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+Project Gutenberg's Children's Books and Their Illustrators, by Gleeson White
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Children's Books and Their Illustrators
+
+Author: Gleeson White
+
+Other: The International Studio
+
+Release Date: November 1, 2008 [EBook #27112]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CHILDREN'S BOOKS AND ILLUSTRATORS ***
+
+
+
+
+Produced by Colin Bell, Joseph Cooper, Emmy and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+
+
+Price 50 Cents
+
+_Special_ WINTER NUMBER _of_
+
+THE INTERNATIONAL STUDIO
+
+_CHILDREN'S BOOKS AND THEIR ILLUSTRATORS._
+
+_By_ GLEESON WHITE
+
+[Illustration]
+
+THE INTERNATIONAL STUDIO =John Lane=, 140 Fifth Avenue, _New York_
+
+
+
+
+Scribner's New Books for the Young
+
+
+          =Mrs. Burnett's
+          famous
+          Juveniles=
+
+          =With all the original
+          Illustrations by Reginald B. Birch.
+          5 vols. Each 12mo $1.25.=
+
+A writer in the _Boston Post_ has said of Mrs. Burnett: "She has a
+beauty of imagination and a spiritual insight into the meditations of
+childhood which are within the grasp of no other writer for
+children,"--and these five volumes would indeed be difficult to match in
+child literature. The new edition is from new plates, with all the
+original illustrations by Reginald B. Birch, is bound in a handsome new
+cover. "Little Lord Fauntleroy," "Two Little Pilgrims' Progress,"
+"Piccino and Other Child Stories," "Giovanni and the Other," "Sara
+Crewe," and "Little Saint Elizabeth and other Stories" (in one volume).
+
+
+          =Three New
+          Volumes by
+          G. A. Henty=
+
+          =Illustrated by Walter
+          Paget and W. A. Margetson.
+          Each 12mo $1.50=.
+
+It would be a bitter year for the boys if Mr. Henty were to fail them
+with a fresh assortment of his enthralling tales of adventure, for, as
+the London _Academy_ has said, in this kind of story telling, "he stands
+in the very first rank." "With Frederick the Great" is a tale of the
+Seven Years' War, and has twelve full-page illustrations by Wal. Paget;
+"A March on London" details some stirring scenes of the times when Wat
+Tyler's motley crew took possession of that city, and the illustrations
+are drawn by W. A. Margetson, while Wal. Paget has supplied the pictures
+for "With Moore at Corunna," in which the boy hero serves through the
+Peninsular War. (Each 12mo, $1.50.)
+
+
+          =Will Shakespeare's
+          Little Lad
+          by Imogen Clarke=
+
+          =With 8 full-page Illustrations
+          by Reginald B. Birch.
+          12mo $1.50.=
+
+"The author has caught the true spirit of Shakespeare's time, and paints
+his home surroundings with a loving, tender grace," says the Boston
+_Herald_.
+
+
+          =An Old-Field School Girl by Marion Harland=
+
+(Illustrated, 12mo, $1.25.) "As pretty a story for girls as has been
+published in a long time," says the _Buffalo Express_, and the _Chicago
+Tribune_ is even more appreciative: "Compared with the average books of
+its class 'An Old-Field School Girl,' becomes a classic."
+
+
+          =Lullaby Land=
+
+          =Verses by Eugene Field
+          With 200 fanciful
+          Illustrations by Charles Robinson.
+          (Uniform with Stevenson's
+          "A Child's Garden") 12mo $1.50.=
+
+"A collection of those dearly loved 'Songs of Childhood' by Eugene
+Field, which have touched many hearts, both old and young, and will
+continue to do so as long as little children remain the joy of our
+homes. It was a happy thought of the publisher to choose another such
+child lover and sympathizer as Kenneth Grahame to write the Preface to
+the new edition, and Charles Robinson to make the many quaint and most
+amusing illustrations."--_The Evangelist._
+
+
+          =With Crockett
+          and Bowie by
+          Kirk Munroe=
+
+          =With 8 full-page
+          Illustrations by Victor S. Perard.
+          12mo $1.50.=
+
+This "Tale of Texas; or, Fighting for the Lone Star Flag," completes the
+author's _White Conqueror Series_. The Minneapolis _Tribune_ says: "It
+is a breezy and invigorating tale. The characters, although drawn from
+real life, are surrounded by an atmosphere of romance and adventure
+which gives them the added fascination of being creatures of fiction,
+and yet there is no straining for effect."
+
+
+          =The Naval
+          Cadet=
+
+          =With 6 full-page Illustrations
+          by William Rainey, R. I.
+          Crown 8vo $1.25.=
+
+A Story of Adventure on Land and Sea, by GORDON STABLES. A stirring tale
+of seafaring and sea-fighting on the coasts of Africa, South America,
+Australia, New Guinea, etc., closing with a dramatic picture of the
+combat between the Chinese and Japanese fleets at Yalu.
+
+
+          =The Stevenson
+          Song Book=
+
+          =With decorative borders.
+          4to $2.00.=
+
+In this large and handsome quarto, twenty of the most lyrical poems from
+Robert Louis Stevenson's "Child's Garden of Verse", have been set to
+music by such composers as Reginald DeKoven, Arthur Foote, C. W.
+Chadwick, Dr. C. Villers Stanford, etc. The volume is uniform with and a
+fitting companion to the popular "Field-De-Koven Song Book."
+
+
+          =Twelve Naval
+          Captains by
+          Molly Elliot Seawell=
+
+          =With 12 full-page portraits.
+          12mo $1.25.=
+
+Miss Seawell here tells the notable exploits of twelve heroes of our
+early navy: John Paul Jones, Richard Dale, William Bainbridge, Richard
+Somers, Edward Preble, Thomas Truxton, Stephen Decatur, James Lawrance,
+Isaac Hull, O. H. Perry, Charles Stewart, Thomas Macdonough. The book is
+illustrated attractively and makes a stirring and thrilling volume.
+
+
+          =The Knights
+          of the Round
+          Table=
+
+          =With 25 Illustrations
+          by S. R. Benliegh.
+          12mo $1.50.=
+
+"King Arthur's Knights and their connection with the mystic Grail is
+here the subject of Mr. William Henry Frost's translation into child
+language. Many volumes have been prepared telling these wonderful
+legendary stories to young people, but few are so admirably written as
+this work," says the _Boston Advertiser_.
+
+
+          =The Last
+          Cruise of the
+          Mohawk by
+          W. J. Henderson=
+
+          =Illustrated by
+          Harry C. Edwards.
+          12mo $1.25.=
+
+The _Observer_ says: "This is an exciting story that boys of today will
+appreciate thoroughly and devour greedily," and the _Rochester Democrat_
+calls it "an interesting and thrilling story."
+
+
+          =The King of
+          the Broncos
+          by Charles
+          F. Lummis=
+
+          =Illustrated by
+          Victor S. Perard.
+          12mo $1.25.=
+
+The title story and the other Tales of New Mexico, which Mr. Lummis has
+here supplied for the younger generation, have all his usual
+fascination. He knows how to tell his thrilling stories in a way that is
+irresistible? to boy readers.
+
+
+          =The Border
+          Wars of
+          New England=
+
+          =With 58 Illustrations and map.
+          12mo $1.25.=
+
+Mr. Samuel Adams Drake is an expert at making history real and vital to
+children. The _Boston Advertiser_ says: "This is not a school book, yet
+it is exceedingly well adapted to use in schools, and at the same time
+will enrich and adorn the library of every American who is so fortunate
+or so judicious as to place it on his shelves."
+
+
+          =The Golden
+          Galleon by
+          Robert
+          Leighton=
+
+          =With 8 full-page Illustrations
+          by William Rainey, R. I.
+          12mo $1.50.=
+
+"A narrative of the adventures of Master Gilbert O'Glander, and of how
+in the year 1591 he fought under the gallant Sir Richard Grenville in
+the great sea-fight off Flores, on board Her Majesty's ship, _The
+Revenge_." The New York _Observer_ has said: "Mr. Leighton as a writer
+for boys needs no praise as his books place him in the front rank."
+
+
+          =Lords of the
+          World=
+
+          =With 12 full-page
+          Illustrations by Ralph Peacock.
+          12mo. $1.00.=
+
+A Story of the Fall of Carthage and Corinth. By ALFRED J. CHURCH. In his
+own special field the author has few rivals. He has a capacity for
+making antiquity assume reality which is fascinating in the extreme.
+
+
+          =Adventures in
+          Toyland=
+
+          =With 8 colored plates and 72 other
+          Illustrations by Alice B. Woodward.
+          Square 8vo. $2.00.=
+
+By EDITH KING HALL. A clever and fascinating volume which will surely
+take a high place among this season's "juveniles."
+
+          CHARLES SCRIBNER'S SONS, 153-157 Fifth Ave, N.Y.
+
+[Illustration: "THE HEIR TO FAIRY-LAND" FROM A WATER-COLOUR BY ROBERT
+HALLS]
+
+
+
+
+THE INTERNATIONAL
+
+STUDIO
+
+SPECIAL WINTER-NUMBER 1897-8
+
+
+
+
+CHILDREN'S BOOKS AND THEIR ILLUSTRATORS. BY GLEESON WHITE.
+
+
+[Illustration: THE "MONKEY-BOOK" A FAVOURITE IN THE NURSERY
+
+(_By permission of James H. Stone, Esq., J.P._)]
+
+There are some themes that by their very wealth of suggestion appal the
+most ready writer. The emotions which they arouse, the mass of pleasant
+anecdote they recall, the ghosts of far-off delights they summon, are
+either too obvious to be worth the trouble of description or too
+evanescent to be expressed in dull prose. Swift, we are told (perhaps a
+little too frequently), could write beautifully of a broomstick; which
+may strike a common person as a marvel of dexterity. After a while, the
+journalist is apt to find that it is the perfect theme which proves to
+be the hardest to treat adequately. Clothe a broomstick with fancies,
+even of the flimsiest tissue paper, and you get something more or less
+like a fairy-king's sceptre; but take the Pompadour's fan, or the
+haunting effect of twilight over the meadows, and all you can do in
+words seems but to hide its original beauties. We know that Mr. Austin
+Dobson was able to add graceful wreaths even to the fan of the
+Pompadour, and that another writer is able to impart to the misty
+twilight not only the eerie fantasies it shows the careless observer,
+but also a host of others that only a poet feels, and that only a poet
+knows how to prison within his cage of printed syllables. Indeed, of the
+theme of the present discourse has not the wonder-working Robert Louis
+Stevenson sung of "Picture Books in Winter" and "The Land of Story
+Books," so truly and clearly that it is dangerous for lesser folk to
+attempt essays in their praise? All that artists have done to amuse the
+august monarch "King Baby" (who, pictured by Mr. Robert Halls, is fitly
+enthroned here by way of frontispiece) during the playtime of his
+immaturity is too big a subject for our space, and can but be indicated
+in rough outline here.
+
+[Illustration: "ROBINSON CRUSOE." THE WRECK FROM AN EIGHTEENTH-CENTURY
+CHAP-BOOK]
+
+Luckily, a serious study of the evolution of the child's book already
+exists. Since the bulk of this number was in type, I lighted by chance
+upon "The Child and his Book," by Mrs. E. M. Field, a most admirable
+volume which traces its subject from times before the Norman conquest to
+this century. Therein we find full accounts of MSS. designed for
+teaching purposes, of early printed manuals, and of the mass of
+literature intended to impress "the Fear of the Lord and of the
+Broomstick." Did space allow, the present chronicle might be enlivened
+with many an excerpt which she has culled from out-of-the-way sources.
+But the temptation to quote must be controlled. It is only fair to add
+that in that work there is a very excellent chapter to "Some
+Illustrators of Children's Books," although its main purpose is the text
+of the books. One branch has found its specialist and its exhaustive
+monograph, in Mr. Andrew Tuer's sumptuous volumes devoted to "The Horn
+Book."
+
+[Illustration: "CRUSOE AND XURY ESCAPING" FROM AN EIGHTEENTH-CENTURY
+CHAP-BOOK]
+
+Perhaps there is no pleasure the modern "grown-up" person envies the
+youngsters of the hour as he envies them the shoals of delightful books
+which publishers prepare for the Christmas tables of lucky children. If
+he be old enough to remember Mrs. Trimmer's "History of the Robins,"
+"The Fairchild Family," or that Poly-technically inspired romance, the
+"Swiss Family Robinson," he feels that a certain half-hearted approval
+of more dreary volumes is possibly due to the glamour which middle age
+casts upon the past. It is said that even Barbauld's "Evenings at Home"
+and "Sandford and Merton" (the anecdotes only, I imagine) have been
+found toothsome dainties by unjaded youthful appetites; but when he
+compares these with the books of the last twenty years, he wishes he
+could become a child again to enjoy their sweets to the full.
+
+[Illustration: _"CRUSOE SETS SAIL ON HIS EVENTFUL VOYAGE" FROM AN
+EIGHTEENTH-CENTURY CHAP-BOOK_]
+
+Now nine-tenths of this improvement is due to artist and publisher;
+although it is obvious that illustrations imply something to illustrate,
+and, as a rule (not by any means without exception), the better the text
+the better the pictures. Years before good picture-books there were good
+stories, and these, whether they be the classics of the nursery, the
+laureates of its rhyme, the unknown author of its sagas, the born
+story-tellers--whether they date from prehistoric cave-dwellers, or are
+of our own age, like Charles Kingsley or Lewis Carroll--supply the text
+to spur on the artist to his best achievements.
+
+[Illustration: "THE TRUE TALE OF ROBIN HOOD." FROM AN EIGHTEENTH-CENTURY
+CHAP-BOOK]
+
+It is mainly a labour of love to infuse pictures intended for childish
+eyes with qualities that pertain to art. We like to believe that Walter
+Crane, Caldecott, Kate Greenaway and the rest receive ample appreciation
+from the small people. That they do in some cases is certain; but it is
+also quite as evident that the veriest daub, if its subject be
+attractive, is enjoyed no less thoroughly. There are prigs of course,
+the children of the "prignorant," who babble of Botticelli, and profess
+to disdain any picture not conceived with "high art" mannerism. Yet even
+these will forget their pretence, and roar over a _Comic Cuts_ found on
+the seat of a railway carriage, or stand delighted before some
+unspeakable poster of a melodrama. It is well to face the plain fact
+that the most popular illustrated books which please the children are
+not always those which satisfy the critical adult. As a rule it is the
+"grown-ups" who buy; therefore with no wish to be-little the advance in
+nursery taste, one must own that at present its improvement is chiefly
+owing to the active energies of those who give, and is only passively
+tolerated by those who accept. Children awaking to the marvel that
+recreates a familiar object by a few lines and blotches on a piece of
+paper, are not unduly exigent. Their own primitive diagrams, like a
+badly drawn Euclidean problem, satisfy their idea of studies from the
+life. Their schemes of colour are limited to harmonies in crimson lake,
+cobalt and gamboge, their skies are very blue, their grass arsenically
+green, and their perspective as erratic as that of the Chinese.
+
+[Illustration: "TWO CHILDREN IN THE WOOD." FROM AN EIGHTEENTH CENTURY
+CHAP-BOOK]
+
+[Illustration: "SIR RICHARD WHITTINGTON." FROM AN EIGHTEENTH-CENTURY
+CHAP-BOOK]
+
+In fact, unpopular though it may be to project such a theory, one
+fancies that the real educational power of the picture-book is upon the
+elders, and thus, that it undoubtedly helps to raise the standard of
+domestic taste in art. But, on the other hand, whether his art is
+adequately appreciated or not, what an unprejudiced and wholly
+spontaneous acclaim awaits the artist who gives his best to the little
+ones! They do not place his work in portfolios or locked glass cases;
+they thumb it to death, surely the happiest of all fates for any printed
+book. To see his volumes worn out by too eager votaries; what could an
+author or artist wish for more? The extraordinary devotion to a volume
+of natural history, which after generations of use has become more like
+a mop-head than a book, may be seen in the reproduction of a
+"monkey-book" here illustrated; this curious result being caused by
+sheer affectionate thumbing of its leaves, until the dog-ears and
+rumpled pages turned the cube to a globular mass, since flattened by
+being packed away. So children love picture-books, not as bibliophiles
+would consider wisely, but too well.
+
+[Illustration: "AN AMERICAN MAN AND WOMAN IN THEIR PROPER HABITS."
+ILLUSTRATION FROM "A MUSEUM FOR YOUNG GENTLEMEN AND LADIES" (S. CROWDER.
+1790)]
+
+To delight one of the least of these, to add a new joy to the crowded
+miracles of childhood, were no less worth doing than to leave a Sistine
+Chapel to astound a somewhat bored procession of tourists, or to have
+written a classic that sells by thousands and is possessed unread by all
+save an infinitesimal percentage of its owners.
+
+When Randolph Caldecott died, a minor poet, unconsciously paraphrasing
+Garrick's epitaph, wrote: "For loss of him the laughter of the children
+will grow less." I quote the line from memory, perhaps incorrectly; if
+so, its author will, I feel sure, forgive the unintentional mangling.
+Did the laughter of the children grow less? Happily one can be quite
+sure it did not. So long as any inept draughtsman can scrawl a few lines
+which they accept as a symbol of an engine, an elephant or a pussy cat,
+so long will the great army of invaders who are our predestined
+conquerors be content to laugh anew at the request of any one, be he
+good or mediocre, who caters for them.
+
+It is a pleasant and yet a saddening thought to remember that we were
+once recruits of this omnipotent army that wins always our lands and our
+treasures. Now, when grown up, whether we are millionaires or paupers,
+they have taken fortress by fortress with the treasures therein, our
+picture-books of one sort are theirs, and one must yield presently to
+the babies as they grow up, even our criticism, for they will make their
+own standards of worth and unworthiness despite all our efforts to
+control their verdict.
+
+If we are conscious of being "up-to-date" in 1900, we may be quite sure
+that by 1925 we shall be ousted by a newer generation, and by 2000
+forgotten. Long before even that, the children we now try to amuse or to
+educate, to defend at all costs, or to pray for as we never prayed
+before--they will be the masters. It is, then, not an ignoble thing to
+do one's very best to give our coming rulers a taste of the kingdom of
+art, to let them unconsciously discover that there is something outside
+common facts, intangible and not to be reduced to any rule, which may be
+a lasting pleasure to those who care to study it.
+
+It is evident, as one glances back over the centuries, that the child
+occupies a new place in the world to-day. Excepting possibly certain
+royal infants, we do not find that great artists of the past addressed
+themselves to children. Are there any children's books illustrated by
+Dürer, Burgmair, Altdorfer, Jost Amman, or the little masters of
+Germany? Among the Florentine woodcuts do we find any designed for
+children? Did Rembrandt etch for them, or Jacob Beham prepare plates for
+their amusement? So far as I have searched, no single instance has
+rewarded me. It is true that the _naïveté_ of much early work tempts
+one to believe that it was designed for babies. But the context shows
+that it was the unlettered adult, not the juvenile, who was addressed.
+As the designs, obviously prepared for children, begin to appear, they
+are almost entirely educational and by no means the work of the best
+artists of the period. Even when they come to be numerous, their object
+is seldom to amuse; they are didactic, and as a rule convey solemn
+warnings. The idea of a draughtsman of note setting himself deliberately
+to please a child would have been inconceivable not so many years ago.
+To be seen and not heard was the utmost demanded of the little ones even
+as late as the beginning of this century, when illustrated books
+designed especially for their instruction were not infrequent.
+
+[Illustration: "THE WALLS OF BABYLON." ILLUSTRATION FROM "A MUSEUM FOR
+YOUNG GENTLEMEN AND LADIES" (S. CROWDER. 1790)]
+
+As Mr. Theodore Watts-Dunton pointed out in his charming essay, "The New
+Hero," which appeared in the _English Illustrated Magazine_ (Dec. 1883),
+the child was neglected even by the art of literature until Shakespeare
+furnished portraits at once vivid, engaging, and true in Arthur and in
+Mamillus. In the same essay he goes on to say of the child--the new
+hero:
+
+"And in art, painters and designers are vying with the poets and with
+each other in accommodating their work to his well-known matter-of-fact
+tastes and love of simple directness. Having discovered that the New
+Hero's ideal of pictorial representation is of that high dramatic and
+businesslike kind exemplified in the Bayeux tapestry, Mr. Caldecott, Mr.
+Walter Crane, Miss Kate Greenaway, Miss Dorothy Tennant, have each tried
+to surpass the other in appealing to the New Hero's love of real
+business in art--treating him, indeed, as though he were Hoteï, the
+Japanese god of enjoyment--giving him as much colour, as much dramatic
+action, and as little perspective as is possible to man's finite
+capacity in this line. Some generous art critics have even gone so far
+indeed as to credit an entire artistic movement, that of pre-Raphaelism,
+with a benevolent desire to accommodate art to the New Hero's peculiar
+ideas upon perspective. But this is a 'soft impeachment' born of that
+loving kindness for which art-critics have always been famous."
+
+[Illustration: "MERCURY AND THE WOODMAN." ILLUSTRATION FROM "BEWICK'S
+SELECT FABLES." BY THOMAS BEWICK (1784)]
+
+[Illustration: "THE BROTHER AND SISTER." ILLUSTRATION FROM "BEWICK'S
+SELECT FABLES." BY THOMAS BEWICK (1784)]
+
+[Illustration: "LITTLE ANTHONY." ILLUSTRATION FROM "THE LOOKING-GLASS OF
+THE MIND." BY THOMAS BEWICK (1792)]
+
+[Illustration: "LITTLE ADOLPHUS." ILLUSTRATION FROM "THE LOOKING-GLASS
+OF THE MIND." BY THOMAS BEWICK (1792)]
+
+It would be out of place here to project any theory to account for this
+more recent homage paid to children, but it is quite certain that a
+similar number of THE STUDIO could scarce have been compiled a century
+ago, for there was practically no material for it. In fact the tastes of
+children as a factor to be considered in life are well-nigh as modern as
+steam or the electric light, and far less ancient than printing with
+movable types, which of itself seems the second great event in the
+history of humanity, the use of fire being the first.
+
+To leave generalities and come to particulars, as we dip into the stores
+of earlier centuries the broadsheets reveal almost nothing _intended_
+for children--the many Robin Hood ballads, for example, are decidedly
+meant for grown-up people; and so in the eighteenth century we find its
+chap-books of "Guy, Earl of Warwick," "Sir Bevis, of Southampton,"
+"Valentine and Orson," are still addressed to the adult; while it is
+more than doubtful whether even the earliest editions in chap-book form
+of "Tom Thumb," and "Whittington" and the rest, now the property of the
+nursery, were really published for little ones. That they were the
+"light reading" of adults, the equivalent of to-day's _Ally Sloper_ or
+the penny dreadful, is much more probable. No doubt children who came
+across them had a surreptitious treat, even as urchins of both sexes now
+pounce with avidity upon stray copies of the ultra-popular and so-called
+comic papers. But you could not call _Ally Sloper_, that Punchinello of
+the Victorian era--who has received the honour of an elaborate article
+in the _Nineteenth Century_--a child's hero, nor is his humour of a sort
+always that childhood should understand--"Unsweetened Gin," the
+"Broker's Man," and similar subjects, for example. It is quite possible
+that respectable people did not care for their babies to read the
+chap-books of the eighteenth century any more than they like them now to
+study "halfpenny comics"; and that they were, in short, kitchen
+literature, and not infantile. Even if the intellectual standard of
+those days was on a par in both domains, it does not prove that the
+reading of the kitchen and nursery was interchangeable.
+
+Before noticing any pictures in detail from old sources or new, it is
+well to explain that as a rule only those showing some attempt to adapt
+the drawing to a child's taste have been selected. Mere dull transcripts
+of facts please children no less; but here space forbids their
+inclusion. Otherwise nearly all modern illustration would come into our
+scope.
+
+A search through the famous Roxburghe collection of broadsheets
+discovered nothing that could be fairly regarded as a child's
+publication. The chap-books of the eighteenth century have been
+adequately discussed in Mr. John Ashton's admirable monograph, and from
+them a few "cuts" are here reproduced. Of course, if one takes the
+standard of education of these days as the test, many of those curious
+publications would appear to be addressed to intelligence of the most
+juvenile sort. Yet the themes as a rule show unmistakably that children
+of a larger growth were catered for, as, for instance, "Joseph and his
+Brethren," "The Holy Disciple," "The Wandering Jew," and those earlier
+pamphlets which are reprints or new versions of books printed by Wynkyn
+de Worde, Pynson, and others of the late fifteenth and early sixteenth
+centuries.
+
+[Illustration: _Henry quitting School._
+
+ILLUSTRATION FROM "SKETCHES OF JUVENILE CHARACTERS" (E. WALLIS. 1818)]
+
+In one, "The Witch of the Woodlands," appears a picture of little people
+dancing in a fairy ring, which might be supposed at first sight to be an
+illustration of a nursery tale, but the text describing a Witch's
+Sabbath, rapidly dispels the idea. Nor does a version of the popular
+Faust legend--"Dr. John Faustus"--appear to be edifying for young
+people. This and "Friar Bacon" are of the class which lingered the
+longest--the magical and oracular literature. Even to-day it is quite
+possible that dream-books and prophetical pamphlets enjoy a large sale;
+but a few years ago many were to be found in the catalogues of
+publishers who catered for the million. It is not very long ago that the
+Company of Stationers omitted hieroglyphics of coming events from its
+almanacs. Many fairy stories which to-day are repeated for the amusement
+of children were regarded as part of this literature--the traditional
+folk-lore which often enough survives many changes of the religious
+faith of a nation, and outlasts much civilisation. Others were
+originally political satires, or social pasquinades; indeed not a few
+nursery rhymes mask allusions to important historical incidents. The
+chap-book form of publication is well adapted for the preservation of
+half-discredited beliefs, of charms and prophecies, incantations and
+cures.
+
+In "Valentine and Orson," of which a fragment is extant of a version
+printed by Wynkyn de Worde, we have unquestionably the real fairy story.
+This class of story, however, was not addressed directly to children
+until within the last hundred years. That many of the cuts used in these
+chap-books afterwards found their way into little coarsely printed
+duodecimos of eight or sixteen pages designed for children is no doubt a
+fact. Indeed the wanderings of these blocks, and the various uses to
+which they were applied, is far too vast a theme to touch upon here. For
+this peripatetic habit of old wood-cuts was not even confined to the
+land of their production; after doing duty in one country, they were
+ready for fresh service in another. Often in the chap-books we meet with
+the same block as an illustration of totally different scenes.
+
+[Illustration: TITLE-PAGE OF "THE PATHS OF LEARNING" (HARRIS AND SON.
+1820)]
+
+[Illustration: PAGE FROM "THE PATHS OF LEARNING" (HARRIS AND SON. 1820)]
+
+The cut for the title-page of Robin Hood is a fair example of its kind.
+The Norfolk gentleman's "Last Will and Testament" turns out to be a
+rambling rhymed version of the Two Children in the Wood. In the first of
+its illustrations we see the dying parents commending their babes to the
+cruel world. The next is a subject taken from these lines:
+
+   "Away then went these prity babes rejoycing at that tide,
+    Rejoycing with a merry mind they should on cock-horse ride."
+
+And in the last, here reproduced, we see them when
+
+  "Their prity lips with blackberries were all besmeared and dyed,
+   And when they saw the darksome night, they sat them down and cried."
+
+But here it is more probable that it was the tragedy which attracted
+readers, as the _Police News_ attracts to-day, and that it became a
+child's favourite by the accident of the robins burying the babes.
+
+The example from the "History of Sir Richard Whittington" needs no
+comment.
+
+A very condensed version of "Robinson Crusoe" has blocks of distinct, if
+archaic, interest. The three here given show a certain sense of
+decorative treatment (probably the result of the artist's inability to
+be realistic), which is distinctly amusing. One might select hundreds of
+woodcuts of this type, but those here reproduced will serve as well as a
+thousand to indicate their general style.
+
+Some few of these books have contributed to later nursery folk-lore, as,
+for example, the well known "Jack Horner," which is an extract from a
+coarse account of the adventures of a dwarf.
+
+One quality that is shared by all these earlier pictures is their
+artlessness and often their absolute ugliness. Quaint is the highest
+adjective that fits them. In books of the later period not a few blocks
+of earlier date and of really fine design reappear; but in the
+chap-books quite 'prentice hands would seem to have been employed, and
+the result therefore is only interesting for its age and rarity. So far
+these pictures need no comment, they foreshadow nothing and are derived
+from nothing, so far as their design is concerned. Such interest as they
+have is quite unconcerned with art in any way; they are not even
+sufficiently misdirected to act as warnings, but are merely clumsy.
+
+[Illustration: ILLUSTRATION FROM "GERMAN POPULAR STORIES." BY G.
+CRUIKSHANK (CHARLES TILT. 1824)]
+
+[Illustration: ILLUSTRATION FROM "GERMAN POPULAR STORIES." BY G.
+CRUIKSHANK (CHARLES TILT. 1824)]
+
+Children's books, as every collector knows, are among the most
+short-lived of all volumes. This is more especially true of those with
+illustrations, for their extra attractiveness serves but to degrade a
+comely book into a dog-eared and untidy thing, with leaves sere and
+yellow, and with no autumnal grace to mellow their decay. Long before
+this period, however, the nursery artist has marked them for his own,
+and with crimson lake and Prussian blue stained their pictures in all
+too permanent pigments, that in some cases resist every chemical the
+amateur applies with the vain hope of effacing the superfluous colour.
+
+Of course the disappearance of the vast majority of books for children
+(dating from 1760 to 1830, and even later) is no loss to art, although
+among them are some few which are interesting as the 'prentice work of
+illustrators who became famous. But these are the exceptions. Thanks to
+the kindness of Mr. James Stone, of Birmingham, who has a large and most
+interesting collection of the most ephemeral of all sorts--the little
+penny and twopenny pamphlets--it has been possible to refer at first
+hand to hundreds, of them. Yet, despite their interest as curiosities,
+their art need not detain us here. The pictures are mostly trivial or
+dull, and look like the products of very poorly equipped draughtsmen and
+cheap engravers. Some, in pamphlet shape, contain nursery rhymes and
+little stories, others are devoted to the alphabet and arithmetic.
+Amongst them are many printed on card, shaped like the cover of a
+bank-book. These were called battledores, but as Mr. Tuer has dealt with
+this class in "The Horn Book" so thoroughly, it would be mere waste of
+time to discuss them here.
+
+Mr. Elkin Mathews also permitted me to run through his interesting
+collection, and among them were many noted elsewhere in these pages, but
+the rest, so far as the pictures are concerned, do not call for detailed
+notice. They do, indeed, contain pictures of children--but mere
+"factual" scenes, as a rule--without any real fun or real imagination.
+Those who wish to look up early examples will find a large and
+entertaining variety among "The Pearson Collection" in the National Art
+Library at South Kensington Museum.
+
+Turning to quite another class, we find "A Museum for Young Gentlemen
+and Ladies" (Collins: Salisbury), a typical volume of its kind. Its
+preface begins: "I am very much concerned when I see young gentlemen of
+fortune and quality so wholly set upon pleasure and diversions.... The
+greater part of our British youth lose their figure and grow out of
+fashion by the time they are twenty-five. As soon as the natural gaiety
+and amiableness of the young man wears off they have nothing left to
+recommend, but _lie by_ the rest of their lives among the lumber and
+refuse of their species"--a promising start for a moral lecture, which
+goes on to implore those who are in the flower of their youth to "labour
+at those accomplishments which may set off their persons when their
+bloom is gone."
+
+The compensations for old age appear to be, according to this author, a
+little knowledge of grammar, history, astronomy, geography, weights and
+measures, the seven wonders of the world, burning mountains, and dying
+words of great men. But its delightful text must not detain us here. A
+series of "cuts" of national costumes with which it is embellished
+deserves to be described in detail. _An American Man and Woman in their
+proper habits_, reproduced on page 6, will give a better idea of their
+style than any words. The blocks evidently date many years earlier than
+the thirteenth edition here referred to, which is about 1790. Indeed,
+those of the Seven Wonders are distinctly interesting.
+
+[Illustration: ILLUSTRATION FROM "THE LITTLE PRINCESS." BY J. C.
+HORSLEY, R.A. (JOSEPH CUNDALL. 1843)]
+
+[Illustration:
+
+          I had a little Nut-tree,
+          Nothing would it bear,
+          But a silver nutmeg
+          And a golden pear.
+
+          The King of Spain's daughter, came to visit me,--
+          And all because of my little Nut-tree.
+
+ILLUSTRATION FROM "CHILD'S PLAY." BY E. V. B. (NOW PUBLISHED BY SAMPSON
+LOW)]
+
+Here and there we meet with one interesting as art. "An Ancestral
+History of King Arthur" (H. Roberts, Blue Boar, Holborn, 1782), shown in
+the Pearson collection at South Kensington, has an admirable
+frontispiece; and one or two others would be worth reproduction did
+space permit.
+
+Although the dates overlap, the next division of the subject may be
+taken as ranging from the publication of "Goody Two Shoes--otherwise
+called Mrs. Margaret Two-shoes"--to the "Bewick Books." Of the latter
+the most interesting is unquestionably "A Pretty Book of Pictures for
+Little Masters and Misses, or Tommy Trip's History of Beasts and Birds,"
+with a familiar description of each in verse and prose, to which is
+prefixed "A History of Little Tom Trip himself, of his dog Towler, and
+of Coryleg the great giant," written for John Newbery, the philanthropic
+bookseller of St. Paul's Churchyard. "The fifteenth edition embellished
+with charming engravings upon wood, from the original blocks engraved by
+Thomas Bewick for T. Saint of Newcastle in 1779"--to quote the full
+title from the edition reprinted by Edwin Pearson in 1867. This edition
+contains a preface tracing the history of the blocks, which are said to
+be Bewick's first efforts to depict beasts and birds, undertaken at the
+request of the New castle printer, to illustrate a new edition of
+"Tommy Trip." As at this time copyright was unknown, and Newcastle or
+Glasgow pirated a London success (as New York did but lately), we must
+not be surprised to find that the text is said to be a reprint of a
+"Newbery" publication. But as Saint was called the Newbery of the North,
+possibly the Bewick edition was authorised. One or two of the rhymes
+which have been attributed to Oliver Goldsmith deserve quotation.
+Appended to a cut of _The Bison_ we find the following delightful lines:
+
+          "The Bison, tho' neither
+             Engaging nor young,
+           Like a flatt'rer can lick you
+             To death with his tongue."
+
+The astounding legend of the bison's long tongue, with which he captures
+a man who has ventured too close, is dilated upon in the accompanying
+prose. That Goldsmith used "teeth" when he meant "tusks" solely for the
+sake of rhyme is a depressing fact made clear by the next verse:
+
+          "The elephant with trunk and teeth
+           Threatens his foe with instant death,
+               And should these not his ends avail
+               His crushing feet will seldom fail."
+
+Nor are the rhymes as they stand peculiarly happy; certainly in the
+following example it requires an effort to make "throw" and "now" pair
+off harmoniously.
+
+          "The fierce, fell tiger will, they say,
+           Seize any man that's in the way,
+           And o'er his back the victim throw,
+           As you your satchel may do now."
+
+Yet one more deserves to be remembered if but for its decorative
+spelling:
+
+          "The cuccoo comes to chear the spring,
+           And early every morn does sing;
+           The nightingale, secure and snug,
+           The evening charms with Jug, jug, jug."
+
+[Illustration: ILLUSTRATION FROM "THE HONEY STEW" BY HARRISON WEIR
+(JEREMIAH HOW. 1846)]
+
+But these doggerel rhymes are not quite representative of the book, as
+the well-known "Three children sliding on the ice upon a summer's day"
+appears herein. The "cuts" are distinctively notable, especially the
+Crocodile (which contradicts the letterpress, that says "it turns about
+with difficulty"), the Chameleon, the Bison, and the Tiger.
+
+Bewick's "Select Fables of Æsop and others" (Newcastle: T. Saint, 1784)
+deserves fuller notice, but Æsop, though a not unpopular book for
+children, is hardly a children's book. With "The Looking Glass for the
+Mind" (1792) we have the adaptation of a popular French work, "L'Ami des
+Enfans" (1749), with cuts by Bewick, which, if not equal to his best,
+are more interesting from our point of view, as they are obviously
+designed for young people. The letterpress is full of "useful lessons
+for my youthful readers," with morals provokingly insisted upon.
+
+"Goody Two Shoes" was also published by Newbery of St. Paul's
+Churchyard--the pioneer of children's literature. His business--which
+afterwards became Messrs. Griffith and Farran--has been the subject of
+several monographs and magazine articles by Mr. Charles Welsh, a former
+partner of that firm. The two monographs were privately printed for
+issue to members of the Sette of Odde Volumes. The first of these is
+entitled "On some Books for Children of the last century, with a few
+words on the philanthropic publisher of St. Paul's Churchyard. A paper
+read at a meeting of the Sette of Odde Volumes, Friday, January 8,
+1886." Herein we find a very sympathetic account of John Newbery and
+gossip of the clever and distinguished men who assisted him in the
+production of children's books, of which Charles Knight said, "There is
+nothing more remarkable in them than their originality. There have been
+attempts to imitate its simplicity, its homeliness; great authors have
+tried their hands at imitating its clever adaptation to the youthful
+intellect, but they have failed"--a verdict which, if true of authors
+when Charles Knight uttered it, is hardly true of the present time.
+After Goldsmith, Charles Lamb, to whom "Goody Two Shoes" is now
+attributed, was, perhaps, the most famous contributor to Newbery's
+publications; his "Beauty and the Beast" and "Prince Dorus" have been
+republished in facsimile lately by Messrs. Field and Tuer. From the
+_London Chronicle_, December 19 to January 1, 1765, Mr. Welsh reprinted
+the following advertisement:
+
+[Illustration: "BLUE BEARD." ILLUSTRATION FROM "COMIC NURSERY TALES." BY
+A. CROWQUILL (G. ROUTLEDGE. 1845)]
+
+[Illustration: "ROBINSON CRUSOE." ILLUSTRATION FROM "COMIC NURSERY
+TALES." BY A. CROWQUILL (G. ROUTLEDGE. 1845)]
+
+"The Philosophers, Politicians, Necromancers, and the learned in every
+faculty are desired to observe that on January 1, being New Year's Day
+(oh that we may all lead new lives!), Mr. Newbery intends to publish the
+following important volumes, bound and gilt, and hereby invites all his
+little friends who are good to call for them at the Bible and Sun in St.
+Paul's Churchyard, but those who are naughty to have none." The paper
+read by Mr. Welsh scarcely fulfils the whole promise of its title, for
+in place of giving anecdotes of Newbery he refers his listeners to his
+own volume, "A Bookseller of the Last Century," for fuller details; but
+what he said in praise of the excellent printing and binding of
+Newbery's books is well merited. They are, nearly all, comely
+productions, some with really artistic illustrations, and all marked
+with care and intelligence which had not hitherto been bestowed on
+publications intended for juveniles. It is true that most are
+distinguished for "calculating morality" as the _Athenæum_ called it, in
+re-estimating their merits nearly a century later. It was a period when
+the advantages of dull moralising were over-prized, when people
+professed to believe that you could admonish children to a state of
+perfection which, in their didactic addresses to the small folk, they
+professed to obey themselves. It was, not to put too fine a point on it,
+an age of solemn hypocrisy, not perhaps so insincere in intention as in
+phrase; but, all the same, it repels the more tolerant mood of to-day.
+Whether or not it be wise to confess to the same frailties and let
+children know the weaknesses of their elders, it is certainly more
+honest; and the danger is now rather lest the undue humility of
+experience should lead children to believe that they are better than
+their fathers. Probably the honest sympathy now shown to childish ideals
+is not likely to be misinterpreted, for children are often shrewd
+judges, and can detect the false from the true, in morals if not in art.
+
+By 1800 literature for children had become an established fact. Large
+numbers of publications were ostentatiously addressed to their
+amusement; but nearly all hid a bitter if wholesome powder in a very
+small portion of jam. Books of educational purport, like "A Father's
+Legacy to his Daughter," with reprints of classics that are heavily
+weighted with morals--Dr. Johnson's "Rasselas" and "Æsop's Fables," for
+instance--are in the majority. "Robinson Crusoe" is indeed among them,
+and Bunyan's "Pilgrim's Progress," both, be it noted, books annexed by
+the young, not designed for them.
+
+[Illustration: ILLUSTRATION FROM "ROBINSON CRUSOE." BY CHARLES KEENE
+(JAMES BURNS. 1847)]
+
+The titles of a few odd books which possess more than usually
+interesting features may be jotted down. Of these, "Little Thumb and the
+Ogre" (R. Dutton, 1788), with illustrations by William Blake, is easily
+first in interest, if not in other respects. Others include "The Cries
+of London" (1775), "Sindbad the Sailor" (Newbery, 1798), "Valentine and
+Orson" (Mary Rhynd, Clerkenwell, 1804), "Fun at the Fair" (with spirited
+cuts printed in red), and Watts's "Divine and Moral Songs," and "An
+Abridged New Testament," with still more effective designs also in red
+(Lumsden, Glasgow), "Gulliver's Travels" (greatly abridged, 1815),
+"Mother Gum" (1805), "Anecdotes of a Little Family" (1795), "Mirth
+without Mischief," "King Pippin," "The Daisy" (cautionary stories in
+verse), and the "Cowslip," its companion (with delightfully prim little
+rhymes that have been reprinted lately). The thirty illustrations in
+each are by Samuel Williams, an artist who yet awaits his due
+appreciation. A large number of classics of their kind, "The Adventures
+of Philip Quarll," "Gulliver's Travels," Blake's "Songs of Innocence,"
+Charles Lamb's "Stories from Shakespeare," Mrs. Sherwood's "Henry and
+his Bearer," and a host of other religious stories, cannot even be
+enumerated. But even were it possible to compile a full list of
+children's books, it would be of little service, for the popular books
+are in no danger of being forgotten, and the unpopular, as a rule, have
+vanished out of existence, and except by pure accident could not be
+found for love or money.
+
+[Illustration: ILLUSTRATION FROM "COMIC NURSERY TALES" (G. ROUTLEDGE.
+1846)]
+
+With the publications of Newbery and Harris, early in the nineteenth
+century, we encounter examples more nearly typical of the child's book
+as we regard it to-day. Among them Harris's "Cabinet" is noticeable.
+The first four volumes, "The Butterfly's Ball," "The Peacock at Home,"
+"The Lion's Masquerade," and "The Elephant's Ball," were reprinted a few
+years ago, with the original illustrations by Mulready carefully
+reproduced. A coloured series of sixty-two books, priced at one shilling
+and sixpence each (Harris), was extremely popular.
+
+With the "Paths of Learning strewed with Flowers, or English Grammar
+Illustrated" (1820), we encounter a work not without elegance. Its
+designs, as we see by the examples reproduced on page 9, are the obvious
+prototype of Miss Greenaway, the model that inspired her to those dainty
+trifles which conquered even so stern a critic of modern illustration as
+Mr. Ruskin. On its cover--a forbidding wrapper devoid of ornament--and
+repeated within a wreath of roses inside, this preamble occurs: "The
+purpose of this little book is to obviate the reluctance children evince
+to the irksome and insipid task of learning the names and meanings of
+the component parts of grammar. Our intention is to entwine roses with
+instruction, and however humble our endeavour may appear, let it be
+recollected that the efforts of a Mouse set the Lion free from his
+toils." This oddly phrased explanation is typical of the affected
+geniality of the governess. Indeed, it might have been penned by an
+assistant to Miss Pinkerton, "the Semiramis of Hammersmith"; if not by
+that friend of Dr. Johnson, the correspondent of Mrs. Chapone herself,
+in a moment of gracious effort to bring her intellect down to the level
+of her pupils.
+
+To us, this hollow gaiety sounds almost cruel. In those days children
+were always regarded as if, to quote Mark Twain, "every one being born
+with an equal amount of original sin, the pressure on the square inch
+must needs be greater in a baby." Poor little original sinners, how very
+scurvily the world of books and picture-makers treated you less than a
+century ago! Life for you then was a perpetual reformatory, a place
+beset with penalties, and echoing with reproofs. Even the literature
+planned to amuse your leisure was stuck full of maxims and morals; the
+most piquant story was but a prelude to an awful warning; pictures of
+animals, places, and rivers failed to conceal undisguised lessons. The
+one impression that is left by a study of these books is the lack of
+confidence in their own dignity which papas and mammas betrayed in the
+early Victorian era. This seems past all doubt when you realise that the
+common effort of all these pictures and prose is to glorify the
+impeccable parent, and teach his or her offspring to grovel silently
+before the stern law-givers who ruled the home.
+
+[Illustration: TITLE-PAGE FROM "THE SCOURING OF THE WHITE HORSE." BY
+RICHARD DOYLE (MACMILLAN AND CO. 1858)]
+
+Of course it was not really so, literature had but lately come to a
+great middle class who had not learned to be easy; and as worthy folk
+who talked colloquially wrote in stilted parody of Dr. Johnson's stately
+periods, so the uncouth address in print to the populace of the nursery
+was doubtless forgotten in daily intercourse. But the conventions were
+preserved, and honest fun or full-bodied romance that loves to depict
+gnomes and hob-goblins, giants and dwarfs in a world of adventure and
+mystery, was unpopular. Children's books were illustrated entirely by
+the wonders of the creation, or the still greater wonders of so-called
+polite society. Never in them, except introduced purposely as an "awful
+example," do you meet an untidy, careless, normal child. Even the
+beggars are prim, and the beasts and birds distinctly genteel in their
+habits. Fairyland was shut to the little ones, who were turned out of
+their own domain. It seems quite likely that this continued until the
+German _märchen_ (the literary products of Germany were much in favour
+at this period) reopened the wonderland of the other world about the
+time that Charles Dickens helped to throw the door still wider.
+Discovering that the child possessed the right to be amused, the
+imagination of poets and artists addressed itself at last to the most
+appreciative of all audiences, a world of newcomers, with insatiable
+appetites for wonders real and imaginary.
+
+[Illustration: ILLUSTRATION (REDUCED) FROM "MISUNDERSTOOD" BY GEORGE DU
+MAURIER (RICHARD BENTLEY AND SON. 1874)]
+
+But for many years before the Victorian period folklore was left to the
+peasants, or at least kept out of reach of children of the higher
+classes. No doubt old nurses prattled it to their charges, perhaps
+weak-minded mothers occasionally repeated the ancient legends, but the
+printing-press set its face against fancy, and offered facts in its
+stead. In the list of sixty-two books before mentioned, if we except a
+few nursery jingles such as "Mother Hubbard" and "Cock Robin," we find
+but two real fairy stories, "Cinderella," "Puss-in-Boots," and three
+old-world narratives of adventure, "Whittington and His Cat," "The Seven
+Champions of Christendom," and "Valentine and Orson." The rest are
+"Peter Piper's Practical Principles of Plain and Perfect Pronunciation,"
+"The Monthly Monitor," "Tommy Trip's Museum of Beasts," "The
+Perambulations of a Mouse," and so on, with a few things like "The House
+that Jack Built," and "A, Apple Pie," that are but daily facts put into
+story shape. Now it is clear that the artists inspired by fifty of these
+had no chance of displaying their imagination, and every opportunity of
+pointing a moral; and it is painful to be obliged to own that they
+succeeded beyond belief in their efforts to be dull. Of like sort are "A
+Visit to the Bazaar" (Harris, 1814), and "The Dandies' Ball" (1820).
+
+[Illustration: ILLUSTRATION FROM "THE PRINCESS AND THE GOBLIN."
+(STRAHAN. 1871. NOW PUBLISHED BY BLACKIE AND SON)]
+
+Nor must we forget a work very popular at this period, "Keeper in
+Search of His Master," although its illustrations are not its chief
+point.
+
+According to a very interesting preface Mr. Andrew Tuer contributed to
+"The Leadenhall Series of Reprints of Forgotten Books for Children in
+1813," "Dame Wiggins of Lee" was first issued by A. K. Newman and Co. of
+the Minerva Press. This book is perhaps better known than any of its
+date owing to Mr. Ruskin's reprint with additional verses by himself,
+and new designs by Miss Kate Greenaway supplementing the original cuts,
+which were re-engraved in facsimile by Mr. Hooper. Mr. Tuer attributes
+the design of these latter to R. Stennet (or Sinnet?), who illustrated
+also "Deborah Dent and her Donkey" and "Madame Figs' Gala." Newman
+issued many of these books, in conjunction with Messrs. Dean and Mundy,
+the direct ancestors of the firm of Dean and Son, still flourishing, and
+still engaged in providing cheap and attractive books for children. "The
+Gaping Wide-mouthed Waddling Frog" is another book of about this period,
+which Mr. Tuer included in his reprints. Among the many illustrated
+volumes which bear the imprint of A. K. Newman, and Dean and Mundy, are
+"A, Apple Pie," "Aldiborontiphoskyphorniostikos," "The House that Jack
+Built," "The Parent's Offering for a Good Child" (a very pompous and
+irritating series of dialogues), and others that are even more directly
+educational. In all these the engravings are in fairly correct outline,
+coloured with four to six washes of showy crimson lake, ultramarine,
+pale green, pale sepia, and gamboge.
+
+[Illustration: ILLUSTRATION FROM "GUTTA PERCHA WILLIE." BY ARTHUR HUGHES
+(STRAHAN. 1870. NOW PUBLISHED BY BLACKIE AND SON)]
+
+[Illustration: ILLUSTRATION FROM "AT THE BACK OF THE NORTH WIND." BY
+ARTHUR HUGHES (STRAHAN. 1869. NOW PUBLISHED BY BLACKIE AND SON)]
+
+Even the dreary text need not have made the illustrators quite so dull,
+as we know that Randolph Caldecott would have made an illustrated
+"Bradshaw" amusing; but most of his earlier predecessors show no less
+power in making anything they touched "un-funny." Nor as art do their
+pictures interest you any more than as anecdotes.
+
+Of course the cost of coloured engravings prohibited their lavish use.
+All were tinted by hand, sometimes with the help of stencil plates, but
+more often by brush. The print colourers, we are told, lived chiefly in
+the Pentonville district, or in some of the poorer streets near
+Leicester Square. A few survivors are still to be found; but the
+introduction first of lithography, and later of photographic processes,
+has killed the industry, and even the most fanatical apostle of the old
+crafts cannot wish the "hand-painter" back again. The outlines were
+either cut on wood, as in the early days of printing until the present,
+or else engraved on metal. In each case all colour was painted
+afterwards, and in scarce a single instance (not even in the Rowlandson
+caricatures or patriotic pieces) is there any attempt to obtain an
+harmonious scheme such as is often found in the tinted mezzo-tints of
+the same period.
+
+[Illustration: ILLUSTRATION FROM "AT THE BACK OF THE NORTH WIND." BY
+ARTHUR HUGHES (STRAHAN. 1869. NOW PUBLISHED BY BLACKIE AND SON)]
+
+Of works primarily intended for little people, an "Hieroglyphical Bible"
+for the amusement and instruction of the younger generation (1814) may
+be noted. This was a mixture of picture-puns and broken words, after the
+fashion of the dreary puzzles still published in snippet weeklies. It is
+a melancholy attempt to turn Bible texts to picture puzzles, a book
+permitted by the unco' guid to children on wet Sunday afternoons, as
+some younger members of large families, whose elder brothers' books yet
+lingered forty or even fifty years after publication, are able to
+endorse with vivid and depressed remembrance. Foxe's "Book of Martyrs"
+and Bunyan's "Pilgrim's Progress" are of the same type, and calculated
+to fill a nervous child with grim terrors, not lightened by Watts's
+"Divine and Moral Songs," that gloated on the dreadful hell to which
+sinful children were doomed, "with devils in darkness, fire and chains."
+But this painful side of the subject is not to be discussed here.
+Luckily the artists--except in the "grown-up" books referred
+to--disdained to enforce the terrors of Dr. Watts, and pictured less
+horrible themes.
+
+With Cruikshank we encounter almost the first glimpse of the modern
+ideal. His "Grimm's Fairy Tales" are delightful in themselves, and
+marvellous in comparison with all before, and no little after.
+
+[Illustration: ILLUSTRATION FROM "THE LITTLE WONDER HORN." BY J. MAHONEY
+(H. S. KING AND CO. 1872. GRIFFITH AND FARRAN. 1887)]
+
+These famous illustrations to the first selection of Grimm's "German
+Popular Stories" appeared in 1824, followed by a second series in 1826.
+Coming across this work after many days spent in hunting up children's
+books of the period, the designs flashed upon one as masterpieces, and
+for the first time seemed to justify the great popularity of Cruikshank.
+For their vigour and brilliant invention, their _diablerie_ and true
+local colour, are amazing when contrasted with what had been previously.
+Wearied of the excessive eulogy bestowed upon Cruikshank's illustrations
+to Dickens, and unable to accept the artist as an illustrator of real
+characters in fiction, when he studies his elfish and other-worldly
+personages, the most grudging critic must needs yield a full tribute of
+praise. The volumes (published by Charles Tilt, of 82 Fleet Street) are
+extremely rare; for many years past the sale-room has recorded fancy
+prices for all Cruikshank's illustrations, so that a lover of modern art
+has been jealous to note the amount paid for by many extremely poor
+pictures by this artist, when even original drawings for the
+masterpieces by later illustrators went for a song. In Mr. Temple
+Scott's indispensable "Book Sales of 1896" we find the two volumes
+(1823-6) fetched £12 12_s._
+
+[Illustration: "IN NOOKS WITH BOOKS" AN AUTO-LITHOGRAPH BY R. ANNING
+BELL.]
+
+These must not be confounded with Cruikshank's "Fairy Library"
+(1847-64), a series of small books in paper wrappers, now exceedingly
+rare, which are more distinctly prepared for juvenile readers. The
+illustrations to these do not rise above the level of their day, as did
+the earlier ones. But this is owing largely to the fact that the
+standard had risen far above its old average in the thirty years that
+had elapsed. Amid the mass of volumes illustrated by Cruikshank
+comparatively few are for juveniles; some of these are: "Grimm's Gammer
+Grethel"; "Peter Schlemihl" (1824); "Christmas Recreation" (1825); "Hans
+of Iceland" (1825); "German Popular Stories" (1823); "Robinson Crusoe"
+(1831); "The Brownies" (1870); "Loblie-by-the-Fire" (1874); "Tom Thumb"
+(1830); and "John Gilpin" (1828).
+
+[Illustration: ILLUSTRATION FROM "SPEAKING LIKENESSES." BY ARTHUR HUGHES
+(MACMILLAN AND CO. 1874)]
+
+The works of Richard Doyle (1824-1883) enjoy in a lesser degree the sort
+of inflated popularity which has gathered around those of Cruikshank.
+With much spirit and pleasant invention, Doyle lacked academic skill,
+and often betrays considerable weakness, not merely in composition, but
+in invention. Yet the qualities which won him reputation are by no means
+despicable. He evidently felt the charm of fairyland, and peopled it
+with droll little folk who are neither too human nor too unreal to be
+attractive. He joined the staff of _Punch_ when but nineteen, and soon,
+by his political cartoons, and his famous "Manners and Customs of y^e
+English drawn from y^e Quick," became an established favourite. His
+design for the cover of _Punch_ is one of his happiest inventions. So
+highly has he been esteemed that the National Gallery possesses one of
+his pictures, _The Triumphant Entry; a Fairy Pageant_. Children's books
+with his illustrations are numerous; perhaps the most important are "The
+Enchanted Crow" (1871), "Feast of Dwarfs" (1871), "Fortune's Favourite"
+(1871), "The Fairy Ring" (1845), "In Fairyland" (1870), "Merry Pictures"
+(1857), "Princess Nobody" (1884), "Mark Lemon's Fairy Tales" (1868), "A
+Juvenile Calendar" (1855), "Fairy Tales from all Nations" (1849), "Snow
+White and Rosy Red" (1871), Ruskin's "The King of the Golden River"
+(1884), Hughes's "Scouring of the White Horse" (1859), "Jack the Giant
+Killer" (1888), "Home for the Holidays" (1887), "The Whyte Fairy Book"
+(1893). The three last are, of course, posthumous publications.
+
+Still confining ourselves to the pre-Victorian period, although the
+works in question were popular several decades later, we find "Sandford
+and Merton" (first published in 1783, and constantly reprinted), "The
+Swiss Family Robinson," the beginning of "Peter Parley's Annals," and a
+vast number of other books with the same pseudonym appended, and a host
+of didactic works, a large number of which contained pictures of animals
+and other natural objects, more or less well drawn. But the pictures in
+these are not of any great consequence, merely reflecting the average
+taste of the day, and very seldom designed from a child's point of view.
+
+[Illustration: ILLUSTRATION FROM "UNDINE." BY SIR JOHN TENNIEL (JAMES
+BURNS. 1845)]
+
+This very inadequate sketch of the books before 1837 is not curtailed
+for want of material, but because, despite the enormous amount, very few
+show attempts to please the child; to warn, to exhort, or to educate are
+their chief aims. Occasionally a Bewick or an artist of real power is
+met with, but the bulk is not only dull, but of small artistic value.
+That the artist's name is rarely given must not be taken as a sign that
+only inept draughtsmen were employed, for in works of real importance up
+to and even beyond this date we often find his share ignored. After a
+time the engraver claims to be considered, and by degrees the designer
+is also recognised; yet for the most part illustration was looked upon
+merely as "jam" to conceal the pill. The old Puritan conception of art
+as vanity had something to do with this, no doubt; for adults often
+demand that their children shall obey a sterner rule of life than that
+which they accept themselves.
+
+[Illustration: ILLUSTRATION FROM "ELLIOTT'S NURSERY RHYMES" BY W. J.
+WIEGAND (NOVELLO, 1870)]
+
+Before passing on, it is as well to summarise this preamble and to
+discover how far children's books had improved when her Majesty came to
+the throne. The old woodcut, rough and ill-drawn, had been succeeded by
+the masterpieces of Bewick, and the respectable if dull achievements of
+his followers. In the better class of books were excellent designs by
+artists of some repute fairly well engraved. Colouring by hand, in a
+primitive fashion, was applied to these prints and to impressions from
+copperplates. A certain prettiness was the highest aim of most of the
+latter, and very few were designed only to amuse a child. It seems as if
+all concerned were bent on unbending themselves, careful to offer grains
+of truth to young minds with an occasional terrible falsity of their
+attitude; indeed, its satire and profound analysis make it superfluous
+to reopen the subject. As one might expect, the literature, "genteel"
+and dull, naturally desired pictures in the same key. The art of even
+the better class of children's books was satisfied if it succeeded in
+being "genteel," or, as Miss Limpenny would say, "cumeelfo." Its ideal
+reached no higher, and sometimes stopped very far below that modest
+standard. This is the best (with the few exceptions already noted) one
+can say of pre-Victorian illustration for children.
+
+[Illustration: ILLUSTRATION FROM "ELLIOTT'S NURSERY RHYMES" BY H. STACY
+MARKS, R.A. (NOVELLO. 1870)]
+
+If there is one opinion deeply rooted in the minds of the comparatively
+few Britons who care for art, it is a distrust of "The Cole Gang of
+South Kensington;" and yet if there be one fact which confronts any
+student of the present revival of the applied arts, it is that sooner or
+later you come to its first experiments inspired or actually undertaken
+by Sir Henry Cole. Under the pseudonym of "Felix Summerley" we find that
+the originator of a hundred revivals of the applied arts, projected and
+issued a series of children's books which even to-day are decidedly
+worth praise. It is the fashion to trace everything to Mr. William
+Morris, but in illustrations for children as in a hundred others "Felix
+Summerley" was setting the ball rolling when Morris and the members of
+the famous firm were schoolboys.
+
+[Illustration: ILLUSTRATION FROM "THE WATER BABIES" BY SIR R. NOEL PATON
+(MACMILLAN AND CO. 1863)]
+
+To quote from his own words: "During this period (_i.e._, about 1844),
+my young children becoming numerous, their wants induced me to publish a
+rather long series of books, which constituted 'Summerley's Home
+Treasury,' and I had the great pleasure of obtaining the welcome
+assistance of some of the first artists of the time in illustrating
+them--Mulready, R.A., Cope, R.A., Horsley, R.A., Redgrave, R.A.,
+Webster, R.A., Linnell and his three sons, John, James, and William, H.
+J. Townsend, and others.... The preparation of these books gave me
+practical knowledge in the technicalities of the arts of type-printing,
+lithography, copper and steel-plate engraving and printing, and
+bookbinding in all its varieties in metal, wood, leather, &c."
+
+Copies of the books in question appear to be very rare. It is doubtful
+if the omnivorous British Museum has swallowed a complete set; certainly
+at the Art Library of South Kensington Museum, where, if anywhere, we
+might expect to find Sir Henry Cole completely represented, many gaps
+occur.
+
+How far Mr. Joseph Cundall, the publisher, should be awarded a share of
+the credit for the enterprise is not apparent, but his publications and
+writings, together with the books issued later by Cundall and Addey, are
+all marked with the new spirit, which so far as one can discover was
+working in many minds at this time, and manifested itself most
+conspicuously through the Pre-Raphaelites and their allies. This all
+took place, it must be remembered, long before 1851. We forget often
+that if that exhibition has any important place in the art history of
+Great Britain, it does but prove that much preliminary work had been
+already accomplished. You cannot exhibit what does not exist; you cannot
+even call into being "exhibition specimens" at a few months notice, if
+something of the same sort, worked for ordinary commerce, has not
+already been in progress for years previously.
+
+[Illustration: ILLUSTRATION FROM "THE ROYAL UMBRELLA." BY LINLEY
+SAMBOURNE (GRIFFITH AND FARRAN. 1880)]
+
+[Illustration: ILLUSTRATION FROM "ON A PINCUSHION." BY WILLIAM DE MORGAN
+(SEELEY, JACKSON AND HALLIDAY. 1877)]
+
+Almost every book referred to has been examined anew for the purposes of
+this article. As a whole they might fail to impress a critic not
+peculiarly interested in the matter. But if he tries to project himself
+to the period that produced them, and realises fully the enormous
+importance of first efforts, he will not estimate grudgingly their
+intrinsic value, but be inclined to credit them with the good things
+they never dreamed of, as well as those they tried to realise and often
+failed to achieve. Here, without any prejudice for or against the South
+Kensington movement, it is but common justice to record Sir Henry Cole's
+share in the improvement of children's books; and later on his efforts
+on behalf of process engraving must also not be forgotten.
+
+To return to the books in question, some extracts from the original
+prospectus, which speaks of them as "purposed to cultivate the
+Affections, Fancy, Imagination, and Taste of Children," are worth
+quotation:
+
+"The character of most children's books published during the last
+quarter of a century, is fairly typified in the name of Peter Parley,
+which the writers of some hundreds of them have assumed. The books
+themselves have been addressed after a narrow fashion, almost entirely
+to the cultivation of the understanding of children. The many tales sung
+or said from time to time immemorial, which appealed to the other, and
+certainly not less important elements of a little child's mind, its
+fancy, imagination, sympathies, affections, are almost all gone out of
+memory, and are scarcely to be obtained. 'Little Red Riding Hood,' and
+other fairy tales hallowed to children's use, are now turned into
+ribaldry as satires for men; as for the creation of a new fairy tale or
+touching ballad, such a thing is unheard of. That the influence of all
+this is hurtful to children, the conductor of this series firmly
+believes. He has practical experience of it every day in his own family,
+and he doubts not that there are many others who entertain the same
+opinions as himself. He purposes at least to give some evidence of his
+belief, and to produce a series of works, the character of which may be
+briefly described as anti-Peter Parleyism.
+
+[Illustration: ILLUSTRATION FROM "THE NECKLACE OF PRINCESS FIORIMONDE."
+BY WALTER CRANE (MACMILLAN AND CO. 1880)]
+
+"Some will be new works, some new combinations of old materials, and
+some reprints carefully cleared of impurities, without deterioration to
+the points of the story. All will be illustrated, but not after the
+usual fashion of children's books, in which it seems to be assumed that
+the lowest kind of art is good enough to give first impressions to a
+child. In the present series, though the statement may perhaps excite a
+smile, the illustrations will be selected from the works of Raffaelle,
+Titian, Hans Holbein, and other old masters. Some of the best modern
+artists have kindly promised their aid in creating a taste for beauty in
+little children." Did space permit, a selection from the reviews of the
+chief literary papers that welcomed the new venture would be
+instructive. There we should find that even the most cautious critic,
+always "hedging" and playing for safety, felt compelled to accord a
+certain amount of praise to the new enterprise.
+
+It is true that "Felix Summerley" created only one type of the modern
+book. Possibly the "stories turned into satires" to which he alludes are
+the entirely amusing volumes by F. H. Bayley, the author of "A New Tale
+of a Tub." As it happened that these volumes were my delight as a small
+boy, possibly I am unduly fond of them; but it seems to me that their
+humour--_à la_ Ingoldsby, it is true--and their exuberantly comic
+drawings, reveal the first glimpses of lighter literature addressed
+specially to children, that long after found its masterpieces in the
+"Crane" and "Greenaway" and "Caldecott" Toy Books, in "Alice in
+Wonderland," and in a dozen other treasured volumes, which are now
+classics. The chief claim for the Home Treasury series to be considered
+as the advance guard of our present sumptuous volumes, rests not so much
+upon the quality of their designs or the brightness of their literature.
+Their chief importance is that in each of them we find for the first
+time that the externals of a child's book are most carefully considered.
+Its type is well chosen, the proportions of its page are evidently
+studied, its binding, even its end-papers, show that some one person was
+doing his best to attain perfection. It is this conscious effort,
+whatever it actually realised, which distinguishes the result from all
+before.
+
+It is evident that the series--the Home Treasury--took itself seriously.
+Its purpose was Art with a capital A--a discovery, be it noted, of this
+period. Sir Henry Cole, in a footnote to the very page whence the
+quotation above was extracted, discusses the first use of "Art" as an
+adjective denoting the _Fine_ Arts.
+
+[Illustration: ILLUSTRATION FROM "HOUSEHOLD STORIES FROM GRIMM." BY
+WALTER CRANE (MACMILLAN AND CO. 1882)]
+
+Here it is more than ever difficult to keep to the thread of this
+discourse. All that South Kensington did and failed to do, the æsthetic
+movement of the eighties, the new gospel of artistic salvation by
+Liberty fabrics and De Morgan tiles, the erratic changes of fashion in
+taste, the collapse of Gothic architecture, the triumph of Queen Anne,
+and the Arts and Crafts movement of the nineties--in short, all the
+story of Art in the last fifty years, from the new Law Courts to the
+Tate Gallery, from Felix Summerley to a Hollyer photograph, from the
+introduction of glyptography to the pictures in the _Daily Chronicle_,
+demand notice. But the door must be shut on the turbulent throng, and
+only children's books allowed to pass through.
+
+The publications by "Felix Summerley," according to the list in "Fifty
+Years of Public Work," by Sir Henry Cole, K.C.B. (Bell, 1884), include:
+"Holbein's Bible Events," eight pictures, coloured by Mr. Linnell's
+sons, 4_s._ 6_d._; "Raffaelle's Bible Events," six pictures from the
+Loggia, drawn on stone by Mr. Linnell's children and coloured by them,
+5_s._ 6_d._; "Albert Dürer's Bible Events," six pictures from Dürer's
+"Small Passion," coloured by the brothers Linnell; "Traditional Nursery
+Songs," containing eight pictures; "The Beggars coming to Town," by C.
+W. Cope, R.A.; "By, O my Baby!" by R. Redgrave, R.A.; "Mother Hubbard,"
+by T. Webster, R.A.; "1, 2, 3, 4, 5," "Sleepy Head," "Up in a Basket,"
+"Cat asleep by the Fire," by John Linnell, 4_s._ 6_d._, coloured; "The
+Ballad of Sir Hornbook," by Thos. Love Peacock, with eight pictures by
+H. Corbould, coloured, 4_s._ 6_d._ (A book with the same title, also
+described as a "grammatico-allegorical ballad," was published by N.
+Haites in 1818.) "Chevy Chase," with music and four pictures by
+Frederick Tayler, President of the Water-Colour Society, coloured, 4_s._
+6_d._; "Puck's Reports to Oberon"; Four new Faëry Tales: "The Sisters,"
+"Golden Locks," "Grumble and Cherry," "Arts and Arms," by C. A. Cole,
+with six pictures by J. H. Townsend, R. Redgrave, R.A., J. C. Horsley,
+R.A., C. W. Cope, R.A., and F. Tayler; "Little Red Riding Hood," with
+four pictures by Thos. Webster, coloured, 3_s._ 6_d._; "Beauty and the
+Beast," with four pictures by J. C. Horsley, R.A., coloured, 3_s._
+6_d._; "Jack and the Bean Stalk," with four pictures by C. W. Cope,
+R.A., coloured, 3_s._ 6_d._; "Cinderella," with four pictures by E. H.
+Wehnert, coloured, 3_s._ 6_d._; "Jack the Giant Killer," with four
+pictures by C. W. Cope, coloured, 3_s._ 6_d._; "The Home Treasury
+Primer," printed in colours, with drawing on zinc, by W. Mulready, R.A.;
+"Alphabets of Quadrupeds," selected from the works of Paul Potter, Karl
+du Jardin, Teniers, Stoop, Rembrandt, &c., and drawn from nature; "The
+Pleasant History of Reynard the Fox," with forty of the fifty-seven
+etchings made by Everdingen in 1752, coloured, 31_s._ 6_d._; "A Century
+of Fables," with pictures by the old masters.
+
+To this list should be added--if it is not by "Felix Summerley," it is
+evidently conceived by the same spirit and published also by
+Cundall--"Gammer Gurton's Garland," by Ambrose Merton, with
+illustrations by T. Webster and others. This was also issued as a series
+of sixpenny books, of which Mr. Elkin Mathews owns a nearly complete
+set, in their original covers of gold and coloured paper.
+
+[Illustration: ILLUSTRATION FROM "A WONDER BOOK FOR GIRLS AND BOYS."
+
+BY WALTER CRANE (OSGOOD, MCILVAINE AND CO. 1892)]
+
+It would be very easy to over-estimate the intrinsic merit of these
+books, but when you consider them as pioneers it would be hard to
+over-rate the importance of the new departure. To enlist the talent of
+the most popular artists of the period, and produce volumes printed in
+the best style of the Chiswick Press, with bindings and end-papers
+specially designed, and the whole "get up" of the book carefully
+considered, was certainly a bold innovation in the early forties. That
+it failed to be a profitable venture one may deduce from the fact that
+the "Felix Summerley" series did not run to many volumes, and that the
+firm who published them, after several changes, seems to have expired,
+or more possibly was incorporated with some other venture. The books
+themselves are forgotten by most booksellers to-day, as I have
+discovered from many fruitless demands for copies.
