diff options
Diffstat (limited to '27112-h')
| -rw-r--r-- | 27112-h/27112-h.htm | 5588 | ||||
| -rw-r--r-- | 27112-h/images/color002.jpg | bin | 0 -> 85293 bytes | |||
| -rw-r--r-- | 27112-h/images/color034.jpg | bin | 0 -> 37090 bytes | |||
| -rw-r--r-- | 27112-h/images/color070.jpg | bin | 0 -> 19787 bytes | |||
| -rw-r--r-- | 27112-h/images/front_cover.jpg | bin | 0 -> 66606 bytes | |||
| -rw-r--r-- | 27112-h/images/grey003.jpg | bin | 0 -> 65601 bytes | |||
| -rw-r--r-- | 27112-h/images/grey004.png | bin | 0 -> 21977 bytes | |||
| -rw-r--r-- | 27112-h/images/grey004a.png | bin | 0 -> 20054 bytes | |||
| -rw-r--r-- | 27112-h/images/grey004b.png | bin | 0 -> 19444 bytes | |||
| -rw-r--r-- | 27112-h/images/grey005.png | bin | 0 -> 23485 bytes | |||
| -rw-r--r-- | 27112-h/images/grey005a.png | bin | 0 -> 19608 bytes | |||
| -rw-r--r-- | 27112-h/images/grey005b.png | bin | 0 -> 20511 bytes | |||
| -rw-r--r-- | 27112-h/images/grey006.png | bin | 0 -> 18713 bytes | |||
| -rw-r--r-- | 27112-h/images/grey006a.png | bin | 0 -> 28520 bytes | |||
| -rw-r--r-- | 27112-h/images/grey007.png | bin | 0 -> 25337 bytes | |||
| -rw-r--r-- | 27112-h/images/grey007a.png | bin | 0 -> 23182 bytes | |||
| -rw-r--r-- | 27112-h/images/grey007b.png | bin | 0 -> 24113 bytes | |||
| -rw-r--r-- | 27112-h/images/grey007c.png | bin | 0 -> 25622 bytes | |||
| -rw-r--r-- | 27112-h/images/grey008.png | bin | 0 -> 50511 bytes | |||
| -rw-r--r-- | 27112-h/images/grey009.jpg | bin | 0 -> 39863 bytes | |||
| -rw-r--r-- | 27112-h/images/grey009a.jpg | bin | 0 -> 35623 bytes | |||
| -rw-r--r-- | 27112-h/images/grey010.png | bin | 0 -> 51289 bytes | |||
| -rw-r--r-- | 27112-h/images/grey010a.png | bin | 0 -> 46391 bytes | |||
| -rw-r--r-- | 27112-h/images/grey011.png | bin | 0 -> 41185 bytes | |||
| -rw-r--r-- | 27112-h/images/grey011a.jpg | bin | 0 -> 66220 bytes | |||
| -rw-r--r-- | 27112-h/images/grey012.jpg | bin | 0 -> 93527 bytes | |||
| -rw-r--r-- | 27112-h/images/grey013.png | bin | 0 -> 21416 bytes | |||
| -rw-r--r-- | 27112-h/images/grey013a.png | bin | 0 -> 14163 bytes | |||
| -rw-r--r-- | 27112-h/images/grey014.png | bin | 0 -> 43765 bytes | |||
| -rw-r--r-- | 27112-h/images/grey014a.png | bin | 0 -> 17913 bytes | |||
| -rw-r--r-- | 27112-h/images/grey015.png | bin | 0 -> 60435 bytes | |||
| -rw-r--r-- | 27112-h/images/grey016.png | bin | 0 -> 45867 bytes | |||
| -rw-r--r-- | 27112-h/images/grey016a.png | bin | 0 -> 60032 bytes | |||
| -rw-r--r-- | 27112-h/images/grey017.png | bin | 0 -> 20721 bytes | |||
| -rw-r--r-- | 27112-h/images/grey017a.jpg | bin | 0 -> 67960 bytes | |||
| -rw-r--r-- | 27112-h/images/grey018.jpg | bin | 0 -> 36772 bytes | |||
| -rw-r--r-- | 27112-h/images/grey018a.jpg | bin | 0 -> 56185 bytes | |||
| -rw-r--r-- | 27112-h/images/grey018b.jpg | bin | 0 -> 42337 bytes | |||
| -rw-r--r-- | 27112-h/images/grey019.jpg | bin | 0 -> 90982 bytes | |||
| -rw-r--r-- | 27112-h/images/grey020.png | bin | 0 -> 23494 bytes | |||
| -rw-r--r-- | 27112-h/images/grey020a.png | bin | 0 -> 66866 bytes | |||
| -rw-r--r-- | 27112-h/images/grey021.png | bin | 0 -> 29145 bytes | |||
| -rw-r--r-- | 27112-h/images/grey021a.png | bin | 0 -> 37295 bytes | |||
| -rw-r--r-- | 27112-h/images/grey022.png | bin | 0 -> 30335 bytes | |||
| -rw-r--r-- | 27112-h/images/grey022a.png | bin | 0 -> 39124 bytes | |||
| -rw-r--r-- | 27112-h/images/grey023.png | bin | 0 -> 69725 bytes | |||
| -rw-r--r-- | 27112-h/images/grey024.jpg | bin | 0 -> 117260 bytes | |||
| -rw-r--r-- | 27112-h/images/grey025.jpg | bin | 0 -> 79475 bytes | |||
| -rw-r--r-- | 27112-h/images/grey026.png | bin | 0 -> 7663 bytes | |||
| -rw-r--r-- | 27112-h/images/grey026a.png | bin | 0 -> 29065 bytes | |||
| -rw-r--r-- | 27112-h/images/grey027.jpg | bin | 0 -> 62809 bytes | |||
| -rw-r--r-- | 27112-h/images/grey028.jpg | bin | 0 -> 76436 bytes | |||
| -rw-r--r-- | 27112-h/images/grey029.jpg | bin | 0 -> 64232 bytes | |||
| -rw-r--r-- | 27112-h/images/grey030.jpg | bin | 0 -> 88016 bytes | |||
| -rw-r--r-- | 27112-h/images/grey030a.png | bin | 0 -> 30414 bytes | |||
| -rw-r--r-- | 27112-h/images/grey031.png | bin | 0 -> 19134 bytes | |||
| -rw-r--r-- | 27112-h/images/grey031a.png | bin | 0 -> 62974 bytes | |||
| -rw-r--r-- | 27112-h/images/grey032.png | bin | 0 -> 52223 bytes | |||
| -rw-r--r-- | 27112-h/images/grey033.jpg | bin | 0 -> 62148 bytes | |||
| -rw-r--r-- | 27112-h/images/grey034.png | bin | 0 -> 59547 bytes | |||
| -rw-r--r-- | 27112-h/images/grey035.png | bin | 0 -> 30586 bytes | |||
| -rw-r--r-- | 27112-h/images/grey036.png | bin | 0 -> 24931 bytes | |||
| -rw-r--r-- | 27112-h/images/grey036a.png | bin | 0 -> 22492 bytes | |||
| -rw-r--r-- | 27112-h/images/grey037.png | bin | 0 -> 59048 bytes | |||
| -rw-r--r-- | 27112-h/images/grey038.png | bin | 0 -> 36260 bytes | |||
| -rw-r--r-- | 27112-h/images/grey038a.png | bin | 0 -> 41799 bytes | |||
| -rw-r--r-- | 27112-h/images/grey039.png | bin | 0 -> 63371 bytes | |||
| -rw-r--r-- | 27112-h/images/grey040.png | bin | 0 -> 53070 bytes | |||
| -rw-r--r-- | 27112-h/images/grey040a.png | bin | 0 -> 50379 bytes | |||
| -rw-r--r-- | 27112-h/images/grey041.png | bin | 0 -> 50084 bytes | |||
| -rw-r--r-- | 27112-h/images/grey042.png | bin | 0 -> 25266 bytes | |||
| -rw-r--r-- | 27112-h/images/grey042a.png | bin | 0 -> 23124 bytes | |||
| -rw-r--r-- | 27112-h/images/grey043.png | bin | 0 -> 47884 bytes | |||
| -rw-r--r-- | 27112-h/images/grey044.png | bin | 0 -> 43914 bytes | |||
| -rw-r--r-- | 27112-h/images/grey045a.png | bin | 0 -> 42968 bytes | |||
| -rw-r--r-- | 27112-h/images/grey045b.png | bin | 0 -> 47669 bytes | |||
| -rw-r--r-- | 27112-h/images/grey046.png | bin | 0 -> 25719 bytes | |||
| -rw-r--r-- | 27112-h/images/grey047.png | bin | 0 -> 34795 bytes | |||
| -rw-r--r-- | 27112-h/images/grey048.png | bin | 0 -> 11626 bytes | |||
| -rw-r--r-- | 27112-h/images/grey048a.png | bin | 0 -> 18809 bytes | |||
| -rw-r--r-- | 27112-h/images/grey049.png | bin | 0 -> 49907 bytes | |||
| -rw-r--r-- | 27112-h/images/grey050.png | bin | 0 -> 16592 bytes | |||
| -rw-r--r-- | 27112-h/images/grey051.png | bin | 0 -> 18921 bytes | |||
| -rw-r--r-- | 27112-h/images/grey052.png | bin | 0 -> 6100 bytes | |||
| -rw-r--r-- | 27112-h/images/grey052a.png | bin | 0 -> 15442 bytes | |||
| -rw-r--r-- | 27112-h/images/grey053.jpg | bin | 0 -> 56647 bytes | |||
| -rw-r--r-- | 27112-h/images/grey054.png | bin | 0 -> 38375 bytes | |||
| -rw-r--r-- | 27112-h/images/grey054a.png | bin | 0 -> 26787 bytes | |||
| -rw-r--r-- | 27112-h/images/grey055.png | bin | 0 -> 44550 bytes | |||
| -rw-r--r-- | 27112-h/images/grey057.png | bin | 0 -> 53248 bytes | |||
| -rw-r--r-- | 27112-h/images/grey058.png | bin | 0 -> 51265 bytes | |||
| -rw-r--r-- | 27112-h/images/grey061.png | bin | 0 -> 15599 bytes | |||
| -rw-r--r-- | 27112-h/images/grey062.png | bin | 0 -> 36481 bytes | |||
| -rw-r--r-- | 27112-h/images/grey063.png | bin | 0 -> 15796 bytes | |||
| -rw-r--r-- | 27112-h/images/grey063a.png | bin | 0 -> 22551 bytes | |||
| -rw-r--r-- | 27112-h/images/grey064.png | bin | 0 -> 31393 bytes | |||
| -rw-r--r-- | 27112-h/images/grey064a.png | bin | 0 -> 33749 bytes | |||
| -rw-r--r-- | 27112-h/images/grey065.png | bin | 0 -> 57159 bytes | |||
| -rw-r--r-- | 27112-h/images/grey066.png | bin | 0 -> 50647 bytes | |||
