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+The Project Gutenberg EBook of English Book-Illustration of To-day, by 
+Rose Esther Dorothea Sketchley
+
+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: English Book-Illustration of To-day
+       Appreciations of the Work of Living English Illustrators
+       With Lists of Their Books
+
+Author: Rose Esther Dorothea Sketchley
+
+Contributor: Alfred W. Pollard
+
+Release Date: November 29, 2011 [EBook #38164]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ENGLISH BOOK-ILLUSTRATION ***
+
+
+
+
+Produced by Chris Curnow, Diane Monico, and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+
+
+
+
+
+
+ENGLISH BOOK-ILLUSTRATION OF TO-DAY
+
+
+
+
+English Book-Illustration
+of To-day
+
+APPRECIATIONS OF THE WORK OF LIVING
+ENGLISH ILLUSTRATORS WITH
+LISTS OF THEIR BOOKS
+
+BY R. E. D. SKETCHLEY
+
+WITH AN INTRODUCTION
+
+BY ALFRED W. POLLARD
+
+[Illustration]
+
+LONDON
+KEGAN PAUL, TRENCH, TRÜBNER AND CO., LTD.
+PATERNOSTER HOUSE, CHARING CROSS ROAD, W.C.
+1903
+
+
+CHISWICK PRESS: CHARLES WHITTINGHAM AND CO.
+TOOKS COURT, CHANCERY LANE, LONDON.
+
+
+
+
+NOTE.
+
+
+The four articles and bibliographies contained in this volume
+originally appeared in "The Library."
+
+In connection with the bibliographies, I desire to express cordial
+thanks to the authorities and attendants of the British Museum, without
+whose courtesy and aid, extending over many weeks, it would have been
+impossible to bring together the particulars. Most of the artists, too,
+have kindly checked and supplemented the entries relating to their
+work, but even with the help given me I cannot hope to have produced
+exhaustive lists. My thanks are due to the publishers with whom
+arrangements have been made for the use of blocks.
+
+R. E. D. SKETCHLEY.
+
+
+
+
+CONTENTS.
+
+
+                                                      PAGE
+
+NOTE                                                    v
+
+INTRODUCTION                                           xi
+
+I. SOME DECORATIVE ILLUSTRATORS                         1
+
+II. SOME OPEN-AIR ILLUSTRATORS                         30
+
+III. SOME CHARACTER ILLUSTRATORS                       56
+
+IV. SOME CHILDREN'S-BOOKS ILLUSTRATORS                 94
+
+
+BIBLIOGRAPHIES.
+
+I. SOME DECORATIVE ILLUSTRATORS                       121
+
+II. SOME OPEN-AIR ILLUSTRATORS                        132
+
+III. SOME CHARACTER ILLUSTRATORS                      144
+
+IV. SOME CHILDREN'S BOOKS ILLUSTRATORS                158
+
+INDEX OF ARTISTS                                      174
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+          FROM                                                    PAGE
+
+"Les Quinze Joies de Mariage"                                      xii
+
+The "Dialogus Creaturarum"                                        xiii
+
+A Venetian Chapbook                                               xvii
+
+The "Rappresentazione di un Miracolo del Corpo di Gesù"          xviii
+
+The "Rappresentazione di S. Cristina"                              xix
+
+"La Nencia da Barberino"                                           xxi
+
+The "Storia di Ippolito Buondelmonti e Dianora Bardi"             xxii
+
+Ingold's "Guldin Spiel"                                           xxiv
+
+The Malermi Bible                                                  xxv
+
+A French Book of Hours                                           xxvii
+
+          FROM                                   BY
+
+"A Farm in Fairyland."                   _Laurence Housman_        xxx
+
+Grimm's "Household Stories."             _Walter Crane_              5
+
+"Undine."                                _Heywood Sumner_            7
+
+"Keats' Poems."                          _R. Anning Bell_            9
+
+"Stories and Fairy Tales."               _A. J. Gaskin_             11
+
+"The Field of Clover."                   _Laurence Housman_  20 and 21
+
+"Cupide and Psyches."                    _Charles Ricketts_         22
+
+"Daphnis and Chloe."                     _Charles Ricketts and
+                                          C. H. Shannon_            23
+
+"The Centaur."                           _T. Sturge Moore_          25
+
+"Royal Edinburgh."                       _Sir George Reid_   facing 35
+
+"The Warwickshire Avon."                 _Alfred Parsons_           37
+
+"The Cinque Ports."                      _William Hyde_             42
+
+"Italian Journeys."                      _Joseph Pennell_    facing 45
+
+"The Holyhead Road."                     _C. G. Harper_             49
+