+
+The little square pamphlets by F. H. Bayley, to which allusion has
+already been made, include "Blue Beard;" "Robinson Crusoe," and "Red
+Riding Hood," all published about 1845-6.
+
+[Illustration: ILLUSTRATION FROM "THE QUEEN OF THE PIRATE ISLE." BY KATE
+GREENAWAY (EDMUND EVANS. 1887)]
+
+Whether "The Sleeping Beauty," then announced as in preparation, was
+published, I do not know. Their rhyming chronicle in the style of the
+"Ingoldsby Legends" is neatly turned, and the topical allusions,
+although out of date now, are not sufficiently frequent to make it
+unintelligible. The pictures (possibly by Alfred Crowquill) are
+conceived in a spirit of burlesque, and are full of ingenious conceits
+and no little grim vigour. The design of Robinson Crusoe roosting in a
+tree--
+
+          And so he climbs up a very tall tree,
+          And fixes himself to his comfort and glee,
+          Hung up from the end of a branch by his breech,
+          Quite out of all mischievous quadrupeds' reach.
+          A position not perfectly easy 't is true,
+          But yet at the same time consoling and new--
+
+reproduced on p. 13, shows the wilder humour of the illustrations.
+Another of Blue Beard, and one of the wolf suffering from undigested
+grandmother, are also given. They need no comment, except to note that
+in the originals, printed on a coloured tint with the high lights left
+white, the ferocity of Blue Beard is greatly heightened. The wolf, "as
+he lay there brimful of grandmother and guilt," is one of the best of
+the smaller pictures in the text.
+
+Other noteworthy books which appeared about this date are Mrs. Felix
+Summerley's "Mother's Primer," illustrated by W. M[ulready?], Longmans,
+1843; "Little Princess," by Mrs. John Slater, 1843, with six charming
+lithographs by J. C. Horsley, R.A. (one of which is reproduced on p.
+11); the "Honey Stew," of the Countess Bertha Jeremiah How, 1846, with
+coloured plates by Harrison Weir; "Early Days of English Princes," with
+capital illustrations by John Franklin; and a series of Pleasant Books
+for Young Children, 6_d._ plain and 1_s._ coloured, published by Cundall
+and Addey.
+
+[Illustration: ILLUSTRATION FROM "LITTLE FOLKS" BY KATE GREENAWAY
+(CASSELL AND CO.)]
+
+In 1846 appeared a translation of De La Motte Fouqué's romances,
+"Undine" being illustrated by John Tenniel, jun., and the following
+volumes by J. Franklin, H. C. Selous, and other artists. The Tenniel
+designs, as the frontispiece reproduced on p. 20 shows clearly, are
+interesting both in themselves and as the earliest published work of the
+famous _Punch_ cartoonist. The strong German influence they show is also
+apparent in nearly all the decorations. "The Juvenile Verse and Picture
+Book" (1848), also contains designs by Tenniel, and others by W. B.
+Scott and Sir John Gilbert. The ideal they established is maintained
+more or less closely for a long period. "Songs for Children" (W. S. Orr,
+1850); "Young England's Little Library" (1851); Mrs. S. C. Hall's
+"Number One," with pictures by John Absolon (1854); "Stories about
+Dogs," with "plates by Thomas Landseer" (Bogue, _c._ 1850); "The Three
+Bears," illustrated by Absolon and Harrison Weir (Addey and Co., no
+date); "Nursery Poetry" (Bell and Daldy, 1859), may be noted as typical
+examples of this period.
+
+[Illustration: ILLUSTRATION FROM "THE PIED PIPER OF HAMELIN" BY KATE
+GREENAWAY (EDMUND EVANS)]
+
+In "Granny's Story Box" (Piper, Stephenson, and Spence, about 1855), a
+most delicious collection of fairy tales illustrated by J. Knight, we
+find the author in his preface protesting against the opinion of a
+supposititious old lady who "thought all fairy tales were abolished
+years ago by Peter Parley and the _Penny Magazine_." These fanciful
+stories deserve to be republished, for they are not old-fashioned, even
+if their pictures are.
+
+To what date certain delightfully printed little volumes, issued by
+Tabart and Co., 157 Bond Street, may be ascribed I know not--probably
+some years before the time we are considering, but they must not be
+overlooked. The title of one, "Mince Pies for Christmas," suggests that
+it is not very far before, for the legend of Christmas festivities had
+not long been revived for popular use.
+
+"The Little Lychetts," by the author of "John Halifax," illustrated by
+Henry Warren, President of the New Society of Painters in Water-Colours
+(now the R.I.) is remarkable for the extremely uncomely type of children
+it depicts; yet that its charm is still vivid, despite its "severe"
+illustrations, you have but to lend it to a child to be convinced
+quickly.
+
+"Jack's Holiday," by Albert Smith (undated), suggests a new field of
+research which might lead us astray, as Smith's humour is more often
+addressed primarily to adults. Indeed, the effort to make this chronicle
+even representative, much less exhaustive, breaks down in the fifties,
+when so much good yet not very exhilarating material is to be found in
+every publisher's list. John Leech in "The Silver Swan" of Mdme. de
+Chatelaine; Charles Keene in "The Adventures of Dick Bolero" (Darton, no
+date), and "Robinson Crusoe" (drawn upon for illustration here), and
+others of the _Punch_ artists, should find their works duly catalogued
+even in this hasty sketch; but space compels scant justice to many
+artists of the period, yet if the most popular are left unnoticed such
+omission will more easily right itself to any reader interested in the
+subject.
+
+Many show influences of the Gothic revival which was then in the air,
+but only those which have some idea of book decoration as opposed to
+inserted pictures. For a certain "formal" ornamentation of the page was
+in fashion in the "forties" and "fifties," even as it is to-day.
+
+[Illustration: ILLUSTRATION FROM "CAPE TOWN DICKY" BY ALICE HAVERS (C.
+W. FAULKNER AND CO.)]
+
+To the artists named as representative of this period one must not
+forget to add Mr. Birket Foster, who devoted many of his felicitous
+studies of English pastoral life to the adornment of children's books.
+But speaking broadly of the period from the Queen's Accession to 1865,
+except that the subjects are of a sort supposed to appeal to young
+minds, their conception differs in no way from the work of the same
+artists in ordinary literature. The vignettes of scenery have childish
+instead of grown-up figures in the foregrounds; the historical or
+legendary figures are as seriously depicted in the one class of books as
+in the other. Humour is conspicuous by its absence--or, to be more
+accurate, the humour is more often in the accompanying anecdote than in
+the picture. Probably if the authorship of hundreds of the illustrations
+of "Peter Parley's Annuals" and other books of this period could be
+traced, artists as famous as Charles Keene might be found to have
+contributed. But, owing to the mediocre wood-engraving employed, or to
+the poor printing, the pictures are singularly unattractive. As a rule,
+they are unsigned and appear to be often mere pot-boilers--some no doubt
+intentionally disowned by the designer--others the work of 'prentice
+hands who afterwards became famous. Above all they are, essentially,
+illustrations to children's books only because they chanced to be
+printed therein, and have sometimes done duty in "grown-up" books first.
+Hence, whatever their artistic merits, they do not appeal to a student
+of our present subject. They are accidentally present in books for
+children, but essentially they belong to ordinary illustrations.
+
+Indeed, speaking generally, the time between "Felix Summerley" and
+_Walter Crane_, which saw two Great Exhibitions and witnessed many
+advances in popular illustration, was too much occupied with catering
+for adults to be specially interested in juveniles. Hence,
+notwithstanding the names of "illustrious illustrators" to be found on
+their title-pages, no great injustice will be done if we leave this
+period and pass on to that which succeeded it. For the Great Exhibition
+fostered the idea that a smattering of knowledge of a thousand and one
+subjects was good. Hence the chastened gaiety of its mildly technical
+science, its popular manuals by Dr. Dionysius Lardner, and its return in
+another form to the earlier ideal that amusement should be combined with
+instruction. All sorts of attempts were initiated to make Astronomy
+palatable to babies, Botany an amusing game for children, Conchology a
+parlour pastime, and so on through the alphabet of sciences down to
+Zoology, which is never out of favour with little ones, even if its
+pictures be accompanied by a dull encylopædia of fact.
+
+[Illustration: ILLUSTRATION FROM "THE WHITE SWANS" BY ALICE HAVERS (_By
+permission of Mr. Albert Hildesheimer_)]
+
+Therefore, except so far as the work of certain illustrators, hereafter
+noticed, touches this period, we may leave it; not because it is
+unworthy of most serious attention, for in Sir John Gilbert, Birket
+Foster, Harrison Weir, and the rest, we have men to reckon with whenever
+a chronicle of English illustration is in question, but only because
+they did not often feel disposed to make their work merely amusing. In
+saying this it is not suggested that they should have tried to be always
+humorous or archaic, still less to bring down their talent to the
+supposed level of a child; but only to record the fact that they did
+not. For instance, Sir John Gilbert's spirited compositions to a "Boy's
+Book of Ballads" (Bell and Daldy) as you see them mixed with other of
+the master's work in the reference scrap-books of the publishers, do not
+at once separate themselves from the rest as "juvenile" pictures.
+
+Nor as we approach the year 1855 (of the "Music Master"), and 1857 (when
+the famous edition of Tennyson's Poems began a series of superbly
+illustrated books), do we find any immediate change in the illustration
+of children's books. The solitary example of Sir Edward Burne-Jones's
+efforts in this direction, in the frontispiece and title-page to
+Maclaren's "The Fairy Family" (Longmans, 1857), does not affect this
+statement. But soon after, as the school of Walker and Pinwell became
+popular, there is a change in books of all sorts, and Millais and Arthur
+Hughes, two of the three illustrators of the notable "Music Master,"
+come into our list of children's artists. At this point the attempt to
+weave a chronicle of children's books somewhat in the date of their
+publication must give way to a desultory notice of the most prominent
+illustrators. For we have come to the beginning of to-day rather than
+the end of yesterday, and can regard the "sixties" onwards as part of
+the present.
+
+It is true that the Millais of the wonderful designs to "The Parables"
+more often drew pictures of children than of children's pet themes, but
+all the same they are entirely lovable, and appeal equally to children
+of all ages. But his work in this field is scanty; nearly all will be
+found in "Little Songs for me to Sing" (Cassell), or in "Lilliput Levee"
+(1867), and these latter had appeared previously in _Good Words_. Of
+Arthur Hughes's work we will speak later.
+
+[Illustration: ILLUSTRATION FROM "THE RED FAIRY BOOK." BY LANCELOT SPEED
+(LONGMANS, GREEN AND CO.)]
+
+Another artist whose work bulks large in our subject--Arthur Boyd
+Houghton--soon appears in sight, and whether he depicted babies at play
+as in "Home Thoughts and Home Scenes," a book of thirty-five pictures of
+little people, or imagined the scenes of stories dear to them in "The
+Arabian Nights," or books like "Ernie Elton" or "The Boy Pilgrims,"
+written especially for them, in each he succeeded in winning their
+hearts, as every one must admit who chanced in childhood to possess his
+work. So much has been printed lately of the artist and his work, that
+here a bare reference will suffice.
+
+[Illustration: ILLUSTRATION FROM "THE RED FAIRY BOOK." BY LANCELOT SPEED
+(LONGMANS, GREEN AND CO.)]
+
+Arthur Hughes, whose work belongs to many of the periods touched upon in
+this rambling chronicle, may be called _the_ children's
+"black-and-white" artist of the "sixties" (taking the date broadly as
+comprising the earlier "seventies" also), even as Walter Crane is their
+"limner in colours." His work is evidently conceived with the serious
+make-believe that is the very essence of a child's imagination. He seems
+to put down on paper the very spirit of fancy. Whether as an artist he
+is fully entitled to the rank some of his admirers (of whom I am one)
+would claim, is a question not worth raising here--the future will
+settle that for us. But as a children's illustrator he is surely
+illustrator-in-chief to the Queen of the Fairies, and to a whole
+generation of readers of "Tom Brown's Schooldays" also. His
+contributions to "Good Words for the Young" would alone entitle him to
+high eminence. In addition to these, which include many stories perhaps
+better known in book form, such as: "The Boy in Grey" (H. Kingsley),
+George Macdonald's "At the Back of the North Wind," "The Princess and
+the Goblin," "Ranald Bannerman's Boyhood," "Gutta-Percha Willie" (these
+four were published by Strahan, and now may be obtained in reprints
+issued by Messrs. Blackie), and "Lilliput Lectures" (a book of essays
+for children by Matthew Browne), we find him as sole illustrator of
+Christina Rossetti's "Sing Song," "Five Days' Entertainment at Wentworth
+Grange," "Dealings with the Fairies," by George Macdonald (a very scarce
+volume nowadays), and the chief contributor to the first illustrated
+edition of "Tom Brown's Schooldays." In Novello's "National Nursery
+Rhymes" are also several of his designs.
+
+This list, which occupies so small a space, represents several hundred
+designs, all treated in a manner which is decorative (although it
+eschews the Dürer line), but marked by strong "colour." Indeed, Mr.
+Hughes's technique is all his own, and if hard pressed one might own
+that in certain respects it is not impeccable. But if his textures are
+not sufficiently differentiated, or even if his drawing appears careless
+at times--both charges not to be admitted without vigorous
+protest--granting the opponent's view for the moment, it would be
+impossible to find the same peculiar tenderness and naïve fancy in the
+work of any other artist. His invention seems inexhaustible and his
+composition singularly fertile: he can create "bogeys" as well as
+"fairies."
+
+[Illustration: ILLUSTRATION FROM "THE RED FAIRY BOOK." BY LANCELOT SPEED
+(LONGMANS, GREEN AND CO.)]
+
+[Illustration: ILLUSTRATION FROM "DOWN THE SNOW STAIRS." BY GORDON
+BROWNE (BLACKIE AND SON)]
+
+It is true that his children are related to the sexless idealised race
+of Sir Edward Burne-Jones's heroes and heroines; they are purged of
+earthy taint, and idealised perhaps a shade too far. They adopt
+attitudes graceful if not realistic, they have always a grave serenity
+of expression; and yet withal they endear themselves in a way wholly
+their own. It is strange that a period which has bestowed so much
+appreciation on the work of the artists of "the sixties" has seen no
+knight-errant with "Arthur Hughes" inscribed on his banner--no
+exhibition of his black-and-white work, no craze in auction-rooms for
+first editions of books he illustrated. He has, however, a steady if
+limited band of very faithful devotees, and perhaps--so inconsistent are
+we all--they love his work all the better because the blast of
+popularity has not trumpeted its merits to all and sundry.
+
+Three artists, often coupled together--Walter Crane, Randolph Caldecott,
+and Kate Greenaway--have really little in common, except that they all
+designed books for children which were published about the same period.
+For Walter Crane is the serious apostle of art for the nursery, who
+strove to beautify its ideal, to decorate its legends with a real
+knowledge of architecture and costume, and to "mount" the fairy stories
+with a certain archæological splendour, as Sir Henry Irving has set
+himself to mount Shakespearean drama. Caldecott was a fine literary
+artist, who was able to express himself with rare facility in pictures
+in place of words, so that his comments upon a simple text reveal
+endless subtleties of thought. Indeed, he continued to make a fairly
+logical sequence of incidents out of the famous nonsense paragraph
+invented to confound mnemonics by its absolute irrelevancy. Miss
+Greenaway's charm lies in the fact that she first recognised quaintness
+in what had been considered merely "old fashion," and continued to
+infuse it with a glamour that made it appear picturesque. Had she
+dressed her figures in contemporary costume most probably her work would
+have taken its place with the average, and never obtained more than
+common popularity.
+
+[Illustration: ILLUSTRATION FROM "ROBINSON CRUSOE" BY GORDON BROWNE
+
+(BLACKIE AND SON)]
+
+But Mr. Walter Crane is almost unique in his profound sympathy with the
+fantasies he imagines. There is no trace of make-believe in his designs.
+On the contrary, he makes the old legends become vital, not because of
+the personalities he bestows on his heroes and fairy princesses--his
+people move often in a rapt ecstasy--but because the adjuncts of his
+_mise-en-scènes_ are realised intimately. His prince is much more the
+typical hero than any particular person; his fair ladies might exchange
+places, and few would notice the difference; but when it comes to the
+environment, the real incidents of the story, then no one has more fully
+grasped both the dramatic force and the local colour. If his people are
+not peculiarly alive, they are in harmony with the re-edified cities and
+woods that sprang up under his pencil. He does not bestow the hoary
+touch of antiquity on his mediæval buildings; they are all new and
+comely, in better taste probably than the actual buildings, but not more
+idealised than are his people. He is the true artist of fairyland,
+because he recognises its practical possibilities, and yet does not lose
+the glamour which was never on sea or land. No artist could give more
+cultured notions of fairyland. In his work the vulgar glories of a
+pantomime are replaced by well-conceived splendour; the tawdry adjuncts
+of a throne-room, as represented in a theatre, are ignored. Temples and
+palaces of the early Renaissance, filled with graceful--perhaps a shade
+too suave--figures, embody all the charm of the impossible country, with
+none of the sordid drawbacks that are common to real life. In modern
+dress, as in his pictures to many of Mrs. Molesworth's stories, there is
+a certain unlikeness to life as we know it, which does not detract from
+the effect of the design; but while this is perhaps distracting in
+stories of contemporary life, it is a very real advantage in those of
+folk-lore, which have no actual date, and are therefore unafraid of
+anachronisms of any kind. The spirit of his work is, as it should be,
+intensely serious, yet the conceits which are showered upon it exactly
+harmonise with the mood of most of the stories that have attracted his
+pencil. Grimm's "Household Stories," as he pictured them, are a lasting
+joy. The "Bluebeard" and "Jack and the Beanstalk" toy books, the
+"Princess Belle Etoile," and a dozen others are nursery classics, and
+classics also of the other nursery where children of a larger growth
+take their pleasure.
+
+[Illustration: ILLUSTRATION FROM "ROBINSON CRUSOE." BY WILL PAGET.
+(CASSELL AND CO.)]
+
+Without a shade of disrespect towards all the other artists represented
+in this special number, had it been devoted solely to Mr. Walter Crane's
+designs, it would have been as interesting in every respect. There is
+probably not a single illustrator here mentioned who would not endorse
+such a statement. For as a maker of children's books, no one ever
+attempted the task he fulfilled so gaily, and no one since has beaten
+him on his own ground. Even Mr. Howard Pyle, his most worthy rival, has
+given us no wealth of colour-prints. So that the famous toy books still
+retain their well-merited position as the most delightful books for the
+nursery and the studio, equally beloved by babies and artists.
+
+[Illustration: ILLUSTRATION FROM "ENGLISH FAIRY TALES" BY J. D. BATTEN
+(DAVID NUTT)]
+
+Although a complete iconography of Mr. Walter Crane's work has not yet
+been made, the following list of such of his children's books as I have
+been able to trace may be worth printing for the benefit of those who
+have not access to the British Museum; where, by the way, many are not
+included in that section of its catalogue devoted to "Crane, Walter."
+
+[Illustration: "SO LIGHT OF FOOT, SO LIGHT OF SPIRIT." BY CHARLES
+ROBINSON]
+
+The famous series of toy books by Walter Crane include: "The Railroad A
+B C," "The Farmyard A B C," "Sing a Song of Sixpence," "The Waddling
+Frog," "The Old Courtier," "Multiplication in Verse," "Chattering Jack,"
+"How Jessie was Lost," "Grammar in Rhyme," "Annie and Jack in London,"
+"One, Two, Buckle my Shoe," "The Fairy Ship," "Adventures of Puffy,"
+"This Little Pig went to Market," "King Luckieboy's Party," "Noah's Ark
+Alphabet," "My Mother," "The Forty Thieves," "The Three Bears,"
+"Cinderella," "Valentine and Orson," "Puss in Boots," "Old Mother
+Hubbard," "The Absurd A B C," "Little Red Riding Hood," "Jack and
+the Beanstalk," "Blue Beard," "Baby's Own Alphabet," "The Sleeping
+Beauty." All these were published at sixpence. A larger series at one
+shilling includes: "The Frog Prince," "Goody Two Shoes," "Beauty and the
+Beast," "Alphabet of Old Friends," "The Yellow Dwarf," "Aladdin," "The
+Hind in the Wood," and "Princess Belle Etoile." All these were published
+from 1873 onwards by Routledge, and printed in colours by Edmund Evans.
+
+[Illustration: ILLUSTRATION FROM "ENGLISH FAIRY TALES." BY J. D. BATTEN
+(DAVID NUTT)]
+
+A small quarto series Routledge published at five shillings includes:
+"The Baby's Opera," "The Baby's Bouquet," "The Baby's Own Æsop." Another
+and larger quarto, "Flora's Feast" (1889), and "Queen Summer" (1891),
+were both published by Cassells, who issued also "Legends for Lionel"
+(1887). "Pan Pipes," an oblong folio with music was issued by Routledge.
+Messrs. Marcus Ward produced "Slate and Pencilvania," "Pothooks and
+Perseverance," "Romance of the Three Rs," "Little Queen Anne" (1885-6),
+Hawthorne's "A Wonder Book," first published in America, is a quarto
+volume with elaborate designs in colour; and "The Golden Primer" (1884),
+two vols., by Professor Meiklejohn (Blackwood) is, like all the above,
+in colour.
+
+Of a series of stories by Mrs. Molesworth the following volumes are
+illustrated by Mr. Crane:--"A Christmas Posy" (1888), "Carrots" (1876),
+"A Christmas Child" (1886), "Christmas-tree Land" (1884), "The Cuckoo
+Clock" (1877), "Four Winds Farm" (1887), "Grandmother Dear" (1878),
+"Herr Baby" (1881), "Little Miss Peggy" (1887), "The Rectory Children"
+(1889), "Rosy" (1882), "The Tapestry Room" (1879), "Tell me a Story,"
+"Two Little Waifs," "Us" (1885), and "Children of the Castle" (1890).
+Earlier in date are "Stories from Memel" (1864), "Stories of Old,"
+"Children's Sayings" (1861), two series, "Poor Match" (1861), "The Merry
+Heart," with eight coloured plates (Cassell); "King Gab's Story Bag"
+(Cassell), "Magic of Kindness" (1869), "Queen of the Tournament,"
+"History of Poor Match," "Our Uncle's Old Home" (1872), "Sunny Days"
+(1871), "The Turtle Dove's Nest" (1890). Later come "The Necklace of
+Princess Fiorimonde" (1880), the famous edition of Grimm's "Household
+Stories" (1882), both published by Macmillan, and C. C. Harrison's "Folk
+and Fairy Tales" (1885), "The Happy Prince" (Nutt, 1888). Of these the
+"Grimm" and "Fiorimonde" are perhaps two of the most important
+illustrated books noted in these pages.
+
+Randolph Caldecott founded a school that still retains fresh hold of the
+British public. But with all respect to his most loyal disciple, Mr.
+Hugh Thomson, one doubts if any successor has equalled the master in the
+peculiar subtlety of his pictured comment upon the bare text. You have
+but to turn to any of his toy books to see that at times each word,
+almost each syllable, inspired its own picture; and that the artist not
+only conceived the scene which the text called into being, but each
+successive step before and after the reported incident itself. In "The
+House that Jack Built," "This is the Rat that Ate the Malt" supplies a
+subject for five pictures. First the owner carrying in the malt, next
+the rat driven away by the man, then the rat peeping up into the
+deserted room, next the rat studying a placard upside down inscribed
+"four measures of malt," and finally, the gorged animal sitting upon an
+empty measure. So "This is the Cat that Killed the Rat" is expanded into
+five pictures. The dog has four, the cat three, and the rest of the
+story is amplified with its secondary incidents duly sought and
+depicted. This literary expression is possibly the most marked
+characteristic of a facile and able draughtsman. He studied his subject
+as no one else ever studied it--he must have played with it, dreamed of
+it, worried it night and day, until he knew it ten times better than its
+author. Then he portrayed it simply and with irresistible vigour, with a
+fine economy of line and colour; when colour is added, it is mainly as a
+gay convention, and not closely imitative of nature. The sixteen toy
+books which bear his name are too well known to make a list of their
+titles necessary. A few other children's books--"What the Blackbird
+Said" (Routledge, 1881), "Jackanapes," "Lob-lie-by-the-Fire," "Daddy
+Darwin's Dovecot," all by Mrs. Ewing (S.P.C.K.), "Baron Bruno"
+(Macmillan), "Some of Æsop's Fables" (Macmillan), and one or two others,
+are of secondary importance from our point of view here.
+
+[Illustration: ILLUSTRATION FROM "THE WONDER CLOCK." BY HOWARD PYLE
+(HARPER AND BROTHERS)]
+
+[Illustration: ILLUSTRATION FROM "THE WONDER CLOCK." BY HOWARD PYLE
+(HARPER AND BROTHERS)]
+
+[Illustration: ILLUSTRATION FROM "THE WONDER CLOCK." BY HOWARD PYLE
+(HARPER AND BROTHERS. 1894)]
+
+It is no overt dispraise to say of Miss Kate Greenaway that few artists
+made so great a reputation in so small a field. Inspired by the
+children's books of 1820 (as a reference to a design, "Paths of
+Learning," reproduced on p. 9 will show), and with a curious naïvety
+that was even more unconcerned in its dramatic effect than were the
+"missal marge" pictures of the illuminators, by her simple presentation
+of the childishness of childhood she won all hearts. Her little people
+are the _beau-idéal_ of nursery propriety--clean, good-tempered, happy
+small gentlefolk. For, though they assume peasants' garb, they never
+betray boorish manners. Their very abandon is only that of nice little
+people in play-hours, and in their wildest play the penalties that await
+torn knickerbockers or soiled frocks are not absent from their minds.
+Whether they really interested children as they delighted their elders
+is a moot point. The verdict of many modern children is unanimous in
+praise, and possibly because they represented the ideal every properly
+educated child is supposed to cherish. The slight taint of priggishness
+which occasionally is there did not reveal itself to a child's eye. Miss
+Greenaway's art, however, is not one to analyse but to enjoy. That she
+is a most careful and painstaking worker is a fact, but one that would
+not in itself suffice to arouse one's praise. The absence of effort
+which makes her work look happy and without effort is not its least
+charm. Her gay yet "cultured" colour, her appreciation of green chairs
+and formal gardens, all came at the right time. The houses by a Norman
+Shaw found a Morris and a Liberty ready with furniture and fabrics, and
+all sorts of manufacturers devoting themselves to the production of
+pleasant objects, to fill them; and for its drawing-room tables Miss
+Greenaway produced books that were in the same key. But as the
+architecture and the fittings, at their best, proved to be no passing
+whim, but the germ of a style, so her illustration is not a trifling
+sport, but a very real, if small, item in the history of the evolution
+of picture-books. Good taste is the prominent feature of her work, and
+good taste, if out of fashion for a time, always returns, and is
+treasured by future generations, no matter whether it be in accord with
+the expression of the hour or distinctly archaic. Time is a very
+stringent critic, and much that passed as tolerably good taste when it
+fell in with the fashion, looks hopelessly vulgar when the tide of
+popularity has retreated. Miss Greenaway's work appears as refined ten
+years after its "boom," as it did when it was at the flood. That in
+itself is perhaps an evidence of its lasting power; for ten or a dozen
+years impart a certain shabby and worn aspect that has no flavour of the
+antique as a saving virtue to atone for its shortcomings.
+
+[Illustration: ILLUSTRATION FROM "THE WONDER CLOCK." BY HOWARD PYLE.
+(HARPER AND BROTHERS)]
+
+[Illustration: ILLUSTRATION FROM "THE WONDER CLOCK." BY HOWARD PYLE.
+(HARPER AND BROTHERS)]
+
+It seems almost superfluous to give a list of the principal books by
+Miss Kate Greenaway, yet for the convenience of collectors the names of
+the most noteworthy volumes may be set down. Those with coloured plates
+are: "A, Apple Pie" (1886), "Alphabet" (1885), "Almanacs" (from 1882
+yearly), "Birthday Book" (1880), "Book of Games" (1889), "A Day in a
+Child's Life" (1885), "King Pepito" (1889), "Language of Flowers"
+(1884), "Little Ann" (1883), "Marigold Garden" (1885), "Mavor's Spelling
+Book" (1885), "Mother Goose" (1886), "The Pied Piper of Hamelin" (1889),
+"Painting Books" (1879 and 1885), "Queen Victoria's Jubilee Garland"
+(1887), "Queen of the Pirate Isle" (1886), "Under the Window" (1879).
+Others with black-and-white illustrations include "Child of the
+Parsonage" (1874), "Fairy Gifts" (1875), "Seven Birthdays" (1876),
+"Starlight Stories" (1877), "Topo" (1878), "Dame Wiggins of Lee" (Allen,
+1885), "Stories from the Eddas" (1883).
+
+Many designs, some in colour, are to be found in volumes of _Little
+Folks_, _Little Wideawake_, _Every Girl's Magazine_, _Girl's Own Paper_,
+and elsewhere.
+
+[Illustration: ILLUSTRATION FROM "CHILDREN'S SINGING GAMES" BY WINIFRED
+SMITH (DAVID NUTT. 1894)]
+
+The art of Miss Greenaway is part of the legend of the æsthetic craze,
+and while its storks and sunflowers have faded, and some of its
+eccentricities are forgotten, the quaint little pictures on Christmas
+cards, in toy books, and elsewhere, are safely installed as items of the
+art product of the century. Indeed, many a popular Royal Academy picture
+is likely to be forgotten before the illustrations from her hand.
+_Bric-à-brac_ they were, but more than that, for they gave infinite
+pleasure to thousands of children of all ages, and if they do not rise
+up and call her blessed, they retain a very warm memory of one who gave
+them so much innocent pleasure.
+
+[Illustration: ILLUSTRATION FROM "UNDINE" BY HEYWOOD SUMNER (CHAPMAN AND
+HALL)]
+
+[Illustration: ILLUSTRATION FROM "THE RED FAIRY BOOK" BY L. SPEED
+(LONGMANS, GREEN AND CO. 1895)]
+
+Sir John Tenniel's illustrations, beginning as they do with "Undine"
+(1845), already mentioned, include others in volumes for young people
+that need not be quoted. But with his designs for "Alice in Wonderland"
+(Macmillan, 1866), and "Through the Looking Glass" (1872), we touch
+_the_ two most notable children's books of the century. To say less
+would be inadequate and to say more needless. For every one knows the
+incomparable inventions which "Lewis Carroll" imagined and Sir John
+Tenniel depicted. They are veritable classics, of which, as it is too
+late to praise them, no more need be said.
+
+Certain coloured picture books by J. E. Rogers were greeted with
+extravagant eulogy at the time they appeared "in the seventies." "Worthy
+to be hung at the Academy beside the best pictures of Millais or
+Sandys," one fatuous critic observed. Looking over their pages again, it
+seems strange that their very weak drawing and crude colour could have
+satisfied people familiar with Mr. Walter Crane's masterly work in a not
+dissimiliar style. "Ridicula Rediviva" and "Mores Ridiculi" (both
+Macmillan), were illustrations of nursery rhymes. To "The Fairy Book"
+(1870), a selection of old stories re-told by the author of "John
+Halifax," Mr. Rogers contributed many full pages in colour, and also to
+Mr. F. C. Burnand's "Present Pastimes of Merrie England" (1872). They
+are interesting as documents, but not as art; for their lack of academic
+knowledge is not counterbalanced by peculiar "feeling" or ingenious
+conceit. They are merely attempts to do again what Mr. H. S. Marks had
+done better previously. It seems ungrateful to condemn books that but
+for renewed acquaintance might have kept the glamour of the past; and
+yet, realising how much feeble effort has been praised since it was
+"only for children," it is impossible to keep silence when the truth is
+so evident.
+
+[Illustration: ILLUSTRATION FROM "KATAWAMPUS" BY ARCHIE MACGREGOR (DAVID
+NUTT)]
+
+Alfred Crowquill most probably contributed all the pictures to "Robinson
+Crusoe," "Blue Beard," and "Red Riding Hood" told in rhyme by F. W. N.
+Bayley, which have been noticed among his books of the "forties." One of
+the full pages, which appear to be lithographs, is clearly signed. He
+also illustrated the adventures of "Master Tyll Owlglass," an edition of
+"Baron Munchausen," "Picture Fables," "The Careless Chicken," "Funny
+Leaves for the Younger Branches," "Laugh and Grow Thin," and a host of
+other volumes. Yet the pictures in these, amusing as they are in their
+way, do not seem likely to attract an audience again at any future time.
+
+E. V. B., initials which stand for the Hon. Mrs. Boyle, are found on
+many volumes of the past twenty-five years which have enjoyed a special
+reputation. Certainly her drawings, if at times showing much of the
+amateur, have also a curious "quality," which accounts for the very high
+praise they have won from critics of some standing. "The Story without
+an End," "Child's Play" (1858), "The New Child's Play," "The Magic
+Valley," "Andersen Fairy Tales" (Low, 1882), "Beauty and the Beast" (a
+quarto with colour-prints by Leighton Bros.), are the most important.
+Looking at them dispassionately now, there is yet a trace of some of the
+charm that provoked applause a little more than they deserve.
+
+In British art this curious fascination exerted by the amateur is always
+confronting us. The work of E. V. B. has great qualities, yet any pupil
+of a board school would draw better. Nevertheless it pleases more than
+academic technique of high merit that lacks just that one quality which,
+for want of a better word, we call "culture." In the designs by Louisa,
+Marchioness of Waterford, one encounters genius with absolutely
+faltering technique; and many who know how rare is the slightest touch
+of genius, forgive the equally important mastery of material which must
+accompany it to produce work of lasting value.
+
+[Illustration: ILLUSTRATION FROM "THE SLEEPING BEAUTY." BY R. ANNING
+BELL (DENT AND CO.)]
+
+Mr. H. S. Marks designed two nursery books for Messrs. Routledge, and
+contributed to many others, including J. W. Elliott's "National Nursery
+Rhymes" (Novello), whence our illustration has been taken. Two series of
+picture books containing mediæval figures with gold background, by J.
+Moyr Smith, if somewhat lacking in the qualities which appeal to
+children, may have played a good part in educating them to admire
+conventional flat treatment, with a decorative purpose that was unusual
+in the "seventies," when most of them appeared.
+
+In later years, Miss Alice Havers in "The White Swans," and "Cape Town
+Dicky" (Hildesheimer), and many lady artists of less conspicuous
+ability, have done a quantity of graceful and elaborate pictures _of_
+children rather than _for_ children. The art of this later period shows
+better drawing, better colour, better composition than had been the
+popular average before; but it generally lacks humour, and a certain
+vivacity of expression which children appreciate.
+
+In the "sixties" and "seventies" were many illustrators of children's
+books who left no great mark except on the memories of those who were
+young enough at the time to enjoy their work thoroughly, if not very
+critically. Among these may be placed William Brunton, who illustrated
+several of the Right Hon. G. Knatchbull-Hugessen's fairy stories, "Tales
+at Tea Time" for instance, and was frequent among the illustrators of
+Hood's Annuals. Charles H. Ross (at one time editor of _Judy_) and
+creator of "Ally Sloper," the British Punchinello, produced at least one
+memorable book for children. "Queens and Kings and other Things," a
+folio volume printed in gold and colour, with nonsense rhymes and
+pictures, almost as funny as those of Edward Lear himself. "The Boy
+Crusoe," and many other books of somewhat ephemeral character are his,
+and Routledge's "Every Boy's Magazine" contains many of his designs.
+Just as these pages are being corrected the news of his death is
+announced.
+
+[Illustration: ILLUSTRATION FROM "FAIRY GIFTS." BY H. GRANVILLE FELL
+(DENT AND CO.)]
+
+[Illustration: ILLUSTRATION FROM "A BOOK OF NURSERY SONGS AND RHYMES" BY
+MARY J. NEWILL (METHUEN AND CO. 1895)]
+
+Others, like George Du Maurier, so rarely touched the subject that they
+can hardly be regarded as wholly belonging to our theme. Yet
+"Misunderstood," by Florence Montgomery (1879), illustrated by Du
+Maurier, is too popular to leave unnoticed. Mr. A. W. Bayes, who has
+deservedly won fame in other fields, illustrated "Andersen's Tales"
+(Warne, 1865), probably his earliest work, as a contemporary review
+speaks of the admirable designs "by an artist whose name is new to us."
+
+[Illustration: ILLUSTRATION FROM "THE ELF-ERRANT" BY W. E. F. BRITTEN
+(LAWRENCE AND BULLEN. 1895)]
+
+It is a matter for surprise and regret that Mr. Howard Pyle's
+illustrated books are not as well known in England as they deserve to
+be. And this is the more vexing when you find that any one with artistic
+sympathy is completely converted to be a staunch admirer of Mr. Pyle's
+work by a sight of "The Wonder Clock," a portly quarto, published by
+Harper Brothers in 1894. It seems to be the only book conceived in
+purely Düreresque line, which can be placed in rivalry with Mr. Walter
+Crane's illustrated "Grimm," and wise people will be only too delighted
+to admire both without attempting to compare them. Mr. Pyle is evidently
+influenced by Dürer--with a strong trace of Rossetti--but he carries
+both influences easily, and betrays a strong personality throughout all
+the designs. The "Merry Adventures of Robin Hood" and "Otto of the
+Silver Hand" are two others of about the same period, and the delightful
+volume collected from _Harper's Young People_ for the most part,
+entitled "Pepper and Salt," may be placed with them. All the
+illustrations to these are in pure line, and have the appearance of
+being drawn not greatly in excess of the reproduced size. Of all these
+books Mr. Howard Pyle is author as well as illustrator.
+
+Of late he has changed his manner in line, showing at times, especially
+in "Twilight Land" (Osgood, McIlvaine, 1896), the influence of Vierge,
+but even in that book the frontispiece and many other designs keep to
+his earlier manner.
+
+In "The Garden behind the Moon" (issued in London by Messrs. Lawrence
+and Bullen) the chief drawings are entirely in wash, and yet are
+singularly decorative in their effect. The "Story of Jack Bannister's
+Fortunes" shows the artist's "colonial" style, "Men of Iron," "A Modern
+Aladdin," Oliver Wendell Holmes' "One-Horse Shay," are other fairly
+recent volumes. His illustrations have not been confined to his own
+stories as "In the Valley," by Harold Frederic, "Stops of Various
+Quills" (poems by W. D. Howells), go to prove.
+
+[Illustration: ILLUSTRATION FROM "SINBAD THE SAILOR" BY WILLIAM STRANG
+(LAWRENCE AND BULLEN. 1896)]
+
+[Illustration: ILLUSTRATION FROM "ALI BABA" BY J. B. CLARK (LAWRENCE AND
+BULLEN. 1896)]
+
+It is strange that Mr. Heywood Sumner, who, as his notable "Fitzroy
+Pictures" would alone suffice to prove, is peculiarly well equipped for
+the illustration of children's books, has done but few, and of these
+none are in colour. "Cinderella" (1882), rhymes by H. S. Leigh, set to
+music by J. Farmer, contains very pleasant decoration by Mr. Sumner.
+Next comes "Sintram" (1883), a notable edition of De la Motte Fouqué's
+romance, followed by "Undine" (in 1885). With a book on the "Parables,"
+by A.L.O.E., published about 1884; "The Besom Maker" (1880), a volume of
+country ditties with the old music, and "Jacob and the Raven," with
+thirty-nine illustrations (Allen, 1896), the best example of his later
+manner, and a book which all admirers of the more severe order of
+"decorative illustration" will do well to preserve, the list is
+complete. Whether a certain austerity of line has made publishers timid,
+or whether the artist has declined commissions, the fact remains that
+the literature of the nursery has not yet had its full share from Mr.
+Heywood Sumner. Luckily, if its shelves are the less full, its walls are
+gayer by the many Fitzroy pictures he has made so effectively, which
+readers of THE STUDIO have seen reproduced from time to time in these
+pages.
+
+Mr. H. J. Ford's work occupies so much space in the library of a modern
+child, that it seems less necessary to discuss it at length here, for he
+is found either alone or co-operating with Mr. Jacomb Hood and Mr.
+Lancelot Speed, in each of the nine volumes of fairy tales and true
+stories (Blue, Red, Green, Yellow, Pink, and the rest), edited by Mr.
+Andrew Lang, and published by Longmans. More than that, at the Fine Art
+Society in May 1895, Mr. Ford exhibited seventy-one original drawings,
+chiefly those for the "Yellow Fairy Book," so that his work is not only
+familiar to the inmates of the nursery, but to modern critics who
+disdain mere printed pictures and care for nothing but autograph work.
+Certainly his designs have often lost much by their great reduction, for
+many of the originals were almost as large as four of these pages. His
+work is full of imagination, full of detail; perhaps at times a little
+overcrowded, to the extent of confusion. But children are not averse
+from a picture that requires much careful inspection to reveal all its
+story; and Mr. Ford's accessories all help to reiterate the main theme.
+As these eight volumes have an average of 100 pictures in each, and Mr.
+Ford has designed the majority, it is evident that, although his work is
+almost entirely confined to one series, it takes a very prominent place
+in current juvenile literature. That he must by this time have
+established his position as a prime favourite with the small people goes
+without saying.
+
+[Illustration: ILLUSTRATION FROM "THE FLAME FLOWER." BY J. F. SULLIVAN
+(DENT AND CO. 1896)]
+
+Mr. Leslie Brooke has also a long catalogue of notable work in this
+class. For since Mr. Walter Crane ceased to illustrate the long series
+of Mrs. Molesworth's stories, he has carried on the record. "Sheila's
+Mystery," "The Carved Lions," "Mary," "My New Home," "Nurse Heathcote's
+Story," "The Girls and I," "The Oriel Window," and "Miss Mouse and her
+Boys" (all Macmillan), are the titles of these books to which he has
+contributed. A very charming frontispiece and title to John Oliver
+Hobbs' "Prince Toto," which appeared in "The Parade," must not be
+forgotten. The most fanciful of his designs are undoubtedly the hundred
+illustrations to Mr. Andrew Lang's delightful collection of "Nursery
+Rhymes," just published by F. Warne & Co. These reveal a store of humour
+that the less boisterous fun of Mrs. Molesworth had denied him the
+opportunity of expressing.
+
+Mr. C. E. Brock, whose delightful compositions, somewhat in the "Hugh
+Thomson" manner, embellish several volumes of Messrs. Macmillan's
+Cranford series, has illustrated also "The Parachute," and "English
+Fairy and Folk Tales," by E. S. Hartland (1893), and also supplied two
+pictures to that most fascinating volume prized by all lovers of
+children, "W. V., Her Book," by W. Canton. Perhaps "Westward Ho!" should
+also be included in this list, for whatever its first intentions, it has
+long been annexed by bolder spirits in the nursery.
+
+A. B. Frost, by his cosmopolitan fun, "understanded of all people," has
+probably aroused more hearty laughs by his inimitable books than even
+Caldecott himself. "Stuff and Nonsense," and "The Bull Calf," T. B.
+Aldrich's "Story of a Bad Boy," and many another volume of American
+origin, that is now familiar to every Briton with a sense of humour, are
+the most widely known. It is needless to praise the literally inimitable
+humour of the tragic series "Our Cat took Rat Poison." In Lewis
+Carroll's "Rhyme? and Reason?" (1883), Mr. Frost shared with Henry
+Holiday the task of illustrating a larger edition of the book first
+published under the title of "Phantasmagoria" (1869); he illustrated
+also "A Tangled Tale" (1886), by the same author, and this is perhaps
+the only volume of British origin of which he is sole artist. Mr. Henry
+Holiday was responsible for the classic pictures to "The Hunting of the
+Snark" by Lewis Carroll (1876).
+
+Mr. R. Anning Bell does not appear to have illustrated many books for
+children. Of these, the two which introduced Mr. Dent's "Banbury Cross"
+series are no doubt the best known. In fact, to describe "Jack the Giant
+Killer" and the "Sleeping Beauty" in these pages would be an insult to
+"subscribers from the first." A story, "White Poppies," by May Kendall,
+which ran through _Sylvia's Journal_, is a little too grown-up to be
+included; nor can the "Heroines of the Poets," which appeared in the
+same place, be dragged in to augment the scanty list, any more than the
+"Midsummer Night's Dream" or "Keats's Poems." It is singular that the
+fancy of Mr. Anning Bell, which seems exactly calculated to attract a
+child and its parent at the same time, has not been more frequently
+requisitioned for this purpose. In the two "Banbury Cross" volumes there
+is evidence of real sympathy with the text, which is by no means as
+usual in pictures to fairy tales as it should be; and a delightfully
+harmonious sense of decoration rare in any book, and still more rare in
+those expressly designed for small people.
+
+[Illustration:
+
+          For them I'd climb, 'most all the Time
+          And never tear no Clothes!
+
+ILLUSTRATION FROM "RED APPLE AND SILVER BELLS." BY ALICE B. WOODWARD.
+(BLACKIE AND SON. 1897)]
+
+The amazing number of Mr. Gordon Browne's illustrations leaves a
+would-be iconographer appalled. So many thousand designs--and all so
+good--deserve a lengthened and exhaustive eulogy. But space absolutely
+forbids it, and as a large number cater for older children than most of
+the books here noticed, on that ground one may be forgiven the
+inadequate notice. If an illustrator deserved to attract the attention
+of collectors it is surely this one, and so fertile has he been that a
+complete set of all his work would take no little time to get together.
+Here are the titles of a few jotted at random: "Bonnie Prince Charlie,"
+"For Freedom's Cause," "St. George for England," "Orange and Green,"
+"With Clive in India," "With Wolfe in Canada," "True to the Old Flag,"
+"By Sheer Pluck," "Held Fast for England," "For Name and Fame," "With
+Lee in Virginia," "Facing Death," "Devon Boys," "Nat the Naturalist,"
+"Bunyip Land," "The Lion of St. Mark," "Under Drake's Flag," "The Golden
+Magnet," "The Log of the Flying Fish," "In the King's Name," "Margery
+Merton's Girlhood," "Down the Snow Stairs," "Stories of Old Renown,"
+"Seven Wise Scholars," "Chirp and Chatter," "Gulliver's Travels,"
+"Robinson Crusoe," "Hetty Gray," "A Golden Age," "Muir Fenwick's
+Failure," "Winnie's Secret" (all so far are published by Blackie and
+Son). "National Nursery Rhymes," "Fairy Tales from Grimm," "Sintram, and
+Undine," "Sweetheart Travellers," "Five, Ten and Fifteen," "Gilly
+Flower," "Prince Boohoo," "A Sister's Bye-hours," "Jim," and "A Flock of
+Four," are all published by Gardner, Darton & Co., and "Effie," by
+Griffith & Farran. When one realises that not a few of these books
+contain a hundred illustrations, and that the list is almost entirely
+from two publishers' catalogues, some idea of the fecundity of Mr.
+Gordon Browne's output is gained. But only a vague idea, as his
+"Shakespeare," with hundreds of drawings and a whole host of other
+books, cannot be even mentioned. It is sufficient to name but one--say
+the example from "Robinson Crusoe" (Blackie), reproduced on page 32--to
+realise Mr. Gordon Browne's vivid and picturesque interpretation of
+fact, or "Down the Snow Stairs" (Blackie), also illustrated, with a
+grotesque owl-like creature, to find that in pure fantasy his exuberant
+imagination is no less equal to the task. In "Chirp and Chatter"
+(Blackie), fifty-four illustrations of animals masquerading as human
+show delicious humour. At times his technique appears somewhat hasty,
+but, as a rule, the method he adopts is as good as the composition he
+depicts. He is in his own way the leader of juvenile illustration of the
+non-Dürer school.
+
+[Illustration: ILLUSTRATION FROM "KATAWAMPUS." BY ARCHIE MACGREGOR.
+(DAVID NUTT)]
+
+[Illustration: ILLUSTRATION FROM "TO TELL THE KING THE SKY IS FALLING."
+BY ALICE WOODWARD (BLACKIE AND SON. 1896)]
+
+Mr. Harry Furniss's coloured toy-books--"Romps"--are too well known to
+need description, and many another juvenile volume owes its attraction
+to his facile pencil. Of these, the two later "Lewis Caroll's"--"Sylvia
+and Bruno," and "Sylvia and Bruno, Concluded," are perhaps most
+important. As a curious narrative, "Travels in the Interior" (of a human
+body) must not be forgotten. It certainly called forth much ingenuity on
+the part of the artist. In "Romps," and in all his work for children,
+there is an irrepressible sense of movement and of exuberant vitality in
+his figures; but, all the same, they are more like Fred Walker's idyllic
+youngsters having romps than like real everyday children.
+
+Mr. Linley Sambourne's most ingenious pen has been all too seldom
+employed on children's books. Indeed, one that comes first to memory,
+the "New Sandford and Merton" (1872), is hardly entitled to be classed
+among them, but the travesty of the somewhat pedantic narrative,
+interspersed with fairly amusing anecdotes, that Thomas Day published in
+1783, is superb. No matter how familiar it may be, it is simply
+impossible to avoid laughing anew at the smug little Harry, the
+sanctimonious tutor, or the naughty Tommy, as Mr. Sambourne has realised
+them. The "Anecdotes of the Crocodile" and "The Presumptuous Dentist"
+are no less good. The way he has turned a prosaic hat-rack into an
+instrument of torture would alone mark Mr. Sambourne as a comic
+draughtsman of the highest type. Nothing he has done in political
+cartoons seems so likely to live as these burlesques. A little known
+book, "The Royal Umbrella" (1888), which contains the delightful "Cat
+Gardeners" here reproduced, and the very well-known edition of Charles
+Kingsley's "Water Babies" (1886), are two other volumes which well
+display his moods of less unrestrained humour. "The Real Robinson
+Crusoe" (1893) and Lord Brabourne's (Knatchbull-Hugessen's) "Friends and
+Foes of Fairyland" (1886), well-nigh exhaust the list of his efforts in
+this direction.
+
+[Illustration: ILLUSTRATION FROM "RUSSIAN FAIRY TALES" BY C. M. GERE
+(LAWRENCE AND BULLEN. 1893)]
+
+[Illustration: THE SINGING LESSON No. 1. FROM THE ORIGINAL DRAWING BY A.
+NOBODY]
+
+Prince of all foreign illustrators for babyland is M. Boutet de Monvel,
+whose works deserve an exhaustive monograph. Although comparatively few
+of his books are really well known in England, "Little Folks" contains a
+goodly number of his designs. La Fontaine's "Fables" (an English edition
+of which is published by the Society for Promoting Christian Knowledge)
+is (so far as I have discovered) the only important volume reprinted
+with English text. Possibly his "Jeanne d'Arc" ought not to be named
+among children's books, yet the exquisite drawing of its children and
+the unique splendour the artist has imparted to simple colour-printing,
+endear it to little ones no less than adults. But it would be absurd to
+suppose that readers of THE STUDIO do not know this masterpiece of its
+class, a book no artistic household can possibly afford to be
+without. Earlier books by M. de Monvel, which show him in his most
+engaging mood (the mood in the illustration from "Little Folks" here
+reproduced), are "Vieilles Chansons et Rondes," by Ch. M. Widor, "La
+Civilité Puérile et Honnête," and "Chansons de France pour les Petits
+Français." Despite their entirely different characterisation of the
+child, and a much stronger grasp of the principles of decorative
+composition, these delightful designs are more nearly akin to those of
+Miss Kate Greenaway than are any others published in Europe or America.
+Yet M. de Monvel is not only absolutely French in his types and costumes
+but in the movement and expression of his serious little people, who
+play with a certain demure gaiety that those who have watched French
+children in the Gardens of the Luxembourg or Tuileries, or a French
+seaside resort, know to be absolutely truthful. For the Gallic _bébé_
+certainly seems less "rampageous" than the English urchin. A certain
+daintiness of movement and timidity in the boys especially adds a grace
+of its own to the games of French children which is not without its
+peculiar charm. This is singularly well caught in M. de Monvel's
+delicious drawings, where naïvely symmetrical arrangement and a most
+admirable simplicity of colour are combined. Indeed, of all non-English
+artists who address the little people, he alone has the inmost secret of
+combining realistic drawing with sumptuous effects in conventional
+decoration.
+
+[Illustration: THE SINGING LESSON--No. 2. FROM THE ORIGINAL DRAWING BY
+A. NOBODY]
+
+[Illustration: ILLUSTRATION FROM "ADVENTURES IN TOY LAND" BY ALICE B.
+WOODWARD (BLACKIE AND SON. 1897)]
+
+[Illustration: ILLUSTRATION FROM "PRINCE BOOHOO" BY GORDON BROWNE
+(GARDNER, DARTON AND CO. 1897)]
+
+The work of the Danish illustrator, Lorenz Froelich, is almost as
+familiar in English as in Continental nurseries, yet his name is often
+absent from the title-pages of books containing his drawings. Perhaps
+those attributed to him formally that are most likely to be known by
+British readers are in "When I was a Little Girl" and "Nine Years Old"
+(Macmillan), but, unless memory is treacherous, one remembers toy-books
+in colours (published by Messrs. Nelson and others), that were obviously
+from his designs. A little known French book, "Le Royaume des
+Gourmands," exhibits the artist in a more fanciful aspect, where he
+makes a far better show than in some of his ultra-pretty realistic
+studies. Other French volumes, "Histoire d'un Bouchée de Pain," "Lili à
+la Campagne," "La Journée de Mademoiselle Lili," and the "Alphabet de
+Mademoiselle Lili," may possibly be the original sources whence the
+blocks were borrowed and adapted to English text. But the veteran
+illustrator has done far too large a number of designs to be catalogued
+here. For grace and truth, and at times real mastery of his material, no
+notice of children's artists could abstain from placing him very high in
+their ranks.
+
+Oscar Pletsch is another artist--presumably a German--whose work has
+been widely republished in England. In many respects it resembles that
+of Froelich, and is almost entirely devoted to the daily life of the
+inmates of the nursery, with their tiny festivals and brief tragedies.
+It would seem to appeal more to children than their elders, because the
+realistic transcript of their doings by his hand often lacks the touch
+of pathos, or of grown-up humour that finds favour with adults.
+
+The mass of children's toy-books published by Messrs. Dean, Darton,
+Routledge, Warne, Marcus Ward, Isbister, Hildesheimer and many others
+cannot be considered exhaustively, if only from the fact that the names
+of the designers are frequently omitted. Probably Messrs. Kronheim &
+Co., and other colour-printers, often supplied pictures designed by
+their own staff. Mr. Edmund Evans, to whom is due a very large share of
+the success of the Crane, Caldecott, and Kate Greenaway (Routledge)
+books, more frequently reproduced the work of artists whose names were
+considered sufficiently important to be given upon the books themselves.
+A few others of Routledge's toy-books besides those mentioned are worth
+naming. Mr. H.S. Marks, R.A., designed two early numbers of their
+shilling series: "Nursery Rhymes" and "Nursery Songs;" and to J. D.
+Watson may be attributed the "Cinderella" in the same series. Other
+sixpenny and shilling illustrated books were by C. H. Bennett, C. W.
+Cope, A. W. Bayes, Julian Portch, Warwick Reynolds, F. Keyl, and
+Harrison Weir.
+
+[Illustration: ILLUSTRATION FROM "NONSENSE" BY A. NOBODY
+(GARDNER, DARTON AND CO.)]
+
+The "Greedy Jim," by Bennett, is only second to "Struwwlpeter" itself,
+in its lasting power to delight little ones. If out of print it deserves
+to be revived.
+
+[Illustration: ILLUSTRATION (REDUCED) FROM "THE CHILD'S PICTORIAL." BY
+MRS. R. HALLWARD (S.P.C.K.)]
+
+Although Mr. William de Morgan appears to have illustrated but a single
+volume, "On a Pincushion," by Mary de Morgan (Seeley, 1877), yet that is
+so interesting that it must be noticed. Its interest is double--first in
+the very "decorative" quality of its pictures, which are full of
+"colour" and look like woodcuts more than process blocks; and next in
+the process itself, which was the artist's own invention. So far as I
+gather from Mr. de Morgan's own explanation, the drawings were made on
+glass coated with some yielding substance, through which a knife or
+graver cut the "line." Then an electro was taken. This process, it is
+clear, is almost exactly parallel with that of wood-cutting--_i.e._, the
+"whites" are taken out, and the sweep of the tool can be guided by the
+worker in an absolutely untrammelled way. Those who love the qualities
+of a woodcut, and have not time to master the technique of wood-cutting
+or engraving, might do worse than experiment with Mr. de Morgan's
+process. A quantity of proofs of designs he executed--but never
+published--show that it has many possibilities worth developing.
+
+[Illustration: ILLUSTRATION FROM "A, B, C" BY MRS. GASKIN (ELKIN
+MATHEWS)]
+
+The work of Reginald Hallward deserves to be discussed at greater length
+than is possible here. His most important book (printed finely in gold
+and colours by Edmund Evans), is "Flowers of Paradise," issued by
+Macmillan some years ago. The drawings for this beautiful quarto were
+shown at one of the early Arts and Crafts Exhibitions. Some designs,
+purely decorative, are interspersed among the figure subjects. "Quick
+March," a toy-book (Warne), is also full of the peculiar "quality" which
+distinguishes Mr. Hallward's work, and is less austere than certain
+later examples. The very notable magazine, _The Child's Pictorial_,
+illustrated almost entirely in colours, which the Society for Promoting
+Christian Knowledge published for ten years, contains work by this
+artist, and a great many illustrations by Mrs. Hallward, which alone
+would serve to impart value to a publication that has (as we have
+pointed out elsewhere) very many early examples by Charles Robinson, and
+capital work by W. J. Morgan. Mrs. Hallward's work is marked by strong
+Pre-Raphaelite feeling, although she does not, as a rule, select
+old-world themes, but depicts children of to-day. Both Mr. and Mrs.
+Hallward eschew the "pretty-pretty" type, and are bent on producing
+really "decorative" pages. So that to-day, when the ideal they so long
+championed has become popular, it is strange to find that their work is
+not better known.
+
+[Illustration: "KING LOVE. A CHRISTMAS GREETING." BY H. GRANVILLE FELL]
+
+The books illustrated by past or present students of the Birmingham
+School will be best noticed in a group, as, notwithstanding some
+distinct individuality shown by many of the artists, especially in their
+later works, the idea that links the group together is sufficiently
+similar to impart to all a certain resemblance. In other words, you can
+nearly always pick out a "Birmingham" illustration at a glance, even if
+it would be impossible to confuse the work of Mr. Gaskin with that of
+Miss Levetus.
+
+[Illustration: ILLUSTRATION FROM "THE STORY OF BLUEBEARD" BY E. SOUTHALL
+(LAWRENCE AND BULLEN. 1895)]
+
+Arthur Gaskin's illustrations to Andersen's "Stories and Fairy Tales"
+(George Allen) are beyond doubt the most important volumes in any way
+connected with the school. Mr. William Morris ranked them so highly that
+Mr. Gaskin was commissioned to design illustrations for some of the
+Kelmscott Press books, and Mr. Walter Crane has borne public witness to
+their excellence. This alone is sufficient to prove that they rise far
+above the average level. "Good King Wenceslas" (Cornish Bros.) is
+another of Mr. Gaskin's books--his best in many ways. He it is also who
+illustrated and decorated Mr. Baring-Gould's "A Book of Fairy Tales"
+(Methuen).
+
+Mrs. Gaskin (Georgie Cave France) is also familiar to readers of THE
+STUDIO. Perhaps her "A, B, C." (published by Elkin Mathews), and "Horn
+Book Jingles" (The Leadenhall Press), a unique book in shape and style,
+contain the best of her work so far.
+
+Miss Levetus has contributed many illustrations to books. Among the best
+are "Turkish Fairy Tales" (Lawrence and Bullen), and "Verse Fancies"
+(Chapman and Hall).
+
+"Russian Fairy Tales" (Lawrence and Bullen) is distinguished by the
+designs of C. M. Gere, who has done comparatively little illustration;
+hence the book has more than usual interest, and takes a far higher
+artistic rank than its title might lead one to expect.
+
+Miss Bradley has illustrated one of Messrs. Blackie's happiest volumes
+this year. "Just Forty Winks" (from which one picture is reproduced
+here), shows that the artist has steered clear of the "Alice in
+Wonderland" model, which the author can hardly be said to have avoided.
+Miss Bradley has also illustrated the prettily decorated book of poems,
+"Songs for Somebody," by Dollie Radford (Nutt). The two series of
+"Children's Singing Games" (Nutt) are among the most pleasant volumes
+the Birmingham school has produced. Both are decorated by Winifred
+Smith, who shows considerable humour as well as ingenuity.
+
+Among volumes illustrated, each by the members of the Birmingham school,
+are "A Book of Pictured Carols" (George Allen), and Mr. Baring-Gould's
+"Nursery Rhymes" (Methuen). Both these volumes contain some of the most
+representative work of Birmingham, and the latter, with its rich borders
+and many pictures, is a book that consistently maintains a very fine
+ideal, rare at any time, and perhaps never before applied to a book for
+the nursery. Indeed were it needful to choose a single book to represent
+the school, this one would stand the test of selection.
+
+[Illustration: ILLUSTRATION FROM "NURSERY RHYMES" BY PAUL WOODROFFE
+(GEORGE ALLEN. 1897)]
+
+In Messrs. Dent's "Banbury Cross" series, the Misses Violet and Evelyn
+Holden illustrated "The House that Jack Built"; Sidney Heath was
+responsible for "Aladdin," and Mrs. H. T. Adams decorated "Tom Thumb,
+&c."
+
+Mr. Laurence Housman is more than an illustrator of fairy tales; he is
+himself a rare creator of such fancies, and has, moreover, an almost
+unique power of conveying his ideas in the medium. His "Farm in
+Fairyland" and "A House of Joy" (both published by Kegan Paul and Co.)
+have often been referred to in THE STUDIO. Yet, at the risk of
+reiterating what nobody of taste doubts, one must place his work in this
+direction head and shoulders above the crowd--even the crowd of
+excellent illustrators--because its amazing fantasy and caprice are
+supported by cunning technique that makes the whole work a "picture,"
+not merely a decoration or an interpretation of the text. As a spinner
+of entirely bewitching stories, that hold a child spell-bound, and can
+be read and re-read by adults, he is a near rival of Andersen himself.
+
+H. Granville Fell, better known perhaps from his decorations to "The
+Book of Job," and certain decorated pages in the _English Illustrated
+Magazine_, illustrated three of Messrs. Dent's "Banbury Cross"
+series--"Cinderella, &c.," "Ali Baba," and "Tom Hickathrift." His work
+in these is full of pleasant fancy and charming types.
+
+A very sumptuous setting of the old fairy tale, "Beauty and the Beast,"
+in this case entitled "Zelinda and the Monster" (Dent, 1895), with ten
+photogravures after paintings by the Countess of Lovelace, must not be
+forgotten, as its text may bring it into our present category.
+
+Miss Rosie Pitman, in "Maurice and the Red Jar" (Macmillan), shows much
+elaborate effort and a distinct fantasy in design. "Undine" (Macmillan,
+1897) is a still more successful achievement.
+
+Richard Heighway is one of the "Banbury Cross" illustrators in "Blue
+Beard," &c. (Dent), and has also pictured Æsop's "Fables," with 300
+designs (in Macmillan's Cranford series).
+
+Mr. J. F. Sullivan--who must not be confused with his namesake--is one
+who has rarely illustrated works for little children, but in the famous
+"British Workman" series in _Fun_, in dozens of Tom Hood's "Comic
+Annuals," and elsewhere, has provoked as many hearty laughs from the
+nursery as from the drawing-room. In "The Flame Flower" (Dent) we find a
+side-splitting volume, illustrated with 100 drawings by the author. For
+this only Mr. J. F. Sullivan has plunged readers deep in debt, and when
+one recalls the amazing number of his delicious absurdities in the
+periodical literature of at least twenty years past, it seems astounding
+to find that the name of so entirely well-equipped a draughtsman is yet
+not the household word it should be.
+
+E. J. Sullivan, with eighty illustrations to the Cranford edition of
+"Tom Brown's Schooldays," comes for once within our present limit.
+
+J. D. Batten is responsible for the illustration of so many important
+collections of fairy tales that it is vexing not to be able to reproduce
+a selection of his drawings, to show the fertility of his invention and
+his consistent improvement in technique. The series, "Fairy Tales of the
+British Empire," collected and edited by Mr. Jacobs, already include
+five volumes--English, More English, Celtic, More Celtic, and Indian,
+all liberally illustrated by J. D. Batten, as are "The Book of Wonder
+Voyages," by J. Jacobs (Nutt), and "Fairy Tales from the Arabian
+Nights," edited by E. Dixon, and a second series, both published by
+Messrs. J. M. Dent and Co. "A Masque of Dead Florentines" (Dent) can
+hardly be brought into our subject.
+
+Louis Davis has illustrated far too few children's books. His Fitzroy
+pictures show how delightfully he can appeal to little people, and in
+"Good Night Verses," by Dollie Radford (Nutt), we have forty pages of
+his designs that are peculiarly dainty in their quality, and tender in
+their poetic interpretation of child-life.
+
+"Wymps" (Lane, 1896), with illustrations by Mrs. Percy Dearmer, has a
+quaint straightforwardness, of a sort that exactly wins a critic of the
+nursery.
+
+J. C. Sowerby, a designer for stained glass, in "Afternoon Tea" (Warne,
+1880), set a new fashion for "æsthetic" little quartos costing five or
+six shillings each. This was followed by "At Home" (1881), and "At Home
+Again" (1886, Marcus Ward), and later by "Young Maids and Old China."
+These, despite their popularity, display no particular invention. For
+the real fancy and "conceit" of the books you have to turn to their
+decorative borders by Thomas Crane. This artist, collaborating with
+Ellen Houghton, contributed two other volumes to the same series,
+"Abroad" (1882), and "London Town" (1883), both prime favourites of
+their day.
+
+Lizzie Lawson, in many contributions for _Little Folks_ and a volume in
+colours, "Old Proverbs" (Cassell), displayed much grace in depicting
+children's themes.
+
+Nor among coloured books of the "eighties" must we overlook "Under the
+Mistletoe" (Griffith and Farran, 1886), and "When all is Young"
+(Christmas Roses, 1886); "Punch and Judy," by F. E. Weatherley,
+illustrated by Patty Townsend (1885); "The Parables of Our Lord," really
+dignified pictures compared with most of their class, by W. Morgan;
+"Puss in Boots," illustrated by S. Caldwell; "Pets and Playmates"
+(1888); "Three Fairy Princesses," illustrated by Paterson (1885);
+"Picture Books of the Fables of Æsop," another series of quaintly
+designed picture books, modelled on Struwwlpeter; "The Robbers' Cave,"
+illustrated by A. M. Lockyer, and "Nursery Numbers" (1884), illustrated
+by an amateur named Bell, all these being published by Messrs. Marcus
+Ward and Co., who issued later, "Where Lilies Grow," a very popular
+volume, illustrated in the "over-pretty" style by Mrs. Stanley Berkeley.
+The attractive series of toy-books in colours, published in the form of
+a Japanese folding album, were probably designed by Percy Macquoid, and
+published by the same firm, who issued an oblong folio, "Herrick's
+Content," very pleasantly decorated by Mrs. Houghton. R. Andre was (and
+for all I know is still) a very prolific illustrator of children's
+coloured books. "The Cruise of the Walnut Shell" (Dean, 1881); "A Week
+Spent in a Glass Pond" (Gardner, Darton and Co.); "Grandmother's
+Thimble" (Warne, 1882); "Pictures and Stories" (Warne, 1882); "Up
+Stream" (Low, 1884); "A Lilliputian Opera" (Day, 1885); the Oakleaf
+Library (six shilling volumes, Warne); and Mrs. Ewing's Verse Books (six
+vols. S.P.C.K.) are some of the best known. T. Pym, far less
+well-equipped as a draughtsman, shows a certain childish naïveté in his
+(or was it her?) "Pictures from the Poets" (Gardner, Darton and Co.);
+"A, B, C" (Gardner, Darton and Co.); "Land of Little People"
+(Hildesheimer, 1886); "We are Seven" (1880); "Children Busy" (1881);
+"Snow Queen" (Gardner, Darton and Co.); "Child's Own Story Book"
+(Gardner, Darton and Co.).
+
+Ida Waugh in "Holly Berries" (Griffith and Farran, 1881); "Wee Babies"
+(Griffith and Farran, 1882); "Baby Blossoms," "Tangles and Curls," and
+many other volumes mainly devoted to pictures of babies and their
+doings, pleased a very large audience both here and in the United
+States. "Dreams, Dances and Disappointments," and "The Maypole," both by
+Konstan and Castella, are gracefully decorated books issued by Messrs.
+De La Rue in 1882, who also published "The Fairies," illustrated by [H?]
+Allingham in 1881. Major Seccombe in "Comic Sketches from History"
+(Allen, 1884), and "Cinderella" (Warne, 1882), touched our theme; a
+large number of more or less comic books of military life and social
+satire hardly do so. Coloured books of which I have failed to discover
+copies for reference, are: A. Blanchard's "My Own Dolly" (Griffith and
+Farran, 1882); "Harlequin Eggs," by Civilly (Sonnenschein, 1884); "The
+Nodding Mandarin," by L. F. Day (Simpkin, 1883); "Cats-cradle," by C.
+Kendrick (Strahan, 1886); "The Kitten Pilgrims," by A. Ballantyne
+(Nisbet, 1887); "Ups and Downs" (1880), and "At his Mother's Knee"
+(1883), by M. J. Tilsey. "A Winter Nosegay" (Sonnenschein, 1881);
+"Pretty Peggy," by Emmet (Low, 1881); "Children's Kettledrum," by M. A.
+C. (Dean, 1881); "Three Wise Old Couples," by Hopkins (Cassell, 1881);
+"Puss in Boots," by E. K. Johnson (Warne); "Sugar and Spice and all
+that's Nice" (Strahan, 1881); "Fly away, Fairies," by Clarkson (Griffith
+and Farran, 1882); "The Tiny Lawn Tennis Club" (Dean, 1882); "Little Ben
+Bate," by M. Browne (Simpkin, 1882); "Nursery Night," by E. Dewane
+(Dean, 1882); "New Pinafore Pictures" (Dean, 1882); "Rumpelstiltskin"
+(De la Rue, 1882); "Baby's Debut," by J. Smith (De la Rue, 1883);
+"Buckets and Spades" (Dean, 1883); "Childhood" (Warne, 1883); "Dame
+Trot" (Chapman and Hall, 1883); "In and Out," by Ismay Thorne
+(Sonnenschein, 1884); "Under Mother's Wing," by Mrs. Clifford (Gardner,
+Darton, 1883); "Quacks" (Ward and Lock, 1883); "Little Chicks" (Griffith
+and Farran, 1883); "Talking Toys," "The Talking Clock," H. M. Bennett;
+"Four Feet by Two," by Helena Maguire; "Merry Hearts," "Cosy Corners,"
+and "A Christmas Fairy," by Gordon Browne (all published by Nisbet).