| -rw-r--r-- | 27112-h/images/grey067.png | bin | 0 -> 64519 bytes | |||
| -rw-r--r-- | 27112-h/images/grey068.png | bin | 0 -> 10736 bytes | |||
| -rw-r--r-- | 27112-h/images/grey068a.png | bin | 0 -> 39472 bytes |
102 files changed, 5588 insertions, 0 deletions
diff --git a/27112-h/27112-h.htm b/27112-h/27112-h.htm new file mode 100644 index 0000000..95dbb21 --- /dev/null +++ b/27112-h/27112-h.htm @@ -0,0 +1,5588 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of Children's Books and Their Illustrators, by Gleeson White. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p {margin-top: .75em; + text-align: justify; + text-indent: 1.25em; + margin-bottom: .75em; + } + img {border: 0;} + .tnote {border: dashed 1px; margin-left: 10%; margin-right: 10%; padding-bottom: .5em; padding-top: .5em; + padding-left: .5em; padding-right: .5em;} + ins {text-decoration:none; border-bottom: thin dotted gray;} + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + } /* page numbers */ + .copyright {text-align: center; font-size: 70%;} + .blockquot{margin-left: 5%; margin-right: 10%; text-align: justify;} + + .bbox {border: solid 2px; margin-left: 20%; margin-right: 20%; padding-bottom: .5em; padding-top: .5em; + padding-left: .5em; padding-right: .5em;} + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + + .caption {font-size: 80%;} + + .figcenter {margin: auto; text-align: center;} + + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top: + 1em; margin-right: 1em; padding: 0; text-align: center;} + + .figright {float: right; clear: right; margin-left: 1em; margin-bottom: 1em; + margin-top: 1em; margin-right: 0; padding: 0; text-align: center;} + + .unindent {margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + .right {text-align: right;} + .poem {margin-left: 30%; margin-right: 10%; text-align: left;} + .poem2 {margin-left: 15%; margin-right: 10%; text-align: left;} + .sig {margin-right: 10%; text-align: right;} + .u {text-decoration: underline;} + .linenum {position: absolute; top: auto; left: 4%;} /* poetry number */ + .sidenote {width: 20%; padding-bottom: .5em; padding-top: .5em; + padding-left: .5em; padding-right: .5em; margin-left: 1em; + text-align: center; float: right; clear: right; margin-top: 1em; + font-size: smaller; color: black; background: white; border: solid 1px;} + .cap:first-letter {float: left; clear: left; + margin: -0.2em 0.1em 0; margin-top: 0%; + padding: 0; + line-height: .75em; font-size: 300%; text-align: justify;} + .cap {text-align: justify;} + + .hang1 {text-indent: -3em; margin-left: 3em;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +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,"—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."—<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>"THE HEIR TO FAIRY-LAND"<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=""THE HEIR TO FAIRY-LAND" FROM A WATER-COLOUR BY ROBERT HALLS" title=""THE HEIR TO FAIRY-LAND" 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 "MONKEY-BOOK" A FAVOURITE IN THE NURSERY (By permission of James H. Stone, Esq., J.P.)" title="THE "MONKEY-BOOK" A FAVOURITE IN THE NURSERY (By permission of James H. Stone, Esq., J.P.)" /> +<span class="caption">THE "MONKEY-BOOK" 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=""ROBINSON CRUSOE." THE WRECK FROM AN EIGHTEENTH-CENTURY CHAP-BOOK" title=""ROBINSON CRUSOE." THE WRECK FROM AN EIGHTEENTH-CENTURY CHAP-BOOK" /> +<span class="caption">"ROBINSON CRUSOE." 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=""CRUSOE AND XURY ESCAPING" FROM AN EIGHTEENTH-CENTURY CHAP-BOOK" title="" /> +<span class="caption">"CRUSOE AND XURY ESCAPING" <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=""CRUSOE SETS SAIL ON HIS EVENTFUL VOYAGE"FROM AN EIGHTEENTH-CENTURY CHAP-BOOK" title="" /> +<span class="caption">"CRUSOE SETS SAIL ON HIS EVENTFUL VOYAGE" +<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—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.<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=""THE TRUE TALE OF ROBIN HOOD." FROM AN EIGHTEENTH-CENTURY CHAP-BOOK" title="" /> +<span class="caption">"THE TRUE TALE OF ROBIN HOOD."<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=""TWO CHILDREN IN THE WOOD." FROM AN EIGHTEENTH CENTURY CHAP-BOOK" title="" /> +<span class="caption">"TWO CHILDREN IN THE WOOD."<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=""SIR RICHARD WHITTINGTON." FROM AN EIGHTEENTH-CENTURY CHAP-BOOK" title="" /> +<span class="caption">"SIR RICHARD WHITTINGTON."<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=""AN AMERICAN MAN AND WOMAN IN THEIR PROPER HABITS." ILLUSTRATION FROM "A MUSEUM FOR YOUNG GENTLEMEN AND LADIES" (S. CROWDER. 1790)" title="" /> +<span class="caption">"AN AMERICAN MAN AND WOMAN IN THEIR PROPER HABITS." ILLUSTRATION FROM "A MUSEUM FOR YOUNG GENTLEMEN AND LADIES" (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—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 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 +<i>naïveté</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=""THE WALLS OF BABYLON." ILLUSTRATION FROM "A MUSEUM FOR YOUNG GENTLEMEN AND LADIES" (S. CROWDER. 1790)" title="" /> +<span class="caption">"THE WALLS OF BABYLON." ILLUSTRATION FROM "A MUSEUM FOR YOUNG GENTLEMEN AND LADIES" (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—the new hero:</p> +<div class="figleft" style="width: 325px;"> +<img src="images/grey007.png" width="325" height="267" alt=""MERCURY AND THE WOODMAN." ILLUSTRATION FROM "BEWICK'S SELECT FABLES." BY THOMAS BEWICK (1784)" title="" /> +<span class="caption">"MERCURY AND THE WOODMAN." ILLUSTRATION FROM "BEWICK'S SELECT FABLES." 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—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."</p> + + +<div class="figright" style="width: 310px;"> +<img src="images/grey007a.png" width="310" height="247" alt=""THE BROTHER AND SISTER." ILLUSTRATION FROM "BEWICK'S SELECT FABLES." BY THOMAS BEWICK (1784)" title="" /> +<span class="caption">"THE BROTHER AND SISTER." ILLUSTRATION FROM "BEWICK'S SELECT FABLES." 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=""LITTLE ANTHONY." ILLUSTRATION FROM "THE LOOKING-GLASS OF THE MIND." BY THOMAS BEWICK (1792)" title="" /> +<span class="caption">"LITTLE ANTHONY." ILLUSTRATION FROM "THE LOOKING-GLASS OF THE MIND." BY THOMAS BEWICK (1792)</span> +</div> + +<div class="figleft" style="width: 300px;"> +<img src="images/grey007c.png" width="300" height="224" alt=""LITTLE ADOLPHUS." ILLUSTRATION FROM "THE LOOKING-GLASS OF THE MIND." BY THOMAS BEWICK (1792)" title="" /> +<span class="caption">"LITTLE ADOLPHUS." ILLUSTRATION FROM "THE LOOKING-GLASS OF THE MIND." 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—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—who has +received the honour of an elaborate +article in the <i>Nineteenth Century</i>—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.</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 "SKETCHES OF JUVENILE CHARACTERS" (E. WALLIS. 