friends and acquaintances as models, and seldom did these
effigies give offence. On one occasion the reverse was the case, as in
"Bleak House," which was issued in 1857. Boythorne, who was drawn from his
friend Landor, and Skimpole, from Leigh Hunt, were presumably so pertinent
caricatures of the originals that they were subsequently modified in
consequence.

Another incident of more than unusual importance, though not strictly
dealing with any of Dickens' contemporaries, is a significant incident
relating to the living worth of his work. It is related that when Bismarck
and Jules Favre met under the walls of Paris, the former waiting to open
fire upon the city, the latter was seen to be busily engrossed, quite
oblivious of the situation, devouring "Little Dorrit." The story may be
taken for what it appears to be worth; it is doubtful if it could be
authenticated, but it serves to indicate the wide-spread and absorbing
interest of the novels, and serves again to indicate that the power of the
novel in general is one that will relax the faculties and provide the
stimulus which an active brain often fails to find otherwise.

Dickens had dedicated to Carlyle "Hard Times," which appeared as early as
1854, and paid a still further tribute to the Scotch genius when, in 1859,
he had begun "A Tale of Two Cities."

In it he hoped to add something to the popular and picturesque means of
understanding the terrible time of the French Revolution; "though no one,"
he said, "could hope to add anything to the philosophy of Carlyle's
wonderful book." To-day it is one of the most popular and most read of all
his works.

Dickens died on the 9th of June, 1870, leaving "Edwin Drood" unfinished.
What he had written of it appeared in the usual green paper parts and
afterward in volume form. In