+
+Among many books elaborately printed by Messrs. Hildesheimer, are two
+illustrated by M. E. Edwards and J. C. Staples, "Told in the Twilight"
+(1883); and "Song of the Bells" (1884); and one by M. E. Edwards only,
+"Two Children"; others by Jane M. Dealy, "Sixes and Sevens" (1882), and
+"Little Miss Marigold" (1884); "Nursery Land," by H. J. Maguire (1888),
+and "Sunbeams," by E. K. Johnson and Ewart Wilson (1887).
+
+F. D. Bedford, who illustrated and decorated "The Battle of the Frogs
+and Mice" (Methuen), has produced this year one of the most satisfactory
+books with coloured illustrations. In "Nursery Rhymes" (Methuen), the
+pictures, block-printed in colour by Edmund Evans, are worthy to be
+placed beside the best books he has produced.
+
+Of all lady illustrators--the phrase is cumbrous, but we have no
+other--Miss A. B. Woodward stands apart, not only by the vigour of her
+work, but by its amazing humour, a quality which is certainly infrequent
+in the work of her sister-artists. The books she has illustrated are not
+very many, but all show this quality. "Banbury Cross," in Messrs. Dent's
+Series is among the first. In "To Tell the King the Sky is Falling"
+(Blackie, 1896) there is a store of delicious examples, and in "The
+Brownies" (Dent, 1896), the vigour of the handling is very noticeable.
+In "Eric, Prince of Lorlonia" (Macmillan, 1896), we have further proof
+that these characteristics are not mere accidents, but the result of
+carefully studied intention, which is also apparent in the clever
+designs for the covers of Messrs. Blackie's Catalogue, 1896-97. This
+year, in "Red Apple and Silver Bells," Miss Woodward shows marked
+advance. The book, with its delicious rhymes by Hamish Hendry, is one to
+treasure, as is also her "Adventures in Toy Land," designs marked by the
+_diablerie_ of which she, alone of lady artists, seems to have the
+secret. In this the wooden, inane expression of the toys contrasts
+delightfully with the animate figures.
+
+Mr. Charles Robinson is one of the youngest recruits to the army of
+illustrators, and yet his few years' record is both lengthy and kept at
+a singularly high level. In the first of his designs which attracted
+attention we find the half-grotesque, half-real child that he has made
+his own--fat, merry little people, that are bubbling over with the joy
+of mere existence. "Macmillan's Literary Primers" is the rather
+ponderous title of these booklets which cost but a few pence each, and
+are worth many a half-dozen high-priced nursery books. Stevenson's
+"Child's Garden of Verse," his first important book, won a new
+reputation by reason of its pictures. Then came "Æsop's Fables," in
+Dent's "Banbury Cross" Series. The next year saw Mr. Gabriel Setoun's
+book of poems, "Child World," Mrs. Meynell's "The Children," Mr. H. D.
+Lowry's "Make Believe," and two decorated pages in "The Parade" (Henry
+and Co.). The present Christmas will see several books from his hand.
+
+"Old World Japan" (George Allen) has thirty-four, and "Legends from
+River and Mountain," forty-two, pictures by T. H. Robinson, which must
+not be forgotten. "The Giant Crab" (Nutt), and "Andersen" (Bliss,
+Sands), are among the best things W. Robinson has yet done.
+
+[Illustration]
+
+"Nonsense," by A. Nobody, and "Some More Nonsense," by A. Nobody
+(Gardner, Darton & Co.), are unique instances of an unfettered humour.
+That their apparently naïve grotesques are from the hand of a very
+practised draughtsman is evident at a first glance; but as their author
+prefers to remain anonymous his identity must not be revealed. Specimens
+from the published work (which is, however, mostly in colour), and
+facsimiles of hitherto unpublished drawings, entitled "The Singing
+Lesson," kindly lent by Messrs. Gardner, Darton & Co., are here to prove
+how merry our anonym can be. By the way, it may be well to add that the
+artist in question is _not_ Sir Edward Burne-Jones, whose caricatures,
+that are the delight of children of all ages who know them, have been so
+far strictly kept to members of the family circle, for whom they were
+produced.
+
+[Illustration: ILLUSTRATION FROM "LITTLE FOLKS." BY MAURICE BOUTET DE
+MONVEL. (CASSELL AND CO.)]
+
+The editor of THE STUDIO, to whose selection of pictures for
+reproduction these pages owe their chief interest, has spared no effort
+to show a good working sample of the best of all classes, and in the
+space available has certainly omitted few of any consequence--except
+those so very well known, as, for instance, Tenniel's "Alice" series,
+and the Caldecott toy-books--which it would have been superfluous to
+illustrate again, especially in black and white after coloured
+originals.
+
+In Mrs. Field's volume already mentioned, the author says: "It has been
+well observed that children do not desire, and ought not to be furnished
+with purely realistic portraits of themselves; the boy's heart craves a
+hero, and the Johnny or Frank of the realistic story-book, the little
+boy like himself, is not in this sense a hero." This passage, referring
+to the stories themselves, might be applied to their illustration with
+hardly less force. To idealise is the normal impulse of a child. True
+that it can "make believe" from the most rudimentary hints, but it is
+much easier to do so if something not too actual is the groundwork.
+Figures which delight children are never wholly symbolic, mere virtues
+and vices materialised as personages of the anecdote. Real nonsense such
+as Lear concocted, real wit such as that which sparkles from Lewis
+Carroll's pages, find their parallel in the pictures which accompany
+each text. It is the feeble effort to be funny, the mildly punning
+humour of the imitators, which makes the text tedious, and one fancies
+the artist is also infected, for in such books the drawings very rarely
+rise to a high level.
+
+The "pretty-pretty" school, which has been too popular, especially in
+anthologies of mildly entertaining rhymes, is sickly at its best, and
+fails to retain the interest of a child. Possibly, in pleading for
+imaginative art, one has forgotten that everywhere is Wonderland to a
+child, who would be no more astonished to find a real elephant dropping
+in to tea, or a real miniature railway across the lawn, than in finding
+a toy elephant or a toy engine awaiting him. Children are so accustomed
+to novelty that they do not realise the abnormal; nor do they always
+crave for unreality. As coaches and horses were the delight of
+youngsters a century ago, so are trains and steamboats to-day. Given a
+pile of books and an empty floor space, their imagination needs no
+mechanical models of real locomotives; or, to be more correct, they
+enjoy the make-believe with quite as great a zest. Hence, perhaps, in
+praising conscious art for children's literature, one is unwittingly
+pleasing older tastes; indeed, it is not inconceivable that the "prig"
+which lurks in most of us may be nurtured by too refined diet. Whether a
+child brought up wholly on the æsthetic toy-book would realise the
+greatness of Rembrandt's etchings or other masterpieces of realistic art
+more easily than one who had only known the current pictures of cheap
+magazines, is not a question to be decided off-hand. To foster an
+artificial taste is not wholly unattended with danger; but if humour be
+present, as it is in the works of the best artists for the nursery, then
+all fear vanishes; good wholesome laughter is the deadliest bane to the
+prig-microbe, and will leave no infant lisping of the preciousness of
+Cimabue, or the wonder of Sandro Botticelli, as certain children were
+reported to do in the brief days when the æsthete walked his faded way
+among us. That modern children's books will--some of them at least--take
+an honourable place in an iconography of nineteenth-century art, many of
+the illustrations here reproduced are in themselves sufficient to prove.
+
+[Illustration: ILLUSTRATION FROM "GOULD'S BOOK OF FAIRY TALES." BY
+ARTHUR GASKIN. (METHUEN AND CO.)]
+
+[Illustration: ILLUSTRATION FROM "LULLABY LAND" BY CHARLES ROBINSON.
+(JOHN LANE. 1897)]
+
+After so many pages devoted to the subject, it might seem as if the mass
+of material should have revealed very clearly what is the ideal
+illustration for children. But "children" is a collective term, ranging
+from the tastes of the baby to the precocious youngsters who dip into
+Mudie books on the sly, and hold conversations thereon which astonish
+their elders when by chance they get wind of the fact. Perhaps the
+belief that children can be educated by the eye is more plausible than
+well supported. In any case, it is good that the illustration should be
+well drawn, well coloured; given that, whether it be realistically
+imitative or wholly fantastic is quite a secondary matter. As we have
+had pointed out to us, the child is not best pleased by mere portraits
+of himself; he prefers idealised children, whether naughtier and more
+adventurous, or absolute heroes of romance. And here a strange fact
+appears, that as a rule what pleases the boy pleases the girl also; but
+that boys look down with scorn on "girls' books." Any one who has had
+to do with children knows how eagerly little sisters pounce upon books
+owned by their brothers. Now, as a rule, books for girls are confined to
+stories of good girls, pictures of good girls, and mildly exciting
+domestic incidents, comic or tragic. The child may be half angel; he is
+undoubtedly half savage; a Pagan indifference to other people's pain,
+and grim joy in other people's accidents, bear witness to that fact.
+Tender-hearted parents fear lest some pictures should terrify the little
+ones; the few that do are those which the child himself discovers in
+some extraordinary way to be fetishes. He hates them, yet is fascinated
+by them. I remember myself being so appalled by a picture that is still
+keenly remembered. It fascinated me, and yet was a thing of which the
+mere memory made one shudder in the dark--the said picture representing
+a benevolent negro with Eva on his lap, from "Uncle Tom's Cabin," a
+blameless Sunday-school inspired story. The horrors of an early folio of
+Foxe's "Martyrs," of a grisly "Bunyan," with terrific pictures of
+Apollyon; even a still more grim series by H. C. Selous, issued by the
+Art Union, if memory may be trusted, were merely exciting; it was the
+mild and amiable representation of "Uncle Tom" that I felt to be the
+very incarnation of all things evil. This personal incident is quoted
+only to show how impossible it is for the average adult to foretell what
+will frighten or what will delight a child. For children are singularly
+reticent concerning the "bogeys" of their own creating, yet, like many
+fanatics, it is these which they really most fear.
+
+[Illustration: ILLUSTRATION FROM "MAKE BELIEVE." BY CHARLES ROBINSON
+(JOHN LANE. 1896)]
+
+[Illustration: ILLUSTRATION FROM "JUST FORTY WINKS" BY GERTRUDE M.
+BRADLEY (BLACKIE AND SON. 1897)]
+
+Certainly it is possible that over-conscious art is too popular to-day.
+The illustrator when he is at work often thinks more of the art critic
+who may review his book than the readers who are to enjoy it. Purely
+conventional groups of figures, whether set in a landscape, or against a
+decorative background, as a rule fail to retain a child's interest. He
+wants invention and detail, plenty of incident, melodrama rather than
+suppressed emotion. Something moving, active, and suggestive pleases him
+most, something about which a story can be woven not so complex that his
+sense is puzzled to explain why things are as the artist drew them. It
+is good to educate children unconsciously, but if we are too careful
+that all pictures should be devoted to raising their standard of taste,
+it is possible that we may soon come back to the Miss Pinkerton ideal of
+amusement blended with instruction. Hence one doubts if the
+"ultra-precious" school really pleases the child; and if he refuse the
+jam the powder is obviously refused also. One who makes pictures for
+children, like one who writes them stories, should have the knack of
+entertaining them without any appearance of condescension in so doing.
+They will accept any detail that is related to the incident, but are
+keenly alive to discrepancies of detail or action that clash with the
+narrative. As they do not demand fine drawing, so the artist must be
+careful to offer them very much more than academic accomplishment.
+Indeed, he (or she) must be in sympathy with childhood, and able to
+project his vision back to its point of view. And this is just a mood in
+accord with the feeling of our own time, when men distrust each other
+and themselves, and keep few ideals free from doubt, except the
+reverence for the sanctity of childhood. Those who have forsaken beliefs
+hallowed by centuries, and are the most cynical and worldly-minded, yet
+often keep faith in one lost Atalantis--the domain of their own
+childhood and those who still dwell in the happy isle. To have given a
+happy hour to one of the least of these is peculiarly gratifying to many
+tired people to-day, those surfeited with success no less than those
+weary of failure. And such labour is of love all compact; for children
+are grudging in their praise, and seldom trouble to inquire who wrote
+their stories or painted their pictures. Consequently those who work for
+them win neither much gold nor great fame; but they have a most
+enthusiastic audience all the same. Yet when we remember that the
+veriest daubs and atrocious drawings are often welcomed as heartily, one
+is driven to believe that after all the bored people who turn to amuse
+the children, like others who turn to elevate the masses, are really, if
+unconsciously, amusing if not elevating themselves. If children's books
+please older people--and that they do so is unquestionable--it would be
+well to acknowledge it boldly, and to share the pleasure with the
+nursery; not to take it surreptitiously under the pretence of raising
+the taste of little people. Why should not grown-up people avow their
+pleasure in children's books if they feel it?
+
+[Illustration: THE SPOTTED MIMILUS. ILLUSTRATION FROM "KING LONGBEARD."
+BY CHARLES ROBINSON (JOHN LANE. 1897)]
+
+[Illustration: ILLUSTRATION FROM "THE MAKING OF MATTHIAS" BY LUCY
+KEMP-WELCH. (JOHN LANE. 1897)]
+
+If a collector in search of a new hobby wishes to start on a quest full
+of disappointment, yet also full of lucky possibilities, illustrated
+books for children would give him an exciting theme. The rare volume he
+hunted for in vain at the British Museum and South Kensington, for which
+he scanned the shelves of every second-hand bookseller within reach, may
+meet his eye in a twopenny box, just as he has despaired of ever seeing,
+much less procuring, a copy. At least twice during the preparation of
+this number I have enjoyed that particular experience, and have no
+reason to suppose it was very abnormal. To make a fine library of these
+things may be difficult, but it is not a predestined failure. Caxtons
+and Wynkyn de Wordes seem less scarce than some of these early nursery
+books. Yet, as we know, the former have been the quest of collectors for
+years, and so are probably nearly all sifted out of the great
+rubbish-heaps of dealers; the latter have not been in great demand, and
+may be unearthed in odd corners of country shops and all sorts of likely
+and unlikely places. Therefore, as a hobby, it offers an exciting quest
+with almost certain success in the end; in short, it offers the ideal
+conditions for collecting as a pastime, provided you can muster
+sufficient interest in the subject to become absorbed in its pursuit. So
+large is it that, even to limit one's quest to books with coloured
+pictures would yet require a good many years' hunting to secure a decent
+"bag." Another tempting point is that prices at present are mostly
+nominal, not because the quarry is plentiful, but because the demand is
+not recognised by the general bookseller. Of course, books in good
+condition, with unannotated pages, are rare; and some series--Felix
+Summerley's, for example--which owe their chief interest to the "get-up"
+of the volume considered as a whole, would be scarce worth possessing if
+"rebound" or deprived of their covers. Still, always provided the game
+attracts him, the hobby-horseman has fair chances, and is inspired by
+motives hardly less noble than those which distinguish the pursuit of
+bookplates (_ex libris_), postage-stamps and other objects which have
+attracted men to devote not only their leisure and their spare cash, but
+often their whole energy and nearly all their resources. Societies, with
+all the pomp of officials, and members proudly arranging detached
+letters of the alphabet after their names, exist for discussing hobbies
+not more important. Speaking as an interested but not infatuated
+collector, it seems as if the mere gathering together of rarities of
+this sort would soon become as tedious as the amassing of dull armorial
+_ex libris_, or sorting infinitely subtle varieties of postage-stamps.
+But seeing the intense passion such things arouse in their devotees, the
+fact that among children's books there are not a few of real intrinsic
+interest, ought not to make the hobby less attractive; except that,
+speaking generally, your true collector seems to despise every quality
+except rarity (which implies market value ultimately, if for the moment
+there are not enough rival collectors to have started a "boom" in
+prices). Yet all these "snappers up of unconsidered trifles" help to
+gather together material which may prove in time to be not without value
+to the social historian or the student interested in the progress of
+printing and the art of illustration; but it would be a pity to confuse
+ephemeral "curios" with lasting works of fine art, and the ardour of
+collecting need not blind one to the fact that the former are greatly in
+excess of the latter.
+
+[Illustration: ILLUSTRATION FROM "MISS MOUSE AND HER BOYS." BY L. LESLIE
+BROOKE. (MACMILLAN AND CO. 1897)]
+
+The special full-page illustrations which appear in this number must not
+be left without a word of comment. In place of re-issuing facsimiles of
+actual illustrations from coloured books of the past which would
+probably have been familiar to many readers, drawings by artists who are
+mentioned elsewhere in this Christmas Number have been specially
+designed to carry out the spirit of the theme. For Christmas is
+pre-eminently the time for children's books. Mr. Robert Halls' painting
+of a baby, here called "The Heir to Fairyland"--the critic for whom all
+this vast amount of effort is annually expended--is seen still in the
+early or destructive stage, a curious foreshadowing of his attitude in a
+later development should he be led from the paths of Philistia to the
+bye-ways of art criticism. The portrait miniatures of child-life by Mr.
+Robert Halls, if not so well known as they deserve, cannot be unfamiliar
+to readers of THE STUDIO, since many of his best works have been
+exhibited at the Academy and elsewhere.
+
+The lithograph by Mr. R. Anning Bell, "In Nooks with Books," represents
+a second stage of the juvenile critic when appreciation in a very acute
+form has set in, and picture-books are no longer regarded as toys to
+destroy, but treasures to be enjoyed snugly with a delight in their
+possession.
+
+[Illustration: ILLUSTRATION FROM "BABY'S LAYS" BY E. CALVERT (ELKIN
+MATHEWS. 1897)]
+
+Mr. Granville Fell, with "King Love, a Christmas Greeting," turns back
+to the memory of the birthday whose celebration provokes the gifts which
+so often take the form of illustrated books, for Christmas is to Britons
+more and more the children's festival. The conviviality of the Dickens'
+period may linger here and there; but to adults generally Christmas is
+only a vicarious pleasure, for most households devote the day entirely
+to pleasing the little ones who have annexed it as their own special
+holiday.
+
+The dainty water-colour by Mr. Charles Robinson, and the charming
+drawing in line by M. Boutet de Monvel, call for no comment. Collectors
+will be glad to possess such excellent facsimiles of work by two
+illustrators conspicuous for their work in this field. The figure by Mr.
+Robinson, "So Light of Foot, so Light of Spirit," is extremely typical
+of the personal style he has adopted from the first. Studies by M. de
+Monvel have appeared before in THE STUDIO, so that it would be merely
+reiterating the obvious to call attention to the exquisite truth of
+character which he obtains with rare artistry.
+
+G. W.
+
+       *       *       *       *       *
+
+The Editor's best thanks are due to all those publishers who have so
+kindly and readily come forward with their assistance in the compilation
+of "Children's Books and their Illustrators." Owing to exigences of
+space reference to several important new books has necessarily been
+postponed.
+
+       *       *       *       *       *
+
+[Illustration: ILLUSTRATION FROM "NATIONAL RHYMES." BY GORDON BROWNE
+(GARDNER, DARTON AND CO. 1897)]
+
+
+
+
+For Younger Readers
+
+
+BY MARTHA FINLEY
+
+ELSIE DINSMORE. With illustrations by H. C. Christy. Large 8vo, cloth.
+$1.50.
+
+ELSIE AT HOME. Similar in general style to the previous "Elsie" books.
+16mo, cloth. $1.25.
+
+
+BY RAFFORD PYKE.
+
+THE ADVENTURES OF MABEL. For children of five and six. With many
+illustrations by MELANIE ELIZABETH NORTON. Large 8vo. $1.75.
+
+
+BY BARBARA YECHTON.
+
+DERICK. Illustrated. Large 12mo, cloth. $1.50.
+
+
+BY AMANDA M. DOUGLAS.
+
+CHILDREN AT SHERBURNE HOUSE, 12mo, cloth. $1.50.
+
+NAN. A Sequel to "A Little Girl in Old New York." Illustrated. 12mo,
+cloth. $1.50.
+
+
+BY ELIZABETH STUART PHELPS.
+
+GIPSY'S YEAR AT THE GOLDEN CRESCENT. Uniform with the previous volumes
+of the same series. Fully illustrated. Large 12mo, cloth. $1.50.
+
+
+BY ELIZABETH W. CHAMPNEY.
+
+WITCH WINNIE IN VENICE. With many illustrations. Large 12mo, cloth.
+$1.50.
+
+PIERRE AND HIS POODLE. With numerous illustrations. 12mo, cloth. $1.00.
+
+
+BY BEATRICE HARRADEN.
+
+UNTOLD TALES OF THE PAST. By BEATRICE HARRADEN, author of "Ships that
+Pass in the Night," "Hilda Strafford," etc. Illustrated. Cloth. Probably
+$1.50.
+
+
+_The above are published by_
+
+          Dodd, Mead & Company, FIFTH AVE. & 21ST
+          STREET, NEW YORK
+
+       *       *       *       *       *
+
+Four Capital Books
+
+Aaron in the Wildwoods
+
+A delightful new Thimblefinger story of Aaron while a "runaway," by JOEL
+CHANDLER HARRIS, author of "_Little Mr. Thimblefinger and his Queer
+Country_," "_Mr. Rabbit at Home_," "_The Story of Aaron_," _etc._ With
+24 full-page illustrations by OLIVER HERFORD. Square 8vo. $2.00.
+
+
+Little-Folk Lyrics
+
+By FRANK DEMPSTER SHERMAN. HOLIDAY EDITION. A beautiful book of very
+charming poems for children, with 16 exquisite illustrations. 12mo.
+$1.50.
+
+
+Being a Boy
+
+By CHARLES DUDLEY WARNER. With an introduction and 32 capital full-page
+illustrations from photographs by CLIFTON JOHNSON. 12mo, gilt top.
+$2.00.
+
+
+An Unwilling Maid
+
+A capital story of the Revolution, for girls, by JEANIE GOULD LINCOLN,
+author of "_Marjorie's Quest_," "_A Genuine Girl_," _etc._ With
+illustrations. $1.25.
+
+          Few recent stories surpass it in the fortunate
+          blending of vivacity and sweetness and stern
+          loyalty to duty and tender and pathetic
+          experiences. It is fascinatingly written and every
+          chapter increases its delightfulness.--_The
+          Congregationalist, Boston._
+
+_Sold by Booksellers, Sent, postpaid, by_
+
+Houghton, Mifflin & Co., _Boston_
+
+       *       *       *       *       *
+
+NEW BOOKS FOR BOYS AND GIRLS
+
+
+_Three New Historical Tales by E. Everett Green, Author of "The Young
+Pioneers," etc._
+
+
+A CLERK AT OXFORD, AND HIS ADVENTURES IN THE BARON'S WAR.
+
+With a plan of Oxford in the twelfth and thirteenth centuries, and a
+view of the city from an old print. 8vo, extra cloth. $1.50.
+
+
+SISTER: A CHRONICLE OF FAIR HAVEN.
+
+With eight illustrations by J. FINNEMORE. 8vo, extra cloth. $1.50.
+
+
+TOM TUFTON'S TRAVELS.
+
+With illustrations by W. S. STACEY. 8vo, extra cloth, $1.25.
+
+
+_Two New Books by Herbert Hayens, Author of "Clevely Sahib," "Under the
+Lone Star," etc._
+
+
+AN EMPEROR'S DOOM; OR THE PATRIOTS OF MEXICO.
+
+A tale of the downfall of Maximilian, with eight illustrations by A. J.
+B. SALMON. 8vo, extra cloth. $1.50.
+
+
+SOLDIERS OF THE LEGION.
+
+A tale of the Carlist War. 8vo, extra cloth, illustrated. $1.25.
+
+
+THE ISLAND OF GOLD.
+
+A Sailor's Yarn. By GORDON STABLES, M. D., R. N., author of "Every Inch
+a Sailor," "How Jack McKenzie Won His Epaulettes," etc. With six
+illustrations by ALLAN STUART. 8vo, extra cloth. $1.25.
+
+
+POPPY.
+
+A tale. By MRS. ISLA SITWELL, author of "In Far Japan," "The Golden
+Woof," etc. With illustrations. 8vo, cloth extra. $1.25.
+
+
+VANDRAD THE VIKING; OR THE FEUD AND THE SPELL.
+
+A tale of the Norsemen. By I. STORER CLOUSTON. With six illustrations by
+HERBERT PAYTON. 8vo, cloth. 80 cts.
+
+
+THE VANISHED YACHT.
+
+By E. HARCOURT BURRAGE. Cloth extra. $1.00.
+
+
+LITTLE TORA, THE SWEDISH SCHOOLMISTRESS, AND OTHER STORIES.
+
+By MRS. WOODS BAKER, author of "Fireside Sketches of Swedish Life," "The
+Swedish Twins," etc. Cloth. 60 cts.
+
+
+A BOOK ABOUT SHAKESPEARE.
+
+Written for Young People. By I. N. MCILWRAITH. With numerous
+illustrations. Cloth extra. 60 cts.
+
+
+ACROSS GREENLAND'S ICEFIELDS.
+
+An account of the discoveries by Nansen and Peary. With portraits of
+Nansen and other illustrations. 8vo, cloth. 80 cts.
+
+
+BREAKING THE RECORD.
+
+The story of North Polar Expeditions by the Nova Zembla and Spitzbergen
+Routes. By M. DOUGLASS, author of "Across Greenland's Icefields," etc.
+With numerous illustrations. Cloth extra. 80 cts.
+
+_For sale by all Booksellers, or sent prepaid on receipt of price, Send
+for complete catalogue,_
+
+THOMAS NELSON & SONS, Publishers, 33 E. 17th St. (Union Sq.), N. Y.
+
+
+
+
+CHILDRENS' BOOKS
+
+
+=The Blackberries=
+
+Thirty-two humorous drawings in color, with descriptive verses, by _E.
+W. Kemble_ the famous delineator of "Kemble's Coons." Large quarto,
+9×12, on plate paper; cover in color. $1.50.
+
+
+=Kemble's Coons=
+
+Drawings by _E. W. Kemble_. A series of 30 beautiful half-tone
+reproductions, printed in Sepia, of drawings of colored children and
+southern scenes, by E. W. Kemble, the well-known character artist. Large
+quarto, 9½×12 inches; handsomely bound in Brown Buckram and Japan
+Vellum printed in color. Price, $2.00.
+
+
+=The Delft Cat=
+
+_By Robert Howard Russell._ Three stories for children profusely
+illustrated by F. Berkeley Smith. Printed on hand-made, deckle-edge
+linen paper with attractive cover in Delft Colors. Price, 75 cents.
+
+[Illustration]
+
+
+=Chip's Dogs=
+
+A collection of humorous drawings by the late _F. P. W. Bellew_
+("Chip"), whose amusing sketches of dogs were so well known. A new and
+improved edition now ready. Large Quarto, 9½×12 inches, on plate
+paper, handsomely bound. Price, $1.00.
+
+
+=The Autobiography of a Monkey=
+
+A laughable conception in 30 full-page and 40 small drawings by _Hy.
+Mayer_, with verses by _Albert Bigelow Paine_. Large quarto, 7×9, with
+cover in color. Price, $1.25.
+
+
+=The Tiddledywink's Poetry Book=
+
+Illustrated by _Charles Howard Johnson_. A book of nonsense rhymes by
+_Mr. Bangs_, accompanied by most amusing pictures. Large quarto, with
+Illuminated covers, 30 full-page illustrations, colored borders to text.
+Boards. Price, $1.00.
+
+
+=The Mantel Piece Minstrels=
+
+_By John Kendrick Bangs._ A most attractive little volume containing
+four of Mr. Bangs' inimitably humorous stories, profusely illustrated
+with unique drawings by _F. Berkeley Smith_; printed on hand-made,
+deckle-edge linen paper, and tastefully bound in illuminated covers.
+32mo. Price, 75 cents.
+
+
+=The Dumpies=
+
+Discovered and drawn by _Frank Verbeck; Albert Bigelow Paine_,
+historian. An entertaining tale in prose and verse, as fascinating as
+"The Brownies." Large quarto, 8×11, with 130 illustrations and cover in
+color. Price, $1.25.
+
+
+=Tiddledywink Tales=
+
+_By John Kendrick Bangs._ A charming book for children. The drawings by
+_Charles Howard Johnson_ are quite in sympathy with the humor of the
+book. Full cloth, gilt, 236 pp. 12mo. Price, $1.25.
+
+
+=In Camp with a Tin Soldier=
+
+_By John Kendrick Bangs._ A Sequel to Tiddledywink Tales. Illustrated by
+_T. M. Ashe_, Jimmieboy's adventures in the Camp of the Tin Soldiers are
+most amusing. Full cloth, gilt, 236 pp. 12mo. Price, $1.25.
+
+
+=Half Hours with Jimmieboy=
+
+_By John Kendrick Bangs._ Illustrated by _Frank Verbeck_, _Peter Newell_
+and others. Sixteen short stories record the interesting adventures of
+the hero with all sorts of folks; dwarfs, dudes, giants, bicyclopædia
+birds and snowmen. Full cloth, 112 pp. 12mo. Price, $1.25.
+
+
+=The Slambangaree=
+
+Ten stories for children by _R. K. Munkittrick_. On hand-made
+deckle-edge linen paper. Price, 75 cents.
+
+
+=In Savage Africa=
+
+_By E. J. Glave_, one of Stanley's pioneer officers. With an
+introduction by Henry M. Stanley. Beautifully illustrated with
+seventy-five wood cuts, half-tones and pen-and-ink sketches by the
+author, _Bacher_, _Bridgman_, _Kemble_ and _Taber_. Large octavo, full
+cloth, gilt. Price, $1.50.
+
+
+=An Alphabet=
+
+_By William Nicholson._ Color plate for each letter in the alphabet.
+Popular Edition on stout cartridge paper, $1.50. Library Edition, made
+on Dutch hand-made paper; mounted and bound in cloth. Price, $3.75.
+
+_R. H. RUSSELL, New York_
+
+THE WAYSIDE PRESS, SPRINGFIELD, MASS.
+
+       *       *       *       *       *
+
+Transcriber's Note:
+
+Obvious punctuation errors repaired.
+
+Advertising page, "Navel" changed to "Naval" (The Naval Cadet)
+
+Advertising page, "facination" changed to "fascination" (his usual
+fascination)
+
+Advertising page, "irresistable" changed to "irresistible" (that is
+irresistible)
+
+Advertising page, under The Golden Galleon, "Rainy" changed to "Rainey"
+(by William Rainey, R. I.)
+
+Page 18, "n" changed to "in" (in comparison with all)
+
+Page 47, "Keat's" changed to "Keats's" (or "Keats's Poems")
+
+Page 54, twice, "De" changed to "de" (gather from Mr. de) (Mr. de
+Morgan's process)
+
+Page 70, "Tiddlewink" changed to "Tiddledywink" (Sequel to Tiddledywink
+Tales)
+
+Varied hyphenation was retained: woodcuts, wood-cuts and today, to-day
+and folklore, folk-lore.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Children's Books and Their Illustrators, by 
+Gleeson White
+
+*** END OF THIS PROJECT GUTENBERG EBOOK CHILDREN'S BOOKS AND ILLUSTRATORS ***
+
+***** This file should be named 27112-8.txt or 27112-8.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/2/7/1/1/27112/
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+
+Project Gutenberg's Children's Books and Their Illustrators, by Gleeson White
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Children's Books and Their Illustrators
+
+Author: Gleeson White
+
+Other: The International Studio
+
+Release Date: November 1, 2008 [EBook #27112]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CHILDREN'S BOOKS AND ILLUSTRATORS ***
+
+
+
+
+Produced by Colin Bell, Joseph Cooper, Emmy and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+<div class="figcenter" style="width: 453px;">
+<img src="images/front_cover.jpg" width="453" height="600" alt="Cover" title="Cover" />
+</div>
+
+
+<hr style="width: 65%;" />
+<h2>Scribner's New Books for the Young</h2>
+
+<div class='sidenote'>
+<b>With all the original<br />
+Illustrations by Reginald B. Birch.<br />
+5 vols. Each 12mo $1.25.</b><br />
+</div>
+<div class='hang1'>
+<b><big>Mrs. Burnett's</big><br />
+<big>Famous</big><br />
+<big>Juveniles</big></b><br />
+</div>
+
+
+
+<div class='unindent'>A writer in the <i>Boston Post</i> has said of Mrs. Burnett: "She has a beauty
+of imagination and a spiritual insight into the meditations of childhood
+which are within the grasp of no other writer for children,"&mdash;and these
+five volumes would indeed be difficult to match in child literature. The
+new edition is from new plates, with all the original illustrations by
+Reginald B. Birch, is bound in a handsome new cover. "Little Lord
+Fauntleroy," "Two Little Pilgrims' Progress," "Piccino and Other
+Child Stories," "Giovanni and the Other," "Sara Crewe," and "Little
+Saint Elizabeth and other Stories" (in one volume).<br /><br /></div>
+
+<div class='sidenote'><b>Illustrated by Walter<br />
+Paget and W. A. Margetson.<br />
+Each 12mo $1.50</b>.<br />
+</div>
+
+<div class='hang1'>
+<b><big>Three New</big><br />
+<big>Volumes by</big><br />
+<big>G. A. Henty</big></b><br />
+</div>
+
+<div class='unindent'>It would be a bitter year for the boys if Mr. Henty were to fail them
+with a fresh assortment of his enthralling tales of adventure, for, as the
+London <i>Academy</i> has said, in this kind of story telling, "he stands in the
+very first rank." "With Frederick the Great" is a tale of the Seven
+Years' War, and has twelve full-page illustrations by Wal. Paget; "A
+March on London" details some stirring scenes of the times when Wat
+Tyler's motley crew took possession of that city, and the illustrations are
+drawn by W. A. Margetson, while Wal. Paget has supplied the pictures
+for "With Moore at Corunna," in which the boy hero serves through
+the Peninsular War. (Each 12mo, $1.50.)</div>
+
+<div class='sidenote'>
+<b>With 8 full-page Illustrations<br />
+by Reginald B. Birch.<br />
+12mo $1.50.</b><br /></div>
+<div class='hang1'>
+<b><big>Will Shakespeare's</big><br />
+<big>Little Lad</big><br />
+<big>by Imogen Clarke</big></b><br />
+</div>
+
+
+
+<div class='unindent'>"The author has caught the true spirit of Shakespeare's time, and paints
+his home surroundings with a loving, tender grace," says the Boston
+<i>Herald</i>.<br /><br /></div>
+
+
+<div class='hang1'>
+<b><big>An Old-Field School Girl by Marion Harland</big></b><br />
+</div>
+
+<div class='unindent'>(Illustrated, 12mo, $1.25.) "As pretty a story for girls as has been published
+in a long time," says the <i>Buffalo Express</i>, and the <i>Chicago Tribune</i>
+is even more appreciative: "Compared with the average books of its class
+'An Old-Field School Girl,' becomes a classic."<br /><br /></div>
+
+<div class='sidenote'>
+<b>Verses by Eugene Field<br />
+With 200 fanciful<br />
+Illustrations by Charles Robinson.<br />
+(Uniform with Stevenson's<br />
+"A Child's Garden") 12mo $1.50.</b><br />
+</div>
+<div class='hang1'>
+<b><big>Lullaby Land</big></b><br />
+</div>
+
+
+<div class='unindent'>"A collection of those dearly loved 'Songs of Childhood' by Eugene Field,
+which have touched many hearts, both old and young, and will continue
+to do so as long as little children remain the joy of our homes. It was a
+happy thought of the publisher to choose another such child lover and
+sympathizer as Kenneth Grahame to write the Preface to the new edition,
+and Charles Robinson to make the many quaint and most amusing
+illustrations."&mdash;<i>The Evangelist.</i></div>
+
+<div class='sidenote'>
+<b>With 8 full-page<br />
+Illustrations by Victor S. Perard.<br />
+12mo $1.50.</b><br />
+</div>
+<div class='hang1'>
+<b><big>With Crockett</big><br />
+<big>and Bowie by</big><br />
+<big>Kirk Munroe</big></b><br />
+</div>
+
+
+<div class='unindent'>This "Tale of Texas; or, Fighting for the Lone Star Flag," completes
+the author's <i>White Conqueror Series</i>. The Minneapolis <i>Tribune</i> says:
+"It is a breezy and invigorating tale. The characters, although drawn
+from real life, are surrounded by an atmosphere of romance and adventure
+which gives them the added fascination of being creatures of fiction,
+and yet there is no straining for effect."</div>
+
+<div class='sidenote'>
+<b>With 6 full-page Illustrations<br />
+by William Rainey, R. I.<br />
+Crown 8vo $1.25.</b><br />
+</div>
+
+<div class='hang1'>
+<b><big>The <ins title="Transcriber's Note: original reads 'Navel'">Naval</ins></big><br />
+<big>Cadet</big></b><br />
+</div>
+
+<div class='unindent'>A Story of Adventure on Land and Sea, by <span class="smcap">Gordon Stables</span>.
+A stirring tale of seafaring and sea-fighting on the coasts of Africa, South
+America, Australia, New Guinea, etc., closing with a dramatic picture of
+the combat between the Chinese and Japanese fleets at Yalu.</div>
+
+<div class='sidenote'>
+<b>With decorative borders.<br />
+4to $2.00.</b><br />
+</div>
+<div class='hang1'>
+<b><big>The Stevenson</big><br />
+<big>Song Book</big></b><br />
+</div>
+
+
+<div class='unindent'>In this large and handsome quarto, twenty of the most lyrical poems
+from Robert Louis Stevenson's "Child's Garden of Verse", have been
+set to music by such composers as Reginald DeKoven, Arthur Foote, C.
+W. Chadwick, Dr. C. Villers Stanford, etc. The volume is uniform with
+and a fitting companion to the popular "Field-De-Koven Song Book."</div>
+
+<div class='sidenote'>
+<b>With 12 full-page portraits.<br />
+12mo $1.25.</b><br />
+</div>
+<div class='hang1'>
+<b><big>Twelve Naval</big><br />
+<big>Captains by</big><br />
+<big>Molly Elliot Seawell</big></b><br />
+</div>
+
+
+<div class='unindent'>Miss Seawell here tells the notable exploits of twelve heroes of our early
+navy: John Paul Jones, Richard Dale, William Bainbridge, Richard
+Somers, Edward Preble, Thomas Truxton, Stephen Decatur, James
+Lawrance, Isaac Hull, O. H. Perry, Charles Stewart, Thomas Macdonough.
+The book is illustrated attractively and makes a stirring and
+thrilling volume.</div>
+
+<div class='sidenote'>
+<b>With 25 Illustrations<br />
+by S. R. Benliegh.<br />
+12mo $1.50.</b><br />
+</div>
+<div class='hang1'>
+<b><big>The Knights</big><br />
+<big>of the Round</big><br />
+<big>Table</big></b><br />
+</div>
+
+
+<div class='unindent'>"King Arthur's Knights and their connection with the mystic Grail is
+here the subject of Mr. William Henry Frost's translation into child language.
+Many volumes have been prepared telling these wonderful legendary
+stories to young people, but few are so admirably written as this
+work," says the <i>Boston Advertiser</i>.</div>
+
+<div class='sidenote'>
+<b>Illustrated by<br />
+Harry C. Edwards.<br />
+12mo $1.25.</b><br />
+</div>
+<div class='hang1'>
+<b><big>The Last</big><br />
+<big>Cruise of the</big><br />
+<big>Mohawk by</big><br />
+<big>W. J. Henderson</big></b><br />
+</div>
+
+
+<div class='unindent'>The <i>Observer</i> says: "This is an exciting story that boys of today will
+appreciate thoroughly and devour greedily," and the <i>Rochester Democrat</i>
+calls it "an interesting and thrilling story."</div>
+
+<div class='sidenote'>
+<b>Illustrated by<br />
+Victor S. Perard.<br />
+12mo $1.25.</b><br />
+</div>
+<div class='hang1'>
+<b><big>The King of</big><br />
+<big>the Broncos</big><br />
+<big>by Charles</big><br />
+<big>F. Lummis</big></b><br />
+</div>
+
+
+<div class='unindent'>The title story and the other Tales of New Mexico, which Mr. Lummis
+has here supplied for the younger generation, have all his usual <ins title="Transcriber's Note: original reads 'facination'">fascination</ins>.
+He knows how to tell his thrilling stories in a way that is <ins title="Transcriber's Note: original reads 'irresistable'">irresistible</ins>?
+to boy readers.</div>
+
+<div class='sidenote'>
+<b>With 58 Illustrations and map.<br />
+12mo $1.25.</b><br />
+</div>
+<div class='hang1'>
+<b><big>The Border</big><br />
+<big>Wars of</big><br />
+<big>New England</big></b><br />
+</div>
+
+
+<div class='unindent'>Mr. Samuel Adams Drake is an expert at making history real and vital
+to children. The <i>Boston Advertiser</i> says: "This is not a school book,
+yet it is exceedingly well adapted to use in schools, and at the same time
+will enrich and adorn the library of every American who is so fortunate
+or so judicious as to place it on his shelves."</div>
+
+
+<div class='sidenote'>
+<b>With 8 full-page Illustrations<br />
+by William <ins title="Transcriber's Note: original reads 'Rainy'">Rainey</ins>, R. I.<br />
+12mo $1.50.</b><br />
+</div>
+<div class='hang1'>
+<b><big>The Golden</big><br />
+<big>Galleon by</big><br />
+<big>Robert</big><br />
+<big>Leighton</big></b><br />
+</div>
+
+
+<div class='unindent'>"A narrative of the adventures of Master Gilbert O'Glander, and of how
+in the year 1591 he fought under the gallant Sir Richard Grenville in the
+great sea-fight off Flores, on board Her Majesty's ship, <i>The Revenge</i>."
+The New York <i>Observer</i> has said: "Mr. Leighton as a writer for boys
+needs no praise as his books place him in the front rank."</div>
+
+<div class='sidenote'>
+<b>With 12 full-page<br />
+Illustrations by Ralph Peacock.<br />
+12mo. $1.00.</b><br />
+</div>
+<div class='hang1'>
+<b><big>Lords of the</big><br />
+<big>World</big></b><br />
+</div>
+
+
+<div class='unindent'>A Story of the Fall of Carthage and Corinth. By <span class="smcap">Alfred J. Church</span>.
+In his own special field the author has few rivals. He has a capacity for
+making antiquity assume reality which is fascinating in the extreme.</div>
+
+<div class='sidenote'>
+<b>With 8 colored plates and 72 other<br />
+Illustrations by Alice B. Woodward.<br />
+Square 8vo. $2.00.</b><br />
+</div>
+<div class='hang1'>
+<b><big>Adventures in</big><br />
+<big>Toyland</big></b><br />
+</div>
+
+
+<div class='unindent'>By <span class="smcap">Edith King Hall</span>. A clever and fascinating volume which will
+surely take a high place among this season's "juveniles."</div>
+
+<h3>
+CHARLES SCRIBNER'S SONS, 153-157 Fifth Ave, N.Y.
+</h3>
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span><br />
+<span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span></p>
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="Frontispiece">
+<tr><td align='left' valign='bottom'><small>&quot;THE HEIR TO FAIRY-LAND&quot;<br />FROM A WATER-COLOUR<br />BY ROBERT HALLS</small></td><td align='left'><div class="figcenter" style="width: 441px;">
+<img src="images/color002.jpg" width="441" height="600" alt="&quot;THE HEIR TO FAIRY-LAND&quot; FROM A WATER-COLOUR BY ROBERT HALLS" title="&quot;THE HEIR TO FAIRY-LAND&quot; FROM A WATER-COLOUR BY ROBERT HALLS" />
+</div>
+</td></tr>
+</table></div>
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span></p>
+
+<h2>THE INTERNATIONAL</h2>
+
+<h1>STUDIO</h1>
+
+<h2>SPECIAL WINTER-NUMBER 1897-8</h2>
+
+
+
+<hr style="width: 65%;" />
+<div class='cap'>CHILDREN'S BOOKS AND
+THEIR ILLUSTRATORS.
+BY GLEESON WHITE.</div>
+
+
+
+<p>There are some themes that by
+their very wealth of suggestion appal
+the most ready writer. The emotions which
+they arouse, the mass of pleasant anecdote they
+recall, the ghosts of far-off delights they summon,
+are either too obvious to be worth the trouble of
+description or too evanescent to be expressed in
+dull prose. Swift, we are told (perhaps a little too
+frequently), could write beautifully of a broomstick;
+which may strike a common person as a
+marvel of dexterity. After a while, the journalist
+is apt to find that it is the perfect theme which
+proves to be the hardest to treat adequately.
+Clothe a broomstick with fancies, even of the
+flimsiest tissue paper, and you get something more
+or less like a fairy-king's sceptre; but take the
+Pompadour's fan, or the haunting effect of twilight
+over the meadows, and all you can do in words
+seems but to hide its original beauties. We know
+that Mr. Austin Dobson was able to add graceful
+wreaths even to the fan of the Pompadour, and
+that another writer is able to impart to the misty
+twilight not only the eerie fantasies it shows the
+careless observer, but also a host of others that only
+a poet feels, and that only a poet knows how to
+prison within his cage of printed syllables. Indeed,
+of the theme of the present discourse has not the
+wonder-working Robert Louis Stevenson sung of
+"Picture Books in Winter" and "The Land of
+Story Books," so truly and clearly that it is
+dangerous for lesser folk to attempt essays in their
+praise? All that artists have done to amuse the<span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span>
+august monarch "King Baby" (who, pictured by
+Mr. Robert Halls, is fitly enthroned here by way
+of frontispiece) during the playtime of his immaturity
+is too big a subject for our space, and can
+but be indicated in rough outline here.</p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/grey003.jpg" width="500" height="335" alt="THE &quot;MONKEY-BOOK&quot;      A FAVOURITE IN THE NURSERY (By permission of James H. Stone, Esq., J.P.)" title="THE &quot;MONKEY-BOOK&quot;      A FAVOURITE IN THE NURSERY (By permission of James H. Stone, Esq., J.P.)" />
+<span class="caption">THE &quot;MONKEY-BOOK&quot; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A FAVOURITE IN THE NURSERY<br />(By permission of James H. Stone, Esq., J.P.)</span>
+</div>
+
+<div class="figleft" style="width: 300px;">
+<img src="images/grey004.png" width="300" height="250" alt="&quot;ROBINSON CRUSOE.&quot; THE WRECK FROM AN EIGHTEENTH-CENTURY CHAP-BOOK" title="&quot;ROBINSON CRUSOE.&quot; THE WRECK FROM AN EIGHTEENTH-CENTURY CHAP-BOOK" />
+<span class="caption">&quot;ROBINSON CRUSOE.&quot; THE WRECK<br />FROM AN EIGHTEENTH-CENTURY CHAP-BOOK</span>
+</div>
+
+<p>Luckily, a serious study of the evolution of the
+child's book already exists. Since the bulk of
+this number was in type, I lighted by chance
+upon "The Child and his Book," by Mrs. E. M.
+Field, a most admirable volume which traces its
+subject from times before the Norman conquest to
+this century. Therein we find full accounts of
+MSS. designed for teaching purposes, of early
+printed manuals, and of the mass of literature
+intended to impress "the Fear of the Lord and of
+the Broomstick." Did space allow, the present
+chronicle might be enlivened with many an excerpt
+which she has culled from out-of-the-way sources.
+But the temptation to quote must be controlled.
+It is only fair to add
+that in that work there
+is a very excellent
+chapter to "Some Illustrators
+of Children's
+Books," although its
+main purpose is the
+text of the books. One
+branch has found its
+specialist and its exhaustive
+monograph,
+in Mr. Andrew Tuer's
+sumptuous volumes
+devoted to "The
+Horn Book."</p>
+
+<div class="figright" style="width: 300px;">
+<img src="images/grey004a.png" width="300" height="262" alt="&quot;CRUSOE AND XURY ESCAPING&quot; FROM AN EIGHTEENTH-CENTURY CHAP-BOOK" title="" />
+<span class="caption">&quot;CRUSOE AND XURY ESCAPING&quot; <br />FROM AN EIGHTEENTH-CENTURY CHAP-BOOK</span>
+</div>
+
+<p>Perhaps there is no
+pleasure the modern
+"grown-up" person
+envies the youngsters
+of the hour as he
+envies them the shoals
+of delightful books
+which publishers prepare
+for the Christmas
+tables of lucky
+children. If he be
+old enough to remember
+Mrs. Trimmer's "History of the
+Robins," "The Fairchild
+Family," or that
+Poly-technically inspired
+romance, the "Swiss Family Robinson,"
+he feels that
+a certain half-hearted
+approval of more
+dreary volumes is
+possibly due to the
+glamour which middle
+age casts upon the
+past. It is said that
+even Barbauld's "Evenings at Home" and "Sandford
+and Merton" (the anecdotes only, I imagine)
+have been found toothsome dainties by unjaded
+youthful appetites; but when he compares these
+with the books of the last twenty years, he wishes
+he could become a child again to enjoy their sweets
+to the full.</p>
+
+<div class="figleft" style="width: 300px;">
+<img src="images/grey004b.png" width="300" height="251" alt="&quot;CRUSOE SETS SAIL ON HIS EVENTFUL VOYAGE&quot;FROM AN EIGHTEENTH-CENTURY CHAP-BOOK" title="" />
+<span class="caption">&quot;CRUSOE SETS SAIL ON HIS EVENTFUL VOYAGE&quot;
+<br />
+FROM AN EIGHTEENTH-CENTURY CHAP-BOOK</span>
+</div>
+
+<p>Now nine-tenths of this improvement is due to
+artist and publisher; although it is obvious that
+illustrations imply something to illustrate, and, as a
+rule (not by any means without exception), the
+better the text the better the pictures. Years
+before good picture-books there were good stories,
+and these, whether they be the classics of the
+nursery, the laureates of its rhyme, the unknown
+author of its sagas, the born story-tellers&mdash;whether
+they date from prehistoric cave-dwellers, or are of
+our own age, like Charles Kingsley or Lewis
+Carroll&mdash;supply the text to spur on the artist to
+his best achievements.<span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span></p>
+
+<div class="figleft" style="width: 300px;">
+<img src="images/grey005.png" width="300" height="268" alt="&quot;THE TRUE TALE OF ROBIN HOOD.&quot; FROM AN EIGHTEENTH-CENTURY CHAP-BOOK" title="" />
+<span class="caption">&quot;THE TRUE TALE OF ROBIN HOOD.&quot;<br />FROM AN EIGHTEENTH-CENTURY CHAP-BOOK</span>
+</div>
+
+<p>It is mainly a labour of love to infuse pictures
+intended for childish eyes with qualities
+that pertain to art. We like to believe that
+Walter Crane, Caldecott, Kate Greenaway
+and the rest receive ample appreciation from
+the small people. That they do in some
+cases is certain; but it is also quite as evident
+that the veriest daub, if its subject be attractive,
+is enjoyed no less thoroughly. There
+are prigs of course, the children of the "prignorant,"
+who babble of Botticelli, and profess
+to disdain any picture not conceived with
+"high art" mannerism. Yet even these will
+forget their pretence, and roar over a <i>Comic
+Cuts</i> found on the seat of a railway carriage,
+or stand delighted before some unspeakable
+poster of a melodrama. It is well to face the
+plain fact that the most popular illustrated
+books which please the children are not
+always those which satisfy the critical adult.
+As a rule it is the "grown-ups" who buy;
+therefore with no wish to
+be-little the advance in
+nursery taste, one must
+own that at present its
+improvement is chiefly
+owing to the active energies
+of those who give,
+and is only passively
+tolerated by those who
+accept. Children awaking
+to the marvel that recreates
+a familiar object
+by a few lines and
+blotches on a piece of
+paper, are not unduly
+exigent. Their own
+primitive diagrams, like
+a badly drawn Euclidean
+problem, satisfy their idea
+of studies from the life.
+Their schemes of colour
+are limited to harmonies
+in crimson lake, cobalt
+and gamboge, their skies
+are very blue, their grass
+arsenically green, and
+their perspective as erratic
+as that of the Chinese.</p>
+
+<div class="figright" style="width: 300px;">
+<img src="images/grey005a.png" width="300" height="170" alt="&quot;TWO CHILDREN IN THE WOOD.&quot; FROM AN EIGHTEENTH CENTURY CHAP-BOOK" title="" />
+<span class="caption">&quot;TWO CHILDREN IN THE WOOD.&quot;<br />FROM AN EIGHTEENTH CENTURY CHAP-BOOK</span>
+</div>
+
+<div class="figright" style="width: 300px;">
+<img src="images/grey005b.png" width="300" height="304" alt="&quot;SIR RICHARD WHITTINGTON.&quot; FROM AN EIGHTEENTH-CENTURY CHAP-BOOK" title="" />
+<span class="caption">&quot;SIR RICHARD WHITTINGTON.&quot;<br />FROM AN EIGHTEENTH-CENTURY CHAP-BOOK</span>
+</div>
+
+<p>In fact, unpopular though it may be to
+project such a theory, one fancies that the
+real educational power of the picture-book is
+upon the elders, and thus, that it undoubtedly
+helps to raise the standard of domestic
+taste in art. But, on the other hand, whether
+his art is adequately appreciated or not, what
+an unprejudiced and wholly spontaneous acclaim
+awaits the artist who gives his best to
+the little ones! They do not place his work
+in portfolios or locked glass cases; they
+thumb it to death, surely the happiest of all
+fates for any printed book. To see his
+volumes worn out by too eager votaries; what
+could an author or artist wish for more?
+The extraordinary devotion to a volume of
+natural history, which after generations of use
+has become more like a mop-head than a
+book, may be seen in the reproduction of a
+"monkey-book" here illustrated; this curious
+result being caused by sheer affectionate
+thumbing of its leaves, until the dog-ears and
+rumpled pages turned the cube to a globular
+mass, since flattened by being packed away.<span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span>
+So children love picture-books, not as bibliophiles
+would consider wisely, but too well.</p>
+
+<div class="figleft" style="width: 300px;">
+<img src="images/grey006.png" width="300" height="199" alt="&quot;AN AMERICAN MAN AND WOMAN IN THEIR PROPER HABITS.&quot; ILLUSTRATION FROM &quot;A MUSEUM FOR YOUNG GENTLEMEN AND LADIES&quot; (S. CROWDER. 1790)" title="" />
+<span class="caption">&quot;AN AMERICAN MAN AND WOMAN IN THEIR PROPER HABITS.&quot; ILLUSTRATION FROM &quot;A MUSEUM FOR YOUNG GENTLEMEN AND LADIES&quot; (S. CROWDER. 1790)</span>
+</div>
+
+<p>To delight one of the least of these, to add a
+new joy to the crowded miracles of childhood,
+were no less worth doing than to leave a Sistine
+Chapel to astound a somewhat bored procession of
+tourists, or to have written a classic that sells by
+thousands and is possessed unread by all save an
+infinitesimal percentage of its owners.</p>
+
+<p>When Randolph Caldecott died, a minor poet,
+unconsciously paraphrasing Garrick's epitaph,
+wrote: "For loss of him the laughter of the
+children will grow less." I quote the line from
+memory, perhaps incorrectly; if so, its author will,
+I feel sure, forgive the unintentional mangling.
+Did the laughter of the children grow less?
+Happily one can be quite sure it did not. So
+long as any inept draughtsman can scrawl a few
+lines which they accept as a symbol of an engine,
+an elephant or a pussy cat, so long will the great
+army of invaders who are our predestined conquerors
+be content to laugh anew at the request of
+any one, be he good or mediocre, who caters for
+them.</p>
+
+<p>It is a pleasant and yet a saddening thought
+to remember that we were once recruits of this
+omnipotent army that wins always our lands and
+our treasures. Now, when grown up, whether we
+are millionaires or paupers, they have taken fortress
+by fortress with the treasures therein, our picture-books
+of one sort are theirs, and one must yield
+presently to the babies as they grow up, even our
+criticism, for they will make their own standards of
+worth and unworthiness despite all our efforts to
+control their verdict.</p>
+
+<p>If we are conscious of being "up-to-date" in 1900,
+we may be quite sure that by 1925 we shall be ousted
+by a newer generation, and by 2000 forgotten. Long
+before even that, the children we now try to amuse or
+to educate, to defend at all costs, or to pray for as
+we never prayed before&mdash;they will be the masters.
+It is, then, not an ignoble thing to do one's very
+best to give our coming rulers a taste of the
+kingdom of art, to let them unconsciously discover
+that there is something outside common facts,
+intangible and not to be reduced to any rule,
+which may be a lasting pleasure to those who
+care to study it.</p>
+
+<p>It is evident, as one glances back over the centuries,
+that the child occupies a new place in the
+world to-day. Excepting possibly certain royal
+infants, we do not find that great artists of the past
+addressed themselves to children. Are there any
+children's books illustrated by D&uuml;rer, Burgmair,
+Altdorfer, Jost Amman, or the little masters of
+Germany? Among the Florentine woodcuts do we
+find any designed for children? Did Rembrandt etch
+for them, or Jacob Beham prepare plates for their
+amusement? So far as I have searched, no single
+instance has rewarded me. It is true that the
+<i>na&iuml;vet&eacute;</i> of much early work tempts one to believe
+that it was designed for babies. But the context
+shows that it was the unlettered adult, not the
+juvenile, who was addressed. As the designs,
+obviously prepared for children, begin to appear,
+they are almost entirely educational and by no
+means the work of the best artists of the period.
+Even when they come to be numerous, their object
+is seldom to amuse; they are didactic, and as a
+rule convey solemn warnings. The idea of a
+draughtsman of note setting himself deliberately to
+please a child would have been inconceivable not
+so many years ago. To be seen and not heard
+was the utmost demanded of the little ones even
+as late as the beginning of this century, when
+illustrated books designed especially for their instruction
+were not infrequent.</p>
+
+<div class="figright" style="width: 300px;">
+<img src="images/grey006a.png" width="300" height="300" alt="&quot;THE WALLS OF BABYLON.&quot; ILLUSTRATION FROM &quot;A MUSEUM FOR YOUNG GENTLEMEN AND LADIES&quot; (S. CROWDER. 1790)" title="" />
+<span class="caption">&quot;THE WALLS OF BABYLON.&quot; ILLUSTRATION FROM &quot;A MUSEUM FOR YOUNG GENTLEMEN AND LADIES&quot; (S. CROWDER. 1790)</span>
+</div>
+
+<p>As Mr. Theodore Watts-Dunton pointed out in
+his charming essay, "The New Hero," which appeared
+in the <i>English Illustrated Magazine</i> (Dec.
+1883), the child was neglected even by the art of
+literature until Shakespeare furnished portraits at
+once vivid, engaging, and true in Arthur and in<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span>
+Mamillus. In the same essay he goes on to say
+of the child&mdash;the new hero:</p>
+<div class="figleft" style="width: 325px;">
+<img src="images/grey007.png" width="325" height="267" alt="&quot;MERCURY AND THE WOODMAN.&quot; ILLUSTRATION FROM &quot;BEWICK&#39;S SELECT FABLES.&quot; BY THOMAS BEWICK (1784)" title="" />
+<span class="caption">&quot;MERCURY AND THE WOODMAN.&quot; ILLUSTRATION FROM &quot;BEWICK&#39;S SELECT FABLES.&quot; BY THOMAS BEWICK (1784)</span>
+</div>
+
+<p>"And in art, painters and designers are vying
+with the poets and with each other in accommodating
+their work to his well-known matter-of-fact
+tastes and love of simple directness. Having discovered
+that the New Hero's ideal of pictorial representation
+is of that high dramatic and businesslike
+kind exemplified in the Bayeux tapestry, Mr.
+Caldecott, Mr. Walter Crane, Miss Kate Greenaway,
+Miss Dorothy Tennant, have each tried to
+surpass the other in appealing to the New Hero's
+love of real business in art&mdash;treating him, indeed, as
+though he were Hote&iuml;, the Japanese god of enjoyment&mdash;giving
+him as much colour, as much
+dramatic action, and as little perspective as is
+possible to man's finite capacity in this line. Some
+generous art critics have even gone so far indeed
+as to credit an entire artistic movement, that of
+pre-Raphaelism, with a benevolent desire to accommodate
+art to the New Hero's peculiar ideas
+upon perspective. But this is a 'soft impeachment'
+born of that loving kindness for which art-critics
+have always been famous."</p>
+
+
+<div class="figright" style="width: 310px;">
+<img src="images/grey007a.png" width="310" height="247" alt="&quot;THE BROTHER AND SISTER.&quot; ILLUSTRATION FROM &quot;BEWICK&#39;S SELECT FABLES.&quot; BY THOMAS BEWICK (1784)" title="" />
+<span class="caption">&quot;THE BROTHER AND SISTER.&quot; ILLUSTRATION FROM &quot;BEWICK&#39;S SELECT FABLES.&quot; BY THOMAS BEWICK (1784)</span>
+</div>
+
+
+<p>It would be out of place here to project any
+theory to account for this more recent homage
+paid to children, but it is quite certain that a similar
+number of <span class="smcap">The Studio</span> could scarce have been
+compiled a century ago, for there was practically no
+material for it. In fact the tastes of children as a
+factor to be considered in life are well-nigh as
+modern as steam or the electric light, and far less
+ancient than printing with movable types, which of
+itself seems the second great event in the history of
+humanity, the use of fire being the first.</p>
+<div class="figcenter" style="width: 300px;">
+<img src="images/grey007b.png" width="300" height="228" alt="&quot;LITTLE ANTHONY.&quot; ILLUSTRATION FROM &quot;THE LOOKING-GLASS OF THE MIND.&quot; BY THOMAS BEWICK (1792)" title="" />
+<span class="caption">&quot;LITTLE ANTHONY.&quot; ILLUSTRATION FROM &quot;THE LOOKING-GLASS OF THE MIND.&quot; BY THOMAS BEWICK (1792)</span>
+</div>
+
+<div class="figleft" style="width: 300px;">
+<img src="images/grey007c.png" width="300" height="224" alt="&quot;LITTLE ADOLPHUS.&quot; ILLUSTRATION FROM &quot;THE LOOKING-GLASS OF THE MIND.&quot; BY THOMAS BEWICK (1792)" title="" />
+<span class="caption">&quot;LITTLE ADOLPHUS.&quot; ILLUSTRATION FROM &quot;THE LOOKING-GLASS OF THE MIND.&quot; BY THOMAS BEWICK (1792)</span>
+</div>
+
+<p>To leave generalities and come to particulars, as
+we dip into the stores of earlier centuries the
+broadsheets reveal almost nothing <i>intended</i> for
+children&mdash;the many Robin Hood ballads, for
+example, are decidedly meant for grown-up people;
+and so in the eighteenth century we find its chap-books
+of "Guy, Earl of Warwick," "Sir Bevis, of
+Southampton," "Valentine and Orson," are still
+addressed to the adult; while it is more than doubtful
+whether even the earliest editions in chap-book
+form of "Tom Thumb," and "Whittington"<span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span>
+and the rest, now the property of
+the nursery, were really published for
+little ones. That they were the "light
+reading" of adults, the equivalent of to-day's
+<i>Ally Sloper</i> or the penny dreadful,
+is much more probable. No doubt
+children who came across them had a
+surreptitious treat, even as urchins of
+both sexes now pounce with avidity
+upon stray copies of the ultra-popular
+and so-called comic papers. But you
+could not call <i>Ally Sloper</i>, that Punchinello
+of the Victorian era&mdash;who has
+received the honour of an elaborate
+article in the <i>Nineteenth Century</i>&mdash;a
+child's hero, nor is his humour of a sort
+always that childhood should understand&mdash;"Unsweetened
+Gin," the "Broker's
+Man," and similar subjects, for example.
+It is quite possible that respectable
+people did not care for their babies to
+read the chap-books of the eighteenth
+century any more than they like them
+now to study "halfpenny comics"; and
+that they were, in short, kitchen literature,
+and not infantile. Even if the
+intellectual standard of those days was
+on a par in both domains, it does not
+prove that the reading of the kitchen
+and nursery was interchangeable.</p>
+
+<p>Before noticing any pictures in detail
+from old sources or new, it is well to
+explain that as a rule only those showing
+some attempt to adapt the drawing
+to a child's taste have been selected.
+Mere dull transcripts of facts please
+children no less; but here space forbids
+their inclusion. Otherwise nearly all
+modern illustration would come into our
+scope.</p>
+
+<p>A search through the famous Roxburghe
+collection of broadsheets discovered
+nothing that could be fairly
+regarded as a child's publication. The chap-books
+of the eighteenth century have been
+adequately discussed in Mr. John Ashton's admirable
+monograph, and from them a few "cuts"
+are here reproduced. Of course, if one takes the
+standard of education of these days as the test,
+many of those curious publications would appear
+to be addressed to intelligence of the most juvenile
+sort. Yet the themes as a rule show unmistakably
+that children of a larger growth were catered for, as,
+for instance, "Joseph and his Brethren," "The
+Holy Disciple," "The Wandering Jew," and those
+earlier pamphlets which are reprints or new versions
+of books printed by Wynkyn de Worde, Pynson,
+and others of the late fifteenth and early sixteenth
+centuries.</p>
+
+<div class="figright" style="width: 297px;">
+<img src="images/grey008.png" width="297" height="500" alt="Henry quitting School.
+
+ILLUSTRATION FROM &quot;SKETCHES OF JUVENILE CHARACTERS&quot; (E. WALLIS. 1818)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;SKETCHES OF JUVENILE CHARACTERS&quot; <br />(E. WALLIS. 1818)</span>
+</div>
+
+<p>In one, "The Witch of the Woodlands,"
+appears a picture of little people dancing in a
+fairy ring, which might be supposed at first sight
+to be an illustration of a nursery tale, but the text
+describing a Witch's Sabbath, rapidly dispels the
+idea. Nor does a version of the popular Faust
+legend&mdash;"Dr. John Faustus"&mdash;appear to be edifying
+for young people. This and "Friar Bacon"
+are of the class which lingered the longest&mdash;the
+magical and oracular literature. Even to-day it is
+quite possible that dream-books and prophetical
+pamphlets enjoy a large sale; but a few years ago
+many were to be found in the catalogues of publishers
+who catered for the million. It is not very
+long ago that the Company of Stationers omitted
+hieroglyphics of coming events from its almanacs.
+Many fairy stories which to-day are repeated for
+the amusement of children were regarded as part
+of this literature&mdash;the traditional folk-lore which
+often enough survives many changes of the religious<span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span>
+faith of a nation, and outlasts much civilisation.
+Others were originally political satires, or social
+pasquinades; indeed not a few nursery rhymes
+mask allusions to important historical incidents.
+The chap-book form of publication is well adapted
+for the preservation of half-discredited beliefs, of
+charms and prophecies, incantations and cures.</p>
+
+<p>In "Valentine and Orson," of which a fragment
+is extant of a version printed by Wynkyn
+de Worde, we have unquestionably the real fairy
+story. This class of story, however, was not
+addressed directly to children until within the last
+hundred years. That many of the cuts used in
+these chap-books afterwards found their way into
+little coarsely printed duodecimos of eight or sixteen
+pages designed for children is no doubt a
+fact. Indeed the wanderings of these blocks, and
+the various uses to which they were applied, is far
+too vast a theme to touch upon here. For this
+peripatetic habit of old wood-cuts was not even
+confined to the land of their production; after
+doing duty in one country, they were ready for
+fresh service in another. Often in the chap-books
+we meet with the same block as an illustration of
+totally different scenes.</p>
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="Title page and page of The Paths of Learning">
+<tr><td align='left'><div class="figleft" style="width: 258px;">
+<img src="images/grey009.jpg" width="258" height="450" alt="TITLE-PAGE OF &quot;THE PATHS OF LEARNING&quot; (HARRIS AND SON. 1820)" title="" />
+<span class="caption">TITLE-PAGE OF &quot;THE PATHS OF LEARNING&quot; (HARRIS AND SON. 1820)</span>
+</div>
+</td><td align='left'><div class="figright" style="width: 259px;">
+<img src="images/grey009a.jpg" width="259" height="450" alt="PAGE FROM &quot;THE PATHS OF LEARNING&quot; (HARRIS AND SON. 1820)" title="" />
+<span class="caption">PAGE FROM &quot;THE PATHS OF LEARNING&quot; <br />(HARRIS AND SON. 1820)</span>
+</div>
+</td></tr>
+</table></div>
+
+
+<p>The cut for the title-page of Robin Hood is a
+fair example of its kind. The Norfolk gentleman's
+"Last Will and Testament" turns out to be a
+rambling rhymed version of the Two Children in
+the Wood. In the first of its illustrations we see
+the dying parents commending their babes to the
+cruel world. The next is a subject taken from
+these lines:</p>
+
+<div class='poem'>
+"Away then went these prity babes rejoycing at that tide,<br />
+Rejoycing with a merry mind they should on cock-horse ride."<br />
+</div>
+
+<div class='unindent'>And in the last, here reproduced, we see them when</div>
+
+<div class='poem'>
+"Their prity lips with blackberries were all besmeared and dyed,<br />
+And when they saw the darksome night, they sat them down and cried."<br />
+</div>
+
+<p>But here it is more probable that it was the
+tragedy which attracted readers, as the <i>Police News</i>
+attracts to-day, and that it became a child's favourite
+by the accident of the robins burying the babes.<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span></p>
+
+<p>The example from the "History of Sir Richard
+Whittington" needs no comment.</p>
+
+<p>A very condensed version of "Robinson Crusoe"
+has blocks of distinct, if archaic, interest. The
+three here given show a certain sense of decorative
+treatment (probably the result of the artist's inability
+to be realistic), which is distinctly amusing.