1818)" title="" /> +<span class="caption">ILLUSTRATION FROM "SKETCHES OF JUVENILE CHARACTERS" <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—"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<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 "THE PATHS OF LEARNING" (HARRIS AND SON. 1820)" title="" /> +<span class="caption">TITLE-PAGE OF "THE PATHS OF LEARNING" (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 "THE PATHS OF LEARNING" (HARRIS AND SON. 1820)" title="" /> +<span class="caption">PAGE FROM "THE PATHS OF LEARNING" <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 "GERMAN POPULAR STORIES." BY G. CRUIKSHANK (CHARLES TILT. 1824)" title="" /> +<span class="caption">ILLUSTRATION FROM "GERMAN POPULAR STORIES." 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—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.</p> +<div class="figright" style="width: 400px;"> +<img src="images/grey010a.png" width="400" height="371" alt="ILLUSTRATION FROM "GERMAN POPULAR STORIES." BY G. CRUIKSHANK (CHARLES TILT. 1824)" title="" /> +<span class="caption">ILLUSTRATION FROM "GERMAN POPULAR STORIES." 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—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<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"—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 "THE LITTLE PRINCESS." BY J. C. HORSLEY, R.A. (JOSEPH CUNDALL. 1843)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE LITTLE PRINCESS." 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 "CHILD'S PLAY." BY E. V. B. (NOW PUBLISHED BY SAMPSON LOW)" title="" /> +<span class="caption">ILLUSTRATION FROM "CHILD'S PLAY." 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—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<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 "THE HONEY STEW" BY HARRISON WEIR (JEREMIAH HOW. 1846)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE HONEY STEW" 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 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.</p> + +<div class="figleft" style="width: 243px;"> +<img src="images/grey013a.png" width="243" height="300" alt=""BLUE BEARD." ILLUSTRATION FROM "COMIC NURSERY TALES." BY A. CROWQUILL (G. ROUTLEDGE. 1845)" title="" /> +<span class="caption">"BLUE BEARD." ILLUSTRATION FROM "COMIC NURSERY TALES." BY A. CROWQUILL (G. ROUTLEDGE. 1845)</span> +</div> + +<p>"Goody Two Shoes" was also published by +Newbery of St. Paul's Churchyard—the pioneer of +children's literature. His business—which afterwards<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span> +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 <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=""ROBINSON CRUSOE." ILLUSTRATION FROM "COMIC NURSERY TALES." BY A. CROWQUILL (G. ROUTLEDGE. 1845)" title="" /> +<span class="caption">"ROBINSON CRUSOE." ILLUSTRATION FROM "COMIC NURSERY TALES." 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>Athenæum</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 "ROBINSON CRUSOE." BY CHARLES KEENE (JAMES BURNS. 1847)" title="" /> +<span class="caption">ILLUSTRATION FROM "ROBINSON CRUSOE." 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—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.</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 "COMIC NURSERY TALES" (G. ROUTLEDGE. 1846)" title="" /> +<span class="caption">ILLUSTRATION FROM "COMIC NURSERY TALES" (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—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.</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 "THE SCOURING OF THE WHITE HORSE." BY RICHARD DOYLE (MACMILLAN AND CO. 1858)" title="" /> +<span class="caption">TITLE-PAGE FROM "THE SCOURING OF THE WHITE HORSE." 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>märchen</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 "MISUNDERSTOOD" BY GEORGE DU MAURIER (RICHARD BENTLEY AND SON. 1874)" title="" /> +<span class="caption">ILLUSTRATION (REDUCED) FROM "MISUNDERSTOOD" 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 "THE PRINCESS AND THE GOBLIN." (STRAHAN. 1871. NOW PUBLISHED BY BLACKIE AND SON)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE PRINCESS AND THE GOBLIN." (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 "GUTTA PERCHA WILLIE." BY ARTHUR HUGHES (STRAHAN. 1870. NOW PUBLISHED BY BLACKIE AND SON)" title="" /> +<span class="caption">ILLUSTRATION FROM "GUTTA PERCHA WILLIE." 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 "AT THE BACK OF THE NORTH WIND." BY ARTHUR HUGHES (STRAHAN. 1869. NOW PUBLISHED BY BLACKIE AND SON)" title="" /> +<span class="caption">ILLUSTRATION FROM "AT THE BACK OF THE NORTH WIND." 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 "AT THE BACK OF THE NORTH WIND." BY ARTHUR HUGHES (STRAHAN. 1869. NOW PUBLISHED BY BLACKIE AND SON)" title="" /> +<span class="caption">ILLUSTRATION FROM "AT THE BACK OF THE NORTH WIND." 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—except in +the "grown-up" books referred to—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 "THE LITTLE WONDER HORN." +BY J. MAHONEY +(H. S. KING AND CO. 1872. GRIFFITH AND FARRAN. 1887)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE LITTLE WONDER HORN." +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 +£12 12<i>s.</i></p> + + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr><td align='left' valign='bottom'><small>"IN NOOKS WITH BOOKS"</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=""IN NOOKS WITH BOOKS"" 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 "SPEAKING LIKENESSES." BY ARTHUR HUGHES +(MACMILLAN AND CO. 1874)" title="" /> +<span class="caption">ILLUSTRATION FROM "SPEAKING LIKENESSES." 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 "UNDINE." BY SIR JOHN TENNIEL (JAMES BURNS. 1845)" title="" /> +<span class="caption">ILLUSTRATION FROM "UNDINE." 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 "ELLIOTT'S NURSERY RHYMES" BY W. J. WIEGAND (NOVELLO, 1870)" title="" /> +<span class="caption">ILLUSTRATION FROM "ELLIOTT'S NURSERY RHYMES" 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 "ELLIOTT'S NURSERY RHYMES" BY H. STACY MARKS, R.A. (NOVELLO. 1870)" title="" /> +<span class="caption">ILLUSTRATION FROM "ELLIOTT'S NURSERY RHYMES" 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 "THE WATER BABIES" BY SIR R. NOEL PATON (MACMILLAN AND CO. 1863)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE WATER BABIES" 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—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."</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 "THE ROYAL UMBRELLA." BY LINLEY SAMBOURNE (GRIFFITH AND FARRAN. 1880)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE ROYAL UMBRELLA." 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 "ON A PINCUSHION." BY WILLIAM DE MORGAN (SEELEY, JACKSON AND HALLIDAY. 1877)" title="" /> +<span class="caption">ILLUSTRATION FROM "ON A PINCUSHION." 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 "THE NECKLACE OF PRINCESS FIORIMONDE." BY WALTER CRANE (MACMILLAN AND CO. 1880)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE NECKLACE OF PRINCESS FIORIMONDE." <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—<i>à la</i> 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<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—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 <i>Fine</i> Arts.