+One might select hundreds of woodcuts of this
+type, but those here reproduced will serve as well
+as a thousand to indicate their general style.</p>
+
+<p>Some few of these books have contributed to
+later nursery folk-lore, as, for example, the well
+known "Jack Horner," which is an extract from a
+coarse account of the adventures of a dwarf.</p>
+
+<p>One quality that is shared by all these earlier
+pictures is their artlessness and often their absolute
+ugliness. Quaint is the highest adjective that fits
+them. In books of the later period not a few
+blocks of earlier date and of really fine design reappear;
+but in the chap-books quite 'prentice
+hands would seem to have been employed, and
+the result therefore is only interesting for its age
+and rarity. So far these pictures need no comment,
+they foreshadow nothing and are derived from
+nothing, so far as their design is concerned. Such
+interest as they have is quite unconcerned with
+art in any way; they are not even sufficiently
+misdirected to act as warnings, but are merely
+clumsy.</p>
+
+<div class="figleft" style="width: 400px;">
+<img src="images/grey010.png" width="400" height="422" alt="ILLUSTRATION FROM &quot;GERMAN POPULAR STORIES.&quot; BY G. CRUIKSHANK (CHARLES TILT. 1824)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;GERMAN POPULAR STORIES.&quot; BY G. CRUIKSHANK (CHARLES TILT. 1824)</span>
+</div>
+
+
+<p>Children's books, as every collector knows, are
+among the most short-lived of all volumes. This
+is more especially true of those with illustrations,
+for their extra attractiveness serves but to degrade
+a comely book into a dog-eared and untidy thing,
+with leaves sere and yellow, and with no
+autumnal grace to mellow their decay. Long
+before this period, however, the nursery artist has
+marked them for his own, and with crimson lake
+and Prussian blue stained their pictures in all too
+permanent pigments, that in some cases resist
+every chemical the amateur applies with the vain
+hope of effacing the superfluous colour.</p>
+
+<p>Of course the disappearance of the vast majority
+of books for children (dating from 1760 to 1830,
+and even later) is no loss to art, although among
+them are some few which are interesting as the 'prentice
+work of illustrators who became famous. But
+these are the exceptions. Thanks to the kindness
+of Mr. James Stone, of Birmingham, who has a
+large and most interesting collection of the most
+ephemeral of all sorts&mdash;the little penny and twopenny
+pamphlets&mdash;it has been possible to refer at
+first hand to hundreds, of them. Yet, despite their
+interest as curiosities, their art need not detain us
+here. The pictures are mostly trivial or dull, and
+look like the products of very poorly equipped
+draughtsmen and cheap engravers. Some, in
+pamphlet shape, contain nursery rhymes and little
+stories, others are devoted to the alphabet and
+arithmetic. Amongst them are many printed on
+card, shaped like the cover of a bank-book. These
+were called battledores, but as Mr. Tuer has dealt
+with this class in "The Horn Book" so thoroughly,
+it would be mere waste of time to discuss them
+here.</p>
+<div class="figright" style="width: 400px;">
+<img src="images/grey010a.png" width="400" height="371" alt="ILLUSTRATION FROM &quot;GERMAN POPULAR STORIES.&quot; BY G. CRUIKSHANK (CHARLES TILT. 1824)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;GERMAN POPULAR STORIES.&quot; BY G. CRUIKSHANK (CHARLES TILT. 1824)</span>
+</div>
+
+<p>Mr. Elkin Mathews also permitted me to run
+through his interesting collection, and among them
+were many noted elsewhere in these pages, but
+the rest, so far as the pictures are concerned,
+do not call for detailed notice. They do, indeed,
+contain pictures of children&mdash;but mere "factual"
+scenes, as a rule&mdash;without any real fun or real
+imagination. Those who wish to look up early
+examples will find a large and entertaining variety<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span>
+among "The Pearson Collection" in the National
+Art Library at South Kensington Museum.</p>
+
+<p>Turning to quite another class, we find "A
+Museum for Young Gentlemen and Ladies"
+(Collins: Salisbury), a typical volume of its kind.
+Its preface begins: "I am very much concerned
+when I see young gentlemen of fortune and quality
+so wholly set upon pleasure and diversions....
+The greater part of our British youth lose their
+figure and grow out of fashion by the time they are
+twenty-five. As soon as the natural gaiety and
+amiableness of the young man wears off they have
+nothing left to recommend, but <i>lie by</i> the rest of
+their lives among the lumber and refuse of their
+species"&mdash;a promising start for a moral lecture,
+which goes on to implore those who are in the
+flower of their youth to "labour at those accomplishments
+which may set off their persons when
+their bloom is gone."</p>
+<div class="figleft" style="width: 353px;">
+<img src="images/grey011a.jpg" width="353" height="500" alt="ILLUSTRATION FROM &quot;THE LITTLE PRINCESS.&quot; BY J. C. HORSLEY, R.A. (JOSEPH CUNDALL. 1843)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE LITTLE PRINCESS.&quot; BY J. C. HORSLEY, R.A. (JOSEPH CUNDALL. 1843)</span>
+</div>
+
+<p>The compensations for old age appear to be,
+according to this author, a little knowledge of
+grammar, history, astronomy, geography, weights
+and measures, the seven wonders of the world,
+burning mountains, and dying words of great men.
+But its delightful text must not detain us here. A
+series of "cuts" of national costumes with which
+it is embellished deserves to be described in detail.
+<i>An American Man and Woman in their proper
+habits</i>, reproduced on page 6, will give a better
+idea of their style than any words. The blocks
+evidently date many years earlier than the
+thirteenth edition here referred to, which is about
+1790. Indeed, those of the Seven Wonders are
+distinctly interesting.</p>
+
+
+
+<p>Here and there we meet with one interesting
+as art. "An Ancestral History of King Arthur"
+(H. Roberts, Blue Boar, Holborn, 1782), shown
+in the Pearson collection at South Kensington, has
+an admirable frontispiece; and one or two others
+would be worth reproduction did space permit.</p>
+<div class="figcenter" style="width: 363px;">
+<img src="images/grey011.png" width="363" height="450" alt="ILLUSTRATION FROM &quot;CHILD&#39;S PLAY.&quot; BY E. V. B. (NOW PUBLISHED BY SAMPSON LOW)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;CHILD&#39;S PLAY.&quot; BY E. V. B. (NOW PUBLISHED BY SAMPSON LOW)</span>
+</div>
+
+<p>Although the dates overlap, the next division of
+the subject may be taken as ranging from the
+publication of "Goody Two Shoes&mdash;otherwise
+called Mrs. Margaret Two-shoes"&mdash;to the "Bewick
+Books." Of the latter the most interesting is unquestionably
+"A Pretty Book of Pictures for Little
+Masters and Misses, or Tommy Trip's History of
+Beasts and Birds," with a familiar description of
+each in verse and prose, to which is prefixed "A
+History of Little Tom Trip himself, of his dog
+Towler, and of Coryleg the great giant," written
+for John Newbery, the philanthropic bookseller
+of St. Paul's Churchyard. "The fifteenth edition
+embellished with charming engravings upon wood,
+from the original blocks engraved by Thomas
+Bewick for T. Saint of Newcastle in 1779"&mdash;to
+quote the full title from the edition reprinted by
+Edwin Pearson in 1867. This edition contains
+a preface tracing the history of the blocks, which
+are said to be Bewick's first efforts to depict beasts
+and birds, undertaken at the request of the New<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span>
+castle printer, to illustrate
+a new edition of "Tommy
+Trip." As at this time
+copyright was unknown, and
+Newcastle or Glasgow pirated
+a London success (as New
+York did but lately), we
+must not be surprised to find
+that the text is said to be a
+reprint of a "Newbery" publication.
+But as Saint was
+called the Newbery of the
+North, possibly the Bewick
+edition was authorised. One
+or two of the rhymes which
+have been attributed to
+Oliver Goldsmith deserve
+quotation. Appended to a
+cut of <i>The Bison</i> we find the
+following delightful lines:</p>
+
+<div class='poem'>
+"The Bison, tho' neither<br />
+<span style="margin-left: 1.5em;">Engaging nor young,</span><br />
+<span style="margin-left: 0.5em;">Like a flatt'rer can lick you</span><br />
+<span style="margin-left: 1.5em;">To death with his tongue."</span><br />
+</div>
+
+<div class='unindent'>The astounding legend of
+the bison's long tongue, with
+which he captures a man who
+has ventured too close, is
+dilated upon in the accompanying
+prose. That Goldsmith
+used "teeth" when
+he meant "tusks" solely for
+the sake of rhyme is a
+depressing fact made clear
+by the next verse:</div>
+
+<div class='poem'>
+"The elephant with trunk and teeth<br />
+<span style="margin-left: 0.5em;">Threatens his foe with instant death,</span><br />
+<span style="margin-left: 2.5em;">And should these not his ends avail</span><br />
+<span style="margin-left: 2.5em;">His crushing feet will seldom fail."</span><br />
+</div>
+
+<div class='unindent'>Nor are the rhymes as they stand peculiarly happy;
+certainly in the following example it requires an
+effort to make "throw" and "now" pair off
+harmoniously.</div>
+
+<div class='poem'>
+"The fierce, fell tiger will, they say,<br />
+<span style="margin-left: 0.5em;">Seize any man that's in the way,</span><br />
+<span style="margin-left: 0.5em;">And o'er his back the victim throw,</span><br />
+<span style="margin-left: 0.5em;">As you your satchel may do now."</span><br />
+</div>
+
+<div class='unindent'>Yet one more deserves to be remembered if but
+for its decorative spelling:</div>
+
+<div class='poem'>
+"The cuccoo comes to chear the spring,<br />
+<span style="margin-left: 0.5em;">And early every morn does sing;</span><br />
+<span style="margin-left: 0.5em;">The nightingale, secure and snug,</span><br />
+<span style="margin-left: 0.5em;">The evening charms with Jug, jug, jug."</span><br />
+</div>
+
+<div class="figleft" style="width: 396px;">
+<img src="images/grey012.jpg" width="396" height="500" alt="ILLUSTRATION FROM &quot;THE HONEY STEW&quot; BY HARRISON WEIR (JEREMIAH HOW. 1846)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE HONEY STEW&quot; BY HARRISON WEIR (JEREMIAH HOW. 1846)</span>
+</div>
+
+<div class='unindent'>But these doggerel rhymes are not quite representative
+of the book, as the well-known "Three children
+sliding on the ice upon a summer's day" appears
+herein. The "cuts" are distinctively notable,
+especially the Crocodile (which contradicts the
+letterpress, that says "it turns about with difficulty"),
+the Chameleon, the Bison, and the Tiger.</div>
+
+<p>Bewick's "Select Fables of &AElig;sop and others"
+(Newcastle: T. Saint, 1784) deserves fuller notice,
+but &AElig;sop, though a not unpopular book for children,
+is hardly a children's book. With "The
+Looking Glass for the Mind" (1792) we have the
+adaptation of a popular French work, "L'Ami des
+Enfans" (1749), with cuts by Bewick, which, if not
+equal to his best, are more interesting from our
+point of view, as they are obviously designed for
+young people. The letterpress is full of "useful
+lessons for my youthful readers," with morals provokingly
+insisted upon.</p>
+
+<div class="figleft" style="width: 243px;">
+<img src="images/grey013a.png" width="243" height="300" alt="&quot;BLUE BEARD.&quot; ILLUSTRATION FROM &quot;COMIC NURSERY TALES.&quot; BY A. CROWQUILL (G. ROUTLEDGE. 1845)" title="" />
+<span class="caption">&quot;BLUE BEARD.&quot; ILLUSTRATION FROM &quot;COMIC NURSERY TALES.&quot; BY A. CROWQUILL (G. ROUTLEDGE. 1845)</span>
+</div>
+
+<p>"Goody Two Shoes" was also published by
+Newbery of St. Paul's Churchyard&mdash;the pioneer of
+children's literature. His business&mdash;which afterwards<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span>
+became Messrs. Griffith and
+Farran&mdash;has been the subject of
+several monographs and magazine
+articles by Mr. Charles Welsh, a
+former partner of that firm. The
+two monographs were privately
+printed for issue to members of the
+Sette of Odde Volumes. The first
+of these is entitled "On some
+Books for Children of the last century,
+with a few words on the
+philanthropic publisher of St. Paul's
+Churchyard. A paper read at a
+meeting of the Sette of Odde
+Volumes, Friday, January 8, 1886."
+Herein we find a very sympathetic
+account of John Newbery and
+gossip of the clever and distinguished
+men who assisted him
+in the production of children's
+books, of which Charles Knight
+said, "There is nothing more remarkable
+in them than their originality.
+There have been attempts
+to imitate its simplicity, its homeliness; great
+authors have tried their hands at imitating its clever
+adaptation to the youthful intellect, but they have
+failed"&mdash;a verdict which, if true of authors when
+Charles Knight uttered it, is hardly true of the
+present time. After Goldsmith, Charles Lamb, to
+whom "Goody Two Shoes" is now attributed, was,
+perhaps, the most famous contributor to Newbery's
+publications; his "Beauty and the Beast" and
+"Prince Dorus" have been republished in facsimile
+lately by Messrs. Field and Tuer. From
+the <i>London Chronicle</i>, December 19 to January 1,
+1765, Mr. Welsh reprinted the following advertisement:</p>
+
+<div class="figright" style="width: 400px;">
+<img src="images/grey013.png" width="400" height="329" alt="&quot;ROBINSON CRUSOE.&quot; ILLUSTRATION FROM &quot;COMIC NURSERY TALES.&quot; BY A. CROWQUILL (G. ROUTLEDGE. 1845)" title="" />
+<span class="caption">&quot;ROBINSON CRUSOE.&quot; ILLUSTRATION FROM &quot;COMIC NURSERY TALES.&quot; BY A. CROWQUILL (G. ROUTLEDGE. 1845)</span>
+</div>
+
+<p>"The Philosophers, Politicians, Necromancers,
+and the learned in every faculty are desired to
+observe that on January 1, being New Year's Day
+(oh that we may all lead new lives!), Mr. Newbery
+intends to publish the following important volumes,
+bound and gilt, and hereby invites all his little
+friends who are good to call for them at the Bible
+and Sun in St. Paul's Churchyard, but those who
+are naughty to have none." The paper read by
+Mr. Welsh scarcely fulfils the whole promise of its
+title, for in place of giving anecdotes of Newbery
+he refers his listeners to his own volume, "A Bookseller
+of the Last Century," for fuller details;
+but what he said in praise of the excellent
+printing and binding of Newbery's books is well
+merited. They are, nearly all, comely productions,
+some with really artistic illustrations, and all
+marked with care and intelligence which had not
+hitherto been bestowed on publications intended
+for juveniles. It is true that most are distinguished
+for "calculating morality" as the <i>Athen&aelig;um</i> called
+it, in re-estimating their merits nearly a century
+later. It was a period when the advantages of
+dull moralising were over-prized, when people professed
+to believe that you could admonish children
+to a state of perfection which, in their didactic
+addresses to the small folk, they professed to obey
+themselves. It was, not to put too fine a point
+on it, an age of solemn hypocrisy, not perhaps so
+insincere in intention as in phrase; but, all the
+same, it repels the more tolerant mood of to-day.<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span>
+Whether or not it be wise to confess to
+the same frailties and let children know
+the weaknesses of their elders, it is certainly
+more honest; and the danger is
+now rather lest the undue humility of
+experience should lead children to believe
+that they are better than their
+fathers. Probably the honest sympathy
+now shown to childish ideals is not
+likely to be misinterpreted, for children
+are often shrewd judges, and can detect
+the false from the true, in morals if not
+in art.</p>
+<div class="figright" style="width: 335px;">
+<img src="images/grey014.png" width="335" height="400" alt="ILLUSTRATION FROM &quot;ROBINSON CRUSOE.&quot; BY CHARLES KEENE (JAMES BURNS. 1847)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;ROBINSON CRUSOE.&quot; BY CHARLES KEENE (JAMES BURNS. 1847)</span>
+</div>
+<p>By 1800 literature for children had become
+an established fact. Large numbers
+of publications were ostentatiously addressed
+to their amusement; but nearly
+all hid a bitter if wholesome powder in
+a very small portion of jam. Books of
+educational purport, like "A Father's
+Legacy to his Daughter," with reprints of
+classics that are heavily weighted with
+morals&mdash;Dr. Johnson's "Rasselas" and
+"&AElig;sop's Fables," for instance&mdash;are in
+the majority. "Robinson Crusoe" is
+indeed among them, and Bunyan's "Pilgrim's
+Progress," both, be it noted,
+books annexed by the young, not designed
+for them.</p>
+
+
+<p>The titles of a few odd books which
+possess more than usually interesting
+features may be jotted down. Of
+these, "Little Thumb and the Ogre" (R.
+Dutton, 1788), with illustrations by William
+Blake, is easily first in interest, if not in other
+respects. Others include "The Cries of London"
+(1775), "Sindbad the Sailor" (Newbery,
+1798), "Valentine and Orson" (Mary Rhynd,
+Clerkenwell, 1804), "Fun at the Fair" (with
+spirited cuts printed in red), and Watts's "Divine
+and Moral Songs," and "An Abridged New Testament,"
+with still more effective designs also in red
+(Lumsden, Glasgow), "Gulliver's Travels" (greatly
+abridged, 1815), "Mother Gum" (1805), "Anecdotes
+of a Little Family" (1795), "Mirth without
+Mischief," "King Pippin," "The Daisy" (cautionary
+stories in verse), and the "Cowslip," its companion
+(with delightfully prim little rhymes that
+have been reprinted lately). The thirty illustrations
+in each are by Samuel Williams, an artist who yet
+awaits his due appreciation. A large number of
+classics of their kind, "The Adventures of Philip
+Quarll," "Gulliver's Travels," Blake's "Songs of
+Innocence," Charles Lamb's "Stories from Shakespeare,"
+Mrs. Sherwood's "Henry and his Bearer,"
+and a host of other religious stories, cannot even
+be enumerated. But even were it possible to
+compile a full list of children's books, it would be
+of little service, for the popular books are in no
+danger of being forgotten, and the unpopular, as
+a rule, have vanished out of existence, and except
+by pure accident could not be found for love or
+money.</p>
+
+<div class="figleft" style="width: 295px;">
+<img src="images/grey014a.png" width="295" height="300" alt="ILLUSTRATION FROM &quot;COMIC NURSERY TALES&quot; (G. ROUTLEDGE. 1846)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;COMIC NURSERY TALES&quot; (G. ROUTLEDGE. 1846)</span>
+</div>
+
+<p>With the publications of Newbery and Harris,
+early in the nineteenth century, we encounter
+examples more nearly typical of the child's book
+as we regard it to-day. Among them Harris's<span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span>
+"Cabinet" is noticeable. The first four volumes,
+"The Butterfly's Ball," "The Peacock at Home,"
+"The Lion's Masquerade," and "The Elephant's
+Ball," were reprinted a few years ago, with the
+original illustrations by Mulready carefully reproduced.
+A coloured series of sixty-two books,
+priced at one shilling and sixpence each (Harris),
+was extremely popular.</p>
+
+<p>With the "Paths of Learning strewed with
+Flowers, or English Grammar Illustrated" (1820),
+we encounter a work not without elegance. Its
+designs, as we see by the examples reproduced on
+page 9, are the obvious prototype of Miss Greenaway,
+the model that inspired her to those dainty
+trifles which conquered even so stern a critic of
+modern illustration as Mr. Ruskin. On its cover&mdash;a
+forbidding wrapper devoid of ornament&mdash;and
+repeated within a wreath of roses inside, this preamble
+occurs: "The purpose of this little book is
+to obviate the reluctance children evince to the
+irksome and insipid task of learning the names and
+meanings of the component parts of grammar.
+Our intention is to entwine roses with instruction,
+and however humble our endeavour may appear,
+let it be recollected that the efforts of a Mouse set
+the Lion free from his toils." This oddly phrased
+explanation is typical of the affected geniality of
+the governess. Indeed, it might have been penned
+by an assistant to Miss Pinkerton, "the Semiramis
+of Hammersmith"; if not by that friend of Dr.
+Johnson, the correspondent of Mrs. Chapone herself,
+in a moment of gracious effort to bring her
+intellect down to the level of her pupils.</p>
+
+<p>To us, this hollow gaiety sounds almost cruel.
+In those days children were always regarded as if, to
+quote Mark Twain, "every one being born with an
+equal amount of original sin, the pressure on the
+square inch must needs be greater in a baby."
+Poor little original sinners, how very scurvily the
+world of books and picture-makers treated you
+less than a century ago! Life for you then was a
+perpetual reformatory, a place beset with penalties,
+and echoing with reproofs. Even the literature
+planned to amuse your leisure was stuck full of
+maxims and morals; the most piquant story was
+but a prelude to an awful warning; pictures of
+animals, places, and rivers failed
+to conceal undisguised lessons.
+The one impression that is left
+by a study of these books is the
+lack of confidence in their own
+dignity which papas and mammas
+betrayed in the early Victorian
+era. This seems past all doubt
+when you realise that the common
+effort of all these pictures and
+prose is to glorify the impeccable
+parent, and teach his or her offspring
+to grovel silently before
+the stern law-givers who ruled the
+home.</p>
+
+<div class="figright" style="width: 379px;">
+<img src="images/grey015.png" width="379" height="500" alt="TITLE-PAGE FROM &quot;THE SCOURING OF THE WHITE HORSE.&quot; BY RICHARD DOYLE (MACMILLAN AND CO. 1858)" title="" />
+<span class="caption">TITLE-PAGE FROM &quot;THE SCOURING OF THE WHITE HORSE.&quot; BY RICHARD DOYLE (MACMILLAN AND CO. 1858)</span>
+</div>
+
+<p>Of course it was not really so,
+literature had but lately come to
+a great middle class who had not
+learned to be easy; and as worthy
+folk who talked colloquially wrote
+in stilted parody of Dr. Johnson's
+stately periods, so the uncouth
+address in print to the populace
+of the nursery was doubtless forgotten
+in daily intercourse. But
+the conventions were preserved,
+and honest fun or full-bodied
+romance that loves to depict
+gnomes and hob-goblins, giants
+and dwarfs in a world of adventure
+and mystery, was unpopular.
+Children's books were illustrated
+entirely by the wonders of the
+creation, or the still greater
+wonders of so-called polite
+society. Never in them, except
+introduced purposely as an "awful
+example," do you meet an<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span>
+untidy, careless, normal child. Even the beggars
+are prim, and the beasts and birds distinctly
+genteel in their habits. Fairyland was shut to the
+little ones, who were turned out of their own
+domain. It seems quite likely that this continued
+until the German <i>m&auml;rchen</i> (the literary products of
+Germany were much in favour at this period)
+reopened the wonderland of the other world about
+the time that Charles Dickens helped to throw
+the door still wider. Discovering that the child
+possessed the right to be amused, the imagination
+of poets and artists addressed itself at last to the
+most appreciative of all audiences, a world of newcomers,
+with insatiable appetites for wonders real
+and imaginary.</p>
+
+<div class="figleft" style="width: 354px;">
+<img src="images/grey016a.png" width="354" height="500" alt="ILLUSTRATION (REDUCED) FROM &quot;MISUNDERSTOOD&quot; BY GEORGE DU MAURIER (RICHARD BENTLEY AND SON. 1874)" title="" />
+<span class="caption">ILLUSTRATION (REDUCED) FROM &quot;MISUNDERSTOOD&quot; BY GEORGE DU MAURIER (RICHARD BENTLEY AND SON. 1874)</span>
+</div>
+
+<p>But for many years before the Victorian period
+folklore was left to the peasants, or at least kept
+out of reach of children of the higher classes. No
+doubt old nurses prattled it to their charges, perhaps
+weak-minded mothers occasionally repeated the
+ancient legends, but the printing-press set its
+face against fancy, and offered facts
+in its stead. In the list of sixty-two
+books before mentioned, if we
+except a few nursery jingles such
+as "Mother Hubbard" and "Cock
+Robin," we find but two real fairy
+stories, "Cinderella," "Puss-in-Boots,"
+and three old-world narratives
+of adventure, "Whittington
+and His Cat," "The Seven Champions
+of Christendom," and
+"Valentine and Orson." The rest
+are "Peter Piper's Practical Principles
+of Plain and Perfect Pronunciation,"
+"The Monthly Monitor,"
+"Tommy Trip's Museum of
+Beasts," "The Perambulations of a
+Mouse," and so on, with a few
+things like "The House that Jack
+Built," and "A, Apple Pie," that
+are but daily facts put into story
+shape. Now it is clear that the
+artists inspired by fifty of these
+had no chance of displaying their
+imagination, and every opportunity
+of pointing a moral; and it is
+painful to be obliged to own that
+they succeeded beyond belief in
+their efforts to be dull. Of like
+sort are "A Visit to the Bazaar"
+(Harris, 1814), and "The Dandies'
+Ball" (1820).</p>
+
+<div class="figright" style="width: 318px;">
+<img src="images/grey016.png" width="318" height="400" alt="ILLUSTRATION FROM &quot;THE PRINCESS AND THE GOBLIN.&quot; (STRAHAN. 1871. NOW PUBLISHED BY BLACKIE AND SON)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE PRINCESS AND THE GOBLIN.&quot; (STRAHAN. 1871. NOW PUBLISHED BY BLACKIE AND SON)</span>
+</div>
+
+<p>Nor must we forget a work very
+popular at this period, "Keeper<span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span>
+in Search of His Master," although its illustrations
+are not its chief point.</p>
+
+<p>According to a very interesting preface Mr.
+Andrew Tuer contributed to "The Leadenhall
+Series of Reprints of Forgotten Books for Children
+in 1813," "Dame Wiggins of Lee" was first
+issued by A. K. Newman and Co. of the Minerva
+Press. This book is perhaps better known than
+any of its date owing to Mr. Ruskin's reprint with
+additional verses by himself, and new designs by
+Miss Kate Greenaway supplementing the original
+cuts, which were re-engraved in facsimile by Mr.
+Hooper. Mr. Tuer attributes the design of these
+latter to R. Stennet (or Sinnet?), who illustrated
+also "Deborah Dent and her Donkey" and
+"Madame Figs' Gala." Newman issued many of
+these books, in conjunction with Messrs. Dean
+and Mundy, the direct ancestors of the firm of
+Dean and Son, still flourishing, and still engaged in
+providing cheap and attractive books for children.
+"The Gaping Wide-mouthed Waddling Frog" is
+another book of about this period, which Mr. Tuer
+included in his reprints. Among the
+many illustrated volumes which bear
+the imprint of A. K. Newman, and
+Dean and Mundy, are "A, Apple
+Pie," "Aldiborontiphoskyphorniostikos,"
+"The House that Jack Built,"
+"The Parent's Offering for a Good
+Child" (a very pompous and irritating
+series of dialogues), and others
+that are even more directly educational.
+In all these the engravings are in
+fairly correct outline, coloured with four
+to six washes of showy crimson lake,
+ultramarine, pale green, pale sepia, and
+gamboge.</p>
+
+<div class="figcenter" style="width: 308px;">
+<img src="images/grey017a.jpg" width="308" height="450" alt="ILLUSTRATION FROM &quot;GUTTA PERCHA WILLIE.&quot; BY ARTHUR HUGHES (STRAHAN. 1870. NOW PUBLISHED BY BLACKIE AND SON)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;GUTTA PERCHA WILLIE.&quot; BY ARTHUR HUGHES (STRAHAN. 1870. NOW PUBLISHED BY BLACKIE AND SON)</span>
+</div>
+
+<div class="figright" style="width: 228px;">
+<img src="images/grey017.png" width="228" height="300" alt="ILLUSTRATION FROM &quot;AT THE BACK OF THE NORTH WIND.&quot; BY ARTHUR HUGHES (STRAHAN. 1869. NOW PUBLISHED BY BLACKIE AND SON)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;AT THE BACK OF THE NORTH WIND.&quot; BY ARTHUR HUGHES (STRAHAN. 1869. NOW PUBLISHED BY BLACKIE AND SON)</span>
+</div>
+
+<p>Even the dreary text need not have
+made the illustrators quite so dull, as we
+know that Randolph Caldecott would
+have made an illustrated "Bradshaw"
+amusing; but most of his earlier predecessors
+show no less power in making
+anything they touched "un-funny."
+Nor as art do their pictures interest
+you any more than as anecdotes.</p>
+
+<p>Of course the cost of coloured engravings
+prohibited their lavish use.
+All were tinted by hand, sometimes
+with the help of stencil plates, but
+more often by brush. The print
+colourers, we are told, lived chiefly in
+the Pentonville district, or in some of
+the poorer streets near Leicester
+Square. A few survivors are still to
+be found; but the introduction first<span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span>
+of lithography, and later of photographic processes,
+has killed the industry, and even the most
+fanatical apostle of the old crafts cannot wish
+the "hand-painter" back again. The outlines
+were either cut on wood, as in the early days
+of printing until the present, or else engraved
+on metal. In each case all colour was painted
+afterwards, and in scarce a single instance (not
+even in the Rowlandson caricatures or patriotic
+pieces) is there any attempt to obtain an harmonious
+scheme such as is often found in the tinted mezzo-tints
+of the same period.</p>
+
+<div class="figleft" style="width: 221px;">
+<img src="images/grey018.jpg" width="221" height="300" alt="ILLUSTRATION FROM &quot;AT THE BACK OF THE NORTH WIND.&quot;    BY ARTHUR HUGHES (STRAHAN. 1869. NOW PUBLISHED BY BLACKIE AND SON)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;AT THE BACK OF THE NORTH WIND.&quot;    BY ARTHUR HUGHES (STRAHAN. 1869. NOW PUBLISHED BY BLACKIE AND SON)</span>
+</div>
+
+<p>Of works primarily intended for little people,
+an "Hieroglyphical Bible" for the amusement
+and instruction of the younger generation (1814)
+may be noted. This was a mixture of picture-puns
+and broken words, after the fashion of the
+dreary puzzles still published in snippet weeklies.
+It is a melancholy attempt to turn Bible texts to
+picture puzzles, a book permitted by the unco'
+guid to children on wet Sunday afternoons, as
+some younger members of large families, whose
+elder brothers' books yet lingered forty or even
+fifty years after publication, are able to endorse
+with vivid and depressed remembrance. Foxe's
+"Book of Martyrs" and Bunyan's "Pilgrim's Progress"
+are of the same type, and calculated to fill a
+nervous child with grim terrors, not lightened by
+Watts's "Divine and Moral Songs," that gloated
+on the dreadful hell to which sinful children were
+doomed, "with devils in darkness, fire and chains."
+But this painful side of the subject is not to be
+discussed here. Luckily the artists&mdash;except in
+the "grown-up" books referred to&mdash;disdained to
+enforce the terrors of Dr. Watts, and pictured less
+horrible themes.</p>
+
+<p>With Cruikshank we encounter almost the first
+glimpse of the modern ideal. His "Grimm's Fairy
+Tales" are delightful in themselves, and marvellous
+<ins title="Transcriber's Note: original reads 'n'">in</ins> comparison with all before, and no little after.</p>
+
+<div class="figright" style="width: 269px;">
+<img src="images/grey018a.jpg" width="269" height="400" alt="ILLUSTRATION FROM &quot;THE LITTLE WONDER HORN.&quot;
+BY J. MAHONEY
+(H. S. KING AND CO. 1872. GRIFFITH AND FARRAN. 1887)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE LITTLE WONDER HORN.&quot;
+BY J. MAHONEY
+(H. S. KING AND CO. 1872. GRIFFITH AND FARRAN. 1887)</span>
+</div>
+
+<p>These famous illustrations to the first selection
+of Grimm's "German Popular Stories" appeared
+in 1824, followed by a second series in 1826.
+Coming across this work after many days spent
+in hunting up children's books of the period,
+the designs flashed upon one as masterpieces, and
+for the first time seemed to justify the great popularity
+of Cruikshank. For their vigour and brilliant
+invention, their <i>diablerie</i> and true local colour, are
+amazing when contrasted with what had been previously.
+Wearied of the excessive eulogy bestowed
+upon Cruikshank's illustrations to Dickens, and
+unable to accept the artist as an illustrator of real
+characters in fiction, when he studies his elfish
+and other-worldly personages, the most grudging
+critic must needs yield a full tribute of praise.
+The volumes (published by Charles Tilt, of 82 Fleet
+Street) are extremely rare; for many years past
+the sale-room has recorded fancy prices for all
+Cruikshank's illustrations, so that a lover of
+modern art has been jealous to note the amount<span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span>
+paid for by many extremely poor pictures by this
+artist, when even original drawings for the masterpieces
+by later illustrators went for a song. In
+Mr. Temple Scott's indispensable "Book Sales of
+1896" we find the two volumes (1823-6) fetched
+&pound;12 12<i>s.</i></p>
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='left' valign='bottom'><small>&quot;IN NOOKS WITH BOOKS&quot;</small><br />
+<small>AN AUTO-LITHOGRAPH BY</small><br />
+<small>R. ANNING BELL</small></td><td align='left'><img src="images/grey018b.jpg" width="361" height="500" alt="&quot;IN NOOKS WITH BOOKS&quot;" title="" />
+</td></tr>
+</table></div>
+
+
+<p>These must not be confounded with Cruikshank's
+"Fairy Library" (1847-64), a series of
+small books in paper wrappers, now exceedingly
+rare, which are more distinctly prepared for juvenile
+readers. The illustrations to these do not rise above
+the level of their day, as did the earlier ones. But
+this is owing largely to the fact that the standard had
+risen far above its old average in the thirty years
+that had elapsed. Amid the mass of volumes
+illustrated by Cruikshank comparatively few are
+for juveniles; some of these are: "Grimm's
+Gammer Grethel"; "Peter Schlemihl" (1824);
+"Christmas Recreation" (1825); "Hans of Iceland"
+(1825); "German Popular Stories" (1823);
+"Robinson Crusoe" (1831);
+"The Brownies" (1870); "Loblie-by-the-Fire"
+(1874); "Tom
+Thumb" (1830); and "John
+Gilpin" (1828).</p>
+
+<div class="figleft" style="width: 351px;">
+<img src="images/grey019.jpg" width="351" height="500" alt="ILLUSTRATION FROM &quot;SPEAKING LIKENESSES.&quot;    BY ARTHUR HUGHES
+(MACMILLAN AND CO. 1874)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;SPEAKING LIKENESSES.&quot;    BY ARTHUR HUGHES
+<br />(MACMILLAN AND CO. 1874)</span>
+</div>
+
+<p>The works of Richard Doyle
+(1824-1883) enjoy in a lesser
+degree the sort of inflated popularity
+which has gathered around
+those of Cruikshank. With much
+spirit and pleasant invention,
+Doyle lacked academic skill, and
+often betrays considerable weakness,
+not merely in composition,
+but in invention. Yet the qualities
+which won him reputation are
+by no means despicable. He evidently
+felt the charm of fairyland,
+and peopled it with droll little
+folk who are neither too human
+nor too unreal to be attractive.
+He joined the staff of <i>Punch</i> when
+but nineteen, and soon, by his
+political cartoons, and his famous
+"Manners and Customs of y^e
+English drawn from y^e Quick,"
+became an established favourite.
+His design for the cover of
+<i>Punch</i> is one of his happiest
+inventions. So highly has he been
+esteemed that the National Gallery
+possesses one of his pictures,
+<i>The Triumphant Entry; a Fairy
+Pageant</i>. Children's books with
+his illustrations are numerous;
+perhaps the most important are
+"The Enchanted Crow" (1871),
+"Feast of Dwarfs" (1871), "Fortune's
+Favourite" (1871), "The
+Fairy Ring" (1845), "In Fairyland"
+(1870), "Merry Pictures"
+(1857), "Princess Nobody" (1884), "Mark
+Lemon's Fairy Tales" (1868), "A Juvenile
+Calendar" (1855), "Fairy Tales from all Nations"
+(1849), "Snow White and Rosy Red"
+(1871), Ruskin's "The King of the Golden
+River" (1884), Hughes's "Scouring of the White
+Horse" (1859), "Jack the Giant Killer" (1888),
+"Home for the Holidays" (1887), "The Whyte
+Fairy Book" (1893). The three last are, of
+course, posthumous publications.</p>
+
+<p>Still confining ourselves to the pre-Victorian
+period, although the works in question were popular
+several decades later, we find "Sandford and
+Merton" (first published in 1783, and constantly
+reprinted), "The Swiss Family Robinson," the
+beginning of "Peter Parley's Annals," and a vast
+number of other books with the same pseudonym
+appended, and a host of didactic works, a large
+number of which contained pictures of animals and
+other natural objects, more or less well drawn. But<span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span>
+the pictures in these are not of any great consequence,
+merely reflecting the average taste of the
+day, and very seldom designed from a child's point
+of view.</p>
+
+<div class="figright" style="width: 202px;">
+<img src="images/grey020.png" width="202" height="300" alt="ILLUSTRATION FROM &quot;UNDINE.&quot; BY SIR JOHN TENNIEL (JAMES BURNS. 1845)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;UNDINE.&quot; BY SIR JOHN TENNIEL (JAMES BURNS. 1845)</span>
+</div>
+
+<p>This very inadequate sketch of the books before
+1837 is not curtailed for want of material, but
+because, despite the enormous amount, very few
+show attempts to please the child; to warn, to
+exhort, or to educate are their chief aims. Occasionally
+a Bewick or an artist of real power is met
+with, but the bulk is not only dull, but of small artistic
+value. That the artist's name is rarely given must
+not be taken as a sign that only inept draughtsmen
+were employed, for in works of real importance
+up to and even beyond this date we often find his
+share ignored. After a time the engraver claims to
+be considered, and by degrees the designer is also
+recognised; yet for the most part illustration was
+looked upon merely as "jam" to conceal the pill.
+The old Puritan conception of art as vanity had
+something to do with this, no doubt; for adults
+often demand that their children shall obey a
+sterner rule of life than that which they accept
+themselves.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/grey020a.png" width="500" height="329" alt="ILLUSTRATION FROM &quot;ELLIOTT&#39;S NURSERY RHYMES&quot; BY W. J. WIEGAND (NOVELLO, 1870)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;ELLIOTT&#39;S NURSERY RHYMES&quot; BY W. J. WIEGAND <br />(NOVELLO, 1870)</span>
+</div>
+
+<p>Before passing on, it is as well to summarise
+this preamble and to discover how far children's
+books had improved when her Majesty came to
+the throne. The old woodcut, rough and ill-drawn,
+had been succeeded by the masterpieces of
+Bewick, and the respectable if dull achievements
+of his followers. In the better class of books
+were excellent designs by artists of some repute
+fairly well engraved. Colouring by hand, in a
+primitive fashion, was applied to these prints
+and to impressions from copperplates. A certain
+prettiness was the highest aim of most of
+the latter, and very few were designed only to
+amuse a child. It seems as if all concerned were
+bent on unbending themselves, careful to offer
+grains of truth to young minds with an occasional<span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span>
+terrible falsity of their attitude; indeed, its satire
+and profound analysis make it superfluous to reopen
+the subject. As one might expect, the literature,
+"genteel" and dull, naturally desired pictures
+in the same key. The art of even the better class
+of children's books was satisfied if it succeeded in
+being "genteel," or, as Miss Limpenny would say,
+"cumeelfo." Its ideal reached no higher, and
+sometimes stopped very far below that modest
+standard. This is the best (with the few exceptions
+already noted) one
+can say of pre-Victorian
+illustration for children.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/grey021.png" width="500" height="227" alt="ILLUSTRATION FROM &quot;ELLIOTT&#39;S NURSERY RHYMES&quot; BY H. STACY MARKS, R.A. (NOVELLO. 1870)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;ELLIOTT&#39;S NURSERY RHYMES&quot; BY H. STACY MARKS, R.A. (NOVELLO. 1870)</span>
+</div>
+
+<p>If there is one opinion
+deeply rooted in the
+minds of the comparatively
+few Britons who
+care for art, it is a distrust
+of "The Cole Gang
+of South Kensington;"
+and yet if there be one
+fact which confronts any
+student of the present
+revival of the applied
+arts, it is that sooner or
+later you come to its
+first experiments inspired
+or actually undertaken
+by Sir Henry Cole.
+Under the pseudonym
+of "Felix Summerley"
+we find that the originator
+of a hundred revivals
+of the applied arts, projected
+and issued a
+series of children's books
+which even to-day are
+decidedly worth praise.
+It is the fashion to trace
+everything to Mr. William
+Morris, but in illustrations
+for children as in
+a hundred others "Felix Summerley" was setting
+the ball rolling when Morris and the members of
+the famous firm were schoolboys.</p>
+
+<div class="figright" style="width: 410px;">
+<img src="images/grey021a.png" width="410" height="400" alt="ILLUSTRATION FROM &quot;THE WATER BABIES&quot; BY SIR R. NOEL PATON (MACMILLAN AND CO. 1863)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE WATER BABIES&quot; BY SIR R. NOEL PATON (MACMILLAN AND CO. 1863)</span>
+</div>
+
+
+<p>To quote from his own words: "During this
+period (<i>i.e.</i>, about 1844), my young children becoming
+numerous, their wants induced me to
+publish a rather long series of books, which constituted
+'Summerley's Home Treasury,' and I
+had the great pleasure of obtaining the welcome
+assistance of some of the first artists of the time in<span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span>
+illustrating them&mdash;Mulready, R.A., Cope, R.A., Horsley, R.A.,
+Redgrave, R.A., Webster, R.A., Linnell and his three sons, John,
+James, and William, H. J. Townsend, and others.... The
+preparation of these books gave me practical knowledge in the
+technicalities of the arts of type-printing, lithography, copper and
+steel-plate engraving and printing, and bookbinding in all its
+varieties in metal, wood, leather, &amp;c."</p>
+
+<p>Copies of the books in question appear to be very rare. It
+is doubtful if the omnivorous British Museum has swallowed a
+complete set; certainly at the Art Library of South Kensington
+Museum, where, if anywhere, we might expect to find Sir Henry
+Cole completely represented, many gaps occur.</p>
+<div class="figleft" style="width: 326px;">
+<img src="images/grey022a.png" width="326" height="400" alt="ILLUSTRATION FROM &quot;THE ROYAL UMBRELLA.&quot; BY LINLEY SAMBOURNE (GRIFFITH AND FARRAN. 1880)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE ROYAL UMBRELLA.&quot; BY LINLEY SAMBOURNE (GRIFFITH AND FARRAN. 1880)</span>
+</div>
+
+<p>How far Mr. Joseph Cundall, the publisher, should be awarded
+a share of the credit for the enterprise is not apparent, but his
+publications and writings, together with the books issued later
+by Cundall and Addey, are all marked with the new spirit,
+which so far as one can discover was working in many minds
+at this time, and manifested itself most conspicuously through
+the Pre-Raphaelites and their allies. This all took place, it
+must be remembered, long before 1851. We forget often that
+if that exhibition has any important place in the art history of
+Great Britain, it does but prove that much preliminary work had
+been already accomplished. You cannot exhibit what does not
+exist; you cannot even call into being "exhibition specimens"
+at a few months notice, if something of the same sort, worked for
+ordinary commerce, has not already been in progress for years
+previously.</p>
+
+<div class="figright" style="width: 184px;">
+<img src="images/grey022.png" width="184" height="450" alt="ILLUSTRATION FROM &quot;ON A PINCUSHION.&quot; BY WILLIAM DE MORGAN (SEELEY, JACKSON AND HALLIDAY. 1877)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;ON A PINCUSHION.&quot; BY WILLIAM DE MORGAN (SEELEY, JACKSON AND HALLIDAY. 1877)</span>
+</div>
+
+<p>Almost every book referred to has been examined anew
+for the purposes of this article. As a
+whole they might fail to impress a critic
+not peculiarly interested in the matter.
+But if he tries to project himself to the
+period that produced them, and realises
+fully the enormous importance of first
+efforts, he will not estimate grudgingly
+their intrinsic value, but be inclined to
+credit them with the good things they
+never dreamed of, as well as those they
+tried to realise and often failed to
+achieve. Here, without any prejudice
+for or against the South Kensington
+movement, it is but common justice to
+record Sir Henry Cole's share in the
+improvement of children's books;
+and later on his efforts on behalf of
+process engraving must also not be
+forgotten.</p>
+
+<p>To return to the books in question,
+some extracts from the original prospectus,
+which speaks of them as "purposed
+to cultivate the Affections, Fancy,<span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span>
+Imagination, and Taste of Children," are worth
+quotation:</p>
+
+<p>"The character of most children's books published
+during the last quarter of a century, is
+fairly typified in the name of Peter Parley, which
+the writers of some hundreds of them have assumed.
+The books themselves have been addressed after
+a narrow fashion, almost entirely to the cultivation
+of the understanding of children. The many tales
+sung or said from time to time immemorial, which
+appealed to the other, and certainly not less important
+elements of a little child's mind, its fancy,
+imagination, sympathies, affections, are almost all
+gone out of memory, and are scarcely to be
+obtained. 'Little Red Riding Hood,' and other
+fairy tales hallowed to children's use, are now
+turned into ribaldry as satires for men; as for the
+creation of a new fairy tale or touching ballad,
+such a thing is unheard of. That the influence of
+all this is hurtful to children, the conductor of this
+series firmly believes. He has practical experience
+of it every day in his own family, and he doubts
+not that there are many others who entertain the
+same opinions as himself. He purposes at least
+to give some evidence of his belief, and to produce
+a series of works, the character of which may be
+briefly described as anti-Peter Parleyism.</p>
+
+<div class="figleft" style="width: 368px;">
+<img src="images/grey023.png" width="368" height="500" alt="ILLUSTRATION FROM &quot;THE NECKLACE OF PRINCESS FIORIMONDE.&quot; BY WALTER CRANE (MACMILLAN AND CO. 1880)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE NECKLACE OF PRINCESS FIORIMONDE.&quot; <br />BY WALTER CRANE (MACMILLAN AND CO. 1880)</span>
+</div>
+
+<p>"Some will be new works, some new combinations
+of old materials, and some reprints carefully
+cleared of impurities, without deterioration to the
+points of the story. All will be illustrated, but
+not after the usual fashion of children's books, in
+which it seems to be assumed that the lowest kind
+of art is good enough to give first impressions to
+a child. In the present series, though the statement
+may perhaps excite a smile, the illustrations
+will be selected from the works of Raffaelle, Titian,
+Hans Holbein, and other old masters. Some of
+the best modern artists have kindly promised
+their aid in creating a taste for beauty in little
+children." Did space permit, a selection from the
+reviews of the chief literary papers that welcomed
+the new venture would be instructive.
+There we should find
+that even the most cautious
+critic, always "hedging" and
+playing for safety, felt compelled
+to accord a certain
+amount of praise to the new
+enterprise.</p>
+
+<p>It is true that "Felix Summerley"
+created only one type
+of the modern book. Possibly
+the "stories turned into
+satires" to which he alludes are
+the entirely amusing volumes
+by F. H. Bayley, the author of
+"A New Tale of a Tub." As
+it happened that these volumes
+were my delight as a small boy,
+possibly I am unduly fond of
+them; but it seems to me that
+their humour&mdash;<i>&agrave; la</i> Ingoldsby,
+it is true&mdash;and their exuberantly
+comic drawings, reveal the first
+glimpses of lighter literature
+addressed specially to children,
+that long after found its masterpieces
+in the "Crane" and
+"Greenaway" and "Caldecott"
+Toy Books, in "Alice in Wonderland,"
+and in a dozen other
+treasured volumes, which are
+now classics. The chief claim
+for the Home Treasury series
+to be considered as the advance
+guard of our present sumptuous
+volumes, rests not so much
+upon the quality of their designs
+or the brightness of their literature.
+Their chief importance
+is that in each of them we find<span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span>
+for the first time that the externals of a child's
+book are most carefully considered. Its type is
+well chosen, the proportions of its page are
+evidently studied, its binding, even its end-papers,
+show that some one person was doing his best
+to attain perfection. It is this conscious effort,
+whatever it actually realised, which distinguishes
+the result from all before.</p>
+
+<p>It is evident that the series&mdash;the Home
+Treasury&mdash;took itself seriously. Its purpose was
+Art with a capital A&mdash;a discovery, be it noted, of
+this period. Sir Henry Cole, in a footnote to the
+very page whence the quotation above was extracted,
+discusses the first use of "Art" as an adjective
+denoting the <i>Fine</i> Arts.</p>
+
+<div class="figright" style="width: 375px;">
+<img src="images/grey024.jpg" width="375" height="600" alt="ILLUSTRATION FROM &quot;HOUSEHOLD STORIES FROM GRIMM.&quot; BY WALTER CRANE (MACMILLAN AND CO. 1882)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;HOUSEHOLD STORIES FROM GRIMM.&quot; BY WALTER CRANE (MACMILLAN AND CO. 1882)</span>
+</div>
+
+<p>Here it is more than ever difficult to keep to
+the thread of this discourse. All that South
+Kensington did and failed to do, the &aelig;sthetic
+movement of the eighties, the new gospel of artistic
+salvation by Liberty fabrics and De Morgan tiles,
+the erratic changes of fashion in taste, the collapse
+of Gothic architecture, the triumph of Queen
+Anne, and the Arts and Crafts movement of the
+nineties&mdash;in short, all the story of Art in the last
+fifty years, from the new Law Courts to the Tate
+Gallery, from Felix Summerley to a Hollyer photograph,
+from the introduction
+of glyptography to the pictures
+in the <i>Daily Chronicle</i>,
+demand notice. But the door
+must be shut on the turbulent
+throng, and only children's
+books allowed to pass through.</p>
+
+<p>The publications by "Felix
+Summerley," according to the
+list in "Fifty Years of Public
+Work," by Sir Henry Cole,
+K.C.B. (Bell, 1884), include:
+"Holbein's Bible Events,"
+eight pictures, coloured by
+Mr. Linnell's sons, 4<i>s.</i> 6<i>d.</i>;
+"Raffaelle's Bible Events,"
+six pictures from the Loggia,
+drawn on stone by Mr. Linnell's
+children and coloured
+by them, 5<i>s.</i> 6<i>d.</i>; "Albert
+D&uuml;rer's Bible Events," six
+pictures from D&uuml;rer's "Small
+Passion," coloured by the
+brothers Linnell; "Traditional
+Nursery Songs," containing
+eight pictures; "The
+Beggars coming to Town," by
+C. W. Cope, R.A.; "By, O
+my Baby!" by R. Redgrave,
+R.A.; "Mother Hubbard,"
+by T. Webster, R.A.; "1,
+2, 3, 4, 5," "Sleepy Head,"
+"Up in a Basket," "Cat
+asleep by the Fire," by John
+Linnell, 4<i>s.</i> 6<i>d.</i>, coloured;
+"The Ballad of Sir Hornbook,"
+by Thos. Love Peacock,
+with eight pictures by
+H. Corbould, coloured, 4<i>s.</i> 6<i>d.</i>
+(A book with the same title,
+also described as a "grammatico-allegorical
+ballad," was
+published by N. Haites in
+1818.) "Chevy Chase," with
+music and four pictures by
+Frederick Tayler, President
+of the Water-Colour Society,
+coloured, 4<i>s.</i> 6<i>d.</i>; "Puck's<span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span>
+Reports to Oberon";
+Four new Fa&euml;ry Tales:
+"The Sisters," "Golden
+Locks," "Grumble and
+Cherry," "Arts and
+Arms," by C. A. Cole,
+with six pictures by J.
+H. Townsend, R. Redgrave,
+R.A., J. C. Horsley,
+R.A., C. W. Cope,
+R.A., and F. Tayler;
+"Little Red Riding
+Hood," with four pictures
+by Thos. Webster,
+coloured, 3<i>s.</i> 6<i>d.</i>;
+"Beauty and the Beast,"
+with four pictures by
+J. C. Horsley, R.A.,
+coloured, 3<i>s.</i> 6<i>d.</i>; "Jack
+and the Bean Stalk,"
+with four pictures by C.
+W. Cope, R.A., coloured,
+3<i>s.</i> 6<i>d.</i>; "Cinderella,"
+with four pictures by E.
+H. Wehnert, coloured,
+3<i>s.</i> 6<i>d.</i>; "Jack the Giant
+Killer," with four pictures
+by C. W. Cope,
+coloured, 3<i>s.</i> 6<i>d.</i>; "The
+Home Treasury Primer,"
+printed in colours, with
+drawing on zinc, by W.
+Mulready, R.A.; "Alphabets
+of Quadrupeds,"
+selected from the
+works of Paul Potter,
+Karl du Jardin, Teniers,
+Stoop, Rembrandt, &amp;c.,
+and drawn from nature;
+"The Pleasant History
+of Reynard the Fox,"
+with forty of the fifty-seven
+etchings made by
+Everdingen in 1752,
+coloured, 31<i>s.</i> 6<i>d.</i>; "A
+Century of Fables," with
+pictures by the old
+masters.</p>
+<div class="figleft" style="width: 362px;">
+<img src="images/grey025.jpg" width="362" height="525" alt="ILLUSTRATION FROM &quot;A WONDER BOOK FOR GIRLS AND BOYS.&quot; BY WALTER CRANE (OSGOOD, MCILVAINE AND CO. 1892)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;A WONDER BOOK FOR GIRLS AND BOYS.&quot; BY WALTER CRANE (OSGOOD, MCILVAINE AND CO. 1892)</span>
+</div>
+<p>To this list should be added&mdash;if it is not by "Felix
+Summerley," it is evidently conceived by the same
+spirit and published also by Cundall&mdash;"Gammer
+Gurton's Garland," by Ambrose Merton, with
+illustrations by T. Webster and others. This
+was also issued as a series of sixpenny books, of
+which Mr. Elkin Mathews owns a nearly complete
+set, in their original covers of gold and coloured
+paper.</p>
+
+
+
+<p>It would be very easy to over-estimate the intrinsic
+merit of these books, but when you consider
+them as pioneers it would be hard to over-rate
+the importance of the new departure. To
+enlist the talent of the most popular artists of
+the period, and produce volumes printed in the
+best style of the Chiswick Press, with bindings
+and end-papers specially designed, and the
+whole "get up" of the book carefully considered,
+was certainly a bold innovation in the early forties.
+That it failed to be a profitable venture one may
+deduce from the fact that the "Felix Summerley"
+series did not run to many volumes, and that the
+firm who published them, after several changes,
+seems to have expired, or more possibly was incorporated
+with some other venture. The books
+themselves are forgotten by most booksellers to-day,<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span>
+as I have discovered from many fruitless
+demands for copies.</p>
+
+<p>The little square pamphlets by F. H. Bayley,
+to which allusion has already been made, include
+"Blue Beard;" "Robinson Crusoe," and "Red
+Riding Hood," all published about 1845-6.</p>
+
+<div class="figleft" style="width: 173px;">
+<img src="images/grey026.png" width="173" height="250" alt="ILLUSTRATION FROM &quot;THE QUEEN OF THE PIRATE ISLE.&quot; BY KATE GREENAWAY (EDMUND EVANS. 1887)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE QUEEN OF THE PIRATE ISLE.&quot; BY KATE GREENAWAY (EDMUND EVANS. 1887)</span>
+</div>
+
+<p>Whether "The Sleeping Beauty," then announced
+as in preparation, was published, I do not know.
+Their rhyming chronicle in the style of the "Ingoldsby
+Legends" is neatly turned, and the topical
+allusions, although out of date now, are not sufficiently
+frequent to make it unintelligible. The
+pictures (possibly by Alfred Crowquill) are conceived
+in a spirit of burlesque, and are full of ingenious
+conceits and no little grim vigour. The
+design of Robinson Crusoe roosting in a tree&mdash;</p>
+
+<div class='poem'>
+And so he climbs up a very tall tree,<br />
+And fixes himself to his comfort and glee,<br />
+Hung up from the end of a branch by his breech,<br />
+Quite out of all mischievous quadrupeds' reach.<br />
+A position not perfectly easy 't is true,<br />
+But yet at the same time consoling and new&mdash;<br />
+</div>
+
+<div class='unindent'>reproduced on <a href="#Page_13">p. 13</a>, shows the wilder humour of the
+illustrations. Another of Blue Beard, and one of
+the wolf suffering from undigested grandmother,
+are also given. They need no comment, except
+to note that in the originals, printed on a coloured
+tint with the high lights left white, the ferocity of
+Blue Beard is greatly heightened. The wolf, "as
+he lay there brimful of grandmother and guilt,"
+is one of the best of the smaller pictures in the text.</div>
+
+<p>Other noteworthy books which appeared about
+this date are Mrs. Felix Summerley's "Mother's
+Primer," illustrated by W. M[ulready?], Longmans,
+1843; "Little Princess," by Mrs. John Slater,
+1843, with six charming lithographs by J. C.
+Horsley, R.A. (one of which is reproduced on
+<a href="#Page_11">p. 11</a>); the "Honey Stew," of the Countess
+Bertha Jeremiah How, 1846, with coloured plates
+by Harrison Weir; "Early Days of English
+Princes," with capital illustrations by John Franklin;
+and a series of Pleasant Books for Young Children,
+6<i>d.</i> plain and 1<i>s.</i> coloured, published by Cundall
+and Addey.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/grey026a.png" width="500" height="241" alt="ILLUSTRATION FROM &quot;LITTLE FOLKS&quot; BY KATE GREENAWAY (CASSELL AND CO.)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;LITTLE FOLKS&quot; BY KATE GREENAWAY (CASSELL AND CO.)</span>
+</div>
+
+<p>In 1846 appeared a translation of De La Motte
+Fouqu&eacute;'s romances, "Undine" being illustrated
+by John Tenniel, jun., and the following volumes
+by J. Franklin, H. C. Selous, and other artists.
+The Tenniel designs, as the frontispiece reproduced
+on <a href="#Page_20">p. 20</a> shows clearly, are interesting both in
+themselves and as the earliest published work of
+the famous <i>Punch</i> cartoonist. The strong German
+influence they show is also apparent in nearly all
+the decorations. "The Juvenile Verse and<span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span>
+Picture Book" (1848), also contains designs by
+Tenniel, and others by W. B. Scott and Sir
+John Gilbert. The ideal they established is
+maintained more or less closely for a long period.
+"Songs for Children" (W. S. Orr, 1850); "Young
+England's Little Library" (1851); Mrs. S. C.
+Hall's "Number One," with pictures by John
+Absolon (1854); "Stories about Dogs," with
+"plates by Thomas Landseer" (Bogue, <i>c.</i> 1850);
+"The Three Bears," illustrated by Absolon and
+Harrison Weir (Addey and Co., no date); "Nursery
+Poetry" (Bell and Daldy, 1859), may be noted as
+typical examples of this period.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/grey027.jpg" width="500" height="431" alt="ILLUSTRATION FROM &quot;THE PIED PIPER OF HAMELIN&quot; BY KATE GREENAWAY (EDMUND EVANS)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE PIED PIPER OF HAMELIN&quot; BY KATE GREENAWAY (EDMUND EVANS)</span>
+</div>
+
+<p>In "Granny's Story Box" (Piper, Stephenson,
+and Spence, about 1855), a most delicious collection
+of fairy tales illustrated by J. Knight, we
+find the author in his preface protesting against
+the opinion of a supposititious old lady who
+"thought all fairy tales were abolished years ago
+by Peter Parley and the <i>Penny Magazine</i>." These
+fanciful stories deserve to be republished, for they
+are not old-fashioned, even if their pictures are.</p>
+
+<p>To what date certain delightfully printed little
+volumes, issued by Tabart and Co., 157 Bond
+Street, may be ascribed I know not&mdash;probably
+some years before the time we are considering,
+but they must not be overlooked. The title of
+one, "Mince Pies for Christmas," suggests that
+it is not very far before, for the legend of Christmas
+festivities had not long been revived for popular
+use.</p>
+
+<p>"The Little Lychetts," by the author of "John
+Halifax," illustrated by Henry Warren, President
+of the New Society of Painters in Water-Colours
+(now the R.I.) is remarkable for the extremely
+uncomely type of children it depicts; yet that its
+charm is still vivid, despite its "severe" illustrations,
+you have but to lend it to a child to be
+convinced quickly.</p>
+
+<p>"Jack's Holiday," by Albert Smith (undated),
+suggests a new field of research which might lead
+us astray, as Smith's humour is more often
+addressed primarily to adults. Indeed, the
+effort to make this chronicle even representative,<span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span>
+much less exhaustive, breaks down in the fifties,
+when so much good yet not very exhilarating
+material is to be found in every publisher's list.
+John Leech in "The Silver Swan" of Mdme. de
+Chatelaine; Charles Keene in "The Adventures
+of Dick Bolero" (Darton, no date), and "Robinson
+Crusoe" (drawn upon for illustration here),
+and others of the <i>Punch</i> artists, should find their
+works duly catalogued even in this hasty sketch;
+but space compels scant justice to many artists of
+the period, yet if the most popular are left unnoticed
+such omission will more easily right itself
+to any reader interested in the subject.</p>
+
+<p>Many show influences of the Gothic revival which
+was then in the air, but only those which have
+some idea of book decoration as opposed to inserted
+pictures. For a certain "formal" ornamentation
+of the page was in fashion in the "forties"
+and "fifties," even as it is to-day.</p>
+
+<div class="figleft" style="width: 361px;">
+<img src="images/grey028.jpg" width="361" height="500" alt="ILLUSTRATION FROM &quot;CAPE TOWN DICKY&quot; BY ALICE HAVERS (C. W. FAULKNER AND CO.)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;CAPE TOWN DICKY&quot; BY ALICE HAVERS <br />(C. W. FAULKNER AND CO.)</span>
+</div>
+
+<p>To the artists named as representative of this
+period one must not forget to add Mr. Birket Foster,
+who devoted many of his felicitous studies of
+English pastoral life to the adornment of children's
+books. But speaking broadly of the period from
+the Queen's Accession to 1865, except that the
+subjects are of a sort supposed to appeal to young
+minds, their conception differs in no way from the
+work of the same artists in ordinary literature. The
+vignettes of scenery have childish instead of grown-up
+figures in the foregrounds; the historical or
+legendary figures are as seriously depicted in the
+one class of books as in the other. Humour is
+conspicuous by its absence&mdash;or, to be more accurate,
+the humour is more often in the accompanying
+anecdote than in the
+picture. Probably if the
+authorship of hundreds of
+the illustrations of "Peter
+Parley's Annuals" and
+other books of this period
+could be traced, artists as
+famous as Charles Keene
+might be found to have
+contributed. But, owing
+to the mediocre wood-engraving
+employed, or to
+the poor printing, the
+pictures are singularly unattractive.
+As a rule, they
+are unsigned and appear
+to be often mere pot-boilers&mdash;some
+no doubt
+intentionally disowned by
+the designer&mdash;others the
+work of 'prentice hands
+who afterwards became
+famous. Above all they
+are, essentially, illustrations
+to children's books
+only because they
+chanced to be printed
+therein, and have sometimes
+done duty in
+"grown-up" books first.
+Hence, whatever their
+artistic merits, they do not
+appeal to a student of our
+present subject. They are
+accidentally present in
+books for children, but
+essentially they belong to
+ordinary illustrations.</p>
+
+<p>Indeed, speaking generally,
+the time between
+"Felix Summerley" and
+<i>Walter Crane</i>, which saw
+two Great Exhibitions and
+witnessed many advances<span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span>
+in popular illustration, was too much occupied
+with catering for adults to be specially interested
+in juveniles. Hence, notwithstanding the names of
+"illustrious illustrators" to be found on their title-pages,
+no great injustice will be done if we leave
+this period and pass on to that which succeeded
+it. For the Great Exhibition fostered the idea that
+a smattering of knowledge of a thousand and one
+subjects was good. Hence the chastened gaiety
+of its mildly technical science, its popular manuals
+by Dr. Dionysius Lardner, and its return in another
+form to the earlier ideal that amusement should be
+combined with instruction. All sorts of attempts
+were initiated to make Astronomy palatable to
+babies, Botany an amusing game for children, Conchology
+a parlour pastime, and so on through the
+alphabet of sciences down to Zoology, which is
+never out of favour with little ones, even if its pictures
+be accompanied by a dull encylop&aelig;dia of fact.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/grey029.jpg" width="500" height="329" alt="ILLUSTRATION FROM &quot;THE WHITE SWANS&quot; BY ALICE HAVERS (By permission of Mr. Albert Hildesheimer)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE WHITE SWANS&quot; BY ALICE HAVERS (By permission of Mr. Albert Hildesheimer)</span>
+</div>
+
+<p>Therefore, except so far as the work of certain
+illustrators, hereafter noticed, touches this period, we
+may leave it; not because it is unworthy of most
+serious attention, for in Sir John Gilbert, Birket
+Foster, Harrison Weir, and the rest, we have men
+to reckon with whenever a chronicle of English
+illustration is in question, but only because they
+did not often feel disposed to make their work
+merely amusing. In saying this it is not suggested
+that they should have tried to be always
+humorous or archaic, still less to bring down their
+talent to the supposed level of a child; but only
+to record the fact that they did not. For instance,
+Sir John Gilbert's spirited compositions to a "Boy's
+Book of Ballads" (Bell and Daldy) as you see them
+mixed with other of the master's work in the reference
+scrap-books of the publishers, do not at once
+separate themselves from the rest as "juvenile"
+pictures.</p>
+
+<p>Nor as we approach the year 1855 (of the
+"Music Master"), and 1857 (when the famous
+edition of Tennyson's Poems began a series of
+superbly illustrated books), do we find any immediate
+change in the illustration of children's
+books. The solitary example of Sir Edward
+Burne-Jones's efforts in this direction, in the
+frontispiece and title-page to Maclaren's "The
+Fairy Family" (Longmans, 1857), does not affect
+this statement. But soon after, as the school of
+Walker and Pinwell became popular, there is a
+change in books of all sorts, and Millais and
+Arthur Hughes, two of the three illustrators of
+the notable "Music Master," come into our list of
+children's artists. At this point the attempt to
+weave a chronicle of children's books somewhat in
+the date of their publication must give way to a
+desultory notice of the most prominent illustrators.<span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span>
+For we have come to the beginning
+of to-day rather than the end of
+yesterday, and can regard the "sixties"
+onwards as part of the present.</p>
+<div class="figleft" style="width: 300px;">
+<img src="images/grey030a.png" width="300" height="250" alt="ILLUSTRATION FROM &quot;THE RED FAIRY BOOK.&quot; BY LANCELOT SPEED (LONGMANS, GREEN AND CO.)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE RED FAIRY BOOK.&quot; BY LANCELOT SPEED (LONGMANS, GREEN AND CO.)</span>
+</div>
+
+<p>It is true that the Millais of the
+wonderful designs to "The Parables"
+more often drew pictures of
+children than of children's pet
+themes, but all the same they are
+entirely lovable, and appeal equally
+to children of all ages. But his
+work in this field is scanty; nearly
+all will be found in "Little Songs
+for me to Sing" (Cassell), or in
+"Lilliput Levee" (1867), and these
+latter had appeared previously in
+<i>Good Words</i>. Of Arthur Hughes's
+work we will speak later.</p>
+
+
+<p>Another artist whose work bulks
+large in our subject&mdash;Arthur Boyd
+Houghton&mdash;soon appears in sight,
+and whether he depicted babies at
+play as in "Home Thoughts and
+Home Scenes," a book of thirty-five
+pictures of little people, or imagined
+the scenes of stories dear to them in
+"The Arabian Nights," or books
+like "Ernie Elton" or "The Boy
+Pilgrims," written especially for them, in each
+he succeeded in winning their hearts, as every one
+must admit who chanced in childhood to possess
+his work. So much has been printed lately of
+the artist and his work, that here a bare reference
+will suffice.</p>
+
+<div class="figcenter" style="width: 424px;">
+<img src="images/grey030.jpg" width="424" height="400" alt="ILLUSTRATION FROM &quot;THE RED FAIRY BOOK.&quot; BY LANCELOT SPEED (LONGMANS, GREEN AND CO.)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE RED FAIRY BOOK.&quot; BY LANCELOT SPEED (LONGMANS, GREEN AND CO.)</span>
+</div>
+<div class="figleft" style="width: 366px;">
+<img src="images/grey031a.png" width="366" height="400" alt="ILLUSTRATION FROM &quot;THE RED FAIRY BOOK.&quot; BY LANCELOT SPEED
+(LONGMANS, GREEN AND CO.)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE RED FAIRY BOOK.&quot; BY LANCELOT SPEED
+(LONGMANS, GREEN AND CO.)</span>
+</div>
+
+<p>Arthur Hughes, whose work belongs to many of
+the periods touched upon in this rambling
+chronicle, may be called <i>the</i> children's "black-and-white"
+artist of the "sixties" (taking the date
+broadly as comprising the earlier "seventies"
+also), even as Walter Crane is their "limner in
+colours." His work is evidently conceived with
+the serious make-believe that is the very essence
+of a child's imagination. He seems to put down
+on paper the very spirit of fancy. Whether as an
+artist he is fully entitled to the rank
+some of his admirers (of whom I
+am one) would claim, is a question
+not worth raising here&mdash;the future
+will settle that for us. But as a children's
+illustrator he is surely illustrator-in-chief
+to the Queen of the
+Fairies, and to a whole generation of
+readers of "Tom Brown's Schooldays"
+also. His contributions
+to "Good Words for the Young"
+would alone entitle him to high
+eminence. In addition to these,
+which include many stories perhaps
+better known in book form,
+such as: "The Boy in Grey" (H.
+Kingsley), George Macdonald's
+"At the Back of the North Wind,"
+"The Princess and the Goblin,"
+"Ranald Bannerman's Boyhood,"
+"Gutta-Percha Willie" (these four
+were published by Strahan, and
+now may be obtained in reprints
+issued by Messrs. Blackie), and
+"Lilliput Lectures" (a book of<span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span>
+essays for children by Matthew
+Browne), we find him as sole
+illustrator of Christina Rossetti's
+"Sing Song," "Five Days' Entertainment
+at Wentworth Grange,"
+"Dealings with the Fairies," by
+George Macdonald (a very scarce
+volume nowadays), and the chief
+contributor to the first illustrated
+edition of "Tom Brown's Schooldays."
+In Novello's "National
+Nursery Rhymes" are also several
+of his designs.</p>
+
+
+<p>This list, which occupies so small
+a space, represents several hundred
+designs, all treated in a manner
+which is decorative (although it
+eschews the D&uuml;rer line), but marked
+by strong "colour." Indeed, Mr.
+Hughes's technique is all his own,
+and if hard pressed one might own
+that in certain respects it is not
+impeccable. But if his textures
+are not sufficiently differentiated,
+or even if his drawing appears careless
+at times&mdash;both charges not to
+be admitted without vigorous protest&mdash;granting
+the opponent's view for the moment,
+it would be impossible to find the same peculiar
+tenderness and na&iuml;ve fancy in the work of any
+other artist. His invention seems inexhaustible
+and his composition singularly
+fertile: he can create "bogeys" as
+well as "fairies."</p>
+
+<div class="figright" style="width: 300px;">
+<img src="images/grey031.png" width="300" height="281" alt="ILLUSTRATION FROM &quot;DOWN THE SNOW STAIRS.&quot; BY GORDON
+BROWNE (BLACKIE AND SON)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;DOWN THE SNOW STAIRS.&quot; BY GORDON
+BROWNE (BLACKIE AND SON)</span>
+</div>
+
+<p>It is true that his children are
+related to the sexless idealised race
+of Sir Edward Burne-Jones's heroes
+and heroines; they are purged of
+earthy taint, and idealised perhaps
+a shade too far. They adopt attitudes
+graceful if not realistic, they
+have always a grave serenity of
+expression; and yet withal they
+endear themselves in a way wholly
+their own. It is strange that a
+period which has bestowed so much
+appreciation on the work of the
+artists of "the sixties" has seen
+no knight-errant with "Arthur
+Hughes" inscribed on his banner&mdash;no
+exhibition of his black-and-white
+work, no craze in auction-rooms
+for first editions of books he
+illustrated. He has, however, a
+steady if limited band of very
+faithful devotees, and perhaps&mdash;so
+inconsistent are we all&mdash;they love
+his work all the better because the
+blast of popularity has not trumpeted
+its merits to all and sundry.</p>
+
+<p>Three artists, often coupled together&mdash;Walter
+Crane, Randolph
+Caldecott, and Kate Greenaway&mdash;have<span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span>
+really little in common, except that they
+all designed books for children which were published
+about the same period. For Walter Crane
+is the serious apostle of art for the nursery, who
+strove to beautify its ideal, to decorate its legends
+with a real knowledge of architecture and costume,
+and to "mount" the fairy stories with a certain
+arch&aelig;ological splendour, as Sir Henry Irving has set
+himself to mount Shakespearean drama. Caldecott
+was a fine literary artist, who was able to express
+himself with rare facility in pictures in place of
+words, so that his comments upon a simple text
+reveal endless subtleties of thought. Indeed, he
+continued to make a fairly logical sequence of
+incidents out of the famous nonsense paragraph
+invented to confound mnemonics by its absolute
+irrelevancy. Miss Greenaway's charm lies in the
+fact that she first recognised quaintness in what
+had been considered merely "old fashion," and
+continued to infuse it with a glamour that made it
+appear picturesque. Had she dressed her figures
+in contemporary costume most probably her work
+would have taken its place with the average, and
+never obtained more than common popularity.</p>
+
+<div class="figleft" style="width: 324px;">
+<img src="images/grey032.png" width="324" height="500" alt="ILLUSTRATION FROM &quot;ROBINSON CRUSOE&quot; BY GORDON BROWNE
+
+(BLACKIE AND SON)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;ROBINSON CRUSOE&quot; BY GORDON BROWNE
+<br />
+(BLACKIE AND SON)</span>
+</div>
+
+<p>But Mr. Walter Crane is almost unique in his
+profound sympathy with the fantasies he imagines.
+There is no trace of make-believe in his designs.
+On the contrary, he makes the old legends become
+vital, not because of the personalities he bestows
+on his heroes and fairy princesses&mdash;his people
+move often in a rapt ecstasy&mdash;but because the
+adjuncts of his <i>mise-en-sc&egrave;nes</i> are realised intimately.
+His prince is much more the typical hero
+than any particular person; his fair ladies might
+exchange places, and few would
+notice the difference; but when
+it comes to the environment,
+the real incidents of the story,
+then no one has more fully
+grasped both the dramatic force
+and the local colour. If his
+people are not peculiarly alive,
+they are in harmony with the
+re-edified cities and woods that
+sprang up under his pencil. He
+does not bestow the hoary touch
+of antiquity on his medi&aelig;val
+buildings; they are all new and
+comely, in better taste probably
+than the actual buildings, but
+not more idealised than are his
+people. He is the true artist of
+fairyland, because he recognises
+its practical possibilities, and yet
+does not lose the glamour which
+was never on sea or land. No
+artist could give more cultured
+notions of fairyland. In his
+work the vulgar glories of a pantomime
+are replaced by well-conceived
+splendour; the tawdry
+adjuncts of a throne-room, as represented
+in a theatre, are ignored.
+Temples and palaces of the early
+Renaissance, filled with graceful&mdash;perhaps
+a shade too suave&mdash;figures,
+embody all the charm of
+the impossible country, with
+none of the sordid drawbacks
+that are common to real life. In
+modern dress, as in his pictures
+to many of Mrs. Molesworth's
+stories, there is a certain unlikeness
+to life as we know it, which
+does not detract from the effect
+of the design; but while this is
+perhaps distracting in stories of<span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span>
+contemporary life, it is a very<span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span>
+real advantage in those of folk-lore, which have
+no actual date, and are therefore unafraid of
+anachronisms of any kind. The spirit of his work
+is, as it should be, intensely serious, yet the conceits
+which are showered upon it exactly harmonise
+with the mood of most of the stories that have
+attracted his pencil. Grimm's "Household Stories,"
+as he pictured them, are a lasting joy. The "Bluebeard"
+and "Jack and the Beanstalk" toy books,
+the "Princess Belle Etoile," and a dozen others
+are nursery classics, and classics also of the other
+nursery where children of a larger growth take
+their pleasure.</p>
+
+<div class="figcenter" style="width: 350px;">
+<img src="images/grey033.jpg" width="350" height="500" alt="ILLUSTRATION FROM &quot;ROBINSON CRUSOE.&quot; BY WILL PAGET. (CASSELL AND CO.)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;ROBINSON CRUSOE.&quot;<br />BY WILL PAGET.<br />(CASSELL AND CO.)</span>
+</div>
+
+<p>Without a shade of disrespect towards all the
+other artists represented in this special number,
+had it been devoted solely to Mr. Walter Crane's
+designs, it would have been as interesting in every
+respect. There is probably not a single illustrator
+here mentioned who would not endorse such
+a statement. For as a maker of children's books,
+no one ever attempted the task he fulfilled so
+gaily, and no one since has beaten him on his
+own ground. Even Mr. Howard Pyle, his most
+worthy rival, has given us no wealth of colour-prints.
+So that the famous toy books still retain
+their well-merited position as the most delightful
+books for the nursery and the studio, equally
+beloved by babies and artists.</p>
+
+<div class="figleft" style="width: 391px;">
+<img src="images/grey034.png" width="391" height="500" alt="ILLUSTRATION FROM &quot;ENGLISH FAIRY TALES&quot; BY J. D. BATTEN (DAVID NUTT)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;ENGLISH FAIRY TALES&quot; BY J. D. BATTEN (DAVID NUTT)</span>
+</div>
+
+<p>Although a complete iconography of Mr. Walter
+Crane's work has not yet been made, the following
+list of such of his
+children's books as I
+have been able to
+trace may be worth
+printing for the
+benefit of those who
+have not access to
+the British Museum;
+where, by the way,
+many are not included
+in that section
+of its catalogue devoted
+to "Crane,
+Walter."</p>
+
+
+<p>The famous series
+of toy books by Walter
+Crane include:
+"The Railroad A B
+C," "The Farmyard
+A B C," "Sing a
+Song of Sixpence,"
+"The Waddling
+Frog," "The Old
+Courtier," "Multiplication
+in Verse,"
+"Chattering Jack,"
+"How Jessie was
+Lost," "Grammar in
+Rhyme," "Annie and
+Jack in London,"
+"One, Two, Buckle
+my Shoe," "The
+Fairy Ship," "Adventures
+of Puffy,"
+"This Little Pig
+went to Market,"
+"King Luckieboy's
+Party," "Noah's Ark
+Alphabet," "My
+Mother," "The
+Forty Thieves,"
+"The Three Bears,"
+"Cinderella," "Valentine
+and Orson,"
+"Puss in Boots,"
+"Old Mother Hubbard,"<span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span>
+"The Absurd A B C," "Little Red
+Riding Hood," "Jack and the Beanstalk," "Blue
+Beard," "Baby's Own Alphabet," "The Sleeping
+Beauty." All these were published at sixpence.
+A larger series at one shilling includes: "The
+Frog Prince," "Goody Two Shoes," "Beauty and
+the Beast," "Alphabet of Old Friends," "The
+Yellow Dwarf," "Aladdin," "The Hind in the
+Wood," and "Princess Belle Etoile." All these
+were published from 1873 onwards by Routledge,
+and printed in colours by Edmund Evans.</p>
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='left' valign='bottom'>&quot;SO LIGHT OF FOOT, SO<br />LIGHT OF SPIRIT.&quot; BY <br />CHARLES ROBINSON</td><td align='left'><img src="images/color034.jpg" width="378" height="600" alt="&quot;SO LIGHT OF FOOT, SO LIGHT OF SPIRIT.&quot; BY CHARLES ROBINSON" title="" />
+</td></tr>
+</table></div>
+
+<div class="figleft" style="width: 343px;">
+<img src="images/grey035.png" width="343" height="500" alt="ILLUSTRATION FROM &quot;ENGLISH FAIRY TALES.&quot; BY J. D. BATTEN
+(DAVID NUTT)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;ENGLISH FAIRY TALES.&quot; BY J. D. BATTEN
+<br />(DAVID NUTT)</span>
+</div>
+
+<p>A small quarto series Routledge published at five
+shillings includes: "The Baby's Opera," "The
+Baby's Bouquet," "The Baby's Own &AElig;sop."
+Another and larger quarto, "Flora's Feast" (1889),
+and "Queen Summer" (1891), were both published
+by Cassells, who issued also "Legends for
+Lionel" (1887). "Pan Pipes," an oblong folio
+with music was issued by Routledge. Messrs.
+Marcus Ward produced "Slate and Pencilvania,"
+"Pothooks and Perseverance," "Romance of the
+Three Rs," "Little Queen Anne"
+(1885-6), Hawthorne's "A Wonder
+Book," first published in
+America, is a quarto volume with
+elaborate designs in colour; and
+"The Golden Primer" (1884), two
+vols., by Professor Meiklejohn
+(Blackwood) is, like all the above,
+in colour.</p>
+
+<p>Of a series of stories by Mrs.
+Molesworth the following volumes
+are illustrated by Mr. Crane:&mdash;"A
+Christmas Posy" (1888),
+"Carrots" (1876), "A Christmas
+Child" (1886), "Christmas-tree
+Land" (1884), "The Cuckoo
+Clock" (1877), "Four Winds
+Farm" (1887), "Grandmother
+Dear" (1878), "Herr Baby"
+(1881), "Little Miss Peggy"
+(1887), "The Rectory Children"
+(1889), "Rosy" (1882), "The
+Tapestry Room" (1879), "Tell
+me a Story," "Two Little Waifs,"
+"Us" (1885), and "Children of
+the Castle" (1890). Earlier in
+date are "Stories from Memel"
+(1864), "Stories of Old," "Children's
+Sayings" (1861), two series,
+"Poor Match" (1861), "The
+Merry Heart," with eight coloured
+plates (Cassell); "King Gab's
+Story Bag" (Cassell), "Magic of
+Kindness" (1869), "Queen of the
+Tournament," "History of Poor
+Match," "Our Uncle's Old Home"
+(1872), "Sunny Days" (1871),
+"The Turtle Dove's Nest" (1890).
+Later come "The Necklace of
+Princess Fiorimonde" (1880), the
+famous edition of Grimm's "Household Stories"
+(1882), both published by Macmillan, and C. C.
+Harrison's "Folk and Fairy Tales" (1885),
+"The Happy Prince" (Nutt, 1888). Of these
+the "Grimm" and "Fiorimonde" are perhaps
+two of the most important illustrated books noted
+in these pages.</p>
+
+<div class="figcenter" style="width: 274px;">
+<img src="images/grey036.png" width="274" height="300" alt="ILLUSTRATION FROM &quot;THE WONDER CLOCK.&quot; BY HOWARD PYLE
+(HARPER AND BROTHERS)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE WONDER CLOCK.&quot; BY HOWARD PYLE
+<br />(HARPER AND BROTHERS)</span>
+</div>
+
+<div class="figright" style="width: 279px;">
+<img src="images/grey036a.png" width="279" height="297" alt="ILLUSTRATION FROM &quot;THE WONDER CLOCK.&quot; BY HOWARD PYLE
+(HARPER AND BROTHERS)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE WONDER CLOCK.&quot; BY HOWARD PYLE
+<br />(HARPER AND BROTHERS)</span>
+</div>
+
+<p>Randolph Caldecott founded a school that still
+retains fresh hold of the British public. But with
+all respect to his most loyal disciple, Mr. Hugh
+Thomson, one doubts if any successor has equalled
+the master in the peculiar subtlety of his pictured
+comment upon the bare text. You have but to
+turn to any of his toy books to see that at times
+each word, almost each syllable, inspired its own
+picture; and that the artist not only conceived
+the scene which the text called into being, but each
+successive step before and after the reported
+incident itself. In "The House that Jack Built,"
+"This is the Rat that Ate the Malt" supplies a
+subject for five pictures. First the owner carrying<span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span>
+in the malt, next the rat driven
+away by the man, then the rat
+peeping up into the deserted room,
+next the rat studying a placard
+upside down inscribed "four
+measures of malt," and finally, the
+gorged animal sitting upon an
+empty measure. So "This is the
+Cat that Killed the Rat" is expanded
+into five pictures. The
+dog has four, the cat three, and
+the rest of the story is amplified
+with its secondary incidents duly
+sought and depicted. This literary
+expression is possibly the most
+marked characteristic of a facile
+and able draughtsman. He studied
+his subject as no one else ever
+studied it&mdash;he must have played
+with it, dreamed of it, worried it
+night and day, until he knew it ten
+times better than its author. Then
+he portrayed it simply and with
+irresistible vigour, with a fine
+economy of line and colour; when
+colour is added, it is mainly as a
+gay convention, and not closely
+imitative of nature. The sixteen
+toy books which bear his name are
+too well known to make a list of
+their titles necessary. A few other
+children's books&mdash;"What the
+Blackbird Said" (Routledge,
+1881), "Jackanapes," "Lob-lie-by-the-Fire,"
+"Daddy Darwin's
+Dovecot," all by Mrs. Ewing
+(S.P.C.K.), "Baron Bruno" (Macmillan),
+"Some of &AElig;sop's Fables"
+(Macmillan), and one or two others,
+are of secondary importance from
+our point of view here.</p>
+
+
+<div class="figcenter" style="width: 358px;">
+<img src="images/grey037.png" width="358" height="500" alt="ILLUSTRATION FROM
+&quot;THE WONDER CLOCK.&quot;
+BY HOWARD PYLE
+
+(HARPER AND BROTHERS. 1894)" title="" />
+<span class="caption">ILLUSTRATION FROM<br />
+&quot;THE WONDER CLOCK.&quot;<br />
+BY HOWARD PYLE<br />
+(HARPER AND BROTHERS. 1894)</span></div>
+<div class="figleft" style="width: 372px;">
+<img src="images/grey038.png" width="372" height="400" alt="ILLUSTRATION FROM &quot;THE WONDER CLOCK.&quot; BY HOWARD PYLE. (HARPER AND BROTHERS)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE WONDER CLOCK.&quot; BY HOWARD PYLE. (HARPER AND BROTHERS)</span>
+</div>
+
+<p>It is no overt dispraise to say
+of Miss Kate Greenaway that few
+artists made so great a reputation
+in so small a field. Inspired by
+the children's books of 1820 (as a
+reference to a design, "Paths of
+Learning," reproduced on <a href="#Page_9">p. 9</a>
+will show), and with a curious
+na&iuml;vety that was even more unconcerned
+in its dramatic effect
+than were the "missal marge" pictures
+of the illuminators, by her
+simple presentation of the childishness
+of childhood she won all
+hearts. Her little people are the
+<i>beau-id&eacute;al</i> of nursery propriety&mdash;clean,<span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span>
+good-tempered, happy small<span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span>
+gentlefolk. For, though they
+assume peasants' garb, they never
+betray boorish manners. Their
+very abandon is only that of nice
+little people in play-hours, and in
+their wildest play the penalties
+that await torn knickerbockers or
+soiled frocks are not absent from
+their minds. Whether they really
+interested children as they delighted
+their elders is a moot point.
+The verdict of many modern children
+is unanimous in praise, and
+possibly because they represented
+the ideal every properly educated
+child is supposed to cherish. The
+slight taint of priggishness which
+occasionally is there did not reveal
+itself to a child's eye. Miss Greenaway's
+art, however, is not one to
+analyse but to enjoy. That she is
+a most careful and painstaking
+worker is a fact, but one that would
+not in itself suffice to arouse one's
+praise. The absence of effort
+which makes her work look happy
+and without effort is not its least
+charm. Her gay yet "cultured"
+colour, her appreciation of green
+chairs and formal gardens, all came
+at the right time. The houses by
+a Norman Shaw found a Morris
+and a Liberty ready with furniture
+and fabrics, and all sorts of manufacturers
+devoting themselves to
+the production of pleasant objects,
+to fill them; and for its drawing-room
+tables Miss Greenaway produced
+books that were in the same
+key. But as the architecture and
+the fittings, at their best, proved to
+be no passing whim, but the germ
+of a style, so her illustration is
+not a trifling sport, but a very real,
+if small, item in the history of the
+evolution of picture-books. Good
+taste is the prominent feature of her
+work, and good taste, if out of
+fashion for a time, always returns,
+and is treasured by future generations,
+no matter whether it be in
+accord with the expression of the
+hour or distinctly archaic. Time
+is a very stringent critic, and much
+that passed as tolerably good taste
+when it fell in with the fashion,
+looks hopelessly vulgar when the
+tide of popularity has retreated.<span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span>
+Miss Greenaway's work appears as refined ten
+years after its "boom," as it did when it was at
+the flood. That in itself is perhaps an evidence
+of its lasting power; for ten or a dozen years
+impart a certain shabby and worn aspect that has
+no flavour of the antique as a saving virtue to
+atone for its shortcomings.</p>
+
+<div class="figright" style="width: 387px;">
+<img src="images/grey038a.png" width="387" height="400" alt="ILLUSTRATION FROM &quot;THE WONDER CLOCK.&quot; BY HOWARD PYLE. (HARPER AND BROTHERS)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE WONDER CLOCK.&quot; BY HOWARD PYLE. (HARPER AND BROTHERS)</span>
+</div>
+
+
+<p>It seems almost superfluous to give a list of the
+principal books by Miss Kate Greenaway, yet
+for the convenience of collectors the names of
+the most noteworthy volumes may be set down.
+Those with coloured plates are: "A, Apple Pie"
+(1886), "Alphabet" (1885), "Almanacs" (from
+1882 yearly), "Birthday Book" (1880), "Book
+of Games" (1889), "A Day in a Child's Life"
+(1885), "King Pepito" (1889), "Language of
+Flowers" (1884), "Little Ann" (1883), "Marigold
+Garden" (1885), "Mavor's Spelling Book"
+(1885), "Mother Goose" (1886), "The Pied
+Piper of Hamelin" (1889), "Painting Books"
+(1879 and 1885), "Queen Victoria's Jubilee Garland"
+(1887), "Queen of the Pirate Isle" (1886),
+"Under the Window" (1879). Others with
+black-and-white illustrations include "Child of
+the Parsonage" (1874), "Fairy Gifts" (1875),
+"Seven Birthdays" (1876), "Starlight Stories"
+(1877), "Topo" (1878), "Dame Wiggins of Lee"
+(Allen, 1885), "Stories from the Eddas" (1883).</p>
+
+<p>Many designs, some in colour, are to be found
+in volumes of <i>Little Folks</i>, <i>Little Wideawake</i>, <i>Every
+Girl's Magazine</i>, <i>Girl's Own Paper</i>, and elsewhere.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/grey039.png" width="500" height="489" alt="ILLUSTRATION FROM &quot;CHILDREN&#39;S SINGING GAMES&quot; BY WINIFRED SMITH (DAVID NUTT. 1894)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;CHILDREN&#39;S SINGING GAMES&quot; BY WINIFRED SMITH (DAVID NUTT. 1894)</span>
+</div>
+
+<p>The art of Miss Greenaway is part of the legend of<span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span>
+the &aelig;sthetic craze, and while its storks and sunflowers
+have faded, and some of its eccentricities are
+forgotten, the quaint little pictures on Christmas
+cards, in toy books, and elsewhere, are safely installed
+as items of the art product of the century.
+Indeed, many a popular Royal Academy picture
+is likely to be forgotten before the illustrations
+from her hand. <i>Bric-&agrave;-brac</i> they were, but more
+than that, for they gave infinite pleasure to thousands
+of children of all ages, and if they do not
+rise up and call her blessed, they retain a very
+warm memory of one who gave them so much
+innocent pleasure.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/grey040.png" width="500" height="257" alt="ILLUSTRATION FROM &quot;UNDINE&quot; BY HEYWOOD SUMNER (CHAPMAN AND HALL)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;UNDINE&quot; BY HEYWOOD SUMNER (CHAPMAN AND HALL)</span>
+</div>
+
+<div class="figleft" style="width: 400px;">
+<img src="images/grey040a.png" width="400" height="341" alt="ILLUSTRATION FROM &quot;THE RED FAIRY BOOK&quot; BY L. SPEED (LONGMANS, GREEN AND CO. 1895)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE RED FAIRY BOOK&quot; BY L. SPEED (LONGMANS, GREEN AND CO. 1895)</span>
+</div>
+
+<p>Sir John Tenniel's illustrations, beginning as
+they do with "Undine" (1845), already mentioned,
+include others in volumes for young people
+that need not be quoted. But with his designs
+for "Alice in Wonderland" (Macmillan, 1866),
+and "Through the Looking Glass" (1872), we
+touch <i>the</i> two most notable children's books of
+the century. To say less would be inadequate
+and to say more needless. For every one knows
+the incomparable inventions which
+"Lewis Carroll" imagined and
+Sir John Tenniel depicted. They
+are veritable classics, of which, as
+it is too late to praise them, no
+more need be said.</p>
+
+<p>Certain coloured picture books
+by J. E. Rogers were greeted with
+extravagant eulogy at the time
+they appeared "in the seventies."
+"Worthy to be hung at the Academy
+beside the best pictures of
+Millais or Sandys," one fatuous
+critic observed. Looking over
+their pages again, it seems strange
+that their very weak drawing and
+crude colour could have satisfied
+people familiar with Mr. Walter
+Crane's masterly work in a not
+dissimiliar style. "Ridicula Rediviva"
+and "Mores Ridiculi" (both
+Macmillan), were illustrations of
+nursery rhymes. To "The Fairy
+Book" (1870), a selection of old
+stories re-told by the author of
+"John Halifax," Mr. Rogers contributed<span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span>
+many full pages in colour, and also to Mr.
+F. C. Burnand's "Present Pastimes of Merrie England"
+(1872). They are interesting as documents,
+but not as art; for their lack of academic knowledge
+is not counterbalanced by peculiar "feeling" or
+ingenious conceit. They are merely attempts to
+do again what Mr. H. S. Marks had done better
+previously. It seems ungrateful to condemn books
+that but for renewed acquaintance might have kept
+the glamour of the past; and yet, realising how
+much feeble effort has been praised since it was
+"only for children," it is impossible to keep silence
+when the truth is so evident.</p>
+
+<div class="figright" style="width: 336px;">
+<img src="images/grey041.png" width="336" height="500" alt="ILLUSTRATION FROM &quot;KATAWAMPUS&quot; BY ARCHIE MACGREGOR (DAVID NUTT)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;KATAWAMPUS&quot; BY ARCHIE MACGREGOR (DAVID NUTT)</span>
+</div>
+
+<p>Alfred Crowquill most probably contributed all
+the pictures to "Robinson Crusoe," "Blue Beard,"
+and "Red Riding Hood" told in rhyme by
+F. W. N. Bayley, which have been noticed among
+his books of the "forties." One of the full pages,
+which appear to be lithographs, is clearly signed.
+He also illustrated the adventures of "Master Tyll
+Owlglass," an edition of "Baron Munchausen,"
+"Picture Fables," "The Careless Chicken,"
+"Funny Leaves for the
+Younger Branches,"
+"Laugh and Grow
+Thin," and a host of
+other volumes. Yet
+the pictures in these,
+amusing as they are
+in their way, do not
+seem likely to attract
+an audience again at
+any future time.</p>
+
+<p>E. V. B., initials
+which stand for the
+Hon. Mrs. Boyle, are
+found on many volumes
+of the past
+twenty-five years which
+have enjoyed a special
+reputation. Certainly
+her drawings, if at
+times showing much
+of the amateur, have
+also a curious
+"quality," which accounts
+for the very
+high praise they have
+won from critics of
+some standing. "The
+Story without an End,"
+"Child's Play" (1858),
+"The New Child's
+Play," "The Magic
+Valley," "Andersen
+Fairy Tales" (Low,
+1882), "Beauty and
+the Beast" (a quarto
+with colour-prints by
+Leighton Bros.), are
+the most important.
+Looking at them
+dispassionately now,
+there is yet a trace of
+some of the charm
+that provoked applause
+a little more
+than they deserve.</p>
+
+<p>In British art this
+curious fascination
+exerted by the amateur
+is always confronting<span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span>
+us. The work of E. V. B. has great qualities, yet any
+pupil of a board school would draw better. Nevertheless
+it pleases more than academic technique of
+high merit that lacks just that one quality which, for
+want of a better word, we call "culture." In the
+designs by Louisa, Marchioness of Waterford, one
+encounters genius with absolutely faltering technique;
+and many who know how rare is the
+slightest touch of genius, forgive the equally
+important mastery of material which must accompany
+it to produce work of lasting value.</p>
+
+<div class="figleft" style="width: 234px;">
+<img src="images/grey042.png" width="234" height="400" alt="ILLUSTRATION FROM &quot;THE SLEEPING BEAUTY.&quot;
+BY R. ANNING BELL (DENT AND CO.)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE SLEEPING BEAUTY.&quot;
+BY R. ANNING BELL (DENT AND CO.)</span>
+</div>
+
+<p>Mr. H. S. Marks designed two nursery books
+for Messrs. Routledge, and contributed to many
+others, including J. W. Elliott's "National Nursery
+Rhymes" (Novello), whence our illustration has
+been taken. Two series of picture books containing
+medi&aelig;val figures with gold background, by J.
+Moyr Smith, if somewhat lacking in the qualities
+which appeal to children, may have played a good
+part in educating them to admire conventional flat
+treatment, with a decorative purpose that was
+unusual in the "seventies," when most of them
+appeared.</p>
+
+<p>In later years, Miss Alice Havers in "The White
+Swans," and "Cape Town Dicky" (Hildesheimer),
+and many lady artists of less conspicuous ability, have
+done a quantity of graceful and elaborate pictures
+<i>of</i> children rather than <i>for</i> children. The art of
+this later period shows better drawing, better
+colour, better composition than had been the
+popular average before; but it generally lacks
+humour, and a certain vivacity of expression which
+children appreciate.</p>
+<div class="figright" style="width: 223px;">
+<img src="images/grey042a.png" width="223" height="400" alt="ILLUSTRATION FROM &quot;FAIRY GIFTS.&quot;
+BY H. GRANVILLE FELL (DENT AND CO.)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;FAIRY GIFTS.&quot;
+BY H. GRANVILLE FELL (DENT AND CO.)</span>
+</div>
+<p>In the "sixties" and "seventies" were many illustrators
+of children's books who left no great mark
+except on the memories of those who were young
+enough at the time to enjoy their work thoroughly,
+if not very critically. Among these may be placed
+William Brunton, who illustrated several of the
+Right Hon. G. Knatchbull-Hugessen's fairy stories,
+"Tales at Tea Time" for instance, and was
+frequent among the illustrators of Hood's Annuals.
+Charles H. Ross (at one time editor of <i>Judy</i>) and
+creator of "Ally Sloper," the British Punchinello,
+produced at least one memorable book for children.
+"Queens and Kings and other Things," a
+folio volume printed in gold and colour, with
+nonsense rhymes and pictures, almost as funny
+as those of Edward Lear himself. "The Boy
+Crusoe," and many other books of somewhat
+ephemeral character are his, and Routledge's
+"Every Boy's Magazine" contains many of his
+designs. Just as these pages are being corrected
+the news of his death is announced.<br /><br /><br /><br /><br /></p>
+
+<p><span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span></p>
+
+<div class="figcenter" style="width: 329px;">
+<img src="images/grey043.png" width="329" height="500" alt="ILLUSTRATION FROM &quot;A BOOK OF NURSERY SONGS AND RHYMES&quot; BY MARY J. NEWILL (METHUEN AND CO. 1895)" title="" />
+<span class="caption">ILLUSTRATION FROM<br />&quot;A BOOK OF NURSERY<br />SONGS AND RHYMES&quot;<br />BY MARY J. NEWILL <br /><small>(METHUEN AND CO. 1895)</small></span>
+</div><p><span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span></p>
+
+<p>Others, like George Du Maurier, so rarely
+touched the subject that they can hardly be
+regarded as wholly belonging to our theme. Yet
+"Misunderstood," by Florence Montgomery (1879),
+illustrated by Du Maurier, is too popular to leave
+unnoticed. Mr. A. W. Bayes, who has deservedly
+won fame in other fields, illustrated "Andersen's
+Tales" (Warne, 1865), probably his earliest work,
+as a contemporary review speaks of the admirable
+designs "by an artist whose name is new
+to us."</p>
+
+<div class="figleft" style="width: 328px;">
+<img src="images/grey044.png" width="328" height="497" alt="ILLUSTRATION FROM &quot;THE ELF-ERRANT&quot; BY W. E. F. BRITTEN (LAWRENCE AND BULLEN. 1895)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE ELF-ERRANT&quot; BY W. E. F. BRITTEN (LAWRENCE AND BULLEN. 1895)</span>
+</div>
+
+<p>It is a matter for surprise and regret that Mr.
+Howard Pyle's illustrated books are not as well
+known in England as they deserve to be. And
+this is the more vexing when you find that any one
+with artistic sympathy is completely converted to
+be a staunch admirer of Mr. Pyle's work by a
+sight of "The Wonder Clock," a portly quarto,
+published by Harper Brothers in 1894. It seems
+to be the only book conceived in purely D&uuml;reresque
+line, which can be placed in rivalry with
+Mr. Walter Crane's illustrated "Grimm," and wise
+people will be only too delighted to admire both
+without attempting to compare them. Mr. Pyle
+is evidently influenced by D&uuml;rer&mdash;with a strong
+trace of Rossetti&mdash;but he carries both influences
+easily, and betrays a strong personality throughout
+all the designs. The "Merry Adventures of
+Robin Hood" and
+"Otto of the Silver Hand"
+are two others of about
+the same period, and the
+delightful volume collected
+from <i>Harper's Young
+People</i> for the most part,
+entitled "Pepper and
+Salt," may be placed with
+them. All the illustrations
+to these are in pure
+line, and have the appearance
+of being drawn not
+greatly in excess of the
+reproduced size. Of all
+these books Mr. Howard
+Pyle is author as well as
+illustrator.</p>
+
+<p>Of late he has changed
+his manner in line, showing
+at times, especially in
+"Twilight Land" (Osgood,
+McIlvaine, 1896),
+the influence of Vierge,
+but even in that book the
+frontispiece and many
+other designs keep to his
+earlier manner.</p>
+
+<p>In "The Garden behind
+the Moon" (issued
+in London by Messrs.
+Lawrence and Bullen) the
+chief drawings are entirely
+in wash, and yet are singularly
+decorative in their
+effect. The "Story of
+Jack Bannister's Fortunes"
+shows the artist's
+"colonial" style, "Men
+of Iron," "A Modern
+Aladdin," Oliver Wendell
+Holmes' "One-Horse
+Shay," are other fairly
+recent volumes. His illustrations
+have not been<span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span>
+confined to his own stories
+as "In the Valley," by<span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span>
+Harold Frederic, "Stops of Various
+Quills" (poems by W. D. Howells),
+go to prove.</p>
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="Illustrations from Sinbad and Ali Baba">
+<tr><td align='left'><div class="figcenter" style="width: 364px;">
+<img src="images/grey045a.png" width="364" height="500" alt="ILLUSTRATION FROM &quot;SINBAD THE SAILOR&quot;       BY WILLIAM STRANG (LAWRENCE AND BULLEN. 1896)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;SINBAD THE SAILOR&quot;       BY WILLIAM STRANG (LAWRENCE AND BULLEN. 1896)</span>
+</div>
+</td><td align='left'><div class="figcenter" style="width: 352px;">
+<img src="images/grey045b.png" width="352" height="500" alt="ILLUSTRATION FROM &quot;ALI BABA&quot; BY J. B. CLARK (LAWRENCE AND BULLEN. 1896)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;ALI BABA&quot; BY J. B. CLARK (LAWRENCE AND BULLEN. 1896)</span>
+</div>
+</td></tr>
+</table></div>
+
+
+<p>It is strange that Mr. Heywood
+Sumner, who, as his notable "Fitzroy
+Pictures" would alone suffice
+to prove, is peculiarly well equipped
+for the illustration of children's
+books, has done but few, and of these
+none are in colour. "Cinderella"
+(1882), rhymes by H. S. Leigh, set
+to music by J. Farmer, contains very
+pleasant decoration by Mr. Sumner.
+Next comes "Sintram" (1883), a
+notable edition of De la Motte
+Fouqu&eacute;'s romance, followed by
+"Undine" (in 1885). With a book
+on the "Parables," by A.L.O.E.,
+published about 1884; "The Besom
+Maker" (1880), a volume of country
+ditties with the old music, and
+"Jacob and the Raven," with thirty-nine
+illustrations (Allen, 1896), the
+best example of his later manner, and
+a book which all admirers of the more
+severe order of "decorative illustration"
+will do well to preserve, the
+list is complete. Whether a certain
+austerity of line has made publishers
+timid, or whether the artist has declined
+commissions, the fact remains
+that the literature of the nursery has
+not yet had its full share from Mr.
+Heywood Sumner. Luckily, if its
+shelves are the less full, its walls are
+gayer by the many Fitzroy pictures
+he has made so effectively, which
+readers of <span class="smcap">The Studio</span> have seen
+reproduced from time to time in these pages.</p>
+
+<p>Mr. H. J. Ford's work occupies so much space
+in the library of a modern child, that it seems less
+necessary to discuss it at length here, for he is
+found either alone or co-operating with Mr.
+Jacomb Hood and Mr. Lancelot Speed, in each of
+the nine volumes of fairy tales and true stories
+(Blue, Red, Green, Yellow, Pink, and the rest),
+edited by Mr. Andrew Lang, and published by
+Longmans. More than that, at the Fine Art
+Society in May 1895, Mr. Ford exhibited seventy-one
+original drawings, chiefly those for the "Yellow
+Fairy Book," so that his work is not only
+familiar to the inmates of the nursery, but to
+modern critics who disdain mere printed pictures
+and care for nothing but autograph work. Certainly
+his designs have often lost much by their
+great reduction, for many of the originals were
+almost as large as four of these pages. His work
+is full of imagination, full of detail; perhaps at
+times a little overcrowded, to the extent of confusion.
+But children are not averse from a picture
+that requires much careful inspection to reveal all
+its story; and Mr. Ford's accessories all help to
+reiterate the main theme. As these eight volumes
+have an average of 100 pictures in each, and Mr.
+Ford has designed the majority, it is evident that,
+although his work is almost entirely confined to
+one series, it takes a very prominent place in
+current juvenile literature. That he must by this
+time have established his position as a prime
+favourite with the small people goes without saying.</p>
+
+<div class="figright" style="width: 359px;">
+<img src="images/grey046.png" width="359" height="500" alt="ILLUSTRATION FROM &quot;THE FLAME FLOWER.&quot; BY J. F. SULLIVAN (DENT AND CO. 1896)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE FLAME FLOWER.&quot; BY J. F. SULLIVAN (DENT AND CO. 1896)</span>
+</div>
+
+<p>Mr. Leslie Brooke has also a long catalogue of
+notable work in this class. For since Mr. Walter
+Crane ceased to illustrate the long series of Mrs.
+Molesworth's stories, he has carried on the
+record. "Sheila's Mystery," "The Carved Lions,"
+"Mary," "My New Home," "Nurse Heathcote's
+Story," "The Girls and I," "The Oriel Window,"
+and "Miss Mouse and her Boys" (all Macmillan),
+are the titles of these books to which he has
+contributed. A very charming frontispiece and
+title to John Oliver Hobbs' "Prince Toto,"
+which appeared in "The Parade," must not be
+forgotten. The most fanciful of his designs are
+undoubtedly the hundred illustrations to Mr.<span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span>
+Andrew Lang's delightful collection of "Nursery
+Rhymes," just published by F. Warne &amp; Co. These
+reveal a store of humour that the less boisterous
+fun of Mrs. Molesworth had denied him the
+opportunity of expressing.</p>
+
+<p>Mr. C. E. Brock, whose delightful compositions,
+somewhat in the "Hugh Thomson" manner, embellish
+several volumes of Messrs. Macmillan's
+Cranford series, has illustrated also "The Parachute,"
+and "English Fairy and Folk Tales," by
+E. S. Hartland (1893), and also supplied two
+pictures to that most fascinating volume prized by
+all lovers of children, "W. V., Her Book," by
+W. Canton. Perhaps "Westward Ho!" should
+also be included in this list, for whatever its first
+intentions, it has long been annexed by bolder
+spirits in the nursery.</p>
+
+<p>A. B. Frost, by his cosmopolitan
+fun, "understanded of all
+people," has probably aroused
+more hearty laughs by his inimitable
+books than even Caldecott
+himself. "Stuff and
+Nonsense," and "The Bull
+Calf," T. B. Aldrich's "Story of
+a Bad Boy," and many another
+volume of American origin, that
+is now familiar to every Briton
+with a sense of humour, are the
+most widely known. It is needless
+to praise the literally inimitable
+humour of the tragic series
+"Our Cat took Rat Poison."
+In Lewis Carroll's "Rhyme?
+and Reason?" (1883), Mr. Frost
+shared with Henry Holiday the
+task of illustrating a larger
+edition of the book first published
+under the title of "Phantasmagoria"
+(1869); he illustrated
+also "A Tangled Tale"
+(1886), by the same author, and
+this is perhaps the only volume
+of British origin of which he is
+sole artist. Mr. Henry Holiday
+was responsible for the classic
+pictures to "The Hunting of the
+Snark" by Lewis Carroll (1876).</p>
+
+<p>Mr. R. Anning Bell does not
+appear to have illustrated many
+books for children. Of these,
+the two which introduced Mr.
+Dent's "Banbury Cross" series
+are no doubt the best known.
+In fact, to describe "Jack the
+Giant Killer" and the "Sleeping
+Beauty" in these pages
+would be an insult to "subscribers
+from the first." A
+story, "White Poppies," by May
+Kendall, which ran through
+<i>Sylvia's Journal</i>, is a little too grown-up to be included;
+nor can the "Heroines of the Poets,"
+which appeared in the same place, be dragged in
+to augment the scanty list, any more than the
+"Midsummer Night's Dream" or "<ins title="Transcriber's Note: original reads 'Keat's'">Keats's</ins> Poems."
+It is singular that the fancy of Mr. Anning Bell,
+which seems exactly calculated to attract a child
+and its parent at the same time, has not been
+more frequently requisitioned for this purpose. In
+the two "Banbury Cross" volumes there is evidence
+of real sympathy with the text, which is by no
+means as usual in pictures to fairy tales as it
+should be; and a delightfully harmonious sense of
+decoration rare in any book, and still more rare in
+those expressly designed for small people.</p>
+
+<div class="figleft" style="width: 334px;">
+<img src="images/grey047.png" width="334" height="500" alt="ILLUSTRATION FROM &quot;RED APPLE AND SILVER BELLS.&quot; BY ALICE B. WOODWARD. (BLACKIE AND SON. 1897) " title="" />
+<span class="caption">ILLUSTRATION FROM &quot;RED APPLE AND SILVER BELLS.&quot; BY ALICE B. WOODWARD. (BLACKIE AND SON. 1897) </span>
+</div>
+
+<p>The amazing number of Mr. Gordon Browne's
+illustrations leaves a would-be iconographer<span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span>
+appalled. So many thousand designs&mdash;and all so
+good&mdash;deserve a lengthened and exhaustive eulogy.
+But space absolutely forbids it, and as a large number
+cater for older children than most of the books
+here noticed, on that ground one may be forgiven
+the inadequate notice. If an illustrator deserved
+to attract the attention of collectors it is surely
+this one, and so fertile has he been that a complete
+set of all his work would take no little time to
+get together. Here are the titles of a few
+jotted at random: "Bonnie Prince Charlie," "For
+Freedom's Cause," "St. George for England,"
+"Orange and Green," "With Clive in India,"
+"With Wolfe in Canada," "True to the Old Flag,"
+"By Sheer Pluck," "Held Fast for England,"
+"For Name and Fame," "With Lee in Virginia,"
+"Facing Death," "Devon Boys," "Nat the
+Naturalist," "Bunyip Land," "The Lion of St.
+Mark," "Under Drake's Flag," "The Golden
+Magnet," "The Log of the Flying Fish," "In the
+King's Name," "Margery Merton's Girlhood,"
+"Down the Snow Stairs," "Stories of Old Renown,"
+"Seven Wise Scholars," "Chirp and
+Chatter," "Gulliver's Travels," "Robinson
+Crusoe," "Hetty Gray," "A Golden Age," "Muir
+Fenwick's Failure," "Winnie's Secret" (all so far
+are published by Blackie and Son). "National
+Nursery Rhymes," "Fairy Tales from Grimm,"
+"Sintram, and Undine," "Sweetheart Travellers,"
+"Five, Ten and Fifteen," "Gilly Flower," "Prince
+Boohoo," "A Sister's Bye-hours," "Jim," and "A
+Flock of Four," are all published by Gardner,
+Darton &amp; Co., and "Effie," by Griffith &amp; Farran.
+When one realises that not a few of these books
+contain a hundred illustrations, and that the list is
+almost entirely from two publishers' catalogues,
+some idea of the fecundity of Mr. Gordon Browne's
+output is gained. But only a vague idea, as his
+"Shakespeare," with hundreds of drawings and a
+whole host of other books, cannot be even mentioned.
+It is sufficient to name but one&mdash;say the example
+from "Robinson Crusoe" (Blackie), reproduced on
+page 32&mdash;to realise Mr. Gordon Browne's vivid and
+picturesque interpretation of fact, or "Down the
+Snow Stairs" (Blackie), also illustrated, with a
+grotesque owl-like creature, to find that in pure
+fantasy his exuberant imagination is no less equal
+to the task. In "Chirp and Chatter" (Blackie),
+fifty-four illustrations of animals masquerading as
+human show delicious humour. At times his
+technique appears somewhat hasty, but, as a rule,
+the method he adopts is as good as the composition
+he depicts. He is in his own way the
+leader of juvenile illustration of the non-D&uuml;rer
+school.</p>
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="Illustrations form Katawampus and To Tell the King the Sky is Falling">
+<tr><td align='left'><div class="figleft" style="width: 303px;">
+<img src="images/grey048a.png" width="303" height="400" alt="ILLUSTRATION FROM &quot;KATAWAMPUS.&quot; BY ARCHIE MACGREGOR. (DAVID NUTT)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;KATAWAMPUS.&quot; BY ARCHIE MACGREGOR. (DAVID NUTT)</span>
+</div></td><td align='left'><div class="figright" style="width: 202px;">
+<img src="images/grey048.png" width="202" height="400" alt="ILLUSTRATION FROM &quot;TO TELL THE KING THE SKY IS FALLING.&quot; BY ALICE WOODWARD (BLACKIE AND SON. 1896)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;TO TELL THE KING THE SKY IS FALLING.&quot; BY ALICE WOODWARD (BLACKIE AND SON. 1896)</span>
+</div></td></tr>
+</table></div>
+
+
+<p><span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span></p>
+
+
+<p>Mr. Harry Furniss's coloured toy-books&mdash;"Romps"&mdash;are
+too well known to need description,
+and many another juvenile volume owes its
+attraction to his facile pencil. Of these, the two
+later "Lewis Caroll's"&mdash;"Sylvia and Bruno," and
+"Sylvia and Bruno, Concluded," are perhaps most
+important. As a curious narrative, "Travels in the
+Interior" (of a human body) must not be forgotten.
+It certainly called forth much ingenuity on the part
+of the artist. In "Romps," and in all his work
+for children, there is an irrepressible sense of
+movement and of exuberant vitality in his figures;
+but, all the same, they are more like Fred Walker's
+idyllic youngsters having romps than like real
+everyday children.</p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/grey049.png" width="500" height="337" alt="ILLUSTRATION FROM &quot;RUSSIAN FAIRY TALES&quot; BY C. M. GERE (LAWRENCE AND BULLEN. 1893)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;RUSSIAN FAIRY TALES&quot; BY C. M. GERE (LAWRENCE AND BULLEN. 1893)</span>
+</div>
+
+<p>Mr. Linley Sambourne's most ingenious pen has
+been all too seldom employed on children's books.
+Indeed, one that comes first to memory, the "New
+Sandford and Merton" (1872), is hardly entitled to
+be classed among them, but the travesty of the
+somewhat pedantic narrative, interspersed with
+fairly amusing anecdotes, that Thomas Day published
+in 1783, is superb. No matter how familiar
+it may be, it is simply impossible to avoid laughing
+anew at the smug little Harry, the sanctimonious
+tutor, or the naughty Tommy, as Mr. Sambourne
+has realised them. The "Anecdotes of the Crocodile"
+and "The Presumptuous Dentist" are no
+less good. The way he has turned a prosaic hat-rack
+into an instrument of torture would alone mark
+Mr. Sambourne as a comic draughtsman of the
+highest type. Nothing he has done in political
+cartoons seems so likely to live as these burlesques.
+A little known book, "The Royal Umbrella"
+(1888), which contains the delightful "Cat Gardeners"
+here reproduced, and the very well-known
+edition of Charles Kingsley's "Water Babies"
+(1886), are two other volumes which well display
+his moods of less unrestrained humour. "The
+Real Robinson Crusoe" (1893) and Lord Brabourne's
+(Knatchbull-Hugessen's) "Friends and
+Foes of Fairyland" (1886), well-nigh exhaust the
+list of his efforts in this direction.</p>
+
+<div class="figcenter" style="width: 357px;">
+<img src="images/grey050.png" width="357" height="500" alt="THE SINGING LESSON No. 1. FROM THE ORIGINAL DRAWING BY A. NOBODY" title="" />
+<span class="caption">THE SINGING LESSON<br />No. 1. FROM THE<br />ORIGINAL DRAWING<br />BY A. NOBODY</span>
+</div>
+
+<div class="figcenter" style="width: 388px;">
+<img src="images/grey051.png" width="388" height="495" alt="THE SINGING LESSON&mdash;No. 2. FROM THE ORIGINAL DRAWING BY A. NOBODY" title="" />
+<span class="caption">THE SINGING LESSON<br />&mdash;No. 2. FROM THE<br />ORIGINAL DRAWING<br />BY A. NOBODY</span>
+</div>
+
+<div class="figleft" style="width: 400px;">
+<img src="images/grey052a.png" width="400" height="366" alt="ILLUSTRATION FROM &quot;ADVENTURES IN TOY LAND&quot; BY ALICE B. WOODWARD (BLACKIE AND SON. 1897)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;ADVENTURES IN TOY LAND&quot; BY ALICE B. WOODWARD (BLACKIE AND SON. 1897)</span>
+</div>
+
+<p>Prince of all foreign illustrators for babyland is
+M. Boutet de Monvel, whose works deserve an
+exhaustive monograph. Although comparatively
+few of his books are really well known in England,
+"Little Folks" contains a goodly number of his
+designs. La Fontaine's "Fables" (an English
+edition of which is published by the Society for
+Promoting Christian Knowledge) is (so far as I
+have discovered) the only important volume reprinted
+with English text. Possibly his "Jeanne
+d'Arc" ought not to be named among children's
+books, yet the exquisite drawing of its children and
+the unique splendour the artist has imparted to
+simple colour-printing, endear it to little ones no
+less than adults. But it would be absurd to
+suppose that readers of <span class="smcap">The Studio</span> do not know
+this masterpiece of its class, a book no artistic<span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span>
+without. Earlier books by M. de
+Monvel, which show him in his most
+engaging mood (the mood in the illustration
+from "Little Folks" here reproduced),
+are "Vieilles Chansons et
+Rondes," by Ch. M. Widor, "La
+Civilit&eacute; Pu&eacute;rile et Honn&ecirc;te," and
+"Chansons de France pour les Petits
+Fran&ccedil;ais." Despite their entirely
+different characterisation of the child,
+and a much stronger grasp of the
+principles of decorative composition,
+these delightful designs are more nearly
+akin to those of Miss Kate Greenaway
+than are any others published
+in Europe or America. Yet M. de
+Monvel is not only absolutely French
+in his types and costumes but in the
+movement and expression of his
+serious little people, who play with a
+certain demure gaiety that those who
+have watched French children in the
+Gardens of the Luxembourg or Tuileries,
+or a French seaside resort,
+know to be absolutely truthful. For
+the Gallic <i>b&eacute;b&eacute;</i> certainly seems less
+"rampageous" than the English
+urchin. A certain daintiness of
+movement and timidity in the boys
+especially adds a grace of its own to
+the games of French children which
+is not without its peculiar
+charm. This is singularly well
+caught in M. de Monvel's delicious
+drawings, where na&iuml;vely
+symmetrical arrangement and
+a most admirable simplicity
+of colour are combined. Indeed,
+of all non-English artists
+who address the little people,
+he alone has the inmost secret
+of combining realistic drawing
+with sumptuous effects in conventional
+decoration.</p>
+
+<div class="figright" style="width: 262px;">
+<img src="images/grey052.png" width="262" height="300" alt="ILLUSTRATION FROM &quot;PRINCE BOOHOO&quot; BY GORDON BROWNE (GARDNER, DARTON AND CO. 1897)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;PRINCE BOOHOO&quot; BY GORDON BROWNE (GARDNER, DARTON AND CO. 1897)</span>
+</div>
+
+<p>The work of the Danish
+illustrator, Lorenz Froelich, is
+almost as familiar in English as
+in Continental nurseries, yet
+his name is often absent from
+the title-pages of books containing
+his drawings. Perhaps
+those attributed to him formally
+that are most likely to be
+known by British readers are in
+"When I was a Little Girl" and
+"Nine Years Old" (Macmillan),<span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span>
+but, unless memory is treacherous, one remembers
+toy-books in colours (published by Messrs. Nelson
+and others), that were obviously from his designs.
+A little known French book, "Le Royaume des
+Gourmands," exhibits the artist in a more fanciful
+aspect, where he makes a far better show than in
+some of his ultra-pretty realistic studies. Other
+French volumes, "Histoire d'un Bouch&eacute;e de Pain,"
+"Lili &agrave; la Campagne," "La Journ&eacute;e de Mademoiselle
+Lili," and the "Alphabet de Mademoiselle
+Lili," may possibly be the original sources whence
+the blocks were borrowed and adapted to English
+text. But the veteran illustrator has done far too
+large a number of designs to be catalogued here.
+For grace and truth, and at times real mastery of
+his material, no notice of children's artists could
+abstain from placing him very high in their ranks.</p>
+
+<p>Oscar Pletsch is another artist&mdash;presumably a
+German&mdash;whose work has been widely republished
+in England. In many respects it resembles that
+of Froelich, and is almost entirely devoted to the
+daily life of the inmates of the nursery, with their
+tiny festivals and brief tragedies. It would seem
+to appeal more to children than their elders,
+because the realistic transcript of their doings by
+his hand often lacks the touch of pathos, or of
+grown-up humour that finds favour with adults.</p>
+
+<p>The mass of children's toy-books published by
+Messrs. Dean, Darton, Routledge, Warne, Marcus
+Ward, Isbister, Hildesheimer and many others
+cannot be considered exhaustively, if only from the
+fact that the names of the designers are frequently
+omitted. Probably Messrs. Kronheim &amp; Co., and
+other colour-printers, often supplied pictures designed
+by their own staff. Mr. Edmund Evans,
+to whom is due a very large share of the success
+of the Crane, Caldecott, and Kate Greenaway (Routledge)
+books, more frequently reproduced the work
+of artists whose names were considered sufficiently
+important to be given upon the books themselves.
+A few others of Routledge's toy-books besides those
+mentioned are worth naming. Mr. H.S. Marks, R.A.,
+designed two early numbers of their shilling series:
+"Nursery Rhymes" and "Nursery Songs;" and to
+J. D. Watson may be attributed the "Cinderella"
+in the same series. Other sixpenny and shilling
+illustrated books were by C. H. Bennett, C. W.
+Cope, A. W. Bayes, Julian Portch, Warwick
+Reynolds, F. Keyl, and Harrison Weir.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/grey053.jpg" width="500" height="386" alt="ILLUSTRATION FROM &quot;NONSENSE&quot;   BY A. NOBODY
+
+(GARDNER, DARTON AND CO.)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;NONSENSE&quot; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;  BY A. NOBODY
+<br />
+(GARDNER, DARTON AND CO.)</span>
+</div>
+
+<p>The "Greedy Jim," by Bennett, is only second<span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span>
+to "Struwwlpeter" itself, in its lasting power to
+delight little ones. If out of print it deserves to
+be revived.</p>
+
+<div class="figleft" style="width: 324px;">
+<img src="images/grey054.png" width="324" height="400" alt="ILLUSTRATION (REDUCED) FROM &quot;THE CHILD&#39;S PICTORIAL.&quot; BY MRS. R. HALLWARD (S.P.C.K.)" title="" />
+<span class="caption">ILLUSTRATION (REDUCED) FROM &quot;THE CHILD&#39;S PICTORIAL.&quot; BY MRS. R. HALLWARD (S.P.C.K.)</span>
+</div>
+
+<p>Although Mr. William de Morgan appears to
+have illustrated but a single volume, "On a Pincushion,"
+by Mary de Morgan (Seeley, 1877), yet
+that is so interesting that it must be noticed. Its
+interest is double&mdash;first in the very "decorative"
+quality of its pictures, which are full of "colour"
+and look like woodcuts more than process blocks;
+and next in the process itself, which was the artist's
+own invention. So far as I gather from Mr. <ins title="Transcriber's Note: original reads 'De'">de</ins>
+Morgan's own explanation, the drawings were
+made on glass coated with some yielding substance,
+through which a knife or graver cut the
+"line." Then an electro was taken. This process,
+it is clear, is almost exactly parallel with that of
+wood-cutting&mdash;<i>i.e.</i>, the "whites" are taken out,
+and the sweep of the tool can be guided by the
+worker in an absolutely untrammelled way. Those
+who love the qualities of a woodcut, and have not
+time to master the technique of wood-cutting or
+engraving, might do worse than experiment with
+Mr. <ins title="Transcriber's Note: original reads 'De'">de</ins> Morgan's process. A quantity of proofs
+of designs he executed&mdash;but never published&mdash;show
+that it has many possibilities worth developing.</p>
+
+<div class="figright" style="width: 265px;">
+<img src="images/grey054a.png" width="265" height="450" alt="ILLUSTRATION FROM &quot;A, B, C&quot; BY MRS. GASKIN (ELKIN MATHEWS)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;A, B, C&quot; BY MRS. GASKIN (ELKIN MATHEWS)</span>
+</div>
+
+<p>The work of Reginald Hallward deserves to be
+discussed at greater length than is possible here.
+His most important book (printed finely in gold
+and colours by Edmund Evans), is "Flowers of
+Paradise," issued by Macmillan some years ago.
+The drawings for this beautiful quarto were
+shown at one of the early Arts and Crafts
+Exhibitions. Some designs, purely decorative,
+are interspersed among the figure subjects.
+"Quick March," a toy-book (Warne), is also
+full of the peculiar "quality" which distinguishes
+Mr. Hallward's work, and is less austere than
+certain later examples. The very notable magazine,
+<i>The Child's Pictorial</i>, illustrated almost entirely in
+colours, which the Society for Promoting Christian
+Knowledge published for ten years, contains work
+by this artist, and a great many illustrations by
+Mrs. Hallward, which alone would serve to impart
+value to a publication that has (as we have
+pointed out elsewhere) very many early examples
+by Charles Robinson, and capital work by W. J.
+Morgan. Mrs. Hallward's work is marked by
+strong Pre-Raphaelite feeling, although she does
+not, as a rule, select old-world themes, but depicts
+children of to-day. Both Mr. and Mrs. Hallward
+eschew the "pretty-pretty" type, and are bent on<span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span>
+producing really "decorative" pages. So that
+to-day, when the ideal they so long championed
+has become popular, it is strange to find that their
+work is not better known.</p>
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="A Christmas Greeting Illustration">
+<tr><td align='left' valign='bottom'><small>&quot;KING LOVE. A CHRISTMAS</small><br />
+<small>GREETING.&quot; BY H. GRANVILLE</small><br />
+<small>FELL</small></td><td align='left'><img src="images/grey055.png" width="382" height="500" alt="&quot;KING LOVE. A CHRISTMAS
+GREETING.&quot; BY H. GRANVILLE
+FELL" title="" /></td></tr>
+</table></div>
+
+
+<p>The books illustrated by past or present students
+of the Birmingham School will be best noticed in
+a group, as, notwithstanding some distinct individuality
+shown by many of the artists, especially
+in their later works, the idea that links the group
+together is sufficiently similar to impart to all a
+certain resemblance. In other words, you can
+nearly always pick out a "Birmingham" illustration
+at a glance, even if it would be impossible to
+confuse the work of Mr. Gaskin with that of Miss
+Levetus.</p>
+
+<div class="figleft" style="width: 355px;">
+<img src="images/grey057.png" width="355" height="500" alt="ILLUSTRATION FROM &quot;THE STORY OF BLUEBEARD&quot; BY E. SOUTHALL (LAWRENCE AND BULLEN. 1895)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE STORY OF BLUEBEARD&quot; BY E. SOUTHALL (LAWRENCE AND BULLEN. 1895)</span>
+</div>
+
+<p>Arthur Gaskin's illustrations to Andersen's
+"Stories and Fairy Tales" (George Allen) are
+beyond doubt the most important volumes in any
+way connected with the school. Mr. William Morris
+ranked them so highly that Mr. Gaskin was commissioned
+to design illustrations for some of the
+Kelmscott Press books, and Mr. Walter Crane has
+borne public witness to their excellence. This alone
+is sufficient to prove that they rise far above the
+average level. "Good King Wenceslas" (Cornish
+Bros.) is another of Mr. Gaskin's books&mdash;his best
+in many ways. He it is also who illustrated and
+decorated Mr. Baring-Gould's "A Book of Fairy
+Tales" (Methuen).</p>
+
+<p>Mrs. Gaskin (Georgie Cave France) is also
+familiar to readers of <span class="smcap">The Studio</span>. Perhaps her
+"A, B, C." (published by Elkin Mathews), and
+"Horn Book Jingles" (The Leadenhall Press), a
+unique book in shape and style, contain the best
+of her work so far.</p>
+
+<p>Miss Levetus has contributed many illustrations
+to books. Among the best are "Turkish Fairy
+Tales" (Lawrence and Bullen), and "Verse Fancies"
+(Chapman and Hall).</p>
+
+<p>"Russian Fairy Tales" (Lawrence
+and Bullen) is distinguished
+by the designs of C. M.
+Gere, who has done comparatively
+little illustration; hence
+the book has more than usual
+interest, and takes a far higher
+artistic rank than its title might
+lead one to expect.</p>
+
+<p>Miss Bradley has illustrated
+one of Messrs. Blackie's happiest
+volumes this year. "Just
+Forty Winks" (from which one
+picture is reproduced here),
+shows that the artist has steered
+clear of the "Alice in Wonderland"
+model, which the author
+can hardly be said to have
+avoided. Miss Bradley has also
+illustrated the prettily decorated
+book of poems, "Songs for Somebody,"
+by Dollie Radford (Nutt).
+The two series of "Children's
+Singing Games" (Nutt) are
+among the most pleasant volumes
+the Birmingham school
+has produced. Both are decorated
+by Winifred Smith, who
+shows considerable humour as
+well as ingenuity.</p>
+
+<p>Among volumes illustrated,
+each by the members of the Birmingham
+school, are "A Book of
+Pictured Carols" (George Allen),
+and Mr. Baring-Gould's "Nursery
+Rhymes" (Methuen). Both
+these volumes contain some of
+the most representative work of
+Birmingham, and the latter, with
+its rich borders and many pictures,
+is a book that consistently<span class='pagenum'><a name="Page_58" id="Page_58">[58]</a></span>
+maintains a very fine ideal, rare at any time, and
+perhaps never before applied to a book for the
+nursery. Indeed were it needful to choose a
+single book to represent the school, this one would
+stand the test of selection.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/grey058.png" width="500" height="434" alt="ILLUSTRATION FROM &quot;NURSERY RHYMES&quot; BY PAUL WOODROFFE (GEORGE ALLEN. 1897)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;NURSERY RHYMES&quot;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; BY PAUL WOODROFFE <br />(GEORGE ALLEN. 1897)</span>
+</div>
+
+<p>In Messrs. Dent's "Banbury Cross" series, the
+Misses Violet and Evelyn Holden illustrated "The
+House that Jack Built"; Sidney Heath was responsible
+for "Aladdin," and Mrs. H. T. Adams
+decorated "Tom Thumb, &amp;c."</p>
+
+<p>Mr. Laurence Housman is more than an illustrator
+of fairy tales; he is himself a rare creator of
+such fancies, and has, moreover, an almost unique
+power of conveying his ideas in the medium. His
+"Farm in Fairyland" and "A House of Joy"
+(both published by Kegan Paul and Co.) have
+often been referred to in <span class="smcap">The Studio</span>. Yet, at
+the risk of reiterating what nobody of taste doubts,
+one must place his work in this direction head
+and shoulders above the crowd&mdash;even the crowd
+of excellent illustrators&mdash;because its amazing
+fantasy and caprice are supported by cunning
+technique that makes the whole work a "picture,"
+not merely a decoration or an interpretation of the
+text. As a spinner of entirely bewitching stories,
+that hold a child spell-bound, and can be read and
+re-read by adults, he is a near rival of Andersen
+himself.</p>
+
+<p>H. Granville Fell, better known perhaps from
+his decorations to "The Book of Job," and certain
+decorated pages in the <i>English Illustrated Magazine</i>,
+illustrated three of Messrs. Dent's "Banbury
+Cross" series&mdash;"Cinderella, &amp;c.," "Ali Baba,"
+and "Tom Hickathrift." His work in these is
+full of pleasant fancy and charming types.</p>
+
+<p>A very sumptuous setting of the old fairy tale,
+"Beauty and the Beast," in this case entitled
+"Zelinda and the Monster" (Dent, 1895), with
+ten photogravures after paintings by the Countess
+of Lovelace, must not be forgotten, as its text may
+bring it into our present category.</p>
+
+<p>Miss Rosie Pitman, in "Maurice and the Red
+Jar" (Macmillan), shows much elaborate effort
+and a distinct fantasy in design. "Undine"<span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span>
+(Macmillan, 1897) is a still more successful achievement.</p>
+
+<p>Richard Heighway is one of the "Banbury
+Cross" illustrators in "Blue Beard," &amp;c. (Dent),
+and has also pictured &AElig;sop's "Fables," with 300
+designs (in Macmillan's Cranford series).</p>
+
+<p>Mr. J. F. Sullivan&mdash;who must not be confused
+with his namesake&mdash;is one who has rarely
+illustrated works for little children, but in the
+famous "British Workman" series in <i>Fun</i>, in
+dozens of Tom Hood's "Comic Annuals," and
+elsewhere, has provoked as many hearty laughs
+from the nursery as from the drawing-room. In
+"The Flame Flower" (Dent) we find a side-splitting
+volume, illustrated with 100 drawings by
+the author. For this only Mr. J. F. Sullivan has
+plunged readers deep in debt, and when one recalls
+the amazing number of his delicious absurdities
+in the periodical literature of at least twenty years
+past, it seems astounding to find that the name of
+so entirely well-equipped a draughtsman is yet not
+the household word it should be.</p>
+
+<p>E. J. Sullivan, with eighty illustrations to the
+Cranford edition of "Tom Brown's Schooldays,"
+comes for once within our present limit.</p>
+
+<p>J. D. Batten is responsible for the illustration
+of so many important collections of fairy tales
+that it is vexing not to be able to reproduce a
+selection of his drawings, to show the fertility of
+his invention and his consistent improvement in
+technique. The series, "Fairy Tales of the
+British Empire," collected and edited by Mr.
+Jacobs, already include five volumes&mdash;English,
+More English, Celtic, More Celtic, and Indian, all
+liberally illustrated by J. D. Batten, as are "The
+Book of Wonder Voyages," by J. Jacobs (Nutt),
+and "Fairy Tales from the Arabian Nights,"
+edited by E. Dixon, and a second series, both
+published by Messrs. J. M. Dent and Co. "A
+Masque of Dead Florentines" (Dent) can hardly
+be brought into our subject.</p>
+
+<p>Louis Davis has illustrated far too few children's
+books. His Fitzroy pictures show how delightfully
+he can appeal to little people, and in "Good
+Night Verses," by Dollie Radford (Nutt), we have
+forty pages of his designs that are peculiarly dainty
+in their quality, and tender in their poetic interpretation
+of child-life.</p>
+
+<p>"Wymps" (Lane, 1896), with illustrations by
+Mrs. Percy Dearmer, has a quaint straightforwardness,
+of a sort that exactly wins a critic of the
+nursery.</p>
+
+<p>J. C. Sowerby, a designer for stained glass,
+in "Afternoon Tea" (Warne, 1880), set a
+new fashion for "&aelig;sthetic" little quartos costing
+five or six shillings each. This was followed by
+"At Home" (1881), and "At Home Again"
+(1886, Marcus Ward), and later by "Young Maids
+and Old China." These, despite their popularity,
+display no particular invention. For the real fancy
+and "conceit" of the books you have to turn to
+their decorative borders by Thomas Crane. This
+artist, collaborating with Ellen Houghton, contributed
+two other volumes to the same series,
+"Abroad" (1882), and "London Town" (1883),
+both prime favourites of their day.</p>
+
+<p>Lizzie Lawson, in many contributions for
+<i>Little Folks</i> and a volume in colours, "Old
+Proverbs" (Cassell), displayed much grace in
+depicting children's themes.</p>
+
+<p>Nor among coloured books of the "eighties"
+must we overlook "Under the Mistletoe" (Griffith
+and Farran, 1886), and "When all is Young"
+(Christmas Roses, 1886); "Punch and Judy," by
+F. E. Weatherley, illustrated by Patty Townsend
+(1885); "The Parables of Our Lord," really
+dignified pictures compared with most of their
+class, by W. Morgan; "Puss in Boots," illustrated
+by S. Caldwell; "Pets and Playmates"
+(1888); "Three Fairy Princesses," illustrated by
+Paterson (1885); "Picture Books of the Fables
+of &AElig;sop," another series of quaintly designed
+picture books, modelled on Struwwlpeter; "The
+Robbers' Cave," illustrated by A. M. Lockyer,
+and "Nursery Numbers" (1884), illustrated by
+an amateur named Bell, all these being published
+by Messrs. Marcus Ward and Co., who issued
+later, "Where Lilies Grow," a very popular volume,
+illustrated in the "over-pretty" style by Mrs.
+Stanley Berkeley. The attractive series of toy-books
+in colours, published in the form of a
+Japanese folding album, were probably designed
+by Percy Macquoid, and published by the same
+firm, who issued an oblong folio, "Herrick's
+Content," very pleasantly decorated by Mrs.
+Houghton. R. Andre was (and for all I know is
+still) a very prolific illustrator of children's coloured
+books. "The Cruise of the Walnut Shell" (Dean,
+1881); "A Week Spent in a Glass Pond" (Gardner,
+Darton and Co.); "Grandmother's Thimble"
+(Warne, 1882); "Pictures and Stories" (Warne,
+1882); "Up Stream" (Low, 1884); "A Lilliputian
+Opera" (Day, 1885); the Oakleaf Library
+(six shilling volumes, Warne); and Mrs. Ewing's
+Verse Books (six vols. S.P.C.K.) are some of the
+best known. T. Pym, far less well-equipped as a
+draughtsman, shows a certain childish na&iuml;vet&eacute; in
+his (or was it her?) "Pictures from the Poets"
+(Gardner, Darton and Co.); "A, B, C" (Gardner,
+Darton and Co.); "Land of Little People"
+(Hildesheimer, 1886); "We are Seven" (1880);
+"Children Busy" (1881); "Snow Queen" (Gardner,
+Darton and Co.); "Child's Own Story Book"
+(Gardner, Darton and Co.).</p>
+
+<p>Ida Waugh in "Holly Berries" (Griffith and
+Farran, 1881); "Wee Babies" (Griffith and
+Farran, 1882); "Baby Blossoms," "Tangles and
+Curls," and many other volumes mainly devoted
+to pictures of babies and their doings, pleased a
+very large audience both here and in the United
+States. "Dreams, Dances and Disappointments,"
+and "The Maypole," both by Konstan and<span class='pagenum'><a name="Page_60" id="Page_60">[60]</a></span>
+Castella, are gracefully decorated books issued by
+Messrs. De La Rue in 1882, who also published
+"The Fairies," illustrated by [H?] Allingham in
+1881. Major Seccombe in "Comic Sketches
+from History" (Allen, 1884), and "Cinderella"
+(Warne, 1882), touched our theme; a large number
+of more or less comic books of military life and
+social satire hardly do so. Coloured books of
+which I have failed to discover copies for reference,
+are: A. Blanchard's "My Own Dolly" (Griffith
+and Farran, 1882); "Harlequin Eggs," by
+Civilly (Sonnenschein, 1884); "The Nodding
+Mandarin," by L. F. Day (Simpkin, 1883); "Cats-cradle,"
+by C. Kendrick (Strahan, 1886); "The
+Kitten Pilgrims," by A. Ballantyne (Nisbet, 1887);
+"Ups and Downs" (1880), and "At his Mother's
+Knee" (1883), by M. J. Tilsey. "A Winter
+Nosegay" (Sonnenschein, 1881); "Pretty Peggy,"
+by Emmet (Low, 1881); "Children's Kettledrum,"
+by M. A. C. (Dean, 1881); "Three Wise
+Old Couples," by Hopkins (Cassell, 1881); "Puss
+in Boots," by E. K. Johnson (Warne); "Sugar
+and Spice and all that's Nice" (Strahan, 1881);
+"Fly away, Fairies," by Clarkson (Griffith and
+Farran, 1882); "The Tiny Lawn Tennis Club"
+(Dean, 1882); "Little Ben Bate," by M. Browne
+(Simpkin, 1882); "Nursery Night," by E. Dewane
+(Dean, 1882); "New Pinafore Pictures"
+(Dean, 1882); "Rumpelstiltskin" (De la Rue,
+1882); "Baby's Debut," by J. Smith (De la
+Rue, 1883); "Buckets and Spades" (Dean,
+1883); "Childhood" (Warne, 1883); "Dame
+Trot" (Chapman and Hall, 1883); "In and
+Out," by Ismay Thorne (Sonnenschein, 1884);
+"Under Mother's Wing," by Mrs. Clifford (Gardner,
+Darton, 1883); "Quacks" (Ward and Lock,
+1883); "Little Chicks" (Griffith and Farran,
+1883); "Talking Toys," "The Talking Clock,"
+H. M. Bennett; "Four Feet by Two," by Helena
+Maguire; "Merry Hearts," "Cosy Corners," and
+"A Christmas Fairy," by Gordon Browne (all
+published by Nisbet).</p>
+
+<p>Among many books elaborately printed by
+Messrs. Hildesheimer, are two illustrated by M.