</p> + +<div class="figright" style="width: 375px;"> +<img src="images/grey024.jpg" width="375" height="600" alt="ILLUSTRATION FROM "HOUSEHOLD STORIES FROM GRIMM." BY WALTER CRANE (MACMILLAN AND CO. 1882)" title="" /> +<span class="caption">ILLUSTRATION FROM "HOUSEHOLD STORIES FROM GRIMM." 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 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 <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 +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<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 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<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, &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 "A WONDER BOOK FOR GIRLS AND BOYS." BY WALTER CRANE (OSGOOD, MCILVAINE AND CO. 1892)" title="" /> +<span class="caption">ILLUSTRATION FROM "A WONDER BOOK FOR GIRLS AND BOYS." BY WALTER CRANE (OSGOOD, MCILVAINE AND CO. 1892)</span> +</div> +<p>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.</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 "THE QUEEN OF THE PIRATE ISLE." BY KATE GREENAWAY (EDMUND EVANS. 1887)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE QUEEN OF THE PIRATE ISLE." 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—</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—<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 "LITTLE FOLKS" BY KATE GREENAWAY (CASSELL AND CO.)" title="" /> +<span class="caption">ILLUSTRATION FROM "LITTLE FOLKS" BY KATE GREENAWAY (CASSELL AND CO.)</span> +</div> + +<p>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 <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 "THE PIED PIPER OF HAMELIN" BY KATE GREENAWAY (EDMUND EVANS)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE PIED PIPER OF HAMELIN" 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—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 "CAPE TOWN DICKY" BY ALICE HAVERS (C. W. FAULKNER AND CO.)" title="" /> +<span class="caption">ILLUSTRATION FROM "CAPE TOWN DICKY" 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—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.</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 encylopædia of fact.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/grey029.jpg" width="500" height="329" alt="ILLUSTRATION FROM "THE WHITE SWANS" BY ALICE HAVERS (By permission of Mr. Albert Hildesheimer)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE WHITE SWANS" 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 "THE RED FAIRY BOOK." BY LANCELOT SPEED (LONGMANS, GREEN AND CO.)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE RED FAIRY BOOK." 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—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.</p> + +<div class="figcenter" style="width: 424px;"> +<img src="images/grey030.jpg" width="424" height="400" alt="ILLUSTRATION FROM "THE RED FAIRY BOOK." BY LANCELOT SPEED (LONGMANS, GREEN AND CO.)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE RED FAIRY BOOK." 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 "THE RED FAIRY BOOK." BY LANCELOT SPEED +(LONGMANS, GREEN AND CO.)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE RED FAIRY BOOK." 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—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 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."</p> + +<div class="figright" style="width: 300px;"> +<img src="images/grey031.png" width="300" height="281" alt="ILLUSTRATION FROM "DOWN THE SNOW STAIRS." BY GORDON +BROWNE (BLACKIE AND SON)" title="" /> +<span class="caption">ILLUSTRATION FROM "DOWN THE SNOW STAIRS." 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—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.</p> + +<p>Three artists, often coupled together—Walter +Crane, Randolph +Caldecott, and Kate Greenaway—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 +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.</p> + +<div class="figleft" style="width: 324px;"> +<img src="images/grey032.png" width="324" height="500" alt="ILLUSTRATION FROM "ROBINSON CRUSOE" BY GORDON BROWNE + +(BLACKIE AND SON)" title="" /> +<span class="caption">ILLUSTRATION FROM "ROBINSON CRUSOE" 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—his people +move often in a rapt ecstasy—but because the +adjuncts of his <i>mise-en-scènes</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 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<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 "ROBINSON CRUSOE." BY WILL PAGET. (CASSELL AND CO.)" title="" /> +<span class="caption">ILLUSTRATION FROM "ROBINSON CRUSOE."<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 "ENGLISH FAIRY TALES" BY J. D. BATTEN (DAVID NUTT)" title="" /> +<span class="caption">ILLUSTRATION FROM "ENGLISH FAIRY TALES" 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'>"SO LIGHT OF FOOT, SO<br />LIGHT OF SPIRIT." BY <br />CHARLES ROBINSON</td><td align='left'><img src="images/color034.jpg" width="378" height="600" alt=""SO LIGHT OF FOOT, SO LIGHT OF SPIRIT." 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 "ENGLISH FAIRY TALES." BY J. D. BATTEN +(DAVID NUTT)" title="" /> +<span class="caption">ILLUSTRATION FROM "ENGLISH FAIRY TALES." 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 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.</p> + +<p>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.</p> + +<div class="figcenter" style="width: 274px;"> +<img src="images/grey036.png" width="274" height="300" alt="ILLUSTRATION FROM "THE WONDER CLOCK." BY HOWARD PYLE +(HARPER AND BROTHERS)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE WONDER CLOCK." 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 "THE WONDER CLOCK." BY HOWARD PYLE +(HARPER AND BROTHERS)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE WONDER CLOCK." 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—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.</p> + + +<div class="figcenter" style="width: 358px;"> +<img src="images/grey037.png" width="358" height="500" alt="ILLUSTRATION FROM +"THE WONDER CLOCK." +BY HOWARD PYLE + +(HARPER AND BROTHERS. 1894)" title="" /> +<span class="caption">ILLUSTRATION FROM<br /> +"THE WONDER CLOCK."<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 "THE WONDER CLOCK." BY HOWARD PYLE. (HARPER AND BROTHERS)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE WONDER CLOCK." 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 +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 +<i>beau-idéal</i> of nursery propriety—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 "THE WONDER CLOCK." BY HOWARD PYLE. (HARPER AND BROTHERS)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE WONDER CLOCK." 