+E. Edwards and J. C. Staples, "Told in the
+Twilight" (1883); and "Song of the Bells"
+(1884); and one by M. E. Edwards only, "Two
+Children"; others by Jane M. Dealy, "Sixes and
+Sevens" (1882), and "Little Miss Marigold"
+(1884); "Nursery Land," by H. J. Maguire (1888),
+and "Sunbeams," by E. K. Johnson and Ewart
+Wilson (1887).</p>
+
+<p>F. D. Bedford, who illustrated and decorated
+"The Battle of the Frogs and Mice" (Methuen),
+has produced this year one of the most satisfactory
+books with coloured illustrations. In "Nursery
+Rhymes" (Methuen), the pictures, block-printed
+in colour by Edmund Evans, are worthy to be
+placed beside the best books he has produced.</p>
+
+<p>Of all lady illustrators&mdash;the phrase is cumbrous,
+but we have no other&mdash;Miss A. B. Woodward
+stands apart, not only by the vigour of her work,
+but by its amazing humour, a quality which is
+certainly infrequent in the work of her sister-artists.
+The books she has illustrated are not
+very many, but all show this quality. "Banbury
+Cross," in Messrs. Dent's Series is among the
+first. In "To Tell the King the Sky is Falling"
+(Blackie, 1896) there is a store of delicious
+examples, and in "The Brownies" (Dent, 1896),
+the vigour of the handling is very noticeable.
+In "Eric, Prince of Lorlonia" (Macmillan, 1896),
+we have further proof that these characteristics are
+not mere accidents, but the result of carefully
+studied intention, which is also apparent in the
+clever designs for the covers of Messrs. Blackie's
+Catalogue, 1896-97. This year, in "Red Apple
+and Silver Bells," Miss Woodward shows marked
+advance. The book, with its delicious rhymes by
+Hamish Hendry, is one to treasure, as is also her
+"Adventures in Toy Land," designs marked by
+the <i>diablerie</i> of which she, alone of lady artists,
+seems to have the secret. In this the wooden,
+inane expression of the toys contrasts delightfully
+with the animate figures.</p>
+
+<p>Mr. Charles Robinson is one of the youngest
+recruits to the army of illustrators, and yet his few
+years' record is both lengthy and kept at a singularly
+high level. In the first of his designs which
+attracted attention we find the half-grotesque, half-real
+child that he has made his own&mdash;fat, merry
+little people, that are bubbling over with the joy of
+mere existence. "Macmillan's Literary Primers"
+is the rather ponderous title of these booklets
+which cost but a few pence each, and are worth
+many a half-dozen high-priced nursery books.
+Stevenson's "Child's Garden of Verse," his first
+important book, won a new reputation by reason
+of its pictures. Then came "&AElig;sop's Fables," in
+Dent's "Banbury Cross" Series. The next year
+saw Mr. Gabriel Setoun's book of poems,
+"Child World," Mrs. Meynell's "The Children,"
+Mr. H. D. Lowry's "Make Believe," and two
+decorated pages in "The Parade" (Henry and
+Co.). The present Christmas will see several
+books from his hand.</p>
+
+<p>"Old World Japan" (George Allen) has thirty-four,
+and "Legends from River and Mountain,"
+forty-two, pictures by T. H. Robinson, which must
+not be forgotten. "The Giant Crab" (Nutt), and
+"Andersen" (Bliss, Sands), are among the best
+things W. Robinson has yet done.</p>
+
+<div class="figcenter" style="width: 263px;">
+<img src="images/grey061.png" width="263" height="500" alt="" title="" />
+</div>
+
+<p>"Nonsense," by A. Nobody, and "Some More
+Nonsense," by A. Nobody (Gardner, Darton &amp; Co.),
+are unique instances of an unfettered humour.
+That their apparently na&iuml;ve grotesques are from the
+hand of a very practised draughtsman is evident
+at a first glance; but as their author prefers to remain
+anonymous his identity must not be revealed.
+Specimens from the published work (which is,
+however, mostly in colour), and facsimiles of
+hitherto unpublished drawings, entitled "The<span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span>
+Singing Lesson," kindly lent by Messrs. Gardner,
+Darton &amp; Co., are here to prove how merry our
+anonym can be. By the way, it may be well to
+add that the artist in question is <i>not</i> Sir Edward
+Burne-Jones, whose caricatures, that are the
+delight of children of all ages who know them, have
+been so far strictly kept to members of the family
+circle, for whom they were produced.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/grey062.png" width="400" height="375" alt="ILLUSTRATION FROM &quot;LITTLE FOLKS.&quot; BY MAURICE BOUTET DE MONVEL. (CASSELL AND CO.)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;LITTLE FOLKS.&quot; BY MAURICE BOUTET DE MONVEL. (CASSELL AND CO.)</span>
+</div>
+
+<p>The editor of <span class="smcap">The Studio</span>, to whose selection of
+pictures for reproduction these pages owe their
+chief interest, has spared no effort to show a good
+working sample of the best of all classes, and
+in the space available has certainly omitted few of
+any consequence&mdash;except those so very well known,
+as, for instance, Tenniel's "Alice" series, and the
+Caldecott toy-books&mdash;which it would have been
+superfluous to illustrate again, especially in black
+and white after coloured originals.</p>
+
+<p>In Mrs. Field's volume already mentioned, the
+author says: "It has been well observed that
+children do not desire, and ought not to be
+furnished with purely realistic portraits of themselves;
+the boy's heart craves a hero, and the
+Johnny or Frank of the realistic story-book, the
+little boy like himself, is not in this sense a hero."
+This passage, referring to the stories themselves,
+might be applied to their illustration with hardly
+less force. To idealise is the normal impulse of
+a child. True that it can "make believe" from
+the most rudimentary hints, but it is much easier
+to do so if something not too actual is the groundwork.
+Figures which delight children are never
+wholly symbolic, mere virtues and vices materialised
+as personages of the anecdote. Real nonsense
+such as Lear concocted, real wit such as that which
+sparkles from Lewis Carroll's pages, find their
+parallel in the pictures which accompany each
+text. It is the feeble effort to be funny, the mildly
+punning humour of the imitators, which makes the
+text tedious, and one fancies the artist is also infected,
+for in such books the drawings very rarely
+rise to a high level.</p>
+<div class="figleft" style="width: 254px;">
+<img src="images/grey063a.png" width="254" height="300" alt="ILLUSTRATION FROM &quot;GOULD&#39;S BOOK OF FAIRY TALES.&quot; BY ARTHUR GASKIN. (METHUEN AND CO.)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;GOULD&#39;S BOOK OF FAIRY TALES.&quot; BY ARTHUR GASKIN. (METHUEN AND CO.)</span>
+</div>
+<p>The "pretty-pretty" school, which has been too
+popular, especially in anthologies of mildly entertaining
+rhymes, is sickly at its best, and fails to
+retain the interest of a child. Possibly, in pleading
+for imaginative art, one has forgotten that
+everywhere is Wonderland to a child, who would
+be no more astonished to find a real elephant dropping
+in to tea, or a real miniature railway across
+the lawn, than in finding a toy elephant or a toy
+engine awaiting him. Children are so accustomed
+to novelty that they do not realise the abnormal;<span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span>
+nor do they always crave for unreality. As
+coaches and horses were the delight of youngsters
+a century ago, so are trains and steamboats to-day.
+Given a pile of books and an empty floor space,
+their imagination needs no mechanical models of
+real locomotives; or, to be more correct, they
+enjoy the make-believe with quite as great a zest.
+Hence, perhaps, in praising conscious art for children's
+literature, one is unwittingly pleasing older
+tastes; indeed, it is not inconceivable that the
+"prig" which lurks in most of us may be nurtured
+by too refined diet. Whether a child brought up
+wholly on the &aelig;sthetic toy-book would realise
+the greatness of Rembrandt's etchings or other
+masterpieces of realistic art more easily than one
+who had only known the current pictures of cheap
+magazines, is not a question to be decided off-hand.
+To foster an artificial taste is not wholly unattended
+with danger; but if humour be present, as it is in
+the works of the best artists for the nursery, then
+all fear vanishes; good wholesome laughter is the
+deadliest bane to the prig-microbe, and will leave
+no infant lisping of the preciousness of Cimabue,
+or the wonder of Sandro Botticelli, as certain
+children were reported to do in the brief days when
+the &aelig;sthete walked his faded way among us. That
+modern children's books will&mdash;some of them at
+least&mdash;take an honourable place in an iconography
+of nineteenth-century art, many of the illustrations
+here reproduced are in themselves sufficient
+to prove.</p>
+
+
+
+<div class="figright" style="width: 193px;">
+<img src="images/grey063.png" width="193" height="300" alt="ILLUSTRATION FROM &quot;LULLABY LAND&quot; BY CHARLES ROBINSON. (JOHN LANE. 1897)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;LULLABY LAND&quot; BY CHARLES ROBINSON. (JOHN LANE. 1897)</span>
+</div>
+
+<p>After so many pages devoted to the
+subject, it might seem as if the mass of
+material should have revealed very
+clearly what is the ideal illustration
+for children. But "children" is a collective
+term, ranging from the tastes of
+the baby to the precocious youngsters
+who dip into Mudie books on the sly,
+and hold conversations thereon which
+astonish their elders when by chance
+they get wind of the fact. Perhaps the
+belief that children can be educated by
+the eye is more plausible than well
+supported. In any case, it is good
+that the illustration should be well
+drawn, well coloured; given that,
+whether it be realistically imitative or
+wholly fantastic is quite a secondary
+matter. As we have had pointed out
+to us, the child is not best pleased by
+mere portraits of himself; he prefers
+idealised children, whether naughtier
+and more adventurous, or absolute
+heroes of romance. And here a
+strange fact appears, that as a rule what
+pleases the boy pleases the girl also;
+but that boys look down with scorn on
+"girls' books." Any one who has had<span class='pagenum'><a name="Page_64" id="Page_64">[64]</a></span>
+to do with children knows how eagerly little sisters
+pounce upon books owned by their brothers.
+Now, as a rule, books for girls are confined to
+stories of good girls, pictures of good girls, and
+mildly exciting domestic incidents, comic or tragic.
+The child may be half angel; he is undoubtedly
+half savage; a Pagan indifference to other people's
+pain, and grim joy in other people's accidents, bear
+witness to that fact. Tender-hearted parents fear
+lest some pictures should terrify the little ones;
+the few that do are those which the child himself
+discovers in some extraordinary way to be fetishes.
+He hates them, yet is fascinated by them. I
+remember myself being so appalled by a picture
+that is still keenly remembered. It fascinated me,
+and yet was a thing of which the mere memory
+made one shudder in the dark&mdash;the said picture
+representing a benevolent negro with Eva on his
+lap, from "Uncle Tom's Cabin," a blameless
+Sunday-school inspired story. The horrors of an
+early folio of Foxe's "Martyrs," of a grisly
+"Bunyan," with terrific pictures of Apollyon; even
+a still more grim series by H. C. Selous, issued by
+the Art Union, if memory may be trusted, were
+merely exciting; it was the mild and amiable representation
+of "Uncle Tom" that I felt to be the
+very incarnation of all things evil. This personal
+incident is quoted only to show how impossible
+it is for the average adult to foretell what will
+frighten or what will delight a child. For children
+are singularly reticent concerning the "bogeys"
+of their own creating, yet, like many fanatics, it
+is these which they really most fear.</p>
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td align='left'><div class="figleft" style="width: 287px;">
+<img src="images/grey064.png" width="287" height="300" alt="ILLUSTRATION FROM &quot;MAKE BELIEVE.&quot; BY CHARLES
+ROBINSON (JOHN LANE. 1896)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;MAKE BELIEVE.&quot; BY CHARLES
+ROBINSON (JOHN LANE. 1896)</span>
+</div></td><td align='left'><div class="figright" style="width: 260px;">
+<img src="images/grey064a.png" width="260" height="425" alt="ILLUSTRATION FROM &quot;JUST FORTY WINKS&quot; BY
+GERTRUDE M. BRADLEY (BLACKIE AND SON. 1897)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;JUST FORTY WINKS&quot; BY
+GERTRUDE M. BRADLEY (BLACKIE AND SON. 1897)</span>
+</div></td></tr>
+</table></div>
+
+
+
+<p>Certainly it is possible that over-conscious art is
+too popular to-day. The illustrator when he
+is at work often thinks more of the art critic
+who may review his book than the readers
+who are to enjoy it. Purely conventional
+groups of figures, whether set in a landscape,
+or against a decorative background, as a rule
+fail to retain a child's interest. He wants
+invention and detail, plenty of incident, melodrama
+rather than suppressed emotion. Something
+moving, active, and suggestive pleases
+him most, something about which a story can
+be woven not so complex that his sense is
+puzzled to explain why things are as the artist
+drew them. It is good to educate children
+unconsciously, but if we are too careful that
+all pictures should be devoted to raising their
+standard of taste, it is possible that we may
+soon come back to the Miss Pinkerton ideal of
+amusement blended with instruction. Hence
+one doubts if the "ultra-precious" school
+really pleases the child; and if he refuse the
+jam the powder is obviously refused also.<span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span>
+One who makes pictures for children, like one
+who writes them stories, should have the knack of
+entertaining them without any appearance of condescension
+in so doing. They will accept any detail
+that is related to the incident, but are keenly alive
+to discrepancies of detail or action that clash
+with the narrative. As they do not demand fine
+drawing, so the artist must be careful to offer
+them very much more than academic accomplishment.
+Indeed, he (or she) must be in sympathy
+with childhood, and able to project his vision back
+to its point of view. And this is just a mood in
+accord with the feeling of our own time, when
+men distrust each other and themselves, and keep
+few ideals free from doubt, except the reverence
+for the sanctity of childhood. Those who have
+forsaken beliefs hallowed by centuries, and are the
+most cynical and worldly-minded, yet
+often keep faith in one lost Atalantis&mdash;the
+domain of their own childhood and
+those who still dwell in the happy
+isle. To have given a happy hour to
+one of the least of these is peculiarly
+gratifying to many tired people to-day,
+those surfeited with success no less
+than those weary of failure. And such
+labour is of love all compact; for children
+are grudging in their praise, and
+seldom trouble to inquire who wrote
+their stories or painted their pictures.
+Consequently those who work for them
+win neither much gold nor great fame;
+but they have a most enthusiastic
+audience all the same. Yet when we
+remember that the veriest daubs and
+atrocious drawings are often welcomed
+as heartily, one is driven to believe that
+after all the bored people who turn to
+amuse the children, like others who
+turn to elevate the masses, are really,
+if unconsciously, amusing if not elevating
+themselves. If children's books
+please older people&mdash;and that they do
+so is unquestionable&mdash;it would be well
+to acknowledge it boldly, and to share
+the pleasure with the nursery; not to
+take it surreptitiously under the pretence
+of raising the taste of little people.
+Why should not grown-up people avow
+their pleasure in children's books if
+they feel it?</p>
+
+<div class="figcenter" style="width: 352px;">
+<img src="images/grey065.png" width="352" height="500" alt="THE SPOTTED MIMILUS. ILLUSTRATION FROM &quot;KING LONGBEARD.&quot; BY CHARLES ROBINSON (JOHN LANE. 1897)" title="" />
+<span class="caption">THE SPOTTED MIMILUS. ILLUSTRATION FROM &quot;KING LONGBEARD.&quot; BY CHARLES ROBINSON (JOHN LANE. 1897)</span>
+</div>
+
+<div class="figright" style="width: 293px;">
+<img src="images/grey066.png" width="293" height="500" alt="ILLUSTRATION FROM &quot;THE MAKING OF MATTHIAS&quot; BY LUCY KEMP-WELCH. (JOHN LANE. 1897)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;THE MAKING OF MATTHIAS&quot; BY LUCY KEMP-WELCH. (JOHN LANE. 1897)</span>
+</div>
+
+<p>If a collector in search of a new
+hobby wishes to start on a quest full of
+disappointment, yet also full of lucky
+possibilities, illustrated books for children
+would give him an exciting theme.
+The rare volume he hunted for in vain
+at the British Museum and South Kensington,
+for which he scanned the
+shelves of every second-hand bookseller
+within reach, may meet his eye
+in a twopenny box, just as he has despaired
+of ever seeing, much less procuring, a copy. At
+least twice during the preparation of this number I
+have enjoyed that particular experience, and have
+no reason to suppose it was very abnormal. To
+make a fine library of these things may be difficult,
+but it is not a predestined failure. Caxtons and
+Wynkyn de Wordes seem less scarce than some
+of these early nursery books. Yet, as we know, the
+former have been the quest of collectors for years,
+and so are probably nearly all sifted out of the
+great rubbish-heaps of dealers; the latter have
+not been in great demand, and may be unearthed
+in odd corners of country shops and all sorts
+of likely and unlikely places. Therefore, as a
+hobby, it offers an exciting quest with almost
+certain success in the end; in short, it offers the<span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span>
+ideal conditions for collecting as a pastime, provided
+you can muster sufficient interest in the subject
+to become absorbed in its pursuit. So large is
+it that, even to limit one's quest to books with
+coloured pictures would yet require a good many
+years' hunting to secure a decent "bag." Another
+tempting point is that prices at present are mostly
+nominal, not because the quarry is plentiful, but
+because the demand is not recognised by the
+general bookseller. Of course, books in good
+condition, with unannotated pages, are rare; and
+some series&mdash;Felix Summerley's, for example&mdash;which
+owe their chief interest to the "get-up" of
+the volume considered as a whole, would be scarce
+worth possessing if "rebound" or deprived of their
+covers. Still, always provided the game attracts
+him, the hobby-horseman has fair chances,
+and is inspired by motives hardly less noble than
+those which distinguish the pursuit of bookplates
+(<i>ex libris</i>), postage-stamps and other
+objects which have attracted men to devote not
+only their leisure and their spare cash, but often
+their whole energy and nearly all their
+resources. Societies, with all the pomp of
+officials, and members proudly arranging
+detached letters of the alphabet after their
+names, exist for discussing hobbies not
+more important. Speaking as an interested
+but not infatuated collector, it
+seems as if the mere gathering together
+of rarities of this sort would soon become
+as tedious as the amassing of
+dull armorial <i>ex libris</i>, or sorting infinitely
+subtle varieties of postage-stamps.
+But seeing the intense passion such
+things arouse in their devotees, the fact
+that among children's books there are
+not a few of real intrinsic interest, ought
+not to make the hobby less attractive;
+except that, speaking generally, your true
+collector seems to despise every quality
+except rarity (which implies market
+value ultimately, if for the moment
+there are not enough rival collectors to
+have started a "boom" in prices). Yet
+all these "snappers up of unconsidered
+trifles" help to gather together material
+which may prove in time to be not
+without value to the social historian
+or the student interested in the progress
+of printing and the art of illustration;
+but it would be a pity to confuse
+ephemeral "curios" with lasting works
+of fine art, and the ardour of collecting
+need not blind one to the fact that
+the former are greatly in excess of the
+latter.</p>
+
+<div class="figleft" style="width: 325px;">
+<img src="images/grey067.png" width="325" height="500" alt="ILLUSTRATION FROM &quot;MISS MOUSE AND HER BOYS.&quot; BY L.
+LESLIE BROOKE. (MACMILLAN AND CO. 1897)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;MISS MOUSE AND HER BOYS.&quot; BY L.
+LESLIE BROOKE. (MACMILLAN AND CO. 1897)</span>
+</div>
+
+<p>The special full-page illustrations
+which appear in this number must not
+be left without a word of comment. In
+place of re-issuing facsimiles of actual
+illustrations from coloured books of the past which
+would probably have been familiar to many
+readers, drawings by artists who are mentioned
+elsewhere in this Christmas Number have been
+specially designed to carry out the spirit of the
+theme. For Christmas is pre-eminently the time
+for children's books. Mr. Robert Halls' painting
+of a baby, here called "The Heir to Fairyland"&mdash;the
+critic for whom all this vast amount of
+effort is annually expended&mdash;is seen still in the
+early or destructive stage, a curious foreshadowing
+of his attitude in a later development should he
+be led from the paths of Philistia to the bye-ways
+of art criticism. The portrait miniatures of child-life
+by Mr. Robert Halls, if not so well known as
+they deserve, cannot be unfamiliar to readers of
+<span class="smcap">The Studio</span>, since many of his best works have
+been exhibited at the Academy and elsewhere.</p>
+
+<p>The lithograph by Mr. R. Anning Bell, "In
+Nooks with Books," represents a second stage of
+the juvenile critic when appreciation in a very
+acute form has set in, and picture-books are no<span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span>
+longer regarded as toys to destroy,
+but treasures to be enjoyed
+snugly with a delight in
+their possession.</p>
+
+<div class="figright" style="width: 400px;">
+<img src="images/grey068.png" width="400" height="358" alt="ILLUSTRATION FROM &quot;BABY&#39;S LAYS&quot; BY E. CALVERT (ELKIN MATHEWS. 1897)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;BABY&#39;S LAYS&quot; BY E. CALVERT (ELKIN MATHEWS. 1897)</span>
+</div>
+
+<p>Mr. Granville Fell, with
+"King Love, a Christmas
+Greeting," turns back to the
+memory of the birthday whose
+celebration provokes the gifts
+which so often take the form of
+illustrated books, for Christmas
+is to Britons more and more
+the children's festival. The
+conviviality of the Dickens'
+period may linger here and
+there; but to adults generally
+Christmas is only a vicarious
+pleasure, for most households
+devote the day entirely to pleasing
+the little ones who have
+annexed it as their own special
+holiday.</p>
+
+<p>The dainty water-colour by
+Mr. Charles Robinson, and the
+charming drawing in line by M.
+Boutet de Monvel, call for no
+comment. Collectors will be
+glad to possess such excellent
+facsimiles of work by two illustrators
+conspicuous for their
+work in this field. The figure
+by Mr. Robinson, "So Light of
+Foot, so Light of Spirit," is extremely
+typical of the personal
+style he has adopted from
+the first. Studies by
+M. de Monvel have appeared
+before in <span class="smcap">The
+Studio</span>, so that it would
+be merely reiterating the
+obvious to call attention
+to the exquisite truth of
+character which he obtains
+with rare artistry.</p>
+
+<div class='sig'>G. W.</div>
+
+<div class='center'>&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;</div>
+
+<p>The Editor's best
+thanks are due to all those
+publishers who have so
+kindly and readily come
+forward with their assistance
+in the compilation
+of "Children's Books and
+their Illustrators." Owing
+to exigences of space reference
+to several important
+new books has necessarily
+been postponed.</p>
+
+<div class='center'>&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;</div>
+<div class="figcenter" style="width: 350px;">
+<img src="images/grey068a.png" width="350" height="450" alt="ILLUSTRATION FROM &quot;NATIONAL RHYMES.&quot; BY GORDON BROWNE (GARDNER, DARTON AND CO. 1897)" title="" />
+<span class="caption">ILLUSTRATION FROM &quot;NATIONAL RHYMES.&quot; BY GORDON BROWNE (GARDNER, DARTON AND CO. 1897)</span>
+</div>
+
+<p><span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2>For Younger Readers</h2>
+
+
+<div class='center'><br />BY MARTHA FINLEY</div>
+
+<div class='unindent'>ELSIE DINSMORE. With illustrations by H. C. Christy. Large
+8vo, cloth. $1.50.</div>
+
+<div class='unindent'>ELSIE AT HOME. Similar in general style to the previous "Elsie"
+books. 16mo, cloth. $1.25.</div>
+
+
+<div class='center'><br />BY RAFFORD PYKE.</div>
+
+<div class='unindent'>THE ADVENTURES OF MABEL. For children of five and
+six. With many illustrations by <span class="smcap">Melanie Elizabeth Norton</span>.
+Large 8vo. $1.75.</div>
+
+
+<div class='center'><br />BY BARBARA YECHTON.</div>
+
+<div class='unindent'>DERICK. Illustrated. Large 12mo, cloth. $1.50.</div>
+
+
+<div class='center'><br />BY AMANDA M. DOUGLAS.</div>
+
+<div class='unindent'>CHILDREN AT SHERBURNE HOUSE, 12mo, cloth. $1.50.</div>
+
+<div class='unindent'>NAN. A Sequel to "A Little Girl in Old New York." Illustrated.
+12mo, cloth. $1.50.</div>
+
+
+<div class='center'><br />BY ELIZABETH STUART PHELPS.</div>
+
+<div class='unindent'>GIPSY'S YEAR AT THE GOLDEN CRESCENT. Uniform
+with the previous volumes of the same series. Fully illustrated.
+Large 12mo, cloth. $1.50.</div>
+
+
+<div class='center'><br />BY ELIZABETH W. CHAMPNEY.</div>
+
+<div class='unindent'>WITCH WINNIE IN VENICE. With many illustrations.
+Large 12mo, cloth. $1.50.</div>
+
+<div class='unindent'>PIERRE AND HIS POODLE. With numerous illustrations.
+12mo, cloth. $1.00.</div>
+
+
+<div class='center'><br />BY BEATRICE HARRADEN.</div>
+
+<div class='unindent'>UNTOLD TALES OF THE PAST. By <span class="smcap">Beatrice Harraden</span>,
+author of "Ships that Pass in the Night," "Hilda Strafford," etc.
+Illustrated. Cloth. Probably $1.50.</div>
+
+
+<div class='center'><br /><i><small>The above are published by</small></i><br />
+
+
+Dodd, Mead &amp; Company, FIFTH AVE. &amp; 21ST<br />
+STREET, NEW YORK<br /></div>
+
+
+<hr style="width: 65%;" />
+
+<h2>Four Capital Books</h2>
+
+<div class='unindent'><big><span class='u'>Aaron in the Wildwoods</span></big></div>
+
+<div class='unindent'>A delightful new Thimblefinger story of Aaron while a
+"runaway," by JOEL CHANDLER HARRIS,
+author of "<i>Little Mr. Thimblefinger and his Queer
+Country</i>," "<i>Mr. Rabbit at Home</i>," "<i>The Story of
+Aaron</i>," <i>etc.</i> With 24 full-page illustrations by <span class="smcap">Oliver
+Herford</span>. Square 8vo. $2.00.</div>
+
+
+<div class='unindent'><br /><big><span class='u'>Little-Folk Lyrics</span></big></div>
+
+<div class='unindent'>By FRANK DEMPSTER SHERMAN. <span class="smcap">Holiday
+Edition</span>. A beautiful book of very charming poems for
+children, with 16 exquisite illustrations. 12mo. $1.50.</div>
+
+
+<div class='unindent'><br /><big><span class='u'>Being a Boy</span></big></div>
+
+<div class='unindent'>By CHARLES DUDLEY WARNER. With an
+introduction and 32 capital full-page illustrations from
+photographs by <span class="smcap">Clifton Johnson</span>. 12mo, gilt top. $2.00.</div>
+
+
+<div class='unindent'><br /><big><span class='u'>An Unwilling Maid</span></big></div>
+
+<div class='unindent'>A capital story of the Revolution, for girls, by JEANIE
+GOULD LINCOLN, author of "<i>Marjorie's Quest</i>,"
+"<i>A Genuine Girl</i>," <i>etc.</i> With illustrations. $1.25.</div>
+
+<div class="blockquot">Few recent stories surpass it in the fortunate blending of vivacity and sweetness
+and stern loyalty to duty and tender and pathetic experiences. It is
+fascinatingly written and every chapter increases its delightfulness.&mdash;<i>The
+Congregationalist, Boston.</i></div>
+
+<div class='center'><br /><i><small>Sold by Booksellers, Sent, postpaid, by</small></i><br />
+
+Houghton, Mifflin &amp; Co., <i>Boston</i></div>
+
+<hr style="width: 65%;" />
+
+<h2>NEW BOOKS FOR BOYS AND GIRLS</h2>
+
+
+<div class='center'><i>Three New Historical Tales by E. Everett Green,
+Author of "The Young Pioneers," etc.</i></div>
+
+<div class='unindent'><br />A CLERK AT OXFORD, AND HIS ADVENTURES
+IN THE BARON'S WAR.</div>
+
+<div class='unindent'>With a plan of Oxford in the twelfth and thirteenth
+centuries, and a view of the city from an old print.
+8vo, extra cloth. $1.50.</div>
+
+<div class='unindent'><br />SISTER: A CHRONICLE OF FAIR HAVEN.</div>
+
+<div class='unindent'>With eight illustrations by <span class="smcap">J. Finnemore</span>. 8vo, extra
+cloth. $1.50.</div>
+
+<div class='unindent'><br />TOM TUFTON'S TRAVELS.</div>
+
+<div class='unindent'>With illustrations by <span class="smcap">W. S. Stacey</span>. 8vo, extra cloth,
+$1.25.</div>
+
+
+<div class='center'><i>Two New Books by Herbert Hayens, Author of "Clevely
+Sahib," "Under the Lone Star," etc.</i></div>
+
+<div class='unindent'><br />AN EMPEROR'S DOOM; OR THE PATRIOTS
+OF MEXICO.</div>
+
+<div class='unindent'>A tale of the downfall of Maximilian, with eight illustrations
+by <span class="smcap">A. J. B. Salmon</span>. 8vo, extra cloth. $1.50.</div>
+
+<div class='unindent'><br />SOLDIERS OF THE LEGION.</div>
+
+<div class='unindent'>A tale of the Carlist War. 8vo, extra cloth, illustrated.
+$1.25.</div>
+
+<div class='unindent'><br />THE ISLAND OF GOLD.</div>
+
+<div class='unindent'>A Sailor's Yarn. By <span class="smcap">Gordon Stables</span>, M. D., R. N.,
+author of "Every Inch a Sailor," "How Jack McKenzie
+Won His Epaulettes," etc. With six illustrations
+by <span class="smcap">Allan Stuart</span>. 8vo, extra cloth. $1.25.</div>
+
+<div class='unindent'><br />POPPY.</div>
+
+<div class='unindent'>A tale. By <span class="smcap">Mrs. Isla Sitwell</span>, author of "In Far
+Japan," "The Golden Woof," etc. With illustrations.
+8vo, cloth extra. $1.25.</div>
+
+<div class='unindent'><br />VANDRAD THE VIKING; OR THE FEUD
+AND THE SPELL.</div>
+
+<div class='unindent'>A tale of the Norsemen. By <span class="smcap">I. Storer Clouston</span>. With
+six illustrations by <span class="smcap">Herbert Payton</span>. 8vo, cloth. 80 cts.</div>
+
+<div class='unindent'><br />THE VANISHED YACHT.</div>
+
+<div class='unindent'>By <span class="smcap">E. Harcourt Burrage</span>. Cloth extra. $1.00.</div>
+
+
+<div class='unindent'><br />LITTLE TORA, THE SWEDISH SCHOOLMISTRESS,
+AND OTHER STORIES.</div>
+
+<div class='unindent'>By <span class="smcap">Mrs. Woods Baker</span>, author of "Fireside Sketches
+of Swedish Life," "The Swedish Twins," etc. Cloth.
+60 cts.</div>
+
+
+<div class='unindent'><br />A BOOK ABOUT SHAKESPEARE.</div>
+
+<div class='unindent'>Written for Young People. By <span class="smcap">I. N. McIlwraith</span>.
+With numerous illustrations. Cloth extra. 60 cts.</div>
+
+<div class='unindent'><br />ACROSS GREENLAND'S ICEFIELDS.</div>
+
+<div class='unindent'>An account of the discoveries by Nansen and Peary.
+With portraits of Nansen and other illustrations. 8vo,
+cloth. 80 cts.</div>
+
+<div class='unindent'><br />BREAKING THE RECORD.</div>
+
+<div class='unindent'>The story of North Polar Expeditions by the Nova
+Zembla and Spitzbergen Routes. By <span class="smcap">M. Douglass</span>,
+author of "Across Greenland's Icefields," etc. With
+numerous illustrations. Cloth extra. 80 cts.</div>
+
+<div class='center'><i><small>For sale by all Booksellers, or sent prepaid on receipt of price, Send for complete catalogue,</small></i><br />
+
+THOMAS NELSON &amp; SONS, Publishers, 33 E. 17th St. (Union Sq.), N. Y.</div>
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span></p>
+
+<h2>CHILDRENS' BOOKS</h2>
+
+
+<div class='unindent'><br /><big><span class='u'><b>The Blackberries</b></span></big></div>
+
+<div class='unindent'>Thirty-two humorous drawings in color, with descriptive verses,
+by <i>E. W. Kemble</i> the famous delineator of "Kemble's Coons."
+Large quarto, 9&times;12, on plate paper; cover in color. $1.50.</div>
+
+<div class='unindent'><br /><big><span class='u'><b>Kemble's Coons</b></span></big></div>
+
+<div class='unindent'>Drawings by <i>E. W. Kemble</i>. A series of 30 beautiful half-tone
+reproductions, printed in Sepia, of drawings of colored
+children and southern scenes, by E. W. Kemble, the well-known
+character artist. Large quarto, 9&frac12;&times;12 inches; handsomely
+bound in Brown Buckram and Japan Vellum printed
+in color. Price, $2.00.</div>
+
+<div class='unindent'><br /><big><span class='u'><b>The Delft Cat</b></span></big></div>
+
+<div class='unindent'><i>By Robert Howard Russell</i>. Three stories for children profusely
+illustrated by F. Berkeley Smith. Printed on hand-made,
+deckle-edge linen paper with attractive cover in Delft Colors.
+Price, 75 cents.</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/color070.jpg" width="500" height="142" alt="Dancing little men" title="" />
+</div>
+
+<div class='unindent'><br /><big><span class='u'><b>Chip's Dogs</b></span></big></div>
+
+<div class='unindent'>A collection of humorous drawings by the late <i>F. P. W. Bellew</i>
+("Chip"), whose amusing sketches of dogs were so well known.
+A new and improved edition now ready. Large Quarto, 9&frac12;&times;12
+inches, on plate paper, handsomely bound. Price, $1.00.</div>
+
+<div class='unindent'><br /><big><span class='u'><b>The Autobiography of a Monkey</b></span></big></div>
+
+<div class='unindent'>A laughable conception in 30 full-page and 40 small drawings
+by <i>Hy. Mayer</i>, with verses by <i>Albert Bigelow Paine</i>. Large
+quarto, 7&times;9, with cover in color. Price, $1.25.</div>
+
+<div class='unindent'><br /><big><span class='u'><b>The Tiddledywink's Poetry Book</b></span></big></div>
+
+<div class='unindent'>Illustrated by <i>Charles Howard Johnson</i>. A book of nonsense
+rhymes by <i>Mr. Bangs</i>, accompanied by most amusing pictures.
+Large quarto, with Illuminated covers, 30 full-page illustrations,
+colored borders to text. Boards. Price, $1.00.</div>
+
+<div class='unindent'><br /><big><span class='u'><b>The Mantel Piece Minstrels</b></span></big></div>
+
+<div class='unindent'><i>By John Kendrick Bangs</i>. A most attractive little volume
+containing four of Mr. Bangs' inimitably humorous stories,
+profusely illustrated with unique drawings by <i>F. Berkeley Smith</i>;
+printed on hand-made, deckle-edge linen paper, and tastefully
+bound in illuminated covers. 32mo. Price, 75 cents.</div>
+
+<div class='unindent'><br /><big><span class='u'><b>The Dumpies</b></span></big></div>
+
+<div class='unindent'>Discovered and drawn by <i>Frank Verbeck; Albert Bigelow
+Paine</i>, historian. An entertaining tale in prose and verse, as
+fascinating as "The Brownies." Large quarto, 8&times;11, with
+130 illustrations and cover in color. Price, $1.25.</div>
+
+<div class='unindent'><br /><big><span class='u'><b>Tiddledywink Tales</b></span></big></div>
+
+<div class='unindent'><i>By John Kendrick Bangs</i>. A charming book for children.
+The drawings by <i>Charles Howard Johnson</i> are quite in
+sympathy with the humor of the book. Full cloth, gilt,
+236 pp. 12mo. Price, $1.25.</div>
+
+<div class='unindent'><br /><big><span class='u'><b>In Camp with a Tin Soldier</b></span></big></div>
+
+<div class='unindent'><i>By John Kendrick Bangs</i>. A Sequel to <ins title="Transcriber's Note: original reads 'Tiddlewink'">Tiddledywink</ins> Tales.
+Illustrated by <i>T. M. Ashe</i>, Jimmieboy's adventures in the Camp
+of the Tin Soldiers are most amusing. Full cloth, gilt, 236
+pp. 12mo. Price, $1.25.</div>
+
+<div class='unindent'><br /><big><span class='u'><b>Half Hours with Jimmieboy</b></span></big></div>
+
+<div class='unindent'><i>By John Kendrick Bangs</i>. Illustrated by <i>Frank Verbeck</i>, <i>Peter
+Newell</i> and others. Sixteen short stories record the interesting
+adventures of the hero with all sorts of folks; dwarfs, dudes,
+giants, bicyclop&aelig;dia birds and snowmen. Full cloth, 112 pp.
+12mo. Price, $1.25.</div>
+
+<div class='unindent'><br /><big><span class='u'><b>The Slambangaree</b></span></big></div>
+
+<div class='unindent'>Ten stories for children by <i>R. K. Munkittrick</i>. On hand-made
+deckle-edge linen paper. Price, 75 cents.</div>
+
+<div class='unindent'><br /><big><span class='u'><b>In Savage Africa</b></span></big></div>
+
+<div class='unindent'><i>By E. J. Glave</i>, one of Stanley's pioneer officers. With an
+introduction by Henry M. Stanley. Beautifully illustrated with
+seventy-five wood cuts, half-tones and pen-and-ink sketches by
+the author, <i>Bacher</i>, <i>Bridgman</i>, <i>Kemble</i> and <i>Taber</i>. Large
+octavo, full cloth, gilt. Price, $1.50.</div>
+
+<div class='unindent'><br /><big><span class='u'><b>An Alphabet</b></span></big></div>
+
+<div class='unindent'><i>By William Nicholson</i>. Color plate for each letter in the
+alphabet. Popular Edition on stout cartridge paper, $1.50.
+Library Edition, made on Dutch hand-made paper; mounted
+and bound in cloth. Price, $3.75.</div>
+
+<h2><i>R. H. RUSSELL, New York</i></h2>
+
+<div class='center'><small>THE WAYSIDE PRESS, SPRINGFIELD, MASS.</small></div>
+<hr style="width: 65%;" />
+<div class='tnote'><h3>Transcriber's Notes:</h3>
+<p>Obvious punctuation errors repaired.</p>
+<p>Varied hyphenation was retained: woodcuts, wood-cuts and today, to-day and folklore, folk-lore.</p>
+<p>The remaining corrections made are indicated by dotted lines under the corrections. Scroll the mouse over the word and the original text will <ins title="Transcriber's Note: original reads 'apprear'">appear</ins>.</p></div>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Children's Books and Their Illustrators, by 
+Gleeson White
+
+*** END OF THIS PROJECT GUTENBERG EBOOK CHILDREN'S BOOKS AND ILLUSTRATORS ***
+
+***** This file should be named 27112-h.htm or 27112-h.zip *****
+This and all associated files of various formats will be found in:
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+</body>
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+Project Gutenberg's Children's Books and Their Illustrators, by Gleeson White
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Children's Books and Their Illustrators
+
+Author: Gleeson White
+
+Other: The International Studio
+
+Release Date: November 1, 2008 [EBook #27112]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK CHILDREN'S BOOKS AND ILLUSTRATORS ***
+
+
+
+
+Produced by Colin Bell, Joseph Cooper, Emmy and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+
+
+Price 50 Cents
+
+_Special_ WINTER NUMBER _of_
+
+THE INTERNATIONAL STUDIO
+
+_CHILDREN'S BOOKS AND THEIR ILLUSTRATORS._
+
+_By_ GLEESON WHITE
+
+[Illustration]
+
+THE INTERNATIONAL STUDIO =John Lane=, 140 Fifth Avenue, _New York_
+
+
+
+
+Scribner's New Books for the Young
+
+
+          =Mrs. Burnett's
+          famous
+          Juveniles=
+
+          =With all the original
+          Illustrations by Reginald B. Birch.
+          5 vols. Each 12mo $1.25.=
+
+A writer in the _Boston Post_ has said of Mrs. Burnett: "She has a
+beauty of imagination and a spiritual insight into the meditations of
+childhood which are within the grasp of no other writer for
+children,"--and these five volumes would indeed be difficult to match in
+child literature. The new edition is from new plates, with all the
+original illustrations by Reginald B. Birch, is bound in a handsome new
+cover. "Little Lord Fauntleroy," "Two Little Pilgrims' Progress,"
+"Piccino and Other Child Stories," "Giovanni and the Other," "Sara
+Crewe," and "Little Saint Elizabeth and other Stories" (in one volume).
+
+
+          =Three New
+          Volumes by
+          G. A. Henty=
+
+          =Illustrated by Walter
+          Paget and W. A. Margetson.
+          Each 12mo $1.50=.
+
+It would be a bitter year for the boys if Mr. Henty were to fail them
+with a fresh assortment of his enthralling tales of adventure, for, as
+the London _Academy_ has said, in this kind of story telling, "he stands
+in the very first rank." "With Frederick the Great" is a tale of the
+Seven Years' War, and has twelve full-page illustrations by Wal. Paget;
+"A March on London" details some stirring scenes of the times when Wat
+Tyler's motley crew took possession of that city, and the illustrations
+are drawn by W. A. Margetson, while Wal. Paget has supplied the pictures
+for "With Moore at Corunna," in which the boy hero serves through the
+Peninsular War. (Each 12mo, $1.50.)
+
+
+          =Will Shakespeare's
+          Little Lad
+          by Imogen Clarke=
+
+          =With 8 full-page Illustrations
+          by Reginald B. Birch.
+          12mo $1.50.=
+
+"The author has caught the true spirit of Shakespeare's time, and paints
+his home surroundings with a loving, tender grace," says the Boston
+_Herald_.
+
+
+          =An Old-Field School Girl by Marion Harland=
+
+(Illustrated, 12mo, $1.25.) "As pretty a story for girls as has been
+published in a long time," says the _Buffalo Express_, and the _Chicago
+Tribune_ is even more appreciative: "Compared with the average books of
+its class 'An Old-Field School Girl,' becomes a classic."
+
+
+          =Lullaby Land=
+
+          =Verses by Eugene Field
+          With 200 fanciful
+          Illustrations by Charles Robinson.
+          (Uniform with Stevenson's
+          "A Child's Garden") 12mo $1.50.=
+
+"A collection of those dearly loved 'Songs of Childhood' by Eugene
+Field, which have touched many hearts, both old and young, and will
+continue to do so as long as little children remain the joy of our
+homes. It was a happy thought of the publisher to choose another such
+child lover and sympathizer as Kenneth Grahame to write the Preface to
+the new edition, and Charles Robinson to make the many quaint and most
+amusing illustrations."--_The Evangelist._
+
+
+          =With Crockett
+          and Bowie by
+          Kirk Munroe=
+
+          =With 8 full-page
+          Illustrations by Victor S. Perard.
+          12mo $1.50.=
+
+This "Tale of Texas; or, Fighting for the Lone Star Flag," completes the
+author's _White Conqueror Series_. The Minneapolis _Tribune_ says: "It
+is a breezy and invigorating tale. The characters, although drawn from
+real life, are surrounded by an atmosphere of romance and adventure
+which gives them the added fascination of being creatures of fiction,
+and yet there is no straining for effect."
+
+
+          =The Naval
+          Cadet=
+
+          =With 6 full-page Illustrations
+          by William Rainey, R. I.
+          Crown 8vo $1.25.=
+
+A Story of Adventure on Land and Sea, by GORDON STABLES. A stirring tale
+of seafaring and sea-fighting on the coasts of Africa, South America,
+Australia, New Guinea, etc., closing with a dramatic picture of the
+combat between the Chinese and Japanese fleets at Yalu.
+
+
+          =The Stevenson
+          Song Book=
+
+          =With decorative borders.
+          4to $2.00.=
+
+In this large and handsome quarto, twenty of the most lyrical poems from
+Robert Louis Stevenson's "Child's Garden of Verse", have been set to
+music by such composers as Reginald DeKoven, Arthur Foote, C. W.
+Chadwick, Dr. C. Villers Stanford, etc. The volume is uniform with and a
+fitting companion to the popular "Field-De-Koven Song Book."
+
+
+          =Twelve Naval
+          Captains by
+          Molly Elliot Seawell=
+
+          =With 12 full-page portraits.
+          12mo $1.25.=
+
+Miss Seawell here tells the notable exploits of twelve heroes of our
+early navy: John Paul Jones, Richard Dale, William Bainbridge, Richard
+Somers, Edward Preble, Thomas Truxton, Stephen Decatur, James Lawrance,
+Isaac Hull, O. H. Perry, Charles Stewart, Thomas Macdonough. The book is
+illustrated attractively and makes a stirring and thrilling volume.
+
+
+          =The Knights
+          of the Round
+          Table=
+
+          =With 25 Illustrations
+          by S. R. Benliegh.
+          12mo $1.50.=
+
+"King Arthur's Knights and their connection with the mystic Grail is
+here the subject of Mr. William Henry Frost's translation into child
+language. Many volumes have been prepared telling these wonderful
+legendary stories to young people, but few are so admirably written as
+this work," says the _Boston Advertiser_.
+
+
+          =The Last
+          Cruise of the
+          Mohawk by
+          W. J. Henderson=
+
+          =Illustrated by
+          Harry C. Edwards.
+          12mo $1.25.=
+
+The _Observer_ says: "This is an exciting story that boys of today will
+appreciate thoroughly and devour greedily," and the _Rochester Democrat_
+calls it "an interesting and thrilling story."
+
+
+          =The King of
+          the Broncos
+          by Charles
+          F. Lummis=
+
+          =Illustrated by
+          Victor S. Perard.
+          12mo $1.25.=
+
+The title story and the other Tales of New Mexico, which Mr. Lummis has
+here supplied for the younger generation, have all his usual
+fascination. He knows how to tell his thrilling stories in a way that is
+irresistible? to boy readers.
+
+
+          =The Border
+          Wars of
+          New England=
+
+          =With 58 Illustrations and map.
+          12mo $1.25.=
+
+Mr. Samuel Adams Drake is an expert at making history real and vital to
+children. The _Boston Advertiser_ says: "This is not a school book, yet
+it is exceedingly well adapted to use in schools, and at the same time
+will enrich and adorn the library of every American who is so fortunate
+or so judicious as to place it on his shelves."
+
+
+          =The Golden
+          Galleon by
+          Robert
+          Leighton=
+
+          =With 8 full-page Illustrations
+          by William Rainey, R. I.
+          12mo $1.50.=
+
+"A narrative of the adventures of Master Gilbert O'Glander, and of how
+in the year 1591 he fought under the gallant Sir Richard Grenville in
+the great sea-fight off Flores, on board Her Majesty's ship, _The
+Revenge_." The New York _Observer_ has said: "Mr. Leighton as a writer
+for boys needs no praise as his books place him in the front rank."
+
+
+          =Lords of the
+          World=
+
+          =With 12 full-page
+          Illustrations by Ralph Peacock.
+          12mo. $1.00.=
+
+A Story of the Fall of Carthage and Corinth. By ALFRED J. CHURCH. In his
+own special field the author has few rivals. He has a capacity for
+making antiquity assume reality which is fascinating in the extreme.
+
+
+          =Adventures in
+          Toyland=
+
+          =With 8 colored plates and 72 other
+          Illustrations by Alice B. Woodward.
+          Square 8vo. $2.00.=
+
+By EDITH KING HALL. A clever and fascinating volume which will surely
+take a high place among this season's "juveniles."
+
+          CHARLES SCRIBNER'S SONS, 153-157 Fifth Ave, N.Y.
+
+[Illustration: "THE HEIR TO FAIRY-LAND" FROM A WATER-COLOUR BY ROBERT
+HALLS]
+
+
+
+
+THE INTERNATIONAL
+
+STUDIO
+
+SPECIAL WINTER-NUMBER 1897-8
+
+
+
+
+CHILDREN'S BOOKS AND THEIR ILLUSTRATORS. BY GLEESON WHITE.
+
+
+[Illustration: THE "MONKEY-BOOK" A FAVOURITE IN THE NURSERY
+
+(_By permission of James H. Stone, Esq., J.P._)]
+
+There are some themes that by their very wealth of suggestion appal the
+most ready writer. The emotions which they arouse, the mass of pleasant
+anecdote they recall, the ghosts of far-off delights they summon, are
+either too obvious to be worth the trouble of description or too
+evanescent to be expressed in dull prose. Swift, we are told (perhaps a
+little too frequently), could write beautifully of a broomstick; which
+may strike a common person as a marvel of dexterity. After a while, the
+journalist is apt to find that it is the perfect theme which proves to
+be the hardest to treat adequately. Clothe a broomstick with fancies,
+even of the flimsiest tissue paper, and you get something more or less
+like a fairy-king's sceptre; but take the Pompadour's fan, or the
+haunting effect of twilight over the meadows, and all you can do in
+words seems but to hide its original beauties. We know that Mr. Austin
+Dobson was able to add graceful wreaths even to the fan of the
+Pompadour, and that another writer is able to impart to the misty
+twilight not only the eerie fantasies it shows the careless observer,
+but also a host of others that only a poet feels, and that only a poet
+knows how to prison within his cage of printed syllables. Indeed, of the
+theme of the present discourse has not the wonder-working Robert Louis
+Stevenson sung of "Picture Books in Winter" and "The Land of Story
+Books," so truly and clearly that it is dangerous for lesser folk to
+attempt essays in their praise? All that artists have done to amuse the
+august monarch "King Baby" (who, pictured by Mr. Robert Halls, is fitly
+enthroned here by way of frontispiece) during the playtime of his
+immaturity is too big a subject for our space, and can but be indicated
+in rough outline here.
+
+[Illustration: "ROBINSON CRUSOE." THE WRECK FROM AN EIGHTEENTH-CENTURY
+CHAP-BOOK]
+
+Luckily, a serious study of the evolution of the child's book already
+exists. Since the bulk of this number was in type, I lighted by chance
+upon "The Child and his Book," by Mrs. E. M. Field, a most admirable
+volume which traces its subject from times before the Norman conquest to
+this century. Therein we find full accounts of MSS. designed for
+teaching purposes, of early printed manuals, and of the mass of
+literature intended to impress "the Fear of the Lord and of the
+Broomstick." Did space allow, the present chronicle might be enlivened
+with many an excerpt which she has culled from out-of-the-way sources.
+But the temptation to quote must be controlled. It is only fair to add
+that in that work there is a very excellent chapter to "Some
+Illustrators of Children's Books," although its main purpose is the text
+of the books. One branch has found its specialist and its exhaustive
+monograph, in Mr. Andrew Tuer's sumptuous volumes devoted to "The Horn
+Book."
+
+[Illustration: "CRUSOE AND XURY ESCAPING" FROM AN EIGHTEENTH-CENTURY
+CHAP-BOOK]
+
+Perhaps there is no pleasure the modern "grown-up" person envies the
+youngsters of the hour as he envies them the shoals of delightful books
+which publishers prepare for the Christmas tables of lucky children. If
+he be old enough to remember Mrs. Trimmer's "History of the Robins,"
+"The Fairchild Family," or that Poly-technically inspired romance, the
+"Swiss Family Robinson," he feels that a certain half-hearted approval
+of more dreary volumes is possibly due to the glamour which middle age
+casts upon the past. It is said that even Barbauld's "Evenings at Home"
+and "Sandford and Merton" (the anecdotes only, I imagine) have been
+found toothsome dainties by unjaded youthful appetites; but when he
+compares these with the books of the last twenty years, he wishes he
+could become a child again to enjoy their sweets to the full.
+
+[Illustration: _"CRUSOE SETS SAIL ON HIS EVENTFUL VOYAGE" FROM AN
+EIGHTEENTH-CENTURY CHAP-BOOK_]
+
+Now nine-tenths of this improvement is due to artist and publisher;
+although it is obvious that illustrations imply something to illustrate,
+and, as a rule (not by any means without exception), the better the text
+the better the pictures. Years before good picture-books there were good
+stories, and these, whether they be the classics of the nursery, the
+laureates of its rhyme, the unknown author of its sagas, the born
+story-tellers--whether they date from prehistoric cave-dwellers, or are
+of our own age, like Charles Kingsley or Lewis Carroll--supply the text
+to spur on the artist to his best achievements.
+
+[Illustration: "THE TRUE TALE OF ROBIN HOOD." FROM AN EIGHTEENTH-CENTURY
+CHAP-BOOK]
+
+It is mainly a labour of love to infuse pictures intended for childish
+eyes with qualities that pertain to art. We like to believe that Walter
+Crane, Caldecott, Kate Greenaway and the rest receive ample appreciation
+from the small people. That they do in some cases is certain; but it is
+also quite as evident that the veriest daub, if its subject be
+attractive, is enjoyed no less thoroughly. There are prigs of course,
+the children of the "prignorant," who babble of Botticelli, and profess
+to disdain any picture not conceived with "high art" mannerism. Yet even
+these will forget their pretence, and roar over a _Comic Cuts_ found on
+the seat of a railway carriage, or stand delighted before some
+unspeakable poster of a melodrama. It is well to face the plain fact
+that the most popular illustrated books which please the children are
+not always those which satisfy the critical adult. As a rule it is the
+"grown-ups" who buy; therefore with no wish to be-little the advance in
+nursery taste, one must own that at present its improvement is chiefly
+owing to the active energies of those who give, and is only passively
+tolerated by those who accept. Children awaking to the marvel that
+recreates a familiar object by a few lines and blotches on a piece of
+paper, are not unduly exigent. Their own primitive diagrams, like a
+badly drawn Euclidean problem, satisfy their idea of studies from the
+life. Their schemes of colour are limited to harmonies in crimson lake,
+cobalt and gamboge, their skies are very blue, their grass arsenically
+green, and their perspective as erratic as that of the Chinese.
+
+[Illustration: "TWO CHILDREN IN THE WOOD." FROM AN EIGHTEENTH CENTURY
+CHAP-BOOK]
+
+[Illustration: "SIR RICHARD WHITTINGTON." FROM AN EIGHTEENTH-CENTURY
+CHAP-BOOK]
+
+In fact, unpopular though it may be to project such a theory, one
+fancies that the real educational power of the picture-book is upon the
+elders, and thus, that it undoubtedly helps to raise the standard of
+domestic taste in art. But, on the other hand, whether his art is
+adequately appreciated or not, what an unprejudiced and wholly
+spontaneous acclaim awaits the artist who gives his best to the little
+ones! They do not place his work in portfolios or locked glass cases;
+they thumb it to death, surely the happiest of all fates for any printed
+book. To see his volumes worn out by too eager votaries; what could an
+author or artist wish for more? The extraordinary devotion to a volume
+of natural history, which after generations of use has become more like
+a mop-head than a book, may be seen in the reproduction of a
+"monkey-book" here illustrated; this curious result being caused by
+sheer affectionate thumbing of its leaves, until the dog-ears and
+rumpled pages turned the cube to a globular mass, since flattened by
+being packed away. So children love picture-books, not as bibliophiles
+would consider wisely, but too well.
+
+[Illustration: "AN AMERICAN MAN AND WOMAN IN THEIR PROPER HABITS."
+ILLUSTRATION FROM "A MUSEUM FOR YOUNG GENTLEMEN AND LADIES" (S. CROWDER.
+1790)]
+
+To delight one of the least of these, to add a new joy to the crowded
+miracles of childhood, were no less worth doing than to leave a Sistine
+Chapel to astound a somewhat bored procession of tourists, or to have
+written a classic that sells by thousands and is possessed unread by all
+save an infinitesimal percentage of its owners.
+
+When Randolph Caldecott died, a minor poet, unconsciously paraphrasing
+Garrick's epitaph, wrote: "For loss of him the laughter of the children
+will grow less." I quote the line from memory, perhaps incorrectly; if
+so, its author will, I feel sure, forgive the unintentional mangling.
+Did the laughter of the children grow less? Happily one can be quite
+sure it did not. So long as any inept draughtsman can scrawl a few lines
+which they accept as a symbol of an engine, an elephant or a pussy cat,
+so long will the great army of invaders who are our predestined
+conquerors be content to laugh anew at the request of any one, be he
+good or mediocre, who caters for them.
+
+It is a pleasant and yet a saddening thought to remember that we were
+once recruits of this omnipotent army that wins always our lands and our
+treasures. Now, when grown up, whether we are millionaires or paupers,
+they have taken fortress by fortress with the treasures therein, our
+picture-books of one sort are theirs, and one must yield presently to
+the babies as they grow up, even our criticism, for they will make their
+own standards of worth and unworthiness despite all our efforts to
+control their verdict.
+
+If we are conscious of being "up-to-date" in 1900, we may be quite sure
+that by 1925 we shall be ousted by a newer generation, and by 2000
+forgotten. Long before even that, the children we now try to amuse or to
+educate, to defend at all costs, or to pray for as we never prayed
+before--they will be the masters. It is, then, not an ignoble thing to
+do one's very best to give our coming rulers a taste of the kingdom of
+art, to let them unconsciously discover that there is something outside
+common facts, intangible and not to be reduced to any rule, which may be
+a lasting pleasure to those who care to study it.
+
+It is evident, as one glances back over the centuries, that the child
+occupies a new place in the world to-day. Excepting possibly certain
+royal infants, we do not find that great artists of the past addressed
+themselves to children. Are there any children's books illustrated by
+Duerer, Burgmair, Altdorfer, Jost Amman, or the little masters of
+Germany? Among the Florentine woodcuts do we find any designed for
+children? Did Rembrandt etch for them, or Jacob Beham prepare plates for
+their amusement? So far as I have searched, no single instance has
+rewarded me. It is true that the _naivete_ of much early work tempts
+one to believe that it was designed for babies. But the context shows
+that it was the unlettered adult, not the juvenile, who was addressed.
+As the designs, obviously prepared for children, begin to appear, they
+are almost entirely educational and by no means the work of the best
+artists of the period. Even when they come to be numerous, their object
+is seldom to amuse; they are didactic, and as a rule convey solemn
+warnings. The idea of a draughtsman of note setting himself deliberately
+to please a child would have been inconceivable not so many years ago.
+To be seen and not heard was the utmost demanded of the little ones even
+as late as the beginning of this century, when illustrated books
+designed especially for their instruction were not infrequent.
+
+[Illustration: "THE WALLS OF BABYLON." ILLUSTRATION FROM "A MUSEUM FOR
+YOUNG GENTLEMEN AND LADIES" (S. CROWDER. 1790)]
+
+As Mr. Theodore Watts-Dunton pointed out in his charming essay, "The New
+Hero," which appeared in the _English Illustrated Magazine_ (Dec. 1883),
+the child was neglected even by the art of literature until Shakespeare
+furnished portraits at once vivid, engaging, and true in Arthur and in
+Mamillus. In the same essay he goes on to say of the child--the new
+hero:
+
+"And in art, painters and designers are vying with the poets and with
+each other in accommodating their work to his well-known matter-of-fact
+tastes and love of simple directness. Having discovered that the New
+Hero's ideal of pictorial representation is of that high dramatic and
+businesslike kind exemplified in the Bayeux tapestry, Mr. Caldecott, Mr.
+Walter Crane, Miss Kate Greenaway, Miss Dorothy Tennant, have each tried
+to surpass the other in appealing to the New Hero's love of real
+business in art--treating him, indeed, as though he were Hotei, the
+Japanese god of enjoyment--giving him as much colour, as much dramatic
+action, and as little perspective as is possible to man's finite
+capacity in this line. Some generous art critics have even gone so far
+indeed as to credit an entire artistic movement, that of pre-Raphaelism,
+with a benevolent desire to accommodate art to the New Hero's peculiar
+ideas upon perspective. But this is a 'soft impeachment' born of that
+loving kindness for which art-critics have always been famous."
+
+[Illustration: "MERCURY AND THE WOODMAN." ILLUSTRATION FROM "BEWICK'S
+SELECT FABLES." BY THOMAS BEWICK (1784)]
+
+[Illustration: "THE BROTHER AND SISTER." ILLUSTRATION FROM "BEWICK'S
+SELECT FABLES." BY THOMAS BEWICK (1784)]
+
+[Illustration: "LITTLE ANTHONY." ILLUSTRATION FROM "THE LOOKING-GLASS OF
+THE MIND." BY THOMAS BEWICK (1792)]
+
+[Illustration: "LITTLE ADOLPHUS." ILLUSTRATION FROM "THE LOOKING-GLASS
+OF THE MIND." BY THOMAS BEWICK (1792)]
+
+It would be out of place here to project any theory to account for this
+more recent homage paid to children, but it is quite certain that a
+similar number of THE STUDIO could scarce have been compiled a century
+ago, for there was practically no material for it. In fact the tastes of
+children as a factor to be considered in life are well-nigh as modern as
+steam or the electric light, and far less ancient than printing with
+movable types, which of itself seems the second great event in the
+history of humanity, the use of fire being the first.
+
+To leave generalities and come to particulars, as we dip into the stores
+of earlier centuries the broadsheets reveal almost nothing _intended_
+for children--the many Robin Hood ballads, for example, are decidedly
+meant for grown-up people; and so in the eighteenth century we find its
+chap-books of "Guy, Earl of Warwick," "Sir Bevis, of Southampton,"
+"Valentine and Orson," are still addressed to the adult; while it is
+more than doubtful whether even the earliest editions in chap-book form
+of "Tom Thumb," and "Whittington" and the rest, now the property of the
+nursery, were really published for little ones. That they were the
+"light reading" of adults, the equivalent of to-day's _Ally Sloper_ or
+the penny dreadful, is much more probable. No doubt children who came
+across them had a surreptitious treat, even as urchins of both sexes now
+pounce with avidity upon stray copies of the ultra-popular and so-called
+comic papers. But you could not call _Ally Sloper_, that Punchinello of
+the Victorian era--who has received the honour of an elaborate article
+in the _Nineteenth Century_--a child's hero, nor is his humour of a sort
+always that childhood should understand--"Unsweetened Gin," the
+"Broker's Man," and similar subjects, for example. It is quite possible
+that respectable people did not care for their babies to read the
+chap-books of the eighteenth century any more than they like them now to
+study "halfpenny comics"; and that they were, in short, kitchen
+literature, and not infantile. Even if the intellectual standard of
+those days was on a par in both domains, it does not prove that the
+reading of the kitchen and nursery was interchangeable.
+
+Before noticing any pictures in detail from old sources or new, it is
+well to explain that as a rule only those showing some attempt to adapt
+the drawing to a child's taste have been selected. Mere dull transcripts
+of facts please children no less; but here space forbids their
+inclusion. Otherwise nearly all modern illustration would come into our
+scope.
+
+A search through the famous Roxburghe collection of broadsheets
+discovered nothing that could be fairly regarded as a child's
+publication. The chap-books of the eighteenth century have been
+adequately discussed in Mr. John Ashton's admirable monograph, and from
+them a few "cuts" are here reproduced. Of course, if one takes the
+standard of education of these days as the test, many of those curious
+publications would appear to be addressed to intelligence of the most
+juvenile sort. Yet the themes as a rule show unmistakably that children
+of a larger growth were catered for, as, for instance, "Joseph and his
+Brethren," "The Holy Disciple," "The Wandering Jew," and those earlier
+pamphlets which are reprints or new versions of books printed by Wynkyn
+de Worde, Pynson, and others of the late fifteenth and early sixteenth
+centuries.
+
+[Illustration: _Henry quitting School._
+
+ILLUSTRATION FROM "SKETCHES OF JUVENILE CHARACTERS" (E. WALLIS. 1818)]
+
+In one, "The Witch of the Woodlands," appears a picture of little people
+dancing in a fairy ring, which might be supposed at first sight to be an
+illustration of a nursery tale, but the text describing a Witch's
+Sabbath, rapidly dispels the idea. Nor does a version of the popular
+Faust legend--"Dr. John Faustus"--appear to be edifying for young
+people. This and "Friar Bacon" are of the class which lingered the
+longest--the magical and oracular literature. Even to-day it is quite
+possible that dream-books and prophetical pamphlets enjoy a large sale;
+but a few years ago many were to be found in the catalogues of
+publishers who catered for the million. It is not very long ago that the
+Company of Stationers omitted hieroglyphics of coming events from its
+almanacs. Many fairy stories which to-day are repeated for the amusement
+of children were regarded as part of this literature--the traditional
+folk-lore which often enough survives many changes of the religious
+faith of a nation, and outlasts much civilisation. Others were
+originally political satires, or social pasquinades; indeed not a few
+nursery rhymes mask allusions to important historical incidents. The
+chap-book form of publication is well adapted for the preservation of
+half-discredited beliefs, of charms and prophecies, incantations and
+cures.
+
+In "Valentine and Orson," of which a fragment is extant of a version
+printed by Wynkyn de Worde, we have unquestionably the real fairy story.
+This class of story, however, was not addressed directly to children
+until within the last hundred years. That many of the cuts used in these
+chap-books afterwards found their way into little coarsely printed
+duodecimos of eight or sixteen pages designed for children is no doubt a
+fact. Indeed the wanderings of these blocks, and the various uses to
+which they were applied, is far too vast a theme to touch upon here. For
+this peripatetic habit of old wood-cuts was not even confined to the
+land of their production; after doing duty in one country, they were
+ready for fresh service in another. Often in the chap-books we meet with
+the same block as an illustration of totally different scenes.
+
+[Illustration: TITLE-PAGE OF "THE PATHS OF LEARNING" (HARRIS AND SON.
+1820)]
+
+[Illustration: PAGE FROM "THE PATHS OF LEARNING" (HARRIS AND SON. 1820)]
+
+The cut for the title-page of Robin Hood is a fair example of its kind.
+The Norfolk gentleman's "Last Will and Testament" turns out to be a
+rambling rhymed version of the Two Children in the Wood. In the first of
+its illustrations we see the dying parents commending their babes to the
+cruel world. The next is a subject taken from these lines:
+
+   "Away then went these prity babes rejoycing at that tide,
+    Rejoycing with a merry mind they should on cock-horse ride."
+
+And in the last, here reproduced, we see them when
+
+  "Their prity lips with blackberries were all besmeared and dyed,
+   And when they saw the darksome night, they sat them down and cried."
+
+But here it is more probable that it was the tragedy which attracted
+readers, as the _Police News_ attracts to-day, and that it became a
+child's favourite by the accident of the robins burying the babes.
+
+The example from the "History of Sir Richard Whittington" needs no
+comment.
+
+A very condensed version of "Robinson Crusoe" has blocks of distinct, if
+archaic, interest. The three here given show a certain sense of
+decorative treatment (probably the result of the artist's inability to
+be realistic), which is distinctly amusing. One might select hundreds of
+woodcuts of this type, but those here reproduced will serve as well as a
+thousand to indicate their general style.
+
+Some few of these books have contributed to later nursery folk-lore, as,
+for example, the well known "Jack Horner," which is an extract from a
+coarse account of the adventures of a dwarf.
+
+One quality that is shared by all these earlier pictures is their
+artlessness and often their absolute ugliness. Quaint is the highest
+adjective that fits them. In books of the later period not a few blocks
+of earlier date and of really fine design reappear; but in the
+chap-books quite 'prentice hands would seem to have been employed, and
+the result therefore is only interesting for its age and rarity. So far
+these pictures need no comment, they foreshadow nothing and are derived
+from nothing, so far as their design is concerned. Such interest as they
+have is quite unconcerned with art in any way; they are not even
+sufficiently misdirected to act as warnings, but are merely clumsy.
+
+[Illustration: ILLUSTRATION FROM "GERMAN POPULAR STORIES." BY G.
+CRUIKSHANK (CHARLES TILT. 1824)]
+
+[Illustration: ILLUSTRATION FROM "GERMAN POPULAR STORIES." BY G.
+CRUIKSHANK (CHARLES TILT. 1824)]
+
+Children's books, as every collector knows, are among the most
+short-lived of all volumes. This is more especially true of those with
+illustrations, for their extra attractiveness serves but to degrade a
+comely book into a dog-eared and untidy thing, with leaves sere and
+yellow, and with no autumnal grace to mellow their decay. Long before
+this period, however, the nursery artist has marked them for his own,
+and with crimson lake and Prussian blue stained their pictures in all
+too permanent pigments, that in some cases resist every chemical the
+amateur applies with the vain hope of effacing the superfluous colour.
+
+Of course the disappearance of the vast majority of books for children
+(dating from 1760 to 1830, and even later) is no loss to art, although
+among them are some few which are interesting as the 'prentice work of
+illustrators who became famous. But these are the exceptions. Thanks to
+the kindness of Mr. James Stone, of Birmingham, who has a large and most
+interesting collection of the most ephemeral of all sorts--the little
+penny and twopenny pamphlets--it has been possible to refer at first
+hand to hundreds, of them. Yet, despite their interest as curiosities,
+their art need not detain us here. The pictures are mostly trivial or
+dull, and look like the products of very poorly equipped draughtsmen and
+cheap engravers. Some, in pamphlet shape, contain nursery rhymes and
+little stories, others are devoted to the alphabet and arithmetic.
+Amongst them are many printed on card, shaped like the cover of a
+bank-book. These were called battledores, but as Mr. Tuer has dealt with
+this class in "The Horn Book" so thoroughly, it would be mere waste of
+time to discuss them here.
+
+Mr. Elkin Mathews also permitted me to run through his interesting
+collection, and among them were many noted elsewhere in these pages, but
+the rest, so far as the pictures are concerned, do not call for detailed
+notice. They do, indeed, contain pictures of children--but mere
+"factual" scenes, as a rule--without any real fun or real imagination.
+Those who wish to look up early examples will find a large and
+entertaining variety among "The Pearson Collection" in the National Art
+Library at South Kensington Museum.
+
+Turning to quite another class, we find "A Museum for Young Gentlemen
+and Ladies" (Collins: Salisbury), a typical volume of its kind. Its
+preface begins: "I am very much concerned when I see young gentlemen of
+fortune and quality so wholly set upon pleasure and diversions.... The
+greater part of our British youth lose their figure and grow out of
+fashion by the time they are twenty-five. As soon as the natural gaiety
+and amiableness of the young man wears off they have nothing left to
+recommend, but _lie by_ the rest of their lives among the lumber and
+refuse of their species"--a promising start for a moral lecture, which
+goes on to implore those who are in the flower of their youth to "labour
+at those accomplishments which may set off their persons when their
+bloom is gone."
+
+The compensations for old age appear to be, according to this author, a
+little knowledge of grammar, history, astronomy, geography, weights and
+measures, the seven wonders of the world, burning mountains, and dying
+words of great men. But its delightful text must not detain us here. A
+series of "cuts" of national costumes with which it is embellished
+deserves to be described in detail. _An American Man and Woman in their
+proper habits_, reproduced on page 6, will give a better idea of their
+style than any words. The blocks evidently date many years earlier than
+the thirteenth edition here referred to, which is about 1790. Indeed,
+those of the Seven Wonders are distinctly interesting.
+
+[Illustration: ILLUSTRATION FROM "THE LITTLE PRINCESS." BY J. C.
+HORSLEY, R.A. (JOSEPH CUNDALL. 1843)]
+
+[Illustration:
+
+          I had a little Nut-tree,
+          Nothing would it bear,
+          But a silver nutmeg
+          And a golden pear.
+
+          The King of Spain's daughter, came to visit me,--
+          And all because of my little Nut-tree.
+
+ILLUSTRATION FROM "CHILD'S PLAY." BY E. V. B. (NOW PUBLISHED BY SAMPSON
+LOW)]
+
+Here and there we meet with one interesting as art. "An Ancestral
+History of King Arthur" (H. Roberts, Blue Boar, Holborn, 1782), shown in
+the Pearson collection at South Kensington, has an admirable
+frontispiece; and one or two others would be worth reproduction did
+space permit.
+
+Although the dates overlap, the next division of the subject may be
+taken as ranging from the publication of "Goody Two Shoes--otherwise
+called Mrs. Margaret Two-shoes"--to the "Bewick Books." Of the latter
+the most interesting is unquestionably "A Pretty Book of Pictures for
+Little Masters and Misses, or Tommy Trip's History of Beasts and Birds,"
+with a familiar description of each in verse and prose, to which is
+prefixed "A History of Little Tom Trip himself, of his dog Towler, and
+of Coryleg the great giant," written for John Newbery, the philanthropic
+bookseller of St. Paul's Churchyard. "The fifteenth edition embellished
+with charming engravings upon wood, from the original blocks engraved by
+Thomas Bewick for T. Saint of Newcastle in 1779"--to quote the full
+title from the edition reprinted by Edwin Pearson in 1867. This edition
+contains a preface tracing the history of the blocks, which are said to
+be Bewick's first efforts to depict beasts and birds, undertaken at the
+request of the New castle printer, to illustrate a new edition of
+"Tommy Trip." As at this time copyright was unknown, and Newcastle or
+Glasgow pirated a London success (as New York did but lately), we must
+not be surprised to find that the text is said to be a reprint of a
+"Newbery" publication. But as Saint was called the Newbery of the North,
+possibly the Bewick edition was authorised. One or two of the rhymes
+which have been attributed to Oliver Goldsmith deserve quotation.
+Appended to a cut of _The Bison_ we find the following delightful lines:
+
+          "The Bison, tho' neither
+             Engaging nor young,
+           Like a flatt'rer can lick you
+             To death with his tongue."
+
+The astounding legend of the bison's long tongue, with which he captures
+a man who has ventured too close, is dilated upon in the accompanying
+prose. That Goldsmith used "teeth" when he meant "tusks" solely for the
+sake of rhyme is a depressing fact made clear by the next verse:
+
+          "The elephant with trunk and teeth
+           Threatens his foe with instant death,
+               And should these not his ends avail
+               His crushing feet will seldom fail."
+
+Nor are the rhymes as they stand peculiarly happy; certainly in the
+following example it requires an effort to make "throw" and "now" pair
+off harmoniously.
+
+          "The fierce, fell tiger will, they say,
+           Seize any man that's in the way,
+           And o'er his back the victim throw,
+           As you your satchel may do now."
+
+Yet one more deserves to be remembered if but for its decorative
+spelling:
+
+          "The cuccoo comes to chear the spring,
+           And early every morn does sing;
+           The nightingale, secure and snug,
+           The evening charms with Jug, jug, jug."
+
+[Illustration: ILLUSTRATION FROM "THE HONEY STEW" BY HARRISON WEIR
+(JEREMIAH HOW. 1846)]
+
+But these doggerel rhymes are not quite representative of the book, as
+the well-known "Three children sliding on the ice upon a summer's day"
+appears herein. The "cuts" are distinctively notable, especially the
+Crocodile (which contradicts the letterpress, that says "it turns about
+with difficulty"), the Chameleon, the Bison, and the Tiger.
+
+Bewick's "Select Fables of AEsop and others" (Newcastle: T. Saint, 1784)
+deserves fuller notice, but AEsop, though a not unpopular book for
+children, is hardly a children's book. With "The Looking Glass for the
+Mind" (1792) we have the adaptation of a popular French work, "L'Ami des
+Enfans" (1749), with cuts by Bewick, which, if not equal to his best,
+are more interesting from our point of view, as they are obviously
+designed for young people. The letterpress is full of "useful lessons
+for my youthful readers," with morals provokingly insisted upon.
+
+"Goody Two Shoes" was also published by Newbery of St. Paul's
+Churchyard--the pioneer of children's literature. His business--which
+afterwards became Messrs. Griffith and Farran--has been the subject of
+several monographs and magazine articles by Mr. Charles Welsh, a former
+partner of that firm. The two monographs were privately printed for
+issue to members of the Sette of Odde Volumes. The first of these is
+entitled "On some Books for Children of the last century, with a few
+words on the philanthropic publisher of St. Paul's Churchyard. A paper
+read at a meeting of the Sette of Odde Volumes, Friday, January 8,
+1886." Herein we find a very sympathetic account of John Newbery and
+gossip of the clever and distinguished men who assisted him in the
+production of children's books, of which Charles Knight said, "There is
+nothing more remarkable in them than their originality. There have been
+attempts to imitate its simplicity, its homeliness; great authors have
+tried their hands at imitating its clever adaptation to the youthful
+intellect, but they have failed"--a verdict which, if true of authors
+when Charles Knight uttered it, is hardly true of the present time.
+After Goldsmith, Charles Lamb, to whom "Goody Two Shoes" is now
+attributed, was, perhaps, the most famous contributor to Newbery's
+publications; his "Beauty and the Beast" and "Prince Dorus" have been
+republished in facsimile lately by Messrs. Field and Tuer. From the
+_London Chronicle_, December 19 to January 1, 1765, Mr. Welsh reprinted
+the following advertisement:
+
+[Illustration: "BLUE BEARD." ILLUSTRATION FROM "COMIC NURSERY TALES." BY
+A. CROWQUILL (G. ROUTLEDGE. 1845)]
+
+[Illustration: "ROBINSON CRUSOE." ILLUSTRATION FROM "COMIC NURSERY
+TALES." BY A. CROWQUILL (G. ROUTLEDGE. 1845)]
+
+"The Philosophers, Politicians, Necromancers, and the learned in every
+faculty are desired to observe that on January 1, being New Year's Day
+(oh that we may all lead new lives!), Mr. Newbery intends to publish the
+following important volumes, bound and gilt, and hereby invites all his
+little friends who are good to call for them at the Bible and Sun in St.
+Paul's Churchyard, but those who are naughty to have none." The paper
+read by Mr. Welsh scarcely fulfils the whole promise of its title, for
+in place of giving anecdotes of Newbery he refers his listeners to his
+own volume, "A Bookseller of the Last Century," for fuller details; but
+what he said in praise of the excellent printing and binding of
+Newbery's books is well merited. They are, nearly all, comely
+productions, some with really artistic illustrations, and all marked
+with care and intelligence which had not hitherto been bestowed on
+publications intended for juveniles. It is true that most are
+distinguished for "calculating morality" as the _Athenaeum_ called it, in
+re-estimating their merits nearly a century later. It was a period when
+the advantages of dull moralising were over-prized, when people
+professed to believe that you could admonish children to a state of
+perfection which, in their didactic addresses to the small folk, they
+professed to obey themselves. It was, not to put too fine a point on it,
+an age of solemn hypocrisy, not perhaps so insincere in intention as in
+phrase; but, all the same, it repels the more tolerant mood of to-day.
+Whether or not it be wise to confess to the same frailties and let
+children know the weaknesses of their elders, it is certainly more
+honest; and the danger is now rather lest the undue humility of
+experience should lead children to believe that they are better than
+their fathers. Probably the honest sympathy now shown to childish ideals
+is not likely to be misinterpreted, for children are often shrewd
+judges, and can detect the false from the true, in morals if not in art.
+
+By 1800 literature for children had become an established fact. Large
+numbers of publications were ostentatiously addressed to their
+amusement; but nearly all hid a bitter if wholesome powder in a very
+small portion of jam. Books of educational purport, like "A Father's
+Legacy to his Daughter," with reprints of classics that are heavily
+weighted with morals--Dr. Johnson's "Rasselas" and "AEsop's Fables," for
+instance--are in the majority. "Robinson Crusoe" is indeed among them,
+and Bunyan's "Pilgrim's Progress," both, be it noted, books annexed by
+the young, not designed for them.
+
+[Illustration: ILLUSTRATION FROM "ROBINSON CRUSOE." BY CHARLES KEENE
+(JAMES BURNS. 1847)]
+
+The titles of a few odd books which possess more than usually
+interesting features may be jotted down. Of these, "Little Thumb and the
+Ogre" (R. Dutton, 1788), with illustrations by William Blake, is easily
+first in interest, if not in other respects. Others include "The Cries
+of London" (1775), "Sindbad the Sailor" (Newbery, 1798), "Valentine and
+Orson" (Mary Rhynd, Clerkenwell, 1804), "Fun at the Fair" (with spirited
+cuts printed in red), and Watts's "Divine and Moral Songs," and "An
+Abridged New Testament," with still more effective designs also in red
+(Lumsden, Glasgow), "Gulliver's Travels" (greatly abridged, 1815),
+"Mother Gum" (1805), "Anecdotes of a Little Family" (1795), "Mirth
+without Mischief," "King Pippin," "The Daisy" (cautionary stories in
+verse), and the "Cowslip," its companion (with delightfully prim little
+rhymes that have been reprinted lately). The thirty illustrations in
+each are by Samuel Williams, an artist who yet awaits his due
+appreciation. A large number of classics of their kind, "The Adventures
+of Philip Quarll," "Gulliver's Travels," Blake's "Songs of Innocence,"
+Charles Lamb's "Stories from Shakespeare," Mrs. Sherwood's "Henry and
+his Bearer," and a host of other religious stories, cannot even be
+enumerated. But even were it possible to compile a full list of
+children's books, it would be of little service, for the popular books
+are in no danger of being forgotten, and the unpopular, as a rule, have
+vanished out of existence, and except by pure accident could not be
+found for love or money.
+
+[Illustration: ILLUSTRATION FROM "COMIC NURSERY TALES" (G. ROUTLEDGE.
+1846)]
+
+With the publications of Newbery and Harris, early in the nineteenth
+century, we encounter examples more nearly typical of the child's book
+as we regard it to-day. Among them Harris's "Cabinet" is noticeable.
+The first four volumes, "The Butterfly's Ball," "The Peacock at Home,"
+"The Lion's Masquerade," and "The Elephant's Ball," were reprinted a few
+years ago, with the original illustrations by Mulready carefully
+reproduced. A coloured series of sixty-two books, priced at one shilling
+and sixpence each (Harris), was extremely popular.
+
+With the "Paths of Learning strewed with Flowers, or English Grammar
+Illustrated" (1820), we encounter a work not without elegance. Its
+designs, as we see by the examples reproduced on page 9, are the obvious
+prototype of Miss Greenaway, the model that inspired her to those dainty
+trifles which conquered even so stern a critic of modern illustration as
+Mr. Ruskin. On its cover--a forbidding wrapper devoid of ornament--and
+repeated within a wreath of roses inside, this preamble occurs: "The
+purpose of this little book is to obviate the reluctance children evince
+to the irksome and insipid task of learning the names and meanings of
+the component parts of grammar. Our intention is to entwine roses with
+instruction, and however humble our endeavour may appear, let it be
+recollected that the efforts of a Mouse set the Lion free from his
+toils." This oddly phrased explanation is typical of the affected
+geniality of the governess. Indeed, it might have been penned by an
+assistant to Miss Pinkerton, "the Semiramis of Hammersmith"; if not by
+that friend of Dr. Johnson, the correspondent of Mrs. Chapone herself,
+in a moment of gracious effort to bring her intellect down to the level
+of her pupils.
+
+To us, this hollow gaiety sounds almost cruel. In those days children
+were always regarded as if, to quote Mark Twain, "every one being born
+with an equal amount of original sin, the pressure on the square inch
+must needs be greater in a baby." Poor little original sinners, how very
+scurvily the world of books and picture-makers treated you less than a
+century ago! Life for you then was a perpetual reformatory, a place
+beset with penalties, and echoing with reproofs. Even the literature
+planned to amuse your leisure was stuck full of maxims and morals; the
+most piquant story was but a prelude to an awful warning; pictures of
+animals, places, and rivers failed to conceal undisguised lessons. The
+one impression that is left by a study of these books is the lack of
+confidence in their own dignity which papas and mammas betrayed in the
+early Victorian era. This seems past all doubt when you realise that the
+common effort of all these pictures and prose is to glorify the
+impeccable parent, and teach his or her offspring to grovel silently
+before the stern law-givers who ruled the home.
+
+[Illustration: TITLE-PAGE FROM "THE SCOURING OF THE WHITE HORSE." BY
+RICHARD DOYLE (MACMILLAN AND CO. 1858)]
+
+Of course it was not really so, literature had but lately come to a
+great middle class who had not learned to be easy; and as worthy folk
+who talked colloquially wrote in stilted parody of Dr. Johnson's stately
+periods, so the uncouth address in print to the populace of the nursery
+was doubtless forgotten in daily intercourse. But the conventions were
+preserved, and honest fun or full-bodied romance that loves to depict
+gnomes and hob-goblins, giants and dwarfs in a world of adventure and
+mystery, was unpopular. Children's books were illustrated entirely by
+the wonders of the creation, or the still greater wonders of so-called
+polite society. Never in them, except introduced purposely as an "awful
+example," do you meet an untidy, careless, normal child. Even the
+beggars are prim, and the beasts and birds distinctly genteel in their
+habits. Fairyland was shut to the little ones, who were turned out of
+their own domain. It seems quite likely that this continued until the
+German _maerchen_ (the literary products of Germany were much in favour
+at this period) reopened the wonderland of the other world about the
+time that Charles Dickens helped to throw the door still wider.
+Discovering that the child possessed the right to be amused, the
+imagination of poets and artists addressed itself at last to the most
+appreciative of all audiences, a world of newcomers, with insatiable
+appetites for wonders real and imaginary.
+
+[Illustration: ILLUSTRATION (REDUCED) FROM "MISUNDERSTOOD" BY GEORGE DU
+MAURIER (RICHARD BENTLEY AND SON. 1874)]
+
+But for many years before the Victorian period folklore was left to the
+peasants, or at least kept out of reach of children of the higher
+classes. No doubt old nurses prattled it to their charges, perhaps
+weak-minded mothers occasionally repeated the ancient legends, but the
+printing-press set its face against fancy, and offered facts in its
+stead. In the list of sixty-two books before mentioned, if we except a
+few nursery jingles such as "Mother Hubbard" and "Cock Robin," we find
+but two real fairy stories, "Cinderella," "Puss-in-Boots," and three
+old-world narratives of adventure, "Whittington and His Cat," "The Seven
+Champions of Christendom," and "Valentine and Orson." The rest are
+"Peter Piper's Practical Principles of Plain and Perfect Pronunciation,"
+"The Monthly Monitor," "Tommy Trip's Museum of Beasts," "The
+Perambulations of a Mouse," and so on, with a few things like "The House
+that Jack Built," and "A, Apple Pie," that are but daily facts put into
+story shape. Now it is clear that the artists inspired by fifty of these
+had no chance of displaying their imagination, and every opportunity of
+pointing a moral; and it is painful to be obliged to own that they
+succeeded beyond belief in their efforts to be dull. Of like sort are "A
+Visit to the Bazaar" (Harris, 1814), and "The Dandies' Ball" (1820).
+
+[Illustration: ILLUSTRATION FROM "THE PRINCESS AND THE GOBLIN."
+(STRAHAN. 1871. NOW PUBLISHED BY BLACKIE AND SON)]
+
+Nor must we forget a work very popular at this period, "Keeper in
+Search of His Master," although its illustrations are not its chief
+point.
+
+According to a very interesting preface Mr. Andrew Tuer contributed to
+"The Leadenhall Series of Reprints of Forgotten Books for Children in
+1813," "Dame Wiggins of Lee" was first issued by A. K. Newman and Co. of
+the Minerva Press. This book is perhaps better known than any of its
+date owing to Mr. Ruskin's reprint with additional verses by himself,
+and new designs by Miss Kate Greenaway supplementing the original cuts,
+which were re-engraved in facsimile by Mr. Hooper. Mr. Tuer attributes
+the design of these latter to R. Stennet (or Sinnet?), who illustrated
+also "Deborah Dent and her Donkey" and "Madame Figs' Gala." Newman
+issued many of these books, in conjunction with Messrs. Dean and Mundy,
+the direct ancestors of the firm of Dean and Son, still flourishing, and
+still engaged in providing cheap and attractive books for children. "The
+Gaping Wide-mouthed Waddling Frog" is another book of about this period,
+which Mr. Tuer included in his reprints. Among the many illustrated
+volumes which bear the imprint of A. K. Newman, and Dean and Mundy, are
+"A, Apple Pie," "Aldiborontiphoskyphorniostikos," "The House that Jack
+Built," "The Parent's Offering for a Good Child" (a very pompous and
+irritating series of dialogues), and others that are even more directly
+educational. In all these the engravings are in fairly correct outline,
+coloured with four to six washes of showy crimson lake, ultramarine,
+pale green, pale sepia, and gamboge.
+
+[Illustration: ILLUSTRATION FROM "GUTTA PERCHA WILLIE." BY ARTHUR HUGHES
+(STRAHAN. 1870. NOW PUBLISHED BY BLACKIE AND SON)]
+
+[Illustration: ILLUSTRATION FROM "AT THE BACK OF THE NORTH WIND." BY
+ARTHUR HUGHES (STRAHAN. 1869. NOW PUBLISHED BY BLACKIE AND SON)]
+
+Even the dreary text need not have made the illustrators quite so dull,
+as we know that Randolph Caldecott would have made an illustrated
+"Bradshaw" amusing; but most of his earlier predecessors show no less
+power in making anything they touched "un-funny." Nor as art do their
+pictures interest you any more than as anecdotes.
+
+Of course the cost of coloured engravings prohibited their lavish use.
+All were tinted by hand, sometimes with the help of stencil plates, but
+more often by brush. The print colourers, we are told, lived chiefly in
+the Pentonville district, or in some of the poorer streets near
+Leicester Square. A few survivors are still to be found; but the
+introduction first of lithography, and later of photographic processes,
+has killed the industry, and even the most fanatical apostle of the old
+crafts cannot wish the "hand-painter" back again. The outlines were
+either cut on wood, as in the early days of printing until the present,
+or else engraved on metal. In each case all colour was painted
+afterwards, and in scarce a single instance (not even in the Rowlandson
+caricatures or patriotic pieces) is there any attempt to obtain an
+harmonious scheme such as is often found in the tinted mezzo-tints of
+the same period.
+
+[Illustration: ILLUSTRATION FROM "AT THE BACK OF THE NORTH WIND." BY
+ARTHUR HUGHES (STRAHAN. 1869. NOW PUBLISHED BY BLACKIE AND SON)]
+
+Of works primarily intended for little people, an "Hieroglyphical Bible"
+for the amusement and instruction of the younger generation (1814) may
+be noted. This was a mixture of picture-puns and broken words, after the
+fashion of the dreary puzzles still published in snippet weeklies. It is
+a melancholy attempt to turn Bible texts to picture puzzles, a book
+permitted by the unco' guid to children on wet Sunday afternoons, as
+some younger members of large families, whose elder brothers' books yet
+lingered forty or even fifty years after publication, are able to
+endorse with vivid and depressed remembrance. Foxe's "Book of Martyrs"
+and Bunyan's "Pilgrim's Progress" are of the same type, and calculated
+to fill a nervous child with grim terrors, not lightened by Watts's
+"Divine and Moral Songs," that gloated on the dreadful hell to which
+sinful children were doomed, "with devils in darkness, fire and chains."
+But this painful side of the subject is not to be discussed here.
+Luckily the artists--except in the "grown-up" books referred
+to--disdained to enforce the terrors of Dr. Watts, and pictured less
+horrible themes.
+
+With Cruikshank we encounter almost the first glimpse of the modern
+ideal. His "Grimm's Fairy Tales" are delightful in themselves, and
+marvellous in comparison with all before, and no little after.
+
+[Illustration: ILLUSTRATION FROM "THE LITTLE WONDER HORN." BY J. MAHONEY
+(H. S. KING AND CO. 1872. GRIFFITH AND FARRAN. 1887)]
+
+These famous illustrations to the first selection of Grimm's "German
+Popular Stories" appeared in 1824, followed by a second series in 1826.
+Coming across this work after many days spent in hunting up children's
+books of the period, the designs flashed upon one as masterpieces, and
+for the first time seemed to justify the great popularity of Cruikshank.
+For their vigour and brilliant invention, their _diablerie_ and true
+local colour, are amazing when contrasted with what had been previously.
+Wearied of the excessive eulogy bestowed upon Cruikshank's illustrations
+to Dickens, and unable to accept the artist as an illustrator of real
+characters in fiction, when he studies his elfish and other-worldly
+personages, the most grudging critic must needs yield a full tribute of
+praise. The volumes (published by Charles Tilt, of 82 Fleet Street) are
+extremely rare; for many years past the sale-room has recorded fancy
+prices for all Cruikshank's illustrations, so that a lover of modern art
+has been jealous to note the amount paid for by many extremely poor
+pictures by this artist, when even original drawings for the
+masterpieces by later illustrators went for a song. In Mr. Temple
+Scott's indispensable "Book Sales of 1896" we find the two volumes
+(1823-6) fetched L12 12_s._
+
+[Illustration: "IN NOOKS WITH BOOKS" AN AUTO-LITHOGRAPH BY R. ANNING
+BELL.]
+
+These must not be confounded with Cruikshank's "Fairy Library"
+(1847-64), a series of small books in paper wrappers, now exceedingly
+rare, which are more distinctly prepared for juvenile readers. The
+illustrations to these do not rise above the level of their day, as did
+the earlier ones. But this is owing largely to the fact that the
+standard had risen far above its old average in the thirty years that
+had elapsed. Amid the mass of volumes illustrated by Cruikshank
+comparatively few are for juveniles; some of these are: "Grimm's Gammer
+Grethel"; "Peter Schlemihl" (1824); "Christmas Recreation" (1825); "Hans
+of Iceland" (1825); "German Popular Stories" (1823); "Robinson Crusoe"
+(1831); "The Brownies" (1870); "Loblie-by-the-Fire" (1874); "Tom Thumb"
+(1830); and "John Gilpin" (1828).
+
+[Illustration: ILLUSTRATION FROM "SPEAKING LIKENESSES." BY ARTHUR HUGHES
+(MACMILLAN AND CO. 1874)]
+
+The works of Richard Doyle (1824-1883) enjoy in a lesser degree the sort
+of inflated popularity which has gathered around those of Cruikshank.
+With much spirit and pleasant invention, Doyle lacked academic skill,
+and often betrays considerable weakness, not merely in composition, but
+in invention. Yet the qualities which won him reputation are by no means
+despicable. He evidently felt the charm of fairyland, and peopled it
+with droll little folk who are neither too human nor too unreal to be
+attractive. He joined the staff of _Punch_ when but nineteen, and soon,
+by his political cartoons, and his famous "Manners and Customs of y^e
+English drawn from y^e Quick," became an established favourite. His
+design for the cover of _Punch_ is one of his happiest inventions. So
+highly has he been esteemed that the National Gallery possesses one of
+his pictures, _The Triumphant Entry; a Fairy Pageant_. Children's books
+with his illustrations are numerous; perhaps the most important are "The
+Enchanted Crow" (1871), "Feast of Dwarfs" (1871), "Fortune's Favourite"
+(1871), "The Fairy Ring" (1845), "In Fairyland" (1870), "Merry Pictures"
+(1857), "Princess Nobody" (1884), "Mark Lemon's Fairy Tales" (1868), "A
+Juvenile Calendar" (1855), "Fairy Tales from all Nations" (1849), "Snow
+White and Rosy Red" (1871), Ruskin's "The King of the Golden River"
+(1884), Hughes's "Scouring of the White Horse" (1859), "Jack the Giant
+Killer" (1888), "Home for the Holidays" (1887), "The Whyte Fairy Book"
+(1893). The three last are, of course, posthumous publications.
+
+Still confining ourselves to the pre-Victorian period, although the
+works in question were popular several decades later, we find "Sandford
+and Merton" (first published in 1783, and constantly reprinted), "The
+Swiss Family Robinson," the beginning of "Peter Parley's Annals," and a
+vast number of other books with the same pseudonym appended, and a host
+of didactic works, a large number of which contained pictures of animals
+and other natural objects, more or less well drawn. But the pictures in
+these are not of any great consequence, merely reflecting the average
+taste of the day, and very seldom designed from a child's point of view.
+
+[Illustration: ILLUSTRATION FROM "UNDINE." BY SIR JOHN TENNIEL (JAMES
+BURNS. 1845)]
+
+This very inadequate sketch of the books before 1837 is not curtailed
+for want of material, but because, despite the enormous amount, very few
+show attempts to please the child; to warn, to exhort, or to educate are
+their chief aims. Occasionally a Bewick or an artist of real power is
+met with, but the bulk is not only dull, but of small artistic value.
+That the artist's name is rarely given must not be taken as a sign that
+only inept draughtsmen were employed, for in works of real importance up
+to and even beyond this date we often find his share ignored. After a
+time the engraver claims to be considered, and by degrees the designer
+is also recognised; yet for the most part illustration was looked upon
+merely as "jam" to conceal the pill. The old Puritan conception of art
+as vanity had something to do with this, no doubt; for adults often
+demand that their children shall obey a sterner rule of life than that
+which they accept themselves.
+
+[Illustration: ILLUSTRATION FROM "ELLIOTT'S NURSERY RHYMES" BY W. J.
+WIEGAND (NOVELLO, 1870)]
+
+Before passing on, it is as well to summarise this preamble and to
+discover how far children's books had improved when her Majesty came to
+the throne. The old woodcut, rough and ill-drawn, had been succeeded by
+the masterpieces of Bewick, and the respectable if dull achievements of
+his followers. In the better class of books were excellent designs by
+artists of some repute fairly well engraved. Colouring by hand, in a
+primitive fashion, was applied to these prints and to impressions from
+copperplates. A certain prettiness was the highest aim of most of the
+latter, and very few were designed only to amuse a child. It seems as if
+all concerned were bent on unbending themselves, careful to offer grains
+of truth to young minds with an occasional terrible falsity of their
+attitude; indeed, its satire and profound analysis make it superfluous
+to reopen the subject. As one might expect, the literature, "genteel"
+and dull, naturally desired pictures in the same key. The art of even
+the better class of children's books was satisfied if it succeeded in
+being "genteel," or, as Miss Limpenny would say, "cumeelfo." Its ideal
+reached no higher, and sometimes stopped very far below that modest
+standard. This is the best (with the few exceptions already noted) one
+can say of pre-Victorian illustration for children.
+
+[Illustration: ILLUSTRATION FROM "ELLIOTT'S NURSERY RHYMES" BY H. STACY
+MARKS, R.A. (NOVELLO. 1870)]
+
+If there is one opinion deeply rooted in the minds of the comparatively
+few Britons who care for art, it is a distrust of "The Cole Gang of
+South Kensington;" and yet if there be one fact which confronts any
+student of the present revival of the applied arts, it is that sooner or
+later you come to its first experiments inspired or actually undertaken
+by Sir Henry Cole. Under the pseudonym of "Felix Summerley" we find that
+the originator of a hundred revivals of the applied arts, projected and
+issued a series of children's books which even to-day are decidedly
+worth praise. It is the fashion to trace everything to Mr. William
+Morris, but in illustrations for children as in a hundred others "Felix
+Summerley" was setting the ball rolling when Morris and the members of
+the famous firm were schoolboys.
+
+[Illustration: ILLUSTRATION FROM "THE WATER BABIES" BY SIR R. NOEL PATON
+(MACMILLAN AND CO. 1863)]
+
+To quote from his own words: "During this period (_i.e._, about 1844),
+my young children becoming numerous, their wants induced me to publish a
+rather long series of books, which constituted 'Summerley's Home
+Treasury,' and I had the great pleasure of obtaining the welcome
+assistance of some of the first artists of the time in illustrating
+them--Mulready, R.A., Cope, R.A., Horsley, R.A., Redgrave, R.A.,
+Webster, R.A., Linnell and his three sons, John, James, and William, H.
+J. Townsend, and others.... The preparation of these books gave me
+practical knowledge in the technicalities of the arts of type-printing,
+lithography, copper and steel-plate engraving and printing, and
+bookbinding in all its varieties in metal, wood, leather, &c."
+
+Copies of the books in question appear to be very rare. It is doubtful
+if the omnivorous British Museum has swallowed a complete set; certainly
+at the Art Library of South Kensington Museum, where, if anywhere, we
+might expect to find Sir Henry Cole completely represented, many gaps
+occur.
+
+How far Mr. Joseph Cundall, the publisher, should be awarded a share of
+the credit for the enterprise is not apparent, but his publications and
+writings, together with the books issued later by Cundall and Addey, are
+all marked with the new spirit, which so far as one can discover was
+working in many minds at this time, and manifested itself most
+conspicuously through the Pre-Raphaelites and their allies. This all
+took place, it must be remembered, long before 1851. We forget often
+that if that exhibition has any important place in the art history of
+Great Britain, it does but prove that much preliminary work had been
+already accomplished. You cannot exhibit what does not exist; you cannot
+even call into being "exhibition specimens" at a few months notice, if
+something of the same sort, worked for ordinary commerce, has not
+already been in progress for years previously.
+
+[Illustration: ILLUSTRATION FROM "THE ROYAL UMBRELLA." BY LINLEY
+SAMBOURNE (GRIFFITH AND FARRAN. 1880)]
+
+[Illustration: ILLUSTRATION FROM "ON A PINCUSHION." BY WILLIAM DE MORGAN
+(SEELEY, JACKSON AND HALLIDAY. 1877)]
+
+Almost every book referred to has been examined anew for the purposes of
+this article. As a whole they might fail to impress a critic not
+peculiarly interested in the matter. But if he tries to project himself
+to the period that produced them, and realises fully the enormous
+importance of first efforts, he will not estimate grudgingly their
+intrinsic value, but be inclined to credit them with the good things
+they never dreamed of, as well as those they tried to realise and often
+failed to achieve. Here, without any prejudice for or against the South
+Kensington movement, it is but common justice to record Sir Henry Cole's
+share in the improvement of children's books; and later on his efforts
+on behalf of process engraving must also not be forgotten.
+
+To return to the books in question, some extracts from the original
+prospectus, which speaks of them as "purposed to cultivate the
+Affections, Fancy, Imagination, and Taste of Children," are worth
+quotation:
+
+"The character of most children's books published during the last
+quarter of a century, is fairly typified in the name of Peter Parley,
+which the writers of some hundreds of them have assumed. The books
+themselves have been addressed after a narrow fashion, almost entirely
+to the cultivation of the understanding of children. The many tales sung
+or said from time to time immemorial, which appealed to the other, and
+certainly not less important elements of a little child's mind, its
+fancy, imagination, sympathies, affections, are almost all gone out of
+memory, and are scarcely to be obtained. 'Little Red Riding Hood,' and
+other fairy tales hallowed to children's use, are now turned into
+ribaldry as satires for men; as for the creation of a new fairy tale or
+touching ballad, such a thing is unheard of. That the influence of all
+this is hurtful to children, the conductor of this series firmly
+believes. He has practical experience of it every day in his own family,
+and he doubts not that there are many others who entertain the same
+opinions as himself. He purposes at least to give some evidence of his
+belief, and to produce a series of works, the character of which may be
+briefly described as anti-Peter Parleyism.
+
+[Illustration: ILLUSTRATION FROM "THE NECKLACE OF PRINCESS FIORIMONDE."
+BY WALTER CRANE (MACMILLAN AND CO. 1880)]
+
+"Some will be new works, some new combinations of old materials, and
+some reprints carefully cleared of impurities, without deterioration to
+the points of the story. All will be illustrated, but not after the
+usual fashion of children's books, in which it seems to be assumed that
+the lowest kind of art is good enough to give first impressions to a
+child. In the present series, though the statement may perhaps excite a
+smile, the illustrations will be selected from the works of Raffaelle,
+Titian, Hans Holbein, and other old masters. Some of the best modern
+artists have kindly promised their aid in creating a taste for beauty in
+little children." Did space permit, a selection from the reviews of the
+chief literary papers that welcomed the new venture would be
+instructive. There we should find that even the most cautious critic,
+always "hedging" and playing for safety, felt compelled to accord a
+certain amount of praise to the new enterprise.
+
+It is true that "Felix Summerley" created only one type of the modern
+book. Possibly the "stories turned into satires" to which he alludes are
+the entirely amusing volumes by F. H. Bayley, the author of "A New Tale
+of a Tub." As it happened that these volumes were my delight as a small
+boy, possibly I am unduly fond of them; but it seems to me that their
+humour--_a la_ Ingoldsby, it is true--and their exuberantly comic
+drawings, reveal the first glimpses of lighter literature addressed
+specially to children, that long after found its masterpieces in the
+"Crane" and "Greenaway" and "Caldecott" Toy Books, in "Alice in
+Wonderland," and in a dozen other treasured volumes, which are now
+classics. The chief claim for the Home Treasury series to be considered
+as the advance guard of our present sumptuous volumes, rests not so much
+upon the quality of their designs or the brightness of their literature.
+Their chief importance is that in each of them we find for the first
+time that the externals of a child's book are most carefully considered.
+Its type is well chosen, the proportions of its page are evidently
+studied, its binding, even its end-papers, show that some one person was
+doing his best to attain perfection. It is this conscious effort,
+whatever it actually realised, which distinguishes the result from all
+before.
+
+It is evident that the series--the Home Treasury--took itself seriously.
+Its purpose was Art with a capital A--a discovery, be it noted, of this
+period. Sir Henry Cole, in a footnote to the very page whence the
+quotation above was extracted, discusses the first use of "Art" as an
+adjective denoting the _Fine_ Arts.
+
+[Illustration: ILLUSTRATION FROM "HOUSEHOLD STORIES FROM GRIMM." BY
+WALTER CRANE (MACMILLAN AND CO. 1882)]
+
+Here it is more than ever difficult to keep to the thread of this
+discourse. All that South Kensington did and failed to do, the aesthetic
+movement of the eighties, the new gospel of artistic salvation by
+Liberty fabrics and De Morgan tiles, the erratic changes of fashion in
+taste, the collapse of Gothic architecture, the triumph of Queen Anne,
+and the Arts and Crafts movement of the nineties--in short, all the
+story of Art in the last fifty years, from the new Law Courts to the
+Tate Gallery, from Felix Summerley to a Hollyer photograph, from the
+introduction of glyptography to the pictures in the _Daily Chronicle_,
+demand notice. But the door must be shut on the turbulent throng, and
+only children's books allowed to pass through.
+
+The publications by "Felix Summerley," according to the list in "Fifty
+Years of Public Work," by Sir Henry Cole, K.C.B. (Bell, 1884), include:
+"Holbein's Bible Events," eight pictures, coloured by Mr. Linnell's
+sons, 4_s._ 6_d._; "Raffaelle's Bible Events," six pictures from the
+Loggia, drawn on stone by Mr. Linnell's children and coloured by them,
+5_s._ 6_d._; "Albert Duerer's Bible Events," six pictures from Duerer's
+"Small Passion," coloured by the brothers Linnell; "Traditional Nursery
+Songs," containing eight pictures; "The Beggars coming to Town," by C.
+W. Cope, R.A.; "By, O my Baby!" by R. Redgrave, R.A.; "Mother Hubbard,"
+by T. Webster, R.A.; "1, 2, 3, 4, 5," "Sleepy Head," "Up in a Basket,"
+"Cat asleep by the Fire," by John Linnell, 4_s._ 6_d._, coloured; "The
+Ballad of Sir Hornbook," by Thos. Love Peacock, with eight pictures by
+H. Corbould, coloured, 4_s._ 6_d._ (A book with the same title, also
+described as a "grammatico-allegorical ballad," was published by N.
+Haites in 1818.) "Chevy Chase," with music and four pictures by
+Frederick Tayler, President of the Water-Colour Society, coloured, 4_s._
+6_d._; "Puck's Reports to Oberon"; Four new Faery Tales: "The Sisters,"
+"Golden Locks," "Grumble and Cherry," "Arts and Arms," by C. A. Cole,
+with six pictures by J. H. Townsend, R. Redgrave, R.A., J. C. Horsley,
+R.A., C. W. Cope, R.A., and F. Tayler; "Little Red Riding Hood," with
+four pictures by Thos. Webster, coloured, 3_s._ 6_d._; "Beauty and the
+Beast," with four pictures by J. C. Horsley, R.A., coloured, 3_s._
+6_d._; "Jack and the Bean Stalk," with four pictures by C. W. Cope,
+R.A., coloured, 3_s._ 6_d._; "Cinderella," with four pictures by E. H.
+Wehnert, coloured, 3_s._ 6_d._; "Jack the Giant Killer," with four
+pictures by C. W. Cope, coloured, 3_s._ 6_d._; "The Home Treasury
+Primer," printed in colours, with drawing on zinc, by W. Mulready, R.A.;
+"Alphabets of Quadrupeds," selected from the works of Paul Potter, Karl
+du Jardin, Teniers, Stoop, Rembrandt, &c., and drawn from nature; "The
+Pleasant History of Reynard the Fox," with forty of the fifty-seven
+etchings made by Everdingen in 1752, coloured, 31_s._ 6_d._; "A Century
+of Fables," with pictures by the old masters.
+
+To this list should be added--if it is not by "Felix Summerley," it is
+evidently conceived by the same spirit and published also by
+Cundall--"Gammer Gurton's Garland," by Ambrose Merton, with
+illustrations by T. Webster and others. This was also issued as a series
+of sixpenny books, of which Mr. Elkin Mathews owns a nearly complete
+set, in their original covers of gold and coloured paper.
+
+[Illustration: ILLUSTRATION FROM "A WONDER BOOK FOR GIRLS AND BOYS."
+
+BY WALTER CRANE (OSGOOD, MCILVAINE AND CO. 1892)]
+
+It would be very easy to over-estimate the intrinsic merit of these
+books, but when you consider them as pioneers it would be hard to
+over-rate the importance of the new departure. To enlist the talent of
+the most popular artists of the period, and produce volumes printed in
+the best style of the Chiswick Press, with bindings and end-papers
+specially designed, and the whole "get up" of the book carefully
+considered, was certainly a bold innovation in the early forties. That
+it failed to be a profitable venture one may deduce from the fact that
+the "Felix Summerley" series did not run to many volumes, and that the
+firm who published them, after several changes, seems to have expired,
+or more possibly was incorporated with some other venture. The books
+themselves are forgotten by most booksellers to-day, as I have
+discovered from many fruitless demands for copies.
+
+The little square pamphlets by F. H. Bayley, to which allusion has
+already been made, include "Blue Beard;" "Robinson Crusoe," and "Red
+Riding Hood," all published about 1845-6.
+
+[Illustration: ILLUSTRATION FROM "THE QUEEN OF THE PIRATE ISLE." BY KATE
+GREENAWAY (EDMUND EVANS. 1887)]
+
+Whether "The Sleeping Beauty," then announced as in preparation, was
+published, I do not know. Their rhyming chronicle in the style of the
+"Ingoldsby Legends" is neatly turned, and the topical allusions,
+although out of date now, are not sufficiently frequent to make it
+unintelligible. The pictures (possibly by Alfred Crowquill) are
+conceived in a spirit of burlesque, and are full of ingenious conceits
+and no little grim vigour. The design of Robinson Crusoe roosting in a
+tree--
+
+          And so he climbs up a very tall tree,
+          And fixes himself to his comfort and glee,
+          Hung up from the end of a branch by his breech,
+          Quite out of all mischievous quadrupeds' reach.
+          A position not perfectly easy 't is true,
+          But yet at the same time consoling and new--
+
+reproduced on p. 13, shows the wilder humour of the illustrations.
+Another of Blue Beard, and one of the wolf suffering from undigested
+grandmother, are also given. They need no comment, except to note that
+in the originals, printed on a coloured tint with the high lights left
+white, the ferocity of Blue Beard is greatly heightened. The wolf, "as
+he lay there brimful of grandmother and guilt," is one of the best of
+the smaller pictures in the text.
+
+Other noteworthy books which appeared about this date are Mrs. Felix
+Summerley's "Mother's Primer," illustrated by W. M[ulready?], Longmans,
+1843; "Little Princess," by Mrs. John Slater, 1843, with six charming
+lithographs by J. C. Horsley, R.A. (one of which is reproduced on p.
+11); the "Honey Stew," of the Countess Bertha Jeremiah How, 1846, with
+coloured plates by Harrison Weir; "Early Days of English Princes," with
+capital illustrations by John Franklin; and a series of Pleasant Books
+for Young Children, 6_d._ plain and 1_s._ coloured, published by Cundall
+and Addey.
+
+[Illustration: ILLUSTRATION FROM "LITTLE FOLKS" BY KATE GREENAWAY
+(CASSELL AND CO.)]
+
+In 1846 appeared a translation of De La Motte Fouque's romances,
+"Undine" being illustrated by John Tenniel, jun., and the following
+volumes by J. Franklin, H. C. Selous, and other artists. The Tenniel
+designs, as the frontispiece reproduced on p. 20 shows clearly, are
+interesting both in themselves and as the earliest published work of the
+famous _Punch_ cartoonist. The strong German influence they show is also
+apparent in nearly all the decorations. "The Juvenile Verse and Picture
+Book" (1848), also contains designs by Tenniel, and others by W. B.
+Scott and Sir John Gilbert. The ideal they established is maintained
+more or less closely for a long period. "Songs for Children" (W. S. Orr,
+1850); "Young England's Little Library" (1851); Mrs. S. C. Hall's
+"Number One," with pictures by John Absolon (1854); "Stories about
+Dogs," with "plates by Thomas Landseer" (Bogue, _c._ 1850); "The Three
+Bears," illustrated by Absolon and Harrison Weir (Addey and Co., no
+date); "Nursery Poetry" (Bell and Daldy, 1859), may be noted as typical
+examples of this period.
+
+[Illustration: ILLUSTRATION FROM "THE PIED PIPER OF HAMELIN" BY KATE
+GREENAWAY (EDMUND EVANS)]
+
+In "Granny's Story Box" (Piper, Stephenson, and Spence, about 1855), a
+most delicious collection of fairy tales illustrated by J. Knight, we
+find the author in his preface protesting against the opinion of a
+supposititious old lady who "thought all fairy tales were abolished
+years ago by Peter Parley and the _Penny Magazine_." These fanciful
+stories deserve to be republished, for they are not old-fashioned, even
+if their pictures are.
+
+To what date certain delightfully printed little volumes, issued by
+Tabart and Co., 157 Bond Street, may be ascribed I know not--probably
+some years before the time we are considering, but they must not be
+overlooked. The title of one, "Mince Pies for Christmas," suggests that
+it is not very far before, for the legend of Christmas festivities had
+not long been revived for popular use.
+
+"The Little Lychetts," by the author of "John Halifax," illustrated by
+Henry Warren, President of the New Society of Painters in Water-Colours
+(now the R.I.) is remarkable for the extremely uncomely type of children
+it depicts; yet that its charm is still vivid, despite its "severe"
+illustrations, you have but to lend it to a child to be convinced
+quickly.
+
+"Jack's Holiday," by Albert Smith (undated), suggests a new field of
+research which might lead us astray, as Smith's humour is more often
+addressed primarily to adults. Indeed, the effort to make this chronicle
+even representative, much less exhaustive, breaks down in the fifties,
+when so much good yet not very exhilarating material is to be found in
+every publisher's list. John Leech in "The Silver Swan" of Mdme. de
+Chatelaine; Charles Keene in "The Adventures of Dick Bolero" (Darton, no
+date), and "Robinson Crusoe" (drawn upon for illustration here), and
+others of the _Punch_ artists, should find their works duly catalogued
+even in this hasty sketch; but space compels scant justice to many
+artists of the period, yet if the most popular are left unnoticed such
+omission will more easily right itself to any reader interested in the
+subject.
+
+Many show influences of the Gothic revival which was then in the air,
+but only those which have some idea of book decoration as opposed to
+inserted pictures. For a certain "formal" ornamentation of the page was
+in fashion in the "forties" and "fifties," even as it is to-day.
+
+[Illustration: ILLUSTRATION FROM "CAPE TOWN DICKY" BY ALICE HAVERS (C.
+W. FAULKNER AND CO.)]
+
+To the artists named as representative of this period one must not
+forget to add Mr. Birket Foster, who devoted many of his felicitous
+studies of English pastoral life to the adornment of children's books.
+But speaking broadly of the period from the Queen's Accession to 1865,
+except that the subjects are of a sort supposed to appeal to young
+minds, their conception differs in no way from the work of the same
+artists in ordinary literature. The vignettes of scenery have childish
+instead of grown-up figures in the foregrounds; the historical or
+legendary figures are as seriously depicted in the one class of books as
+in the other. Humour is conspicuous by its absence--or, to be more
+accurate, the humour is more often in the accompanying anecdote than in
+the picture. Probably if the authorship of hundreds of the illustrations
+of "Peter Parley's Annuals" and other books of this period could be
+traced, artists as famous as Charles Keene might be found to have
+contributed. But, owing to the mediocre wood-engraving employed, or to
+the poor printing, the pictures are singularly unattractive. As a rule,
+they are unsigned and appear to be often mere pot-boilers--some no doubt
+intentionally disowned by the designer--others the work of 'prentice
+hands who afterwards became famous. Above all they are, essentially,
+illustrations to children's books only because they chanced to be
+printed therein, and have sometimes done duty in "grown-up" books first.
+Hence, whatever their artistic merits, they do not appeal to a student
+of our present subject. They are accidentally present in books for
+children, but essentially they belong to ordinary illustrations.
+
+Indeed, speaking generally, the time between "Felix Summerley" and
+_Walter Crane_, which saw two Great Exhibitions and witnessed many
+advances in popular illustration, was too much occupied with catering
+for adults to be specially interested in juveniles. Hence,
+notwithstanding the names of "illustrious illustrators" to be found on
+their title-pages, no great injustice will be done if we leave this
+period and pass on to that which succeeded it. For the Great Exhibition
+fostered the idea that a smattering of knowledge of a thousand and one
+subjects was good. Hence the chastened gaiety of its mildly technical
+science, its popular manuals by Dr. Dionysius Lardner, and its return in
+another form to the earlier ideal that amusement should be combined with
+instruction. All sorts of attempts were initiated to make Astronomy
+palatable to babies, Botany an amusing game for children, Conchology a
+parlour pastime, and so on through the alphabet of sciences down to
+Zoology, which is never out of favour with little ones, even if its
+pictures be accompanied by a dull encylopaedia of fact.
+
+[Illustration: ILLUSTRATION FROM "THE WHITE SWANS" BY ALICE HAVERS (_By
+permission of Mr. Albert Hildesheimer_)]
+
+Therefore, except so far as the work of certain illustrators, hereafter
+noticed, touches this period, we may leave it; not because it is
+unworthy of most serious attention, for in Sir John Gilbert, Birket
+Foster, Harrison Weir, and the rest, we have men to reckon with whenever
+a chronicle of English illustration is in question, but only because
+they did not often feel disposed to make their work merely amusing. In
+saying this it is not suggested that they should have tried to be always
+humorous or archaic, still less to bring down their talent to the
+supposed level of a child; but only to record the fact that they did
+not. For instance, Sir John Gilbert's spirited compositions to a "Boy's
+Book of Ballads" (Bell and Daldy) as you see them mixed with other of
+the master's work in the reference scrap-books of the publishers, do not
+at once separate themselves from the rest as "juvenile" pictures.
+
+Nor as we approach the year 1855 (of the "Music Master"), and 1857 (when
+the famous edition of Tennyson's Poems began a series of superbly
+illustrated books), do we find any immediate change in the illustration
+of children's books. The solitary example of Sir Edward Burne-Jones's
+efforts in this direction, in the frontispiece and title-page to
+Maclaren's "The Fairy Family" (Longmans, 1857), does not affect this
+statement. But soon after, as the school of Walker and Pinwell became
+popular, there is a change in books of all sorts, and Millais and Arthur
+Hughes, two of the three illustrators of the notable "Music Master,"
+come into our list of children's artists. At this point the attempt to
+weave a chronicle of children's books somewhat in the date of their
+publication must give way to a desultory notice of the most prominent
+illustrators. For we have come to the beginning of to-day rather than
+the end of yesterday, and can regard the "sixties" onwards as part of
+the present.
+
+It is true that the Millais of the wonderful designs to "The Parables"
+more often drew pictures of children than of children's pet themes, but
+all the same they are entirely lovable, and appeal equally to children
+of all ages. But his work in this field is scanty; nearly all will be
+found in "Little Songs for me to Sing" (Cassell), or in "Lilliput Levee"
+(1867), and these latter had appeared previously in _Good Words_. Of
+Arthur Hughes's work we will speak later.
+
+[Illustration: ILLUSTRATION FROM "THE RED FAIRY BOOK." BY LANCELOT SPEED
+(LONGMANS, GREEN AND CO.)]
+
+Another artist whose work bulks large in our subject--Arthur Boyd
+Houghton--soon appears in sight, and whether he depicted babies at play
+as in "Home Thoughts and Home Scenes," a book of thirty-five pictures of
+little people, or imagined the scenes of stories dear to them in "The
+Arabian Nights," or books like "Ernie Elton" or "The Boy Pilgrims,"
+written especially for them, in each he succeeded in winning their
+hearts, as every one must admit who chanced in childhood to possess his
+work. So much has been printed lately of the artist and his work, that
+here a bare reference will suffice.
+
+[Illustration: ILLUSTRATION FROM "THE RED FAIRY BOOK." BY LANCELOT SPEED
+(LONGMANS, GREEN AND CO.)]
+
+Arthur Hughes, whose work belongs to many of the periods touched upon in
+this rambling chronicle, may be called _the_ children's
+"black-and-white" artist of the "sixties" (taking the date broadly as
+comprising the earlier "seventies" also), even as Walter Crane is their
+"limner in colours." His work is evidently conceived with the serious
+make-believe that is the very essence of a child's imagination. He seems
+to put down on paper the very spirit of fancy. Whether as an artist he
+is fully entitled to the rank some of his admirers (of whom I am one)
+would claim, is a question not worth raising here--the future will
+settle that for us. But as a children's illustrator he is surely
+illustrator-in-chief to the Queen of the Fairies, and to a whole
+generation of readers of "Tom Brown's Schooldays" also. His
+contributions to "Good Words for the Young" would alone entitle him to
+high eminence. In addition to these, which include many stories perhaps
+better known in book form, such as: "The Boy in Grey" (H. Kingsley),
+George Macdonald's "At the Back of the North Wind," "The Princess and
+the Goblin," "Ranald Bannerman's Boyhood," "Gutta-Percha Willie" (these
+four were published by Strahan, and now may be obtained in reprints
+issued by Messrs. Blackie), and "Lilliput Lectures" (a book of essays
+for children by Matthew Browne), we find him as sole illustrator of
+Christina Rossetti's "Sing Song," "Five Days' Entertainment at Wentworth
+Grange," "Dealings with the Fairies," by George Macdonald (a very scarce
+volume nowadays), and the chief contributor to the first illustrated
+edition of "Tom Brown's Schooldays." In Novello's "National Nursery
+Rhymes" are also several of his designs.
+
+This list, which occupies so small a space, represents several hundred
+designs, all treated in a manner which is decorative (although it
+eschews the Duerer line), but marked by strong "colour." Indeed, Mr.
+Hughes's technique is all his own, and if hard pressed one might own
+that in certain respects it is not impeccable. But if his textures are
+not sufficiently differentiated, or even if his drawing appears careless
+at times--both charges not to be admitted without vigorous
+protest--granting the opponent's view for the moment, it would be
+impossible to find the same peculiar tenderness and naive fancy in the
+work of any other artist. His invention seems inexhaustible and his
+composition singularly fertile: he can create "bogeys" as well as
+"fairies."
+
+[Illustration: ILLUSTRATION FROM "THE RED FAIRY BOOK." BY LANCELOT SPEED
+(LONGMANS, GREEN AND CO.)]
+
+[Illustration: ILLUSTRATION FROM "DOWN THE SNOW STAIRS." BY GORDON
+BROWNE (BLACKIE AND SON)]
+
+It is true that his children are related to the sexless idealised race
+of Sir Edward Burne-Jones's heroes and heroines; they are purged of
+earthy taint, and idealised perhaps a shade too far. They adopt
+attitudes graceful if not realistic, they have always a grave serenity
+of expression; and yet withal they endear themselves in a way wholly
+their own. It is strange that a period which has bestowed so much
+appreciation on the work of the artists of "the sixties" has seen no
+knight-errant with "Arthur Hughes" inscribed on his banner--no
+exhibition of his black-and-white work, no craze in auction-rooms for
+first editions of books he illustrated. He has, however, a steady if
+limited band of very faithful devotees, and perhaps--so inconsistent are
+we all--they love his work all the better because the blast of
+popularity has not trumpeted its merits to all and sundry.
+
+Three artists, often coupled together--Walter Crane, Randolph Caldecott,
+and Kate Greenaway--have really little in common, except that they all
+designed books for children which were published about the same period.
+For Walter Crane is the serious apostle of art for the nursery, who
+strove to beautify its ideal, to decorate its legends with a real
+knowledge of architecture and costume, and to "mount" the fairy stories
+with a certain archaeological splendour, as Sir Henry Irving has set
+himself to mount Shakespearean drama. Caldecott was a fine literary
+artist, who was able to express himself with rare facility in pictures
+in place of words, so that his comments upon a simple text reveal
+endless subtleties of thought. Indeed, he continued to make a fairly
+logical sequence of incidents out of the famous nonsense paragraph
+invented to confound mnemonics by its absolute irrelevancy. Miss
+Greenaway's charm lies in the fact that she first recognised quaintness
+in what had been considered merely "old fashion," and continued to
+infuse it with a glamour that made it appear picturesque. Had she
+dressed her figures in contemporary costume most probably her work would
+have taken its place with the average, and never obtained more than
+common popularity.
+
+[Illustration: ILLUSTRATION FROM "ROBINSON CRUSOE" BY GORDON BROWNE
+
+(BLACKIE AND SON)]
+
+But Mr. Walter Crane is almost unique in his profound sympathy with the
+fantasies he imagines. There is no trace of make-believe in his designs.
+On the contrary, he makes the old legends become vital, not because of
+the personalities he bestows on his heroes and fairy princesses--his
+people move often in a rapt ecstasy--but because the adjuncts of his
+_mise-en-scenes_ are realised intimately. His prince is much more the
+typical hero than any particular person; his fair ladies might exchange
+places, and few would notice the difference; but when it comes to the
+environment, the real incidents of the story, then no one has more fully
+grasped both the dramatic force and the local colour. If his people are
+not peculiarly alive, they are in harmony with the re-edified cities and
+woods that sprang up under his pencil. He does not bestow the hoary
+touch of antiquity on his mediaeval buildings; they are all new and
+comely, in better taste probably than the actual buildings, but not more
+idealised than are his people. He is the true artist of fairyland,
+because he recognises its practical possibilities, and yet does not lose
+the glamour which was never on sea or land. No artist could give more
+cultured notions of fairyland. In his work the vulgar glories of a
+pantomime are replaced by well-conceived splendour; the tawdry adjuncts
+of a throne-room, as represented in a theatre, are ignored. Temples and
+palaces of the early Renaissance, filled with graceful--perhaps a shade
+too suave--figures, embody all the charm of the impossible country, with
+none of the sordid drawbacks that are common to real life. In modern
+dress, as in his pictures to many of Mrs. Molesworth's stories, there is
+a certain unlikeness to life as we know it, which does not detract from
+the effect of the design; but while this is perhaps distracting in
+stories of contemporary life, it is a very real advantage in those of
+folk-lore, which have no actual date, and are therefore unafraid of
+anachronisms of any kind. The spirit of his work is, as it should be,
+intensely serious, yet the conceits which are showered upon it exactly
+harmonise with the mood of most of the stories that have attracted his
+pencil. Grimm's "Household Stories," as he pictured them, are a lasting
+joy. The "Bluebeard" and "Jack and the Beanstalk" toy books, the
+"Princess Belle Etoile," and a dozen others are nursery classics, and
+classics also of the other nursery where children of a larger growth
+take their pleasure.
+
+[Illustration: ILLUSTRATION FROM "ROBINSON CRUSOE." BY WILL PAGET.
+(CASSELL AND CO.)]
+
+Without a shade of disrespect towards all the other artists represented
+in this special number, had it been devoted solely to Mr. Walter Crane's
+designs, it would have been as interesting in every respect. There is
+probably not a single illustrator here mentioned who would not endorse
+such a statement. For as a maker of children's books, no one ever
+attempted the task he fulfilled so gaily, and no one since has beaten
+him on his own ground. Even Mr. Howard Pyle, his most worthy rival, has
+given us no wealth of colour-prints. So that the famous toy books still
+retain their well-merited position as the most delightful books for the
+nursery and the studio, equally beloved by babies and artists.
+
+[Illustration: ILLUSTRATION FROM "ENGLISH FAIRY TALES" BY J. D. BATTEN
+(DAVID NUTT)]
+
+Although a complete iconography of Mr. Walter Crane's work has not yet
+been made, the following list of such of his children's books as I have
+been able to trace may be worth printing for the benefit of those who
+have not access to the British Museum; where, by the way, many are not
+included in that section of its catalogue devoted to "Crane, Walter."
+
+[Illustration: "SO LIGHT OF FOOT, SO LIGHT OF SPIRIT." BY CHARLES
+ROBINSON]
+
+The famous series of toy books by Walter Crane include: "The Railroad A
+B C," "The Farmyard A B C," "Sing a Song of Sixpence," "The Waddling
+Frog," "The Old Courtier," "Multiplication in Verse," "Chattering Jack,"
+"How Jessie was Lost," "Grammar in Rhyme," "Annie and Jack in London,"
+"One, Two, Buckle my Shoe," "The Fairy Ship," "Adventures of Puffy,"
+"This Little Pig went to Market," "King Luckieboy's Party," "Noah's Ark
+Alphabet," "My Mother," "The Forty Thieves," "The Three Bears,"
+"Cinderella," "Valentine and Orson," "Puss in Boots," "Old Mother
+Hubbard," "The Absurd A B C," "Little Red Riding Hood," "Jack and
+the Beanstalk," "Blue Beard," "Baby's Own Alphabet," "The Sleeping
+Beauty." All these were published at sixpence. A larger series at one
+shilling includes: "The Frog Prince," "Goody Two Shoes," "Beauty and the
+Beast," "Alphabet of Old Friends," "The Yellow Dwarf," "Aladdin," "The
+Hind in the Wood," and "Princess Belle Etoile." All these were published
+from 1873 onwards by Routledge, and printed in colours by Edmund Evans.
+
+[Illustration: ILLUSTRATION FROM "ENGLISH FAIRY TALES." BY J. D. BATTEN
+(DAVID NUTT)]
+
+A small quarto series Routledge published at five shillings includes:
+"The Baby's Opera," "The Baby's Bouquet," "The Baby's Own AEsop." Another
+and larger quarto, "Flora's Feast" (1889), and "Queen Summer" (1891),
+were both published by Cassells, who issued also "Legends for Lionel"
+(1887). "Pan Pipes," an oblong folio with music was issued by Routledge.
+Messrs. Marcus Ward produced "Slate and Pencilvania," "Pothooks and
+Perseverance," "Romance of the Three Rs," "Little Queen Anne" (1885-6),
+Hawthorne's "A Wonder Book," first published in America, is a quarto
+volume with elaborate designs in colour; and "The Golden Primer" (1884),
+two vols., by Professor Meiklejohn (Blackwood) is, like all the above,
+in colour.
+
+Of a series of stories by Mrs. Molesworth the following volumes are
+illustrated by Mr. Crane:--"A Christmas Posy" (1888), "Carrots" (1876),
+"A Christmas Child" (1886), "Christmas-tree Land" (1884), "The Cuckoo
+Clock" (1877), "Four Winds Farm" (1887), "Grandmother Dear" (1878),
+"Herr Baby" (1881), "Little Miss Peggy" (1887), "The Rectory Children"
+(1889), "Rosy" (1882), "The Tapestry Room" (1879), "Tell me a Story,"
+"Two Little Waifs," "Us" (1885), and "Children of the Castle" (1890).
+Earlier in date are "Stories from Memel" (1864), "Stories of Old,"
+"Children's Sayings" (1861), two series, "Poor Match" (1861), "The Merry
+Heart," with eight coloured plates (Cassell); "King Gab's Story Bag"
+(Cassell), "Magic of Kindness" (1869), "Queen of the Tournament,"
+"History of Poor Match," "Our Uncle's Old Home" (1872), "Sunny Days"
+(1871), "The Turtle Dove's Nest" (1890). Later come "The Necklace of
+Princess Fiorimonde" (1880), the famous edition of Grimm's "Household
+Stories" (1882), both published by Macmillan, and C. C. Harrison's "Folk
+and Fairy Tales" (1885), "The Happy Prince" (Nutt, 1888). Of these the
+"Grimm" and "Fiorimonde" are perhaps two of the most important
+illustrated books noted in these pages.
+
+Randolph Caldecott founded a school that still retains fresh hold of the
+British public. But with all respect to his most loyal disciple, Mr.
+Hugh Thomson, one doubts if any successor has equalled the master in the
+peculiar subtlety of his pictured comment upon the bare text. You have
+but to turn to any of his toy books to see that at times each word,
+almost each syllable, inspired its own picture; and that the artist not
+only conceived the scene which the text called into being, but each
+successive step before and after the reported incident itself. In "The
+House that Jack Built," "This is the Rat that Ate the Malt" supplies a
+subject for five pictures. First the owner carrying in the malt, next
+the rat driven away by the man, then the rat peeping up into the
+deserted room, next the rat studying a placard upside down inscribed
+"four measures of malt," and finally, the gorged animal sitting upon an
+empty measure. So "This is the Cat that Killed the Rat" is expanded into
+five pictures. The dog has four, the cat three, and the rest of the
+story is amplified with its secondary incidents duly sought and
+depicted. This literary expression is possibly the most marked
+characteristic of a facile and able draughtsman. He studied his subject
+as no one else ever studied it--he must have played with it, dreamed of
+it, worried it night and day, until he knew it ten times better than its
+author. Then he portrayed it simply and with irresistible vigour, with a
+fine economy of line and colour; when colour is added, it is mainly as a
+gay convention, and not closely imitative of nature. The sixteen toy
+books which bear his name are too well known to make a list of their
+titles necessary. A few other children's books--"What the Blackbird
+Said" (Routledge, 1881), "Jackanapes," "Lob-lie-by-the-Fire," "Daddy
+Darwin's Dovecot," all by Mrs. Ewing (S.P.C.K.), "Baron Bruno"
+(Macmillan), "Some of AEsop's Fables" (Macmillan), and one or two others,
+are of secondary importance from our point of view here.
+
+[Illustration: ILLUSTRATION FROM "THE WONDER CLOCK." BY HOWARD PYLE
+(HARPER AND BROTHERS)]
+
+[Illustration: ILLUSTRATION FROM "THE WONDER CLOCK." BY HOWARD PYLE
+(HARPER AND BROTHERS)]
+
+[Illustration: ILLUSTRATION FROM "THE WONDER CLOCK." BY HOWARD PYLE
+(HARPER AND BROTHERS. 1894)]
+
+It is no overt dispraise to say of Miss Kate Greenaway that few artists
+made so great a reputation in so small a field. Inspired by the
+children's books of 1820 (as a reference to a design, "Paths of
+Learning," reproduced on p. 9 will show), and with a curious naivety
+that was even more unconcerned in its dramatic effect than were the
+"missal marge" pictures of the illuminators, by her simple presentation
+of the childishness of childhood she won all hearts. Her little people
+are the _beau-ideal_ of nursery propriety--clean, good-tempered, happy
+small gentlefolk. For, though they assume peasants' garb, they never
+betray boorish manners. Their very abandon is only that of nice little
+people in play-hours, and in their wildest play the penalties that await
+torn knickerbockers or soiled frocks are not absent from their minds.
+Whether they really interested children as they delighted their elders
+is a moot point. The verdict of many modern children is unanimous in
+praise, and possibly because they represented the ideal every properly
+educated child is supposed to cherish. The slight taint of priggishness
+which occasionally is there did not reveal itself to a child's eye. Miss
+Greenaway's art, however, is not one to analyse but to enjoy. That she
+is a most careful and painstaking worker is a fact, but one that would
+not in itself suffice to arouse one's praise. The absence of effort
+which makes her work look happy and without effort is not its least
+charm. Her gay yet "cultured" colour, her appreciation of green chairs
+and formal gardens, all came at the right time. The houses by a Norman
+Shaw found a Morris and a Liberty ready with furniture and fabrics, and
+all sorts of manufacturers devoting themselves to the production of
+pleasant objects, to fill them; and for its drawing-room tables Miss
+Greenaway produced books that were in the same key. But as the
+architecture and the fittings, at their best, proved to be no passing
+whim, but the germ of a style, so her illustration is not a trifling
+sport, but a very real, if small, item in the history of the evolution
+of picture-books. Good taste is the prominent feature of her work, and
+good taste, if out of fashion for a time, always returns, and is
+treasured by future generations, no matter whether it be in accord with
+the expression of the hour or distinctly archaic. Time is a very
+stringent critic, and much that passed as tolerably good taste when it
+fell in with the fashion, looks hopelessly vulgar when the tide of
+popularity has retreated. Miss Greenaway's work appears as refined ten
+years after its "boom," as it did when it was at the flood. That in
+itself is perhaps an evidence of its lasting power; for ten or a dozen
+years impart a certain shabby and worn aspect that has no flavour of the
+antique as a saving virtue to atone for its shortcomings.
+
+[Illustration: ILLUSTRATION FROM "THE WONDER CLOCK." BY HOWARD PYLE.
+(HARPER AND BROTHERS)]
+
+[Illustration: ILLUSTRATION FROM "THE WONDER CLOCK." BY HOWARD PYLE.
+(HARPER AND BROTHERS)]
+
+It seems almost superfluous to give a list of the principal books by
+Miss Kate Greenaway, yet for the convenience of collectors the names of
+the most noteworthy volumes may be set down. Those with coloured plates
+are: "A, Apple Pie" (1886), "Alphabet" (1885), "Almanacs" (from 1882
+yearly), "Birthday Book" (1880), "Book of Games" (1889), "A Day in a
+Child's Life" (1885), "King Pepito" (1889), "Language of Flowers"
+(1884), "Little Ann" (1883), "Marigold Garden" (1885), "Mavor's Spelling
+Book" (1885), "Mother Goose" (1886), "The Pied Piper of Hamelin" (1889),
+"Painting Books" (1879 and 1885), "Queen Victoria's Jubilee Garland"
+(1887), "Queen of the Pirate Isle" (1886), "Under the Window" (1879).
+Others with black-and-white illustrations include "Child of the
+Parsonage" (1874), "Fairy Gifts" (1875), "Seven Birthdays" (1876),
+"Starlight Stories" (1877), "Topo" (1878), "Dame Wiggins of Lee" (Allen,
+1885), "Stories from the Eddas" (1883).
+
+Many designs, some in colour, are to be found in volumes of _Little
+Folks_, _Little Wideawake_, _Every Girl's Magazine_, _Girl's Own Paper_,
+and elsewhere.
+
+[Illustration: ILLUSTRATION FROM "CHILDREN'S SINGING GAMES" BY WINIFRED
+SMITH (DAVID NUTT. 1894)]
+
+The art of Miss Greenaway is part of the legend of the aesthetic craze,
+and while its storks and sunflowers have faded, and some of its
+eccentricities are forgotten, the quaint little pictures on Christmas
+cards, in toy books, and elsewhere, are safely installed as items of the
+art product of the century. Indeed, many a popular Royal Academy picture
+is likely to be forgotten before the illustrations from her hand.
+_Bric-a-brac_ they were, but more than that, for they gave infinite
+pleasure to thousands of children of all ages, and if they do not rise
+up and call her blessed, they retain a very warm memory of one who gave
+them so much innocent pleasure.
+
+[Illustration: ILLUSTRATION FROM "UNDINE" BY HEYWOOD SUMNER (CHAPMAN AND
+HALL)]
+
+[Illustration: ILLUSTRATION FROM "THE RED FAIRY BOOK" BY L. SPEED
+(LONGMANS, GREEN AND CO. 1895)]
+
+Sir John Tenniel's illustrations, beginning as they do with "Undine"
+(1845), already mentioned, include others in volumes for young people
+that need not be quoted. But with his designs for "Alice in Wonderland"
+(Macmillan, 1866), and "Through the Looking Glass" (1872), we touch
+_the_ two most notable children's books of the century. To say less
+would be inadequate and to say more needless. For every one knows the
+incomparable inventions which "Lewis Carroll" imagined and Sir John
+Tenniel depicted. They are veritable classics, of which, as it is too
+late to praise them, no more need be said.
+
+Certain coloured picture books by J. E. Rogers were greeted with
+extravagant eulogy at the time they appeared "in the seventies." "Worthy
+to be hung at the Academy beside the best pictures of Millais or
+Sandys," one fatuous critic observed. Looking over their pages again, it
+seems strange that their very weak drawing and crude colour could have
+satisfied people familiar with Mr. Walter Crane's masterly work in a not
+dissimiliar style. "Ridicula Rediviva" and "Mores Ridiculi" (both
+Macmillan), were illustrations of nursery rhymes. To "The Fairy Book"
+(1870), a selection of old stories re-told by the author of "John
+Halifax," Mr. Rogers contributed many full pages in colour, and also to
+Mr. F. C. Burnand's "Present Pastimes of Merrie England" (1872). They
+are interesting as documents, but not as art; for their lack of academic
+knowledge is not counterbalanced by peculiar "feeling" or ingenious
+conceit. They are merely attempts to do again what Mr. H. S. Marks had
+done better previously. It seems ungrateful to condemn books that but
+for renewed acquaintance might have kept the glamour of the past; and
+yet, realising how much feeble effort has been praised since it was
+"only for children," it is impossible to keep silence when the truth is
+so evident.