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 "CHILDREN'S SINGING GAMES" BY WINIFRED SMITH (DAVID NUTT. 1894)" title="" /> +<span class="caption">ILLUSTRATION FROM "CHILDREN'S SINGING GAMES" 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 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. <i>Bric-à-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 "UNDINE" BY HEYWOOD SUMNER (CHAPMAN AND HALL)" title="" /> +<span class="caption">ILLUSTRATION FROM "UNDINE" 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 "THE RED FAIRY BOOK" BY L. SPEED (LONGMANS, GREEN AND CO. 1895)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE RED FAIRY BOOK" 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 "KATAWAMPUS" BY ARCHIE MACGREGOR (DAVID NUTT)" title="" /> +<span class="caption">ILLUSTRATION FROM "KATAWAMPUS" 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 "THE SLEEPING BEAUTY." +BY R. ANNING BELL (DENT AND CO.)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE SLEEPING BEAUTY." +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 +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.</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 "FAIRY GIFTS." +BY H. GRANVILLE FELL (DENT AND CO.)" title="" /> +<span class="caption">ILLUSTRATION FROM "FAIRY GIFTS." +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 "A BOOK OF NURSERY SONGS AND RHYMES" BY MARY J. NEWILL (METHUEN AND CO. 1895)" title="" /> +<span class="caption">ILLUSTRATION FROM<br />"A BOOK OF NURSERY<br />SONGS AND RHYMES"<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 "THE ELF-ERRANT" BY W. E. F. BRITTEN (LAWRENCE AND BULLEN. 1895)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE ELF-ERRANT" 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 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 <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 "SINBAD THE SAILOR" BY WILLIAM STRANG (LAWRENCE AND BULLEN. 1896)" title="" /> +<span class="caption">ILLUSTRATION FROM "SINBAD THE SAILOR" 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 "ALI BABA" BY J. B. CLARK (LAWRENCE AND BULLEN. 1896)" title="" /> +<span class="caption">ILLUSTRATION FROM "ALI BABA" 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 +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 <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 "THE FLAME FLOWER." BY J. F. SULLIVAN (DENT AND CO. 1896)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE FLAME FLOWER." 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 & 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 "RED APPLE AND SILVER BELLS." BY ALICE B. WOODWARD. (BLACKIE AND SON. 1897) " title="" /> +<span class="caption">ILLUSTRATION FROM "RED APPLE AND SILVER BELLS." 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—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.</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 "KATAWAMPUS." BY ARCHIE MACGREGOR. (DAVID NUTT)" title="" /> +<span class="caption">ILLUSTRATION FROM "KATAWAMPUS." 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 "TO TELL THE KING THE SKY IS FALLING." BY ALICE WOODWARD (BLACKIE AND SON. 1896)" title="" /> +<span class="caption">ILLUSTRATION FROM "TO TELL THE KING THE SKY IS FALLING." 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—"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.</p> +<div class="figcenter" style="width: 500px;"> +<img src="images/grey049.png" width="500" height="337" alt="ILLUSTRATION FROM "RUSSIAN FAIRY TALES" BY C. M. GERE (LAWRENCE AND BULLEN. 1893)" title="" /> +<span class="caption">ILLUSTRATION FROM "RUSSIAN FAIRY TALES" 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—No. 2. FROM THE ORIGINAL DRAWING BY A. NOBODY" title="" /> +<span class="caption">THE SINGING LESSON<br />—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 "ADVENTURES IN TOY LAND" BY ALICE B. WOODWARD (BLACKIE AND SON. 1897)" title="" /> +<span class="caption">ILLUSTRATION FROM "ADVENTURES IN TOY LAND" 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 +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 <i>bébé</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 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.</p> + +<div class="figright" style="width: 262px;"> +<img src="images/grey052.png" width="262" height="300" alt="ILLUSTRATION FROM "PRINCE BOOHOO" BY GORDON BROWNE (GARDNER, DARTON AND CO. 1897)" title="" /> +<span class="caption">ILLUSTRATION FROM "PRINCE BOOHOO" 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 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.</p> + +<p>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.</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 & 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 "NONSENSE" BY A. NOBODY + +(GARDNER, DARTON AND CO.)" title="" /> +<span class="caption">ILLUSTRATION FROM "NONSENSE" 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 "THE CHILD'S PICTORIAL." BY MRS. R. HALLWARD (S.P.C.K.)" title="" /> +<span class="caption">ILLUSTRATION (REDUCED) FROM "THE CHILD'S PICTORIAL." 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—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—<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—but never published—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 "A, B, C" BY MRS. GASKIN (ELKIN MATHEWS)" title="" /> +<span class="caption">ILLUSTRATION FROM "A, B, C" 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>"KING LOVE. A CHRISTMAS</small><br /> +<small>GREETING." BY H. GRANVILLE</small><br /> +<small>FELL</small></td><td align='left'><img src="images/grey055.png" width="382" height="500" alt=""KING LOVE. A CHRISTMAS +GREETING." 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 "THE STORY OF BLUEBEARD" BY E. SOUTHALL (LAWRENCE AND BULLEN. 1895)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE STORY OF BLUEBEARD" 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—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 "NURSERY RHYMES" BY PAUL WOODROFFE (GEORGE ALLEN. 1897)" title="" /> +<span class="caption">ILLUSTRATION FROM "NURSERY RHYMES" 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, &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—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.</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—"Cinderella, &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," &c. (Dent), +and has also pictured Æsop's "Fables," with 300 +designs (in Macmillan's Cranford series).</p> + +<p>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 <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—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 "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.</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 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.).</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—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 <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—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.</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 & 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<span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span> +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 <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 "LITTLE FOLKS." BY MAURICE BOUTET DE MONVEL. (CASSELL AND CO.)" title="" /> +<span class="caption">ILLUSTRATION FROM "LITTLE FOLKS." 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—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.