+
+[Illustration: ILLUSTRATION FROM "KATAWAMPUS" BY ARCHIE MACGREGOR (DAVID
+NUTT)]
+
+Alfred Crowquill most probably contributed all the pictures to "Robinson
+Crusoe," "Blue Beard," and "Red Riding Hood" told in rhyme by F. W. N.
+Bayley, which have been noticed among his books of the "forties." One of
+the full pages, which appear to be lithographs, is clearly signed. He
+also illustrated the adventures of "Master Tyll Owlglass," an edition of
+"Baron Munchausen," "Picture Fables," "The Careless Chicken," "Funny
+Leaves for the Younger Branches," "Laugh and Grow Thin," and a host of
+other volumes. Yet the pictures in these, amusing as they are in their
+way, do not seem likely to attract an audience again at any future time.
+
+E. V. B., initials which stand for the Hon. Mrs. Boyle, are found on
+many volumes of the past twenty-five years which have enjoyed a special
+reputation. Certainly her drawings, if at times showing much of the
+amateur, have also a curious "quality," which accounts for the very high
+praise they have won from critics of some standing. "The Story without
+an End," "Child's Play" (1858), "The New Child's Play," "The Magic
+Valley," "Andersen Fairy Tales" (Low, 1882), "Beauty and the Beast" (a
+quarto with colour-prints by Leighton Bros.), are the most important.
+Looking at them dispassionately now, there is yet a trace of some of the
+charm that provoked applause a little more than they deserve.
+
+In British art this curious fascination exerted by the amateur is always
+confronting us. The work of E. V. B. has great qualities, yet any pupil
+of a board school would draw better. Nevertheless it pleases more than
+academic technique of high merit that lacks just that one quality which,
+for want of a better word, we call "culture." In the designs by Louisa,
+Marchioness of Waterford, one encounters genius with absolutely
+faltering technique; and many who know how rare is the slightest touch
+of genius, forgive the equally important mastery of material which must
+accompany it to produce work of lasting value.
+
+[Illustration: ILLUSTRATION FROM "THE SLEEPING BEAUTY." BY R. ANNING
+BELL (DENT AND CO.)]
+
+Mr. H. S. Marks designed two nursery books for Messrs. Routledge, and
+contributed to many others, including J. W. Elliott's "National Nursery
+Rhymes" (Novello), whence our illustration has been taken. Two series of
+picture books containing mediaeval figures with gold background, by J.
+Moyr Smith, if somewhat lacking in the qualities which appeal to
+children, may have played a good part in educating them to admire
+conventional flat treatment, with a decorative purpose that was unusual
+in the "seventies," when most of them appeared.
+
+In later years, Miss Alice Havers in "The White Swans," and "Cape Town
+Dicky" (Hildesheimer), and many lady artists of less conspicuous
+ability, have done a quantity of graceful and elaborate pictures _of_
+children rather than _for_ children. The art of this later period shows
+better drawing, better colour, better composition than had been the
+popular average before; but it generally lacks humour, and a certain
+vivacity of expression which children appreciate.
+
+In the "sixties" and "seventies" were many illustrators of children's
+books who left no great mark except on the memories of those who were
+young enough at the time to enjoy their work thoroughly, if not very
+critically. Among these may be placed William Brunton, who illustrated
+several of the Right Hon. G. Knatchbull-Hugessen's fairy stories, "Tales
+at Tea Time" for instance, and was frequent among the illustrators of
+Hood's Annuals. Charles H. Ross (at one time editor of _Judy_) and
+creator of "Ally Sloper," the British Punchinello, produced at least one
+memorable book for children. "Queens and Kings and other Things," a
+folio volume printed in gold and colour, with nonsense rhymes and
+pictures, almost as funny as those of Edward Lear himself. "The Boy
+Crusoe," and many other books of somewhat ephemeral character are his,
+and Routledge's "Every Boy's Magazine" contains many of his designs.
+Just as these pages are being corrected the news of his death is
+announced.
+
+[Illustration: ILLUSTRATION FROM "FAIRY GIFTS." BY H. GRANVILLE FELL
+(DENT AND CO.)]
+
+[Illustration: ILLUSTRATION FROM "A BOOK OF NURSERY SONGS AND RHYMES" BY
+MARY J. NEWILL (METHUEN AND CO. 1895)]
+
+Others, like George Du Maurier, so rarely touched the subject that they
+can hardly be regarded as wholly belonging to our theme. Yet
+"Misunderstood," by Florence Montgomery (1879), illustrated by Du
+Maurier, is too popular to leave unnoticed. Mr. A. W. Bayes, who has
+deservedly won fame in other fields, illustrated "Andersen's Tales"
+(Warne, 1865), probably his earliest work, as a contemporary review
+speaks of the admirable designs "by an artist whose name is new to us."
+
+[Illustration: ILLUSTRATION FROM "THE ELF-ERRANT" BY W. E. F. BRITTEN
+(LAWRENCE AND BULLEN. 1895)]
+
+It is a matter for surprise and regret that Mr. Howard Pyle's
+illustrated books are not as well known in England as they deserve to
+be. And this is the more vexing when you find that any one with artistic
+sympathy is completely converted to be a staunch admirer of Mr. Pyle's
+work by a sight of "The Wonder Clock," a portly quarto, published by
+Harper Brothers in 1894. It seems to be the only book conceived in
+purely Duereresque line, which can be placed in rivalry with Mr. Walter
+Crane's illustrated "Grimm," and wise people will be only too delighted
+to admire both without attempting to compare them. Mr. Pyle is evidently
+influenced by Duerer--with a strong trace of Rossetti--but he carries
+both influences easily, and betrays a strong personality throughout all
+the designs. The "Merry Adventures of Robin Hood" and "Otto of the
+Silver Hand" are two others of about the same period, and the delightful
+volume collected from _Harper's Young People_ for the most part,
+entitled "Pepper and Salt," may be placed with them. All the
+illustrations to these are in pure line, and have the appearance of
+being drawn not greatly in excess of the reproduced size. Of all these
+books Mr. Howard Pyle is author as well as illustrator.
+
+Of late he has changed his manner in line, showing at times, especially
+in "Twilight Land" (Osgood, McIlvaine, 1896), the influence of Vierge,
+but even in that book the frontispiece and many other designs keep to
+his earlier manner.
+
+In "The Garden behind the Moon" (issued in London by Messrs. Lawrence
+and Bullen) the chief drawings are entirely in wash, and yet are
+singularly decorative in their effect. The "Story of Jack Bannister's
+Fortunes" shows the artist's "colonial" style, "Men of Iron," "A Modern
+Aladdin," Oliver Wendell Holmes' "One-Horse Shay," are other fairly
+recent volumes. His illustrations have not been confined to his own
+stories as "In the Valley," by Harold Frederic, "Stops of Various
+Quills" (poems by W. D. Howells), go to prove.
+
+[Illustration: ILLUSTRATION FROM "SINBAD THE SAILOR" BY WILLIAM STRANG
+(LAWRENCE AND BULLEN. 1896)]
+
+[Illustration: ILLUSTRATION FROM "ALI BABA" BY J. B. CLARK (LAWRENCE AND
+BULLEN. 1896)]
+
+It is strange that Mr. Heywood Sumner, who, as his notable "Fitzroy
+Pictures" would alone suffice to prove, is peculiarly well equipped for
+the illustration of children's books, has done but few, and of these
+none are in colour. "Cinderella" (1882), rhymes by H. S. Leigh, set to
+music by J. Farmer, contains very pleasant decoration by Mr. Sumner.
+Next comes "Sintram" (1883), a notable edition of De la Motte Fouque's
+romance, followed by "Undine" (in 1885). With a book on the "Parables,"
+by A.L.O.E., published about 1884; "The Besom Maker" (1880), a volume of
+country ditties with the old music, and "Jacob and the Raven," with
+thirty-nine illustrations (Allen, 1896), the best example of his later
+manner, and a book which all admirers of the more severe order of
+"decorative illustration" will do well to preserve, the list is
+complete. Whether a certain austerity of line has made publishers timid,
+or whether the artist has declined commissions, the fact remains that
+the literature of the nursery has not yet had its full share from Mr.
+Heywood Sumner. Luckily, if its shelves are the less full, its walls are
+gayer by the many Fitzroy pictures he has made so effectively, which
+readers of THE STUDIO have seen reproduced from time to time in these
+pages.
+
+Mr. H. J. Ford's work occupies so much space in the library of a modern
+child, that it seems less necessary to discuss it at length here, for he
+is found either alone or co-operating with Mr. Jacomb Hood and Mr.
+Lancelot Speed, in each of the nine volumes of fairy tales and true
+stories (Blue, Red, Green, Yellow, Pink, and the rest), edited by Mr.
+Andrew Lang, and published by Longmans. More than that, at the Fine Art
+Society in May 1895, Mr. Ford exhibited seventy-one original drawings,
+chiefly those for the "Yellow Fairy Book," so that his work is not only
+familiar to the inmates of the nursery, but to modern critics who
+disdain mere printed pictures and care for nothing but autograph work.
+Certainly his designs have often lost much by their great reduction, for
+many of the originals were almost as large as four of these pages. His
+work is full of imagination, full of detail; perhaps at times a little
+overcrowded, to the extent of confusion. But children are not averse
+from a picture that requires much careful inspection to reveal all its
+story; and Mr. Ford's accessories all help to reiterate the main theme.
+As these eight volumes have an average of 100 pictures in each, and Mr.
+Ford has designed the majority, it is evident that, although his work is
+almost entirely confined to one series, it takes a very prominent place
+in current juvenile literature. That he must by this time have
+established his position as a prime favourite with the small people goes
+without saying.
+
+[Illustration: ILLUSTRATION FROM "THE FLAME FLOWER." BY J. F. SULLIVAN
+(DENT AND CO. 1896)]
+
+Mr. Leslie Brooke has also a long catalogue of notable work in this
+class. For since Mr. Walter Crane ceased to illustrate the long series
+of Mrs. Molesworth's stories, he has carried on the record. "Sheila's
+Mystery," "The Carved Lions," "Mary," "My New Home," "Nurse Heathcote's
+Story," "The Girls and I," "The Oriel Window," and "Miss Mouse and her
+Boys" (all Macmillan), are the titles of these books to which he has
+contributed. A very charming frontispiece and title to John Oliver
+Hobbs' "Prince Toto," which appeared in "The Parade," must not be
+forgotten. The most fanciful of his designs are undoubtedly the hundred
+illustrations to Mr. Andrew Lang's delightful collection of "Nursery
+Rhymes," just published by F. Warne & Co. These reveal a store of humour
+that the less boisterous fun of Mrs. Molesworth had denied him the
+opportunity of expressing.
+
+Mr. C. E. Brock, whose delightful compositions, somewhat in the "Hugh
+Thomson" manner, embellish several volumes of Messrs. Macmillan's
+Cranford series, has illustrated also "The Parachute," and "English
+Fairy and Folk Tales," by E. S. Hartland (1893), and also supplied two
+pictures to that most fascinating volume prized by all lovers of
+children, "W. V., Her Book," by W. Canton. Perhaps "Westward Ho!" should
+also be included in this list, for whatever its first intentions, it has
+long been annexed by bolder spirits in the nursery.
+
+A. B. Frost, by his cosmopolitan fun, "understanded of all people," has
+probably aroused more hearty laughs by his inimitable books than even
+Caldecott himself. "Stuff and Nonsense," and "The Bull Calf," T. B.
+Aldrich's "Story of a Bad Boy," and many another volume of American
+origin, that is now familiar to every Briton with a sense of humour, are
+the most widely known. It is needless to praise the literally inimitable
+humour of the tragic series "Our Cat took Rat Poison." In Lewis
+Carroll's "Rhyme? and Reason?" (1883), Mr. Frost shared with Henry
+Holiday the task of illustrating a larger edition of the book first
+published under the title of "Phantasmagoria" (1869); he illustrated
+also "A Tangled Tale" (1886), by the same author, and this is perhaps
+the only volume of British origin of which he is sole artist. Mr. Henry
+Holiday was responsible for the classic pictures to "The Hunting of the
+Snark" by Lewis Carroll (1876).
+
+Mr. R. Anning Bell does not appear to have illustrated many books for
+children. Of these, the two which introduced Mr. Dent's "Banbury Cross"
+series are no doubt the best known. In fact, to describe "Jack the Giant
+Killer" and the "Sleeping Beauty" in these pages would be an insult to
+"subscribers from the first." A story, "White Poppies," by May Kendall,
+which ran through _Sylvia's Journal_, is a little too grown-up to be
+included; nor can the "Heroines of the Poets," which appeared in the
+same place, be dragged in to augment the scanty list, any more than the
+"Midsummer Night's Dream" or "Keats's Poems." It is singular that the
+fancy of Mr. Anning Bell, which seems exactly calculated to attract a
+child and its parent at the same time, has not been more frequently
+requisitioned for this purpose. In the two "Banbury Cross" volumes there
+is evidence of real sympathy with the text, which is by no means as
+usual in pictures to fairy tales as it should be; and a delightfully
+harmonious sense of decoration rare in any book, and still more rare in
+those expressly designed for small people.
+
+[Illustration:
+
+          For them I'd climb, 'most all the Time
+          And never tear no Clothes!
+
+ILLUSTRATION FROM "RED APPLE AND SILVER BELLS." BY ALICE B. WOODWARD.
+(BLACKIE AND SON. 1897)]
+
+The amazing number of Mr. Gordon Browne's illustrations leaves a
+would-be iconographer appalled. So many thousand designs--and all so
+good--deserve a lengthened and exhaustive eulogy. But space absolutely
+forbids it, and as a large number cater for older children than most of
+the books here noticed, on that ground one may be forgiven the
+inadequate notice. If an illustrator deserved to attract the attention
+of collectors it is surely this one, and so fertile has he been that a
+complete set of all his work would take no little time to get together.
+Here are the titles of a few jotted at random: "Bonnie Prince Charlie,"
+"For Freedom's Cause," "St. George for England," "Orange and Green,"
+"With Clive in India," "With Wolfe in Canada," "True to the Old Flag,"
+"By Sheer Pluck," "Held Fast for England," "For Name and Fame," "With
+Lee in Virginia," "Facing Death," "Devon Boys," "Nat the Naturalist,"
+"Bunyip Land," "The Lion of St. Mark," "Under Drake's Flag," "The Golden
+Magnet," "The Log of the Flying Fish," "In the King's Name," "Margery
+Merton's Girlhood," "Down the Snow Stairs," "Stories of Old Renown,"
+"Seven Wise Scholars," "Chirp and Chatter," "Gulliver's Travels,"
+"Robinson Crusoe," "Hetty Gray," "A Golden Age," "Muir Fenwick's
+Failure," "Winnie's Secret" (all so far are published by Blackie and
+Son). "National Nursery Rhymes," "Fairy Tales from Grimm," "Sintram, and
+Undine," "Sweetheart Travellers," "Five, Ten and Fifteen," "Gilly
+Flower," "Prince Boohoo," "A Sister's Bye-hours," "Jim," and "A Flock of
+Four," are all published by Gardner, Darton & Co., and "Effie," by
+Griffith & Farran. When one realises that not a few of these books
+contain a hundred illustrations, and that the list is almost entirely
+from two publishers' catalogues, some idea of the fecundity of Mr.
+Gordon Browne's output is gained. But only a vague idea, as his
+"Shakespeare," with hundreds of drawings and a whole host of other
+books, cannot be even mentioned. It is sufficient to name but one--say
+the example from "Robinson Crusoe" (Blackie), reproduced on page 32--to
+realise Mr. Gordon Browne's vivid and picturesque interpretation of
+fact, or "Down the Snow Stairs" (Blackie), also illustrated, with a
+grotesque owl-like creature, to find that in pure fantasy his exuberant
+imagination is no less equal to the task. In "Chirp and Chatter"
+(Blackie), fifty-four illustrations of animals masquerading as human
+show delicious humour. At times his technique appears somewhat hasty,
+but, as a rule, the method he adopts is as good as the composition he
+depicts. He is in his own way the leader of juvenile illustration of the
+non-Duerer school.
+
+[Illustration: ILLUSTRATION FROM "KATAWAMPUS." BY ARCHIE MACGREGOR.
+(DAVID NUTT)]
+
+[Illustration: ILLUSTRATION FROM "TO TELL THE KING THE SKY IS FALLING."
+BY ALICE WOODWARD (BLACKIE AND SON. 1896)]
+
+Mr. Harry Furniss's coloured toy-books--"Romps"--are too well known to
+need description, and many another juvenile volume owes its attraction
+to his facile pencil. Of these, the two later "Lewis Caroll's"--"Sylvia
+and Bruno," and "Sylvia and Bruno, Concluded," are perhaps most
+important. As a curious narrative, "Travels in the Interior" (of a human
+body) must not be forgotten. It certainly called forth much ingenuity on
+the part of the artist. In "Romps," and in all his work for children,
+there is an irrepressible sense of movement and of exuberant vitality in
+his figures; but, all the same, they are more like Fred Walker's idyllic
+youngsters having romps than like real everyday children.
+
+Mr. Linley Sambourne's most ingenious pen has been all too seldom
+employed on children's books. Indeed, one that comes first to memory,
+the "New Sandford and Merton" (1872), is hardly entitled to be classed
+among them, but the travesty of the somewhat pedantic narrative,
+interspersed with fairly amusing anecdotes, that Thomas Day published in
+1783, is superb. No matter how familiar it may be, it is simply
+impossible to avoid laughing anew at the smug little Harry, the
+sanctimonious tutor, or the naughty Tommy, as Mr. Sambourne has realised
+them. The "Anecdotes of the Crocodile" and "The Presumptuous Dentist"
+are no less good. The way he has turned a prosaic hat-rack into an
+instrument of torture would alone mark Mr. Sambourne as a comic
+draughtsman of the highest type. Nothing he has done in political
+cartoons seems so likely to live as these burlesques. A little known
+book, "The Royal Umbrella" (1888), which contains the delightful "Cat
+Gardeners" here reproduced, and the very well-known edition of Charles
+Kingsley's "Water Babies" (1886), are two other volumes which well
+display his moods of less unrestrained humour. "The Real Robinson
+Crusoe" (1893) and Lord Brabourne's (Knatchbull-Hugessen's) "Friends and
+Foes of Fairyland" (1886), well-nigh exhaust the list of his efforts in
+this direction.
+
+[Illustration: ILLUSTRATION FROM "RUSSIAN FAIRY TALES" BY C. M. GERE
+(LAWRENCE AND BULLEN. 1893)]
+
+[Illustration: THE SINGING LESSON No. 1. FROM THE ORIGINAL DRAWING BY A.
+NOBODY]
+
+Prince of all foreign illustrators for babyland is M. Boutet de Monvel,
+whose works deserve an exhaustive monograph. Although comparatively few
+of his books are really well known in England, "Little Folks" contains a
+goodly number of his designs. La Fontaine's "Fables" (an English edition
+of which is published by the Society for Promoting Christian Knowledge)
+is (so far as I have discovered) the only important volume reprinted
+with English text. Possibly his "Jeanne d'Arc" ought not to be named
+among children's books, yet the exquisite drawing of its children and
+the unique splendour the artist has imparted to simple colour-printing,
+endear it to little ones no less than adults. But it would be absurd to
+suppose that readers of THE STUDIO do not know this masterpiece of its
+class, a book no artistic household can possibly afford to be
+without. Earlier books by M. de Monvel, which show him in his most
+engaging mood (the mood in the illustration from "Little Folks" here
+reproduced), are "Vieilles Chansons et Rondes," by Ch. M. Widor, "La
+Civilite Puerile et Honnete," and "Chansons de France pour les Petits
+Francais." Despite their entirely different characterisation of the
+child, and a much stronger grasp of the principles of decorative
+composition, these delightful designs are more nearly akin to those of
+Miss Kate Greenaway than are any others published in Europe or America.
+Yet M. de Monvel is not only absolutely French in his types and costumes
+but in the movement and expression of his serious little people, who
+play with a certain demure gaiety that those who have watched French
+children in the Gardens of the Luxembourg or Tuileries, or a French
+seaside resort, know to be absolutely truthful. For the Gallic _bebe_
+certainly seems less "rampageous" than the English urchin. A certain
+daintiness of movement and timidity in the boys especially adds a grace
+of its own to the games of French children which is not without its
+peculiar charm. This is singularly well caught in M. de Monvel's
+delicious drawings, where naively symmetrical arrangement and a most
+admirable simplicity of colour are combined. Indeed, of all non-English
+artists who address the little people, he alone has the inmost secret of
+combining realistic drawing with sumptuous effects in conventional
+decoration.
+
+[Illustration: THE SINGING LESSON--No. 2. FROM THE ORIGINAL DRAWING BY
+A. NOBODY]
+
+[Illustration: ILLUSTRATION FROM "ADVENTURES IN TOY LAND" BY ALICE B.
+WOODWARD (BLACKIE AND SON. 1897)]
+
+[Illustration: ILLUSTRATION FROM "PRINCE BOOHOO" BY GORDON BROWNE
+(GARDNER, DARTON AND CO. 1897)]
+
+The work of the Danish illustrator, Lorenz Froelich, is almost as
+familiar in English as in Continental nurseries, yet his name is often
+absent from the title-pages of books containing his drawings. Perhaps
+those attributed to him formally that are most likely to be known by
+British readers are in "When I was a Little Girl" and "Nine Years Old"
+(Macmillan), but, unless memory is treacherous, one remembers toy-books
+in colours (published by Messrs. Nelson and others), that were obviously
+from his designs. A little known French book, "Le Royaume des
+Gourmands," exhibits the artist in a more fanciful aspect, where he
+makes a far better show than in some of his ultra-pretty realistic
+studies. Other French volumes, "Histoire d'un Bouchee de Pain," "Lili a
+la Campagne," "La Journee de Mademoiselle Lili," and the "Alphabet de
+Mademoiselle Lili," may possibly be the original sources whence the
+blocks were borrowed and adapted to English text. But the veteran
+illustrator has done far too large a number of designs to be catalogued
+here. For grace and truth, and at times real mastery of his material, no
+notice of children's artists could abstain from placing him very high in
+their ranks.
+
+Oscar Pletsch is another artist--presumably a German--whose work has
+been widely republished in England. In many respects it resembles that
+of Froelich, and is almost entirely devoted to the daily life of the
+inmates of the nursery, with their tiny festivals and brief tragedies.
+It would seem to appeal more to children than their elders, because the
+realistic transcript of their doings by his hand often lacks the touch
+of pathos, or of grown-up humour that finds favour with adults.
+
+The mass of children's toy-books published by Messrs. Dean, Darton,
+Routledge, Warne, Marcus Ward, Isbister, Hildesheimer and many others
+cannot be considered exhaustively, if only from the fact that the names
+of the designers are frequently omitted. Probably Messrs. Kronheim &
+Co., and other colour-printers, often supplied pictures designed by
+their own staff. Mr. Edmund Evans, to whom is due a very large share of
+the success of the Crane, Caldecott, and Kate Greenaway (Routledge)
+books, more frequently reproduced the work of artists whose names were
+considered sufficiently important to be given upon the books themselves.
+A few others of Routledge's toy-books besides those mentioned are worth
+naming. Mr. H.S. Marks, R.A., designed two early numbers of their
+shilling series: "Nursery Rhymes" and "Nursery Songs;" and to J. D.
+Watson may be attributed the "Cinderella" in the same series. Other
+sixpenny and shilling illustrated books were by C. H. Bennett, C. W.
+Cope, A. W. Bayes, Julian Portch, Warwick Reynolds, F. Keyl, and
+Harrison Weir.
+
+[Illustration: ILLUSTRATION FROM "NONSENSE" BY A. NOBODY
+(GARDNER, DARTON AND CO.)]
+
+The "Greedy Jim," by Bennett, is only second to "Struwwlpeter" itself,
+in its lasting power to delight little ones. If out of print it deserves
+to be revived.
+
+[Illustration: ILLUSTRATION (REDUCED) FROM "THE CHILD'S PICTORIAL." BY
+MRS. R. HALLWARD (S.P.C.K.)]
+
+Although Mr. William de Morgan appears to have illustrated but a single
+volume, "On a Pincushion," by Mary de Morgan (Seeley, 1877), yet that is
+so interesting that it must be noticed. Its interest is double--first in
+the very "decorative" quality of its pictures, which are full of
+"colour" and look like woodcuts more than process blocks; and next in
+the process itself, which was the artist's own invention. So far as I
+gather from Mr. de Morgan's own explanation, the drawings were made on
+glass coated with some yielding substance, through which a knife or
+graver cut the "line." Then an electro was taken. This process, it is
+clear, is almost exactly parallel with that of wood-cutting--_i.e._, the
+"whites" are taken out, and the sweep of the tool can be guided by the
+worker in an absolutely untrammelled way. Those who love the qualities
+of a woodcut, and have not time to master the technique of wood-cutting
+or engraving, might do worse than experiment with Mr. de Morgan's
+process. A quantity of proofs of designs he executed--but never
+published--show that it has many possibilities worth developing.
+
+[Illustration: ILLUSTRATION FROM "A, B, C" BY MRS. GASKIN (ELKIN
+MATHEWS)]
+
+The work of Reginald Hallward deserves to be discussed at greater length
+than is possible here. His most important book (printed finely in gold
+and colours by Edmund Evans), is "Flowers of Paradise," issued by
+Macmillan some years ago. The drawings for this beautiful quarto were
+shown at one of the early Arts and Crafts Exhibitions. Some designs,
+purely decorative, are interspersed among the figure subjects. "Quick
+March," a toy-book (Warne), is also full of the peculiar "quality" which
+distinguishes Mr. Hallward's work, and is less austere than certain
+later examples. The very notable magazine, _The Child's Pictorial_,
+illustrated almost entirely in colours, which the Society for Promoting
+Christian Knowledge published for ten years, contains work by this
+artist, and a great many illustrations by Mrs. Hallward, which alone
+would serve to impart value to a publication that has (as we have
+pointed out elsewhere) very many early examples by Charles Robinson, and
+capital work by W. J. Morgan. Mrs. Hallward's work is marked by strong
+Pre-Raphaelite feeling, although she does not, as a rule, select
+old-world themes, but depicts children of to-day. Both Mr. and Mrs.
+Hallward eschew the "pretty-pretty" type, and are bent on producing
+really "decorative" pages. So that to-day, when the ideal they so long
+championed has become popular, it is strange to find that their work is
+not better known.
+
+[Illustration: "KING LOVE. A CHRISTMAS GREETING." BY H. GRANVILLE FELL]
+
+The books illustrated by past or present students of the Birmingham
+School will be best noticed in a group, as, notwithstanding some
+distinct individuality shown by many of the artists, especially in their
+later works, the idea that links the group together is sufficiently
+similar to impart to all a certain resemblance. In other words, you can
+nearly always pick out a "Birmingham" illustration at a glance, even if
+it would be impossible to confuse the work of Mr. Gaskin with that of
+Miss Levetus.
+
+[Illustration: ILLUSTRATION FROM "THE STORY OF BLUEBEARD" BY E. SOUTHALL
+(LAWRENCE AND BULLEN. 1895)]
+
+Arthur Gaskin's illustrations to Andersen's "Stories and Fairy Tales"
+(George Allen) are beyond doubt the most important volumes in any way
+connected with the school. Mr. William Morris ranked them so highly that
+Mr. Gaskin was commissioned to design illustrations for some of the
+Kelmscott Press books, and Mr. Walter Crane has borne public witness to
+their excellence. This alone is sufficient to prove that they rise far
+above the average level. "Good King Wenceslas" (Cornish Bros.) is
+another of Mr. Gaskin's books--his best in many ways. He it is also who
+illustrated and decorated Mr. Baring-Gould's "A Book of Fairy Tales"
+(Methuen).
+
+Mrs. Gaskin (Georgie Cave France) is also familiar to readers of THE
+STUDIO. Perhaps her "A, B, C." (published by Elkin Mathews), and "Horn
+Book Jingles" (The Leadenhall Press), a unique book in shape and style,
+contain the best of her work so far.
+
+Miss Levetus has contributed many illustrations to books. Among the best
+are "Turkish Fairy Tales" (Lawrence and Bullen), and "Verse Fancies"
+(Chapman and Hall).
+
+"Russian Fairy Tales" (Lawrence and Bullen) is distinguished by the
+designs of C. M. Gere, who has done comparatively little illustration;
+hence the book has more than usual interest, and takes a far higher
+artistic rank than its title might lead one to expect.
+
+Miss Bradley has illustrated one of Messrs. Blackie's happiest volumes
+this year. "Just Forty Winks" (from which one picture is reproduced
+here), shows that the artist has steered clear of the "Alice in
+Wonderland" model, which the author can hardly be said to have avoided.
+Miss Bradley has also illustrated the prettily decorated book of poems,
+"Songs for Somebody," by Dollie Radford (Nutt). The two series of
+"Children's Singing Games" (Nutt) are among the most pleasant volumes
+the Birmingham school has produced. Both are decorated by Winifred
+Smith, who shows considerable humour as well as ingenuity.
+
+Among volumes illustrated, each by the members of the Birmingham school,
+are "A Book of Pictured Carols" (George Allen), and Mr. Baring-Gould's
+"Nursery Rhymes" (Methuen). Both these volumes contain some of the most
+representative work of Birmingham, and the latter, with its rich borders
+and many pictures, is a book that consistently maintains a very fine
+ideal, rare at any time, and perhaps never before applied to a book for
+the nursery. Indeed were it needful to choose a single book to represent
+the school, this one would stand the test of selection.
+
+[Illustration: ILLUSTRATION FROM "NURSERY RHYMES" BY PAUL WOODROFFE
+(GEORGE ALLEN. 1897)]
+
+In Messrs. Dent's "Banbury Cross" series, the Misses Violet and Evelyn
+Holden illustrated "The House that Jack Built"; Sidney Heath was
+responsible for "Aladdin," and Mrs. H. T. Adams decorated "Tom Thumb,
+&c."
+
+Mr. Laurence Housman is more than an illustrator of fairy tales; he is
+himself a rare creator of such fancies, and has, moreover, an almost
+unique power of conveying his ideas in the medium. His "Farm in
+Fairyland" and "A House of Joy" (both published by Kegan Paul and Co.)
+have often been referred to in THE STUDIO. Yet, at the risk of
+reiterating what nobody of taste doubts, one must place his work in this
+direction head and shoulders above the crowd--even the crowd of
+excellent illustrators--because its amazing fantasy and caprice are
+supported by cunning technique that makes the whole work a "picture,"
+not merely a decoration or an interpretation of the text. As a spinner
+of entirely bewitching stories, that hold a child spell-bound, and can
+be read and re-read by adults, he is a near rival of Andersen himself.
+
+H. Granville Fell, better known perhaps from his decorations to "The
+Book of Job," and certain decorated pages in the _English Illustrated
+Magazine_, illustrated three of Messrs. Dent's "Banbury Cross"
+series--"Cinderella, &c.," "Ali Baba," and "Tom Hickathrift." His work
+in these is full of pleasant fancy and charming types.
+
+A very sumptuous setting of the old fairy tale, "Beauty and the Beast,"
+in this case entitled "Zelinda and the Monster" (Dent, 1895), with ten
+photogravures after paintings by the Countess of Lovelace, must not be
+forgotten, as its text may bring it into our present category.
+
+Miss Rosie Pitman, in "Maurice and the Red Jar" (Macmillan), shows much
+elaborate effort and a distinct fantasy in design. "Undine" (Macmillan,
+1897) is a still more successful achievement.
+
+Richard Heighway is one of the "Banbury Cross" illustrators in "Blue
+Beard," &c. (Dent), and has also pictured AEsop's "Fables," with 300
+designs (in Macmillan's Cranford series).
+
+Mr. J. F. Sullivan--who must not be confused with his namesake--is one
+who has rarely illustrated works for little children, but in the famous
+"British Workman" series in _Fun_, in dozens of Tom Hood's "Comic
+Annuals," and elsewhere, has provoked as many hearty laughs from the
+nursery as from the drawing-room. In "The Flame Flower" (Dent) we find a
+side-splitting volume, illustrated with 100 drawings by the author. For
+this only Mr. J. F. Sullivan has plunged readers deep in debt, and when
+one recalls the amazing number of his delicious absurdities in the
+periodical literature of at least twenty years past, it seems astounding
+to find that the name of so entirely well-equipped a draughtsman is yet
+not the household word it should be.
+
+E. J. Sullivan, with eighty illustrations to the Cranford edition of
+"Tom Brown's Schooldays," comes for once within our present limit.
+
+J. D. Batten is responsible for the illustration of so many important
+collections of fairy tales that it is vexing not to be able to reproduce
+a selection of his drawings, to show the fertility of his invention and
+his consistent improvement in technique. The series, "Fairy Tales of the
+British Empire," collected and edited by Mr. Jacobs, already include
+five volumes--English, More English, Celtic, More Celtic, and Indian,
+all liberally illustrated by J. D. Batten, as are "The Book of Wonder
+Voyages," by J. Jacobs (Nutt), and "Fairy Tales from the Arabian
+Nights," edited by E. Dixon, and a second series, both published by
+Messrs. J. M. Dent and Co. "A Masque of Dead Florentines" (Dent) can
+hardly be brought into our subject.
+
+Louis Davis has illustrated far too few children's books. His Fitzroy
+pictures show how delightfully he can appeal to little people, and in
+"Good Night Verses," by Dollie Radford (Nutt), we have forty pages of
+his designs that are peculiarly dainty in their quality, and tender in
+their poetic interpretation of child-life.
+
+"Wymps" (Lane, 1896), with illustrations by Mrs. Percy Dearmer, has a
+quaint straightforwardness, of a sort that exactly wins a critic of the
+nursery.
+
+J. C. Sowerby, a designer for stained glass, in "Afternoon Tea" (Warne,
+1880), set a new fashion for "aesthetic" little quartos costing five or
+six shillings each. This was followed by "At Home" (1881), and "At Home
+Again" (1886, Marcus Ward), and later by "Young Maids and Old China."
+These, despite their popularity, display no particular invention. For
+the real fancy and "conceit" of the books you have to turn to their
+decorative borders by Thomas Crane. This artist, collaborating with
+Ellen Houghton, contributed two other volumes to the same series,
+"Abroad" (1882), and "London Town" (1883), both prime favourites of
+their day.
+
+Lizzie Lawson, in many contributions for _Little Folks_ and a volume in
+colours, "Old Proverbs" (Cassell), displayed much grace in depicting
+children's themes.
+
+Nor among coloured books of the "eighties" must we overlook "Under the
+Mistletoe" (Griffith and Farran, 1886), and "When all is Young"
+(Christmas Roses, 1886); "Punch and Judy," by F. E. Weatherley,
+illustrated by Patty Townsend (1885); "The Parables of Our Lord," really
+dignified pictures compared with most of their class, by W. Morgan;
+"Puss in Boots," illustrated by S. Caldwell; "Pets and Playmates"
+(1888); "Three Fairy Princesses," illustrated by Paterson (1885);
+"Picture Books of the Fables of AEsop," another series of quaintly
+designed picture books, modelled on Struwwlpeter; "The Robbers' Cave,"
+illustrated by A. M. Lockyer, and "Nursery Numbers" (1884), illustrated
+by an amateur named Bell, all these being published by Messrs. Marcus
+Ward and Co., who issued later, "Where Lilies Grow," a very popular
+volume, illustrated in the "over-pretty" style by Mrs. Stanley Berkeley.
+The attractive series of toy-books in colours, published in the form of
+a Japanese folding album, were probably designed by Percy Macquoid, and
+published by the same firm, who issued an oblong folio, "Herrick's
+Content," very pleasantly decorated by Mrs. Houghton. R. Andre was (and
+for all I know is still) a very prolific illustrator of children's
+coloured books. "The Cruise of the Walnut Shell" (Dean, 1881); "A Week
+Spent in a Glass Pond" (Gardner, Darton and Co.); "Grandmother's
+Thimble" (Warne, 1882); "Pictures and Stories" (Warne, 1882); "Up
+Stream" (Low, 1884); "A Lilliputian Opera" (Day, 1885); the Oakleaf
+Library (six shilling volumes, Warne); and Mrs. Ewing's Verse Books (six
+vols. S.P.C.K.) are some of the best known. T. Pym, far less
+well-equipped as a draughtsman, shows a certain childish naivete in his
+(or was it her?) "Pictures from the Poets" (Gardner, Darton and Co.);
+"A, B, C" (Gardner, Darton and Co.); "Land of Little People"
+(Hildesheimer, 1886); "We are Seven" (1880); "Children Busy" (1881);
+"Snow Queen" (Gardner, Darton and Co.); "Child's Own Story Book"
+(Gardner, Darton and Co.).
+
+Ida Waugh in "Holly Berries" (Griffith and Farran, 1881); "Wee Babies"
+(Griffith and Farran, 1882); "Baby Blossoms," "Tangles and Curls," and
+many other volumes mainly devoted to pictures of babies and their
+doings, pleased a very large audience both here and in the United
+States. "Dreams, Dances and Disappointments," and "The Maypole," both by
+Konstan and Castella, are gracefully decorated books issued by Messrs.
+De La Rue in 1882, who also published "The Fairies," illustrated by [H?]
+Allingham in 1881. Major Seccombe in "Comic Sketches from History"
+(Allen, 1884), and "Cinderella" (Warne, 1882), touched our theme; a
+large number of more or less comic books of military life and social
+satire hardly do so. Coloured books of which I have failed to discover
+copies for reference, are: A. Blanchard's "My Own Dolly" (Griffith and
+Farran, 1882); "Harlequin Eggs," by Civilly (Sonnenschein, 1884); "The
+Nodding Mandarin," by L. F. Day (Simpkin, 1883); "Cats-cradle," by C.
+Kendrick (Strahan, 1886); "The Kitten Pilgrims," by A. Ballantyne
+(Nisbet, 1887); "Ups and Downs" (1880), and "At his Mother's Knee"
+(1883), by M. J. Tilsey. "A Winter Nosegay" (Sonnenschein, 1881);
+"Pretty Peggy," by Emmet (Low, 1881); "Children's Kettledrum," by M. A.
+C. (Dean, 1881); "Three Wise Old Couples," by Hopkins (Cassell, 1881);
+"Puss in Boots," by E. K. Johnson (Warne); "Sugar and Spice and all
+that's Nice" (Strahan, 1881); "Fly away, Fairies," by Clarkson (Griffith
+and Farran, 1882); "The Tiny Lawn Tennis Club" (Dean, 1882); "Little Ben
+Bate," by M. Browne (Simpkin, 1882); "Nursery Night," by E. Dewane
+(Dean, 1882); "New Pinafore Pictures" (Dean, 1882); "Rumpelstiltskin"
+(De la Rue, 1882); "Baby's Debut," by J. Smith (De la Rue, 1883);
+"Buckets and Spades" (Dean, 1883); "Childhood" (Warne, 1883); "Dame
+Trot" (Chapman and Hall, 1883); "In and Out," by Ismay Thorne
+(Sonnenschein, 1884); "Under Mother's Wing," by Mrs. Clifford (Gardner,
+Darton, 1883); "Quacks" (Ward and Lock, 1883); "Little Chicks" (Griffith
+and Farran, 1883); "Talking Toys," "The Talking Clock," H. M. Bennett;
+"Four Feet by Two," by Helena Maguire; "Merry Hearts," "Cosy Corners,"
+and "A Christmas Fairy," by Gordon Browne (all published by Nisbet).
+
+Among many books elaborately printed by Messrs. Hildesheimer, are two
+illustrated by M. E. Edwards and J. C. Staples, "Told in the Twilight"
+(1883); and "Song of the Bells" (1884); and one by M. E. Edwards only,
+"Two Children"; others by Jane M. Dealy, "Sixes and Sevens" (1882), and
+"Little Miss Marigold" (1884); "Nursery Land," by H. J. Maguire (1888),
+and "Sunbeams," by E. K. Johnson and Ewart Wilson (1887).
+
+F. D. Bedford, who illustrated and decorated "The Battle of the Frogs
+and Mice" (Methuen), has produced this year one of the most satisfactory
+books with coloured illustrations. In "Nursery Rhymes" (Methuen), the
+pictures, block-printed in colour by Edmund Evans, are worthy to be
+placed beside the best books he has produced.
+
+Of all lady illustrators--the phrase is cumbrous, but we have no
+other--Miss A. B. Woodward stands apart, not only by the vigour of her
+work, but by its amazing humour, a quality which is certainly infrequent
+in the work of her sister-artists. The books she has illustrated are not
+very many, but all show this quality. "Banbury Cross," in Messrs. Dent's
+Series is among the first. In "To Tell the King the Sky is Falling"
+(Blackie, 1896) there is a store of delicious examples, and in "The
+Brownies" (Dent, 1896), the vigour of the handling is very noticeable.
+In "Eric, Prince of Lorlonia" (Macmillan, 1896), we have further proof
+that these characteristics are not mere accidents, but the result of
+carefully studied intention, which is also apparent in the clever
+designs for the covers of Messrs. Blackie's Catalogue, 1896-97. This
+year, in "Red Apple and Silver Bells," Miss Woodward shows marked
+advance. The book, with its delicious rhymes by Hamish Hendry, is one to
+treasure, as is also her "Adventures in Toy Land," designs marked by the
+_diablerie_ of which she, alone of lady artists, seems to have the
+secret. In this the wooden, inane expression of the toys contrasts
+delightfully with the animate figures.
+
+Mr. Charles Robinson is one of the youngest recruits to the army of
+illustrators, and yet his few years' record is both lengthy and kept at
+a singularly high level. In the first of his designs which attracted
+attention we find the half-grotesque, half-real child that he has made
+his own--fat, merry little people, that are bubbling over with the joy
+of mere existence. "Macmillan's Literary Primers" is the rather
+ponderous title of these booklets which cost but a few pence each, and
+are worth many a half-dozen high-priced nursery books. Stevenson's
+"Child's Garden of Verse," his first important book, won a new
+reputation by reason of its pictures. Then came "AEsop's Fables," in
+Dent's "Banbury Cross" Series. The next year saw Mr. Gabriel Setoun's
+book of poems, "Child World," Mrs. Meynell's "The Children," Mr. H. D.
+Lowry's "Make Believe," and two decorated pages in "The Parade" (Henry
+and Co.). The present Christmas will see several books from his hand.
+
+"Old World Japan" (George Allen) has thirty-four, and "Legends from
+River and Mountain," forty-two, pictures by T. H. Robinson, which must
+not be forgotten. "The Giant Crab" (Nutt), and "Andersen" (Bliss,
+Sands), are among the best things W. Robinson has yet done.
+
+[Illustration]
+
+"Nonsense," by A. Nobody, and "Some More Nonsense," by A. Nobody
+(Gardner, Darton & Co.), are unique instances of an unfettered humour.
+That their apparently naive grotesques are from the hand of a very
+practised draughtsman is evident at a first glance; but as their author
+prefers to remain anonymous his identity must not be revealed. Specimens
+from the published work (which is, however, mostly in colour), and
+facsimiles of hitherto unpublished drawings, entitled "The Singing
+Lesson," kindly lent by Messrs. Gardner, Darton & Co., are here to prove
+how merry our anonym can be. By the way, it may be well to add that the
+artist in question is _not_ Sir Edward Burne-Jones, whose caricatures,
+that are the delight of children of all ages who know them, have been so
+far strictly kept to members of the family circle, for whom they were
+produced.
+
+[Illustration: ILLUSTRATION FROM "LITTLE FOLKS." BY MAURICE BOUTET DE
+MONVEL. (CASSELL AND CO.)]
+
+The editor of THE STUDIO, to whose selection of pictures for
+reproduction these pages owe their chief interest, has spared no effort
+to show a good working sample of the best of all classes, and in the
+space available has certainly omitted few of any consequence--except
+those so very well known, as, for instance, Tenniel's "Alice" series,
+and the Caldecott toy-books--which it would have been superfluous to
+illustrate again, especially in black and white after coloured
+originals.
+
+In Mrs. Field's volume already mentioned, the author says: "It has been
+well observed that children do not desire, and ought not to be furnished
+with purely realistic portraits of themselves; the boy's heart craves a
+hero, and the Johnny or Frank of the realistic story-book, the little
+boy like himself, is not in this sense a hero." This passage, referring
+to the stories themselves, might be applied to their illustration with
+hardly less force. To idealise is the normal impulse of a child. True
+that it can "make believe" from the most rudimentary hints, but it is
+much easier to do so if something not too actual is the groundwork.
+Figures which delight children are never wholly symbolic, mere virtues
+and vices materialised as personages of the anecdote. Real nonsense such
+as Lear concocted, real wit such as that which sparkles from Lewis
+Carroll's pages, find their parallel in the pictures which accompany
+each text. It is the feeble effort to be funny, the mildly punning
+humour of the imitators, which makes the text tedious, and one fancies
+the artist is also infected, for in such books the drawings very rarely
+rise to a high level.
+
+The "pretty-pretty" school, which has been too popular, especially in
+anthologies of mildly entertaining rhymes, is sickly at its best, and
+fails to retain the interest of a child. Possibly, in pleading for
+imaginative art, one has forgotten that everywhere is Wonderland to a
+child, who would be no more astonished to find a real elephant dropping
+in to tea, or a real miniature railway across the lawn, than in finding
+a toy elephant or a toy engine awaiting him. Children are so accustomed
+to novelty that they do not realise the abnormal; nor do they always
+crave for unreality. As coaches and horses were the delight of
+youngsters a century ago, so are trains and steamboats to-day. Given a
+pile of books and an empty floor space, their imagination needs no
+mechanical models of real locomotives; or, to be more correct, they
+enjoy the make-believe with quite as great a zest. Hence, perhaps, in
+praising conscious art for children's literature, one is unwittingly
+pleasing older tastes; indeed, it is not inconceivable that the "prig"
+which lurks in most of us may be nurtured by too refined diet. Whether a
+child brought up wholly on the aesthetic toy-book would realise the
+greatness of Rembrandt's etchings or other masterpieces of realistic art
+more easily than one who had only known the current pictures of cheap
+magazines, is not a question to be decided off-hand. To foster an
+artificial taste is not wholly unattended with danger; but if humour be
+present, as it is in the works of the best artists for the nursery, then
+all fear vanishes; good wholesome laughter is the deadliest bane to the
+prig-microbe, and will leave no infant lisping of the preciousness of
+Cimabue, or the wonder of Sandro Botticelli, as certain children were
+reported to do in the brief days when the aesthete walked his faded way
+among us. That modern children's books will--some of them at least--take
+an honourable place in an iconography of nineteenth-century art, many of
+the illustrations here reproduced are in themselves sufficient to prove.
+
+[Illustration: ILLUSTRATION FROM "GOULD'S BOOK OF FAIRY TALES." BY
+ARTHUR GASKIN. (METHUEN AND CO.)]
+
+[Illustration: ILLUSTRATION FROM "LULLABY LAND" BY CHARLES ROBINSON.
+(JOHN LANE. 1897)]
+
+After so many pages devoted to the subject, it might seem as if the mass
+of material should have revealed very clearly what is the ideal
+illustration for children. But "children" is a collective term, ranging
+from the tastes of the baby to the precocious youngsters who dip into
+Mudie books on the sly, and hold conversations thereon which astonish
+their elders when by chance they get wind of the fact. Perhaps the
+belief that children can be educated by the eye is more plausible than
+well supported. In any case, it is good that the illustration should be
+well drawn, well coloured; given that, whether it be realistically
+imitative or wholly fantastic is quite a secondary matter. As we have
+had pointed out to us, the child is not best pleased by mere portraits
+of himself; he prefers idealised children, whether naughtier and more
+adventurous, or absolute heroes of romance. And here a strange fact
+appears, that as a rule what pleases the boy pleases the girl also; but
+that boys look down with scorn on "girls' books." Any one who has had
+to do with children knows how eagerly little sisters pounce upon books
+owned by their brothers. Now, as a rule, books for girls are confined to
+stories of good girls, pictures of good girls, and mildly exciting
+domestic incidents, comic or tragic. The child may be half angel; he is
+undoubtedly half savage; a Pagan indifference to other people's pain,
+and grim joy in other people's accidents, bear witness to that fact.
+Tender-hearted parents fear lest some pictures should terrify the little
+ones; the few that do are those which the child himself discovers in
+some extraordinary way to be fetishes. He hates them, yet is fascinated
+by them. I remember myself being so appalled by a picture that is still
+keenly remembered. It fascinated me, and yet was a thing of which the
+mere memory made one shudder in the dark--the said picture representing
+a benevolent negro with Eva on his lap, from "Uncle Tom's Cabin," a
+blameless Sunday-school inspired story. The horrors of an early folio of
+Foxe's "Martyrs," of a grisly "Bunyan," with terrific pictures of
+Apollyon; even a still more grim series by H. C. Selous, issued by the
+Art Union, if memory may be trusted, were merely exciting; it was the
+mild and amiable representation of "Uncle Tom" that I felt to be the
+very incarnation of all things evil. This personal incident is quoted
+only to show how impossible it is for the average adult to foretell what
+will frighten or what will delight a child. For children are singularly
+reticent concerning the "bogeys" of their own creating, yet, like many
+fanatics, it is these which they really most fear.
+
+[Illustration: ILLUSTRATION FROM "MAKE BELIEVE." BY CHARLES ROBINSON
+(JOHN LANE. 1896)]
+
+[Illustration: ILLUSTRATION FROM "JUST FORTY WINKS" BY GERTRUDE M.
+BRADLEY (BLACKIE AND SON. 1897)]
+
+Certainly it is possible that over-conscious art is too popular to-day.
+The illustrator when he is at work often thinks more of the art critic
+who may review his book than the readers who are to enjoy it. Purely
+conventional groups of figures, whether set in a landscape, or against a
+decorative background, as a rule fail to retain a child's interest. He
+wants invention and detail, plenty of incident, melodrama rather than
+suppressed emotion. Something moving, active, and suggestive pleases him
+most, something about which a story can be woven not so complex that his
+sense is puzzled to explain why things are as the artist drew them. It
+is good to educate children unconsciously, but if we are too careful
+that all pictures should be devoted to raising their standard of taste,
+it is possible that we may soon come back to the Miss Pinkerton ideal of
+amusement blended with instruction. Hence one doubts if the
+"ultra-precious" school really pleases the child; and if he refuse the
+jam the powder is obviously refused also. One who makes pictures for
+children, like one who writes them stories, should have the knack of
+entertaining them without any appearance of condescension in so doing.
+They will accept any detail that is related to the incident, but are
+keenly alive to discrepancies of detail or action that clash with the
+narrative. As they do not demand fine drawing, so the artist must be
+careful to offer them very much more than academic accomplishment.
+Indeed, he (or she) must be in sympathy with childhood, and able to
+project his vision back to its point of view. And this is just a mood in
+accord with the feeling of our own time, when men distrust each other
+and themselves, and keep few ideals free from doubt, except the
+reverence for the sanctity of childhood. Those who have forsaken beliefs
+hallowed by centuries, and are the most cynical and worldly-minded, yet
+often keep faith in one lost Atalantis--the domain of their own
+childhood and those who still dwell in the happy isle. To have given a
+happy hour to one of the least of these is peculiarly gratifying to many
+tired people to-day, those surfeited with success no less than those
+weary of failure. And such labour is of love all compact; for children
+are grudging in their praise, and seldom trouble to inquire who wrote
+their stories or painted their pictures. Consequently those who work for
+them win neither much gold nor great fame; but they have a most
+enthusiastic audience all the same. Yet when we remember that the
+veriest daubs and atrocious drawings are often welcomed as heartily, one
+is driven to believe that after all the bored people who turn to amuse
+the children, like others who turn to elevate the masses, are really, if
+unconsciously, amusing if not elevating themselves. If children's books
+please older people--and that they do so is unquestionable--it would be
+well to acknowledge it boldly, and to share the pleasure with the
+nursery; not to take it surreptitiously under the pretence of raising
+the taste of little people. Why should not grown-up people avow their
+pleasure in children's books if they feel it?
+
+[Illustration: THE SPOTTED MIMILUS. ILLUSTRATION FROM "KING LONGBEARD."
+BY CHARLES ROBINSON (JOHN LANE. 1897)]
+
+[Illustration: ILLUSTRATION FROM "THE MAKING OF MATTHIAS" BY LUCY
+KEMP-WELCH. (JOHN LANE. 1897)]
+
+If a collector in search of a new hobby wishes to start on a quest full
+of disappointment, yet also full of lucky possibilities, illustrated
+books for children would give him an exciting theme. The rare volume he
+hunted for in vain at the British Museum and South Kensington, for which
+he scanned the shelves of every second-hand bookseller within reach, may
+meet his eye in a twopenny box, just as he has despaired of ever seeing,
+much less procuring, a copy. At least twice during the preparation of
+this number I have enjoyed that particular experience, and have no
+reason to suppose it was very abnormal. To make a fine library of these
+things may be difficult, but it is not a predestined failure. Caxtons
+and Wynkyn de Wordes seem less scarce than some of these early nursery
+books. Yet, as we know, the former have been the quest of collectors for
+years, and so are probably nearly all sifted out of the great
+rubbish-heaps of dealers; the latter have not been in great demand, and
+may be unearthed in odd corners of country shops and all sorts of likely
+and unlikely places. Therefore, as a hobby, it offers an exciting quest
+with almost certain success in the end; in short, it offers the ideal
+conditions for collecting as a pastime, provided you can muster
+sufficient interest in the subject to become absorbed in its pursuit. So
+large is it that, even to limit one's quest to books with coloured
+pictures would yet require a good many years' hunting to secure a decent
+"bag." Another tempting point is that prices at present are mostly
+nominal, not because the quarry is plentiful, but because the demand is
+not recognised by the general bookseller. Of course, books in good
+condition, with unannotated pages, are rare; and some series--Felix
+Summerley's, for example--which owe their chief interest to the "get-up"
+of the volume considered as a whole, would be scarce worth possessing if
+"rebound" or deprived of their covers. Still, always provided the game
+attracts him, the hobby-horseman has fair chances, and is inspired by
+motives hardly less noble than those which distinguish the pursuit of
+bookplates (_ex libris_), postage-stamps and other objects which have
+attracted men to devote not only their leisure and their spare cash, but
+often their whole energy and nearly all their resources. Societies, with
+all the pomp of officials, and members proudly arranging detached
+letters of the alphabet after their names, exist for discussing hobbies
+not more important. Speaking as an interested but not infatuated
+collector, it seems as if the mere gathering together of rarities of
+this sort would soon become as tedious as the amassing of dull armorial
+_ex libris_, or sorting infinitely subtle varieties of postage-stamps.
+But seeing the intense passion such things arouse in their devotees, the
+fact that among children's books there are not a few of real intrinsic
+interest, ought not to make the hobby less attractive; except that,
+speaking generally, your true collector seems to despise every quality
+except rarity (which implies market value ultimately, if for the moment
+there are not enough rival collectors to have started a "boom" in
+prices). Yet all these "snappers up of unconsidered trifles" help to
+gather together material which may prove in time to be not without value
+to the social historian or the student interested in the progress of
+printing and the art of illustration; but it would be a pity to confuse
+ephemeral "curios" with lasting works of fine art, and the ardour of
+collecting need not blind one to the fact that the former are greatly in
+excess of the latter.
+
+[Illustration: ILLUSTRATION FROM "MISS MOUSE AND HER BOYS." BY L. LESLIE
+BROOKE. (MACMILLAN AND CO. 1897)]
+
+The special full-page illustrations which appear in this number must not
+be left without a word of comment. In place of re-issuing facsimiles of
+actual illustrations from coloured books of the past which would
+probably have been familiar to many readers, drawings by artists who are
+mentioned elsewhere in this Christmas Number have been specially
+designed to carry out the spirit of the theme. For Christmas is
+pre-eminently the time for children's books. Mr. Robert Halls' painting
+of a baby, here called "The Heir to Fairyland"--the critic for whom all
+this vast amount of effort is annually expended--is seen still in the
+early or destructive stage, a curious foreshadowing of his attitude in a
+later development should he be led from the paths of Philistia to the
+bye-ways of art criticism. The portrait miniatures of child-life by Mr.
+Robert Halls, if not so well known as they deserve, cannot be unfamiliar
+to readers of THE STUDIO, since many of his best works have been
+exhibited at the Academy and elsewhere.
+
+The lithograph by Mr. R. Anning Bell, "In Nooks with Books," represents
+a second stage of the juvenile critic when appreciation in a very acute
+form has set in, and picture-books are no longer regarded as toys to
+destroy, but treasures to be enjoyed snugly with a delight in their
+possession.
+
+[Illustration: ILLUSTRATION FROM "BABY'S LAYS" BY E. CALVERT (ELKIN
+MATHEWS. 1897)]
+
+Mr. Granville Fell, with "King Love, a Christmas Greeting," turns back
+to the memory of the birthday whose celebration provokes the gifts which
+so often take the form of illustrated books, for Christmas is to Britons
+more and more the children's festival. The conviviality of the Dickens'
+period may linger here and there; but to adults generally Christmas is
+only a vicarious pleasure, for most households devote the day entirely
+to pleasing the little ones who have annexed it as their own special
+holiday.
+
+The dainty water-colour by Mr. Charles Robinson, and the charming
+drawing in line by M. Boutet de Monvel, call for no comment. Collectors
+will be glad to possess such excellent facsimiles of work by two
+illustrators conspicuous for their work in this field. The figure by Mr.
+Robinson, "So Light of Foot, so Light of Spirit," is extremely typical
+of the personal style he has adopted from the first. Studies by M. de
+Monvel have appeared before in THE STUDIO, so that it would be merely
+reiterating the obvious to call attention to the exquisite truth of
+character which he obtains with rare artistry.
+
+G. W.
+
+       *       *       *       *       *
+
+The Editor's best thanks are due to all those publishers who have so
+kindly and readily come forward with their assistance in the compilation
+of "Children's Books and their Illustrators." Owing to exigences of
+space reference to several important new books has necessarily been
+postponed.
+
+       *       *       *       *       *
+
+[Illustration: ILLUSTRATION FROM "NATIONAL RHYMES." BY GORDON BROWNE
+(GARDNER, DARTON AND CO. 1897)]
+
+
+
+
+For Younger Readers
+
+
+BY MARTHA FINLEY
+
+ELSIE DINSMORE. With illustrations by H. C. Christy. Large 8vo, cloth.
+$1.50.
+
+ELSIE AT HOME. Similar in general style to the previous "Elsie" books.
+16mo, cloth. $1.25.
+
+
+BY RAFFORD PYKE.
+
+THE ADVENTURES OF MABEL. For children of five and six. With many
+illustrations by MELANIE ELIZABETH NORTON. Large 8vo. $1.75.
+
+
+BY BARBARA YECHTON.
+
+DERICK. Illustrated. Large 12mo, cloth. $1.50.
+
+
+BY AMANDA M. DOUGLAS.
+
+CHILDREN AT SHERBURNE HOUSE, 12mo, cloth. $1.50.
+
+NAN. A Sequel to "A Little Girl in Old New York." Illustrated. 12mo,
+cloth. $1.50.
+
+
+BY ELIZABETH STUART PHELPS.
+
+GIPSY'S YEAR AT THE GOLDEN CRESCENT. Uniform with the previous volumes
+of the same series. Fully illustrated. Large 12mo, cloth. $1.50.
+
+
+BY ELIZABETH W. CHAMPNEY.
+
+WITCH WINNIE IN VENICE. With many illustrations. Large 12mo, cloth.
+$1.50.
+
+PIERRE AND HIS POODLE. With numerous illustrations. 12mo, cloth. $1.00.
+
+
+BY BEATRICE HARRADEN.
+
+UNTOLD TALES OF THE PAST. By BEATRICE HARRADEN, author of "Ships that
+Pass in the Night," "Hilda Strafford," etc. Illustrated. Cloth. Probably
+$1.50.
+
+
+_The above are published by_
+
+          Dodd, Mead & Company, FIFTH AVE. & 21ST
+          STREET, NEW YORK
+
+       *       *       *       *       *
+
+Four Capital Books
+
+Aaron in the Wildwoods
+
+A delightful new Thimblefinger story of Aaron while a "runaway," by JOEL
+CHANDLER HARRIS, author of "_Little Mr. Thimblefinger and his Queer
+Country_," "_Mr. Rabbit at Home_," "_The Story of Aaron_," _etc._ With
+24 full-page illustrations by OLIVER HERFORD. Square 8vo. $2.00.
+
+
+Little-Folk Lyrics
+
+By FRANK DEMPSTER SHERMAN. HOLIDAY EDITION. A beautiful book of very
+charming poems for children, with 16 exquisite illustrations. 12mo.
+$1.50.
+
+
+Being a Boy
+
+By CHARLES DUDLEY WARNER. With an introduction and 32 capital full-page
+illustrations from photographs by CLIFTON JOHNSON. 12mo, gilt top.
+$2.00.
+
+
+An Unwilling Maid
+
+A capital story of the Revolution, for girls, by JEANIE GOULD LINCOLN,
+author of "_Marjorie's Quest_," "_A Genuine Girl_," _etc._ With
+illustrations. $1.25.
+
+          Few recent stories surpass it in the fortunate
+          blending of vivacity and sweetness and stern
+          loyalty to duty and tender and pathetic
+          experiences. It is fascinatingly written and every
+          chapter increases its delightfulness.--_The
+          Congregationalist, Boston._
+
+_Sold by Booksellers, Sent, postpaid, by_
+
+Houghton, Mifflin & Co., _Boston_
+
+       *       *       *       *       *
+
+NEW BOOKS FOR BOYS AND GIRLS
+
+
+_Three New Historical Tales by E. Everett Green, Author of "The Young
+Pioneers," etc._
+
+
+A CLERK AT OXFORD, AND HIS ADVENTURES IN THE BARON'S WAR.
+
+With a plan of Oxford in the twelfth and thirteenth centuries, and a
+view of the city from an old print. 8vo, extra cloth. $1.50.
+
+
+SISTER: A CHRONICLE OF FAIR HAVEN.
+
+With eight illustrations by J. FINNEMORE. 8vo, extra cloth. $1.50.
+
+
+TOM TUFTON'S TRAVELS.
+
+With illustrations by W. S. STACEY. 8vo, extra cloth, $1.25.
+
+
+_Two New Books by Herbert Hayens, Author of "Clevely Sahib," "Under the
+Lone Star," etc._
+
+
+AN EMPEROR'S DOOM; OR THE PATRIOTS OF MEXICO.
+
+A tale of the downfall of Maximilian, with eight illustrations by A. J.
+B. SALMON. 8vo, extra cloth. $1.50.
+
+
+SOLDIERS OF THE LEGION.
+
+A tale of the Carlist War. 8vo, extra cloth, illustrated. $1.25.
+
+
+THE ISLAND OF GOLD.
+
+A Sailor's Yarn. By GORDON STABLES, M. D., R. N., author of "Every Inch
+a Sailor," "How Jack McKenzie Won His Epaulettes," etc. With six
+illustrations by ALLAN STUART. 8vo, extra cloth. $1.25.
+
+
+POPPY.
+
+A tale. By MRS. ISLA SITWELL, author of "In Far Japan," "The Golden
+Woof," etc. With illustrations. 8vo, cloth extra. $1.25.
+
+
+VANDRAD THE VIKING; OR THE FEUD AND THE SPELL.
+
+A tale of the Norsemen. By I. STORER CLOUSTON. With six illustrations by
+HERBERT PAYTON. 8vo, cloth. 80 cts.
+
+
+THE VANISHED YACHT.
+
+By E. HARCOURT BURRAGE. Cloth extra. $1.00.
+
+
+LITTLE TORA, THE SWEDISH SCHOOLMISTRESS, AND OTHER STORIES.
+
+By MRS. WOODS BAKER, author of "Fireside Sketches of Swedish Life," "The
+Swedish Twins," etc. Cloth. 60 cts.
+
+
+A BOOK ABOUT SHAKESPEARE.
+
+Written for Young People. By I. N. MCILWRAITH. With numerous
+illustrations. Cloth extra. 60 cts.
+
+
+ACROSS GREENLAND'S ICEFIELDS.
+
+An account of the discoveries by Nansen and Peary. With portraits of
+Nansen and other illustrations. 8vo, cloth. 80 cts.
+
+
+BREAKING THE RECORD.
+
+The story of North Polar Expeditions by the Nova Zembla and Spitzbergen
+Routes. By M. DOUGLASS, author of "Across Greenland's Icefields," etc.
+With numerous illustrations. Cloth extra. 80 cts.
+
+_For sale by all Booksellers, or sent prepaid on receipt of price, Send
+for complete catalogue,_
+
+THOMAS NELSON & SONS, Publishers, 33 E. 17th St. (Union Sq.), N. Y.
+
+
+
+
+CHILDRENS' BOOKS
+
+
+=The Blackberries=
+
+Thirty-two humorous drawings in color, with descriptive verses, by _E.
+W. Kemble_ the famous delineator of "Kemble's Coons." Large quarto,
+9x12, on plate paper; cover in color. $1.50.
+
+
+=Kemble's Coons=
+
+Drawings by _E. W. Kemble_. A series of 30 beautiful half-tone
+reproductions, printed in Sepia, of drawings of colored children and
+southern scenes, by E. W. Kemble, the well-known character artist. Large
+quarto, 91/2x12 inches; handsomely bound in Brown Buckram and Japan
+Vellum printed in color. Price, $2.00.
+
+
+=The Delft Cat=
+
+_By Robert Howard Russell._ Three stories for children profusely
+illustrated by F. Berkeley Smith. Printed on hand-made, deckle-edge
+linen paper with attractive cover in Delft Colors. Price, 75 cents.
+
+[Illustration]
+
+
+=Chip's Dogs=
+
+A collection of humorous drawings by the late _F. P. W. Bellew_
+("Chip"), whose amusing sketches of dogs were so well known. A new and
+improved edition now ready. Large Quarto, 91/2x12 inches, on plate
+paper, handsomely bound. Price, $1.00.
+
+
+=The Autobiography of a Monkey=
+
+A laughable conception in 30 full-page and 40 small drawings by _Hy.
+Mayer_, with verses by _Albert Bigelow Paine_. Large quarto, 7x9, with
+cover in color. Price, $1.25.
+
+
+=The Tiddledywink's Poetry Book=
+
+Illustrated by _Charles Howard Johnson_. A book of nonsense rhymes by
+_Mr. Bangs_, accompanied by most amusing pictures. Large quarto, with
+Illuminated covers, 30 full-page illustrations, colored borders to text.
+Boards. Price, $1.00.
+
+
+=The Mantel Piece Minstrels=
+
+_By John Kendrick Bangs._ A most attractive little volume containing
+four of Mr. Bangs' inimitably humorous stories, profusely illustrated
+with unique drawings by _F. Berkeley Smith_; printed on hand-made,
+deckle-edge linen paper, and tastefully bound in illuminated covers.
+32mo. Price, 75 cents.
+
+
+=The Dumpies=
+
+Discovered and drawn by _Frank Verbeck; Albert Bigelow Paine_,
+historian. An entertaining tale in prose and verse, as fascinating as
+"The Brownies." Large quarto, 8x11, with 130 illustrations and cover in
+color. Price, $1.25.
+
+
+=Tiddledywink Tales=
+
+_By John Kendrick Bangs._ A charming book for children. The drawings by
+_Charles Howard Johnson_ are quite in sympathy with the humor of the
+book. Full cloth, gilt, 236 pp. 12mo. Price, $1.25.
+
+
+=In Camp with a Tin Soldier=
+
+_By John Kendrick Bangs._ A Sequel to Tiddledywink Tales. Illustrated by
+_T. M. Ashe_, Jimmieboy's adventures in the Camp of the Tin Soldiers are
+most amusing. Full cloth, gilt, 236 pp. 12mo. Price, $1.25.
+
+
+=Half Hours with Jimmieboy=
+
+_By John Kendrick Bangs._ Illustrated by _Frank Verbeck_, _Peter Newell_
+and others. Sixteen short stories record the interesting adventures of
+the hero with all sorts of folks; dwarfs, dudes, giants, bicyclopaedia
+birds and snowmen. Full cloth, 112 pp. 12mo. Price, $1.25.
+
+
+=The Slambangaree=
+
+Ten stories for children by _R. K. Munkittrick_. On hand-made
+deckle-edge linen paper. Price, 75 cents.
+
+
+=In Savage Africa=
+
+_By E. J. Glave_, one of Stanley's pioneer officers. With an
+introduction by Henry M. Stanley. Beautifully illustrated with
+seventy-five wood cuts, half-tones and pen-and-ink sketches by the
+author, _Bacher_, _Bridgman_, _Kemble_ and _Taber_. Large octavo, full
+cloth, gilt. Price, $1.50.
+
+
+=An Alphabet=
+
+_By William Nicholson._ Color plate for each letter in the alphabet.
+Popular Edition on stout cartridge paper, $1.50. Library Edition, made
+on Dutch hand-made paper; mounted and bound in cloth. Price, $3.75.
+
+_R. H. RUSSELL, New York_
+
+THE WAYSIDE PRESS, SPRINGFIELD, MASS.
+
+       *       *       *       *       *
+
+Transcriber's Note:
+
+Obvious punctuation errors repaired.
+
+Advertising page, "Navel" changed to "Naval" (The Naval Cadet)
+
+Advertising page, "facination" changed to "fascination" (his usual
+fascination)
+
+Advertising page, "irresistable" changed to "irresistible" (that is
+irresistible)
+
+Advertising page, under The Golden Galleon, "Rainy" changed to "Rainey"
+(by William Rainey, R. I.)
+
+Page 18, "n" changed to "in" (in comparison with all)
+
+Page 47, "Keat's" changed to "Keats's" (or "Keats's Poems")
+
+Page 54, twice, "De" changed to "de" (gather from Mr. de) (Mr. de
+Morgan's process)
+
+Page 70, "Tiddlewink" changed to "Tiddledywink" (Sequel to Tiddledywink
+Tales)
+
+Varied hyphenation was retained: woodcuts, wood-cuts and today, to-day
+and folklore, folk-lore.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Children's Books and Their Illustrators, by
+Gleeson White
+
+*** END OF THIS PROJECT GUTENBERG EBOOK CHILDREN'S BOOKS AND ILLUSTRATORS ***
+
+***** This file should be named 27112.txt or 27112.zip *****
+This and all associated files of various formats will be found in:
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+
+
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+
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+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #27112 (https://www.gutenberg.org/ebooks/27112)