</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 "GOULD'S BOOK OF FAIRY TALES." BY ARTHUR GASKIN. (METHUEN AND CO.)" title="" /> +<span class="caption">ILLUSTRATION FROM "GOULD'S BOOK OF FAIRY TALES." 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 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.</p> + + + +<div class="figright" style="width: 193px;"> +<img src="images/grey063.png" width="193" height="300" alt="ILLUSTRATION FROM "LULLABY LAND" BY CHARLES ROBINSON. (JOHN LANE. 1897)" title="" /> +<span class="caption">ILLUSTRATION FROM "LULLABY LAND" 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—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 "MAKE BELIEVE." BY CHARLES +ROBINSON (JOHN LANE. 1896)" title="" /> +<span class="caption">ILLUSTRATION FROM "MAKE BELIEVE." 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 "JUST FORTY WINKS" BY +GERTRUDE M. BRADLEY (BLACKIE AND SON. 1897)" title="" /> +<span class="caption">ILLUSTRATION FROM "JUST FORTY WINKS" 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—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?</p> + +<div class="figcenter" style="width: 352px;"> +<img src="images/grey065.png" width="352" height="500" alt="THE SPOTTED MIMILUS. ILLUSTRATION FROM "KING LONGBEARD." BY CHARLES ROBINSON (JOHN LANE. 1897)" title="" /> +<span class="caption">THE SPOTTED MIMILUS. ILLUSTRATION FROM "KING LONGBEARD." 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 "THE MAKING OF MATTHIAS" BY LUCY KEMP-WELCH. (JOHN LANE. 1897)" title="" /> +<span class="caption">ILLUSTRATION FROM "THE MAKING OF MATTHIAS" 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—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 +(<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 "MISS MOUSE AND HER BOYS." BY L. +LESLIE BROOKE. (MACMILLAN AND CO. 1897)" title="" /> +<span class="caption">ILLUSTRATION FROM "MISS MOUSE AND HER BOYS." 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"—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 +<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 "BABY'S LAYS" BY E. CALVERT (ELKIN MATHEWS. 1897)" title="" /> +<span class="caption">ILLUSTRATION FROM "BABY'S LAYS" 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'>——————</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'>——————</div> +<div class="figcenter" style="width: 350px;"> +<img src="images/grey068a.png" width="350" height="450" alt="ILLUSTRATION FROM "NATIONAL RHYMES." BY GORDON BROWNE (GARDNER, DARTON AND CO. 1897)" title="" /> +<span class="caption">ILLUSTRATION FROM "NATIONAL RHYMES." 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 & Company, FIFTH AVE. & 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.—<i>The +Congregationalist, Boston.</i></div> + +<div class='center'><br /><i><small>Sold by Booksellers, Sent, postpaid, by</small></i><br /> + +Houghton, Mifflin & 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 & 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, 9×12, 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, 9½×12 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, 9½×12 +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, 7×9, 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, 8×11, 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, bicyclopædia 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: + https://www.gutenberg.org/2/7/1/1/27112/ + +Produced by Colin Bell, Joseph Cooper, Emmy and the Online +Distributed Proofreading Team at https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + +</body> +</html> diff --git a/27112-h/images/color002.jpg b/27112-h/images/color002.jpg Binary files differnew file mode 100644 index 0000000..fddfa29 --- /dev/null +++ b/27112-h/images/color002.jpg diff --git a/27112-h/images/color034.jpg b/27112-h/images/color034.jpg Binary files differnew file mode 100644 index 0000000..47eed86 --- /dev/null +++ b/27112-h/images/color034.jpg diff --git a/27112-h/images/color070.jpg b/27112-h/images/color070.jpg Binary files differnew file mode 100644 index 0000000..5282b80 --- /dev/null +++ b/27112-h/images/color070.jpg diff --git a/27112-h/images/front_cover.jpg b/27112-h/images/front_cover.jpg Binary files differnew file mode 100644 index 0000000..38ed36d --- /dev/null +++ b/27112-h/images/front_cover.jpg diff --git a/27112-h/images/grey003.jpg b/27112-h/images/grey003.jpg Binary files differnew file mode 100644 index 0000000..707100e --- /dev/null +++ b/27112-h/images/grey003.jpg diff --git a/27112-h/images/grey004.png b/27112-h/images/grey004.png Binary files differnew file mode 100644 index 0000000..719b8c1 --- /dev/null +++ b/27112-h/images/grey004.png diff --git a/27112-h/images/grey004a.png b/27112-h/images/grey004a.png Binary files differnew file mode 100644 index 0000000..ecc7429 --- /dev/null +++ b/27112-h/images/grey004a.png diff --git a/27112-h/images/grey004b.png b/27112-h/images/grey004b.png Binary files differnew file mode 100644 index 0000000..27a62a3 --- /dev/null +++ b/27112-h/images/grey004b.png diff --git a/27112-h/images/grey005.png b/27112-h/images/grey005.png Binary files differnew file mode 100644 index 0000000..ea5ea82 --- /dev/null +++ b/27112-h/images/grey005.png diff --git a/27112-h/images/grey005a.png b/27112-h/images/grey005a.png Binary files differnew file mode 100644 index 0000000..724d7ef --- /dev/null +++ b/27112-h/images/grey005a.png diff --git a/27112-h/images/grey005b.png b/27112-h/images/grey005b.png Binary files differnew file mode 100644 index 0000000..86ab3ce --- /dev/null +++ b/27112-h/images/grey005b.png diff --git a/27112-h/images/grey006.png b/27112-h/images/grey006.png Binary files differnew file mode 100644 index 0000000..00d7e12 --- /dev/null +++ b/27112-h/images/grey006.png diff --git a/27112-h/images/grey006a.png b/27112-h/images/grey006a.png Binary files differnew file mode 100644 index 0000000..3751bf2 --- /dev/null +++ b/27112-h/images/grey006a.png diff --git a/27112-h/images/grey007.png b/27112-h/images/grey007.png Binary files differnew file mode 100644 index 0000000..0118e2e --- /dev/null +++ b/27112-h/images/grey007.png diff --git a/27112-h/images/grey007a.png b/27112-h/images/grey007a.png Binary files differnew file mode 100644 index 0000000..052bf8a --- /dev/null +++ b/27112-h/images/grey007a.png diff --git a/27112-h/images/grey007b.png b/27112-h/images/grey007b.png Binary files differnew file mode 100644 index 0000000..bc7c793 --- /dev/null +++ b/27112-h/images/grey007b.png diff --git a/27112-h/images/grey007c.png b/27112-h/images/grey007c.png Binary files differnew file mode 100644 index 0000000..5d5e70b --- /dev/null +++ b/27112-h/images/grey007c.png diff --git a/27112-h/images/grey008.png b/27112-h/images/grey008.png Binary files differnew file mode 100644 index 0000000..a6d1b4c --- /dev/null +++ b/27112-h/images/grey008.png diff --git a/27112-h/images/grey009.jpg b/27112-h/images/grey009.jpg Binary files differnew file mode 100644 index 0000000..8bd48c7 --- /dev/null +++ b/27112-h/images/grey009.jpg diff --git a/27112-h/images/grey009a.jpg b/27112-h/images/grey009a.jpg Binary files differnew file mode 100644 index 0000000..31e955d --- /dev/null +++ b/27112-h/images/grey009a.jpg diff --git a/27112-h/images/grey010.png b/27112-h/images/grey010.png Binary files differnew file mode 100644 index 0000000..0d74760 --- /dev/null +++ b/27112-h/images/grey010.png diff --git a/27112-h/images/grey010a.png b/27112-h/images/grey010a.png Binary files differnew file mode 100644 index 0000000..89bc8bd --- /dev/null +++ b/27112-h/images/grey010a.png diff --git a/27112-h/images/grey011.png b/27112-h/images/grey011.png Binary files differnew file mode 100644 index 0000000..3d11a58 --- /dev/null +++ b/27112-h/images/grey011.png diff --git a/27112-h/images/grey011a.jpg b/27112-h/images/grey011a.jpg Binary files differnew file mode 100644 index 0000000..8d3b78f --- /dev/null +++ b/27112-h/images/grey011a.jpg diff --git a/27112-h/images/grey012.jpg b/27112-h/images/grey012.jpg Binary files differnew file mode 100644 index 0000000..96f0a54 --- /dev/null +++ b/27112-h/images/grey012.jpg diff --git a/27112-h/images/grey013.png b/27112-h/images/grey013.png Binary files differnew file mode 100644 index 0000000..ba904df --- /dev/null +++ b/27112-h/images/grey013.png diff --git a/27112-h/images/grey013a.png b/27112-h/images/grey013a.png Binary files differnew file mode 100644 index 0000000..0fa7805 --- /dev/null +++ b/27112-h/images/grey013a.png diff --git a/27112-h/images/grey014.png b/27112-h/images/grey014.png Binary files differnew file mode 100644 index 0000000..4a65c26 --- /dev/null +++ b/27112-h/images/grey014.png diff --git a/27112-h/images/grey014a.png b/27112-h/images/grey014a.png Binary files differnew file mode 100644 index 0000000..25afd4d --- /dev/null +++ b/27112-h/images/grey014a.png diff --git a/27112-h/images/grey015.png b/27112-h/images/grey015.png Binary files differnew file mode 100644 index 0000000..899c6e7 --- /dev/null +++ b/27112-h/images/grey015.png diff --git a/27112-h/images/grey016.png b/27112-h/images/grey016.png Binary files differnew file mode 100644 index 0000000..c502922 --- /dev/null +++ b/27112-h/images/grey016.png diff --git a/27112-h/images/grey016a.png b/27112-h/images/grey016a.png Binary files differnew file mode 100644 index 0000000..69f1671 --- /dev/null +++ b/27112-h/images/grey016a.png diff --git a/27112-h/images/grey017.png b/27112-h/images/grey017.png Binary files differnew file mode 100644 index 0000000..a2ab542 --- /dev/null +++ b/27112-h/images/grey017.png diff --git a/27112-h/images/grey017a.jpg b/27112-h/images/grey017a.jpg Binary files differnew file mode 100644 index 0000000..b748bbc --- /dev/null +++ b/27112-h/images/grey017a.jpg diff --git a/27112-h/images/grey018.jpg b/27112-h/images/grey018.jpg Binary files differnew file mode 100644 index 0000000..007a25b --- /dev/null +++ b/27112-h/images/grey018.jpg diff --git a/27112-h/images/grey018a.jpg b/27112-h/images/grey018a.jpg Binary files differnew file mode 100644 index 0000000..40dd590 --- /dev/null +++ b/27112-h/images/grey018a.jpg diff --git a/27112-h/images/grey018b.jpg b/27112-h/images/grey018b.jpg Binary files differnew file mode 100644 index 0000000..3317e91 --- /dev/null +++ b/27112-h/images/grey018b.jpg diff --git a/27112-h/images/grey019.jpg b/27112-h/images/grey019.jpg Binary files differnew file mode 100644 index 0000000..bd7e6fe --- /dev/null +++ b/27112-h/images/grey019.jpg diff --git a/27112-h/images/grey020.png b/27112-h/images/grey020.png Binary files differnew file mode 100644 index 0000000..2e248b1 --- /dev/null +++ b/27112-h/images/grey020.png diff --git a/27112-h/images/grey020a.png b/27112-h/images/grey020a.png Binary files differnew file mode 100644 index 0000000..2f22a5c --- /dev/null +++ b/27112-h/images/grey020a.png diff --git a/27112-h/images/grey021.png b/27112-h/images/grey021.png Binary files differnew file mode 100644 index 0000000..eae1adb --- /dev/null +++ b/27112-h/images/grey021.png diff --git a/27112-h/images/grey021a.png b/27112-h/images/grey021a.png Binary files differnew file mode 100644 index 0000000..7fc2520 --- /dev/null +++ b/27112-h/images/grey021a.png diff --git a/27112-h/images/grey022.png b/27112-h/images/grey022.png Binary files differnew file mode 100644 index 0000000..3505897 --- /dev/null +++ b/27112-h/images/grey022.png diff --git a/27112-h/images/grey022a.png b/27112-h/images/grey022a.png Binary files differnew file mode 100644 index 0000000..50b5eee --- /dev/null +++ b/27112-h/images/grey022a.png diff --git a/27112-h/images/grey023.png b/27112-h/images/grey023.png Binary files differnew file mode 100644 index 0000000..e7a2539 --- /dev/null +++ b/27112-h/images/grey023.png diff --git a/27112-h/images/grey024.jpg b/27112-h/images/grey024.jpg Binary files differnew file mode 100644 index 0000000..e5d4176 --- /dev/null +++ b/27112-h/images/grey024.jpg diff --git a/27112-h/images/grey025.jpg b/27112-h/images/grey025.jpg Binary files differnew file mode 100644 index 0000000..ce8947f --- /dev/null +++ b/27112-h/images/grey025.jpg diff --git a/27112-h/images/grey026.png b/27112-h/images/grey026.png Binary files differnew file mode 100644 index 0000000..9356e37 --- /dev/null +++ b/27112-h/images/grey026.png diff --git a/27112-h/images/grey026a.png b/27112-h/images/grey026a.png Binary files differnew file mode 100644 index 0000000..b734fa6 --- /dev/null +++ b/27112-h/images/grey026a.png diff --git a/27112-h/images/grey027.jpg b/27112-h/images/grey027.jpg Binary files differnew file mode 100644 index 0000000..d310949 --- /dev/null +++ b/27112-h/images/grey027.jpg diff --git a/27112-h/images/grey028.jpg b/27112-h/images/grey028.jpg Binary files differnew file mode 100644 index 0000000..75ed053 --- /dev/null +++ b/27112-h/images/grey028.jpg diff --git a/27112-h/images/grey029.jpg b/27112-h/images/grey029.jpg Binary files differnew file mode 100644 index 0000000..05e2f73 --- /dev/null +++ b/27112-h/images/grey029.jpg diff --git a/27112-h/images/grey030.jpg b/27112-h/images/grey030.jpg Binary files differnew file mode 100644 index 0000000..a4aed88 --- /dev/null +++ b/27112-h/images/grey030.jpg diff --git a/27112-h/images/grey030a.png b/27112-h/images/grey030a.png Binary files differnew file mode 100644 index 0000000..2fdf5ca --- /dev/null +++ b/27112-h/images/grey030a.png diff --git a/27112-h/images/grey031.png b/27112-h/images/grey031.png Binary files differnew file mode 100644 index 0000000..9292128 --- /dev/null +++ b/27112-h/images/grey031.png diff --git a/27112-h/images/grey031a.png b/27112-h/images/grey031a.png Binary files differnew file mode 100644 index 0000000..c7fd4c8 --- /dev/null +++ b/27112-h/images/grey031a.png diff --git a/27112-h/images/grey032.png b/27112-h/images/grey032.png Binary files differnew file mode 100644 index 0000000..e67cd1b --- /dev/null +++ b/27112-h/images/grey032.png diff --git a/27112-h/images/grey033.jpg b/27112-h/images/grey033.jpg Binary files differnew file mode 100644 index 0000000..254e4f4 --- /dev/null +++ b/27112-h/images/grey033.jpg diff --git a/27112-h/images/grey034.png b/27112-h/images/grey034.png Binary files differnew file mode 100644 index 0000000..98ba17c --- /dev/null +++ b/27112-h/images/grey034.png diff --git a/27112-h/images/grey035.png b/27112-h/images/grey035.png Binary files differnew file mode 100644 index 0000000..242dac7 --- /dev/null +++ b/27112-h/images/grey035.png diff --git a/27112-h/images/grey036.png b/27112-h/images/grey036.png Binary files differnew file mode 100644 index 0000000..6a489de --- /dev/null +++ b/27112-h/images/grey036.png diff --git a/27112-h/images/grey036a.png b/27112-h/images/grey036a.png Binary files differnew file mode 100644 index 0000000..7fa2c5b --- /dev/null +++ b/27112-h/images/grey036a.png diff --git a/27112-h/images/grey037.png b/27112-h/images/grey037.png Binary files differnew file mode 100644 index 0000000..2838467 --- /dev/null +++ b/27112-h/images/grey037.png diff --git a/27112-h/images/grey038.png b/27112-h/images/grey038.png Binary files differnew file mode 100644 index 0000000..b43b6d3 --- /dev/null +++ b/27112-h/images/grey038.png diff --git a/27112-h/images/grey038a.png b/27112-h/images/grey038a.png Binary files differnew file mode 100644 index 0000000..351d42d --- /dev/null +++ b/27112-h/images/grey038a.png diff --git a/27112-h/images/grey039.png b/27112-h/images/grey039.png Binary files differnew file mode 100644 index 0000000..2dac1ee --- /dev/null +++ b/27112-h/images/grey039.png diff --git a/27112-h/images/grey040.png b/27112-h/images/grey040.png Binary files differnew file mode 100644 index 0000000..fd4d386 --- /dev/null +++ b/27112-h/images/grey040.png diff --git a/27112-h/images/grey040a.png b/27112-h/images/grey040a.png Binary files differnew file mode 100644 index 0000000..f13fa41 --- /dev/null +++ b/27112-h/images/grey040a.png diff --git a/27112-h/images/grey041.png b/27112-h/images/grey041.png Binary files differnew file mode 100644 index 0000000..d2e07b4 --- /dev/null +++ b/27112-h/images/grey041.png diff --git a/27112-h/images/grey042.png b/27112-h/images/grey042.png Binary files differnew file mode 100644 index 0000000..dad0b15 --- /dev/null +++ b/27112-h/images/grey042.png diff --git a/27112-h/images/grey042a.png b/27112-h/images/grey042a.png Binary files differnew file mode 100644 index 0000000..437c92c --- /dev/null +++ b/27112-h/images/grey042a.png diff --git a/27112-h/images/grey043.png b/27112-h/images/grey043.png Binary files differnew file mode 100644 index 0000000..83f92c8 --- /dev/null +++ b/27112-h/images/grey043.png diff --git a/27112-h/images/grey044.png b/27112-h/images/grey044.png Binary files differnew file mode 100644 index 0000000..47e2088 --- /dev/null +++ b/27112-h/images/grey044.png diff --git a/27112-h/images/grey045a.png b/27112-h/images/grey045a.png Binary files differnew file mode 100644 index 0000000..224396f --- /dev/null +++ b/27112-h/images/grey045a.png diff --git a/27112-h/images/grey045b.png b/27112-h/images/grey045b.png Binary files differnew file mode 100644 index 0000000..1606a36 --- /dev/null +++ b/27112-h/images/grey045b.png diff --git a/27112-h/images/grey046.png b/27112-h/images/grey046.png Binary files differnew file mode 100644 index 0000000..5ac7123 --- /dev/null +++ b/27112-h/images/grey046.png diff --git a/27112-h/images/grey047.png b/27112-h/images/grey047.png Binary files differnew file mode 100644 index 0000000..338d76e --- /dev/null +++ b/27112-h/images/grey047.png diff --git a/27112-h/images/grey048.png b/27112-h/images/grey048.png Binary files differnew file mode 100644 index 0000000..267825b --- /dev/null +++ b/27112-h/images/grey048.png diff --git a/27112-h/images/grey048a.png b/27112-h/images/grey048a.png Binary files differnew file mode 100644 index 0000000..a2251c2 --- /dev/null +++ b/27112-h/images/grey048a.png diff --git a/27112-h/images/grey049.png b/27112-h/images/grey049.png Binary files differnew file mode 100644 index 0000000..9ea39a9 --- /dev/null +++ b/27112-h/images/grey049.png diff --git a/27112-h/images/grey050.png b/27112-h/images/grey050.png Binary files differnew file mode 100644 index 0000000..4d96625 --- /dev/null +++ b/27112-h/images/grey050.png diff --git a/27112-h/images/grey051.png b/27112-h/images/grey051.png Binary files differnew file mode 100644 index 0000000..5a69ddb --- /dev/null +++ b/27112-h/images/grey051.png diff --git a/27112-h/images/grey052.png b/27112-h/images/grey052.png Binary files differnew file mode 100644 index 0000000..2c25c5f --- /dev/null +++ b/27112-h/images/grey052.png diff --git a/27112-h/images/grey052a.png b/27112-h/images/grey052a.png Binary files differnew file mode 100644 index 0000000..d93c522 --- /dev/null +++ b/27112-h/images/grey052a.png diff --git a/27112-h/images/grey053.jpg b/27112-h/images/grey053.jpg Binary files differnew file mode 100644 index 0000000..790a55f --- /dev/null +++ b/27112-h/images/grey053.jpg diff --git a/27112-h/images/grey054.png b/27112-h/images/grey054.png Binary files differnew file mode 100644 index 0000000..75c9fbb --- /dev/null +++ b/27112-h/images/grey054.png diff --git a/27112-h/images/grey054a.png b/27112-h/images/grey054a.png Binary files differnew file mode 100644 index 0000000..ca9224c --- /dev/null +++ b/27112-h/images/grey054a.png diff --git a/27112-h/images/grey055.png b/27112-h/images/grey055.png Binary files differnew file mode 100644 index 0000000..5346115 --- /dev/null +++ b/27112-h/images/grey055.png diff --git a/27112-h/images/grey057.png b/27112-h/images/grey057.png Binary files differnew file mode 100644 index 0000000..a643616 --- /dev/null +++ b/27112-h/images/grey057.png diff --git a/27112-h/images/grey058.png b/27112-h/images/grey058.png Binary files differnew file mode 100644 index 0000000..374ec9b --- /dev/null +++ b/27112-h/images/grey058.png diff --git a/27112-h/images/grey061.png b/27112-h/images/grey061.png Binary files differnew file mode 100644 index 0000000..bfce073 --- /dev/null +++ b/27112-h/images/grey061.png diff --git a/27112-h/images/grey062.png b/27112-h/images/grey062.png Binary files differnew file mode 100644 index 0000000..c3bef1e --- /dev/null +++ b/27112-h/images/grey062.png diff --git a/27112-h/images/grey063.png b/27112-h/images/grey063.png Binary files differnew file mode 100644 index 0000000..0750f99 --- /dev/null +++ b/27112-h/images/grey063.png diff --git a/27112-h/images/grey063a.png b/27112-h/images/grey063a.png Binary files differnew file mode 100644 index 0000000..e4fdf17 --- /dev/null +++ b/27112-h/images/grey063a.png diff --git a/27112-h/images/grey064.png b/27112-h/images/grey064.png Binary files differnew file mode 100644 index 0000000..2276604 --- /dev/null +++ b/27112-h/images/grey064.png diff --git a/27112-h/images/grey064a.png b/27112-h/images/grey064a.png Binary files differnew file mode 100644 index 0000000..14bb87b --- /dev/null +++ b/27112-h/images/grey064a.png diff --git a/27112-h/images/grey065.png b/27112-h/images/grey065.png Binary files differnew file mode 100644 index 0000000..ddce8d9 --- /dev/null +++ b/27112-h/images/grey065.png diff --git a/27112-h/images/grey066.png b/27112-h/images/grey066.png Binary files differnew file mode 100644 index 0000000..5eefbe2 --- /dev/null +++ b/27112-h/images/grey066.png diff --git a/27112-h/images/grey067.png b/27112-h/images/grey067.png Binary files differnew file mode 100644 index 0000000..9b162f3 --- /dev/null +++ b/27112-h/images/grey067.png diff --git a/27112-h/images/grey068.png b/27112-h/images/grey068.png Binary files differnew file mode 100644 index 0000000..8e4c060 --- /dev/null +++ b/27112-h/images/grey068.png diff --git a/27112-h/images/grey068a.png b/27112-h/images/grey068a.png Binary files differnew file mode 100644 index 0000000..8831613 --- /dev/null +++ b/27112-h/images/grey068a.png |