+"The Formal Garden."                     _F. Inigo Thomas_          51
+
+"The Natural History of Selborne."       _E. H. New_                53
+
+"British Deer and their Horns."          _J. G. Millais_            55
+
+"Death and the Ploughman's Wife."        _William Strang_           61
+
+"The Bride of Lammermoor."               _Fred Pegram_              71
+
+"Shirley."                               _F. H. Townsend_           73
+
+"The Heart of Midlothian."               _Claude A. Shepperson_     75
+
+"The School for Scandal."                _E. J. Sullivan_           78
+
+"The Ballad of Beau Brocade."            _Hugh Thomson_             82
+
+"The Essays of Elia."                    _C. E. Brock_              85
+
+"The Talk of the Town."                  _Sir Harry Furniss_        89
+
+"Hermy."                                 _Lewis Baumer_            100
+
+"To tell the King the Sky is falling."   _Alice B. Woodward_       105
+
+"Fairy Tales of the Brothers Grimm."     _Arthur Rackham_          109
+
+"Indian Fairy Tales."                    _J. D. Batten_            111
+
+"The Pink Fairy Book."                   _H. J. Ford_              113
+
+"Fairy Tales by Q."                      _H. R. Millar_            115
+
+
+
+
+INTRODUCTION.
+
+SOME PRESENT-DAY LESSONS FROM OLD WOODCUTS.
+
+BY ALFRED W. POLLARD.
+
+
+SOME explanation seems needed for the intrusion of a talk about the
+woodcuts of the fifteenth century into a book dealing with the work of
+the illustrators of our own day, and the explanation, though no doubt
+discreditable, is simple enough. It was to a mere bibliographer that
+the idea occurred that lists of contemporary illustrated books, with
+estimates of the work found in them, might form a useful record of the
+state of English book-illustration at the end of a century in which for
+the first time (if we stretch the century a little so as to include
+Bewick) it had competed on equal terms with the work of foreign
+artists. Fortunately the bibliographer's scanty leisure was already
+heavily mortgaged, and so the idea was transferred to a special student
+of the subject, much better equipped for the task. But partly for the
+pleasure of keeping a finger in an interesting pie, partly because
+there was a fine hobby-horse waiting to be mounted, the bibliographer
+bargained that he should be allowed to write an introduction in which
+his hobby should have free play, and the reader, who has got a much
+better book than he was intended to have, must acquiesce in this
+meddling, or resort to his natural rights and skip.
+
+[Illustration: FROM 'LES QUINZE JOIES DE MARIAGE,'
+
+PARIS, TREPEREL, C. 1500.]
+
+It is well to ride a hobby with at least a semblance of moderation, and
+the thesis which this introduction is written to maintain does not
+assert that the woodcuts of the fifteenth century are better than the
+illustrations of the present day, only that our modern artists, if they
+will condescend, may learn some useful lessons from them. At the outset
+it may frankly be owned that the range of the earliest illustrators was
+limited. They had no landscape art, no such out-of-door illustrations
+as those which furnish the subject for one of Miss Sketchley's most
+interesting chapters. Again, they had little humour, at least of the
+voluntary kind, though this was hardly their own fault, for as the
+admission is made the thought at once follows it that of all the many
+deficiencies of fifteenth-century literature the lack of humour is one
+of the most striking. The rough horseplay of the Life of Aesop prefixed
+to editions of the Fables can hardly be counted an exception; the wit
+combats of Solomon and Marcolphus produced no more than a title-cut
+showing king and clown, and outside the 'Dialogus Creaturarum' I can
+think of only a single valid exception, itself rather satirical than
+funny, this curious picture of a family on the move from a French
+treatise on the Joys of Marriage. On the 'Dialogus' itself it seems
+fair to lay some stress, for surely the picture here shown of the Lion
+and the Hare who applied for the post of his secretary may well
+encourage us to believe that in two other departments of illustration
+from which also they were shut out, those of Caricature (for which we
+must go back to thirteenth-century prayer-books) and Christmas Books
+for Children, the fifteenth-century artist would have made no mean
+mark. It is, indeed, our Children's Gift-Books that come nearest both
+to his feeling and his style.
+
+[Illustration: FROM THE 'DIALOGUS CREATURARUM.' GOUDA, 1480.]
+
+What remains for us here to consider is the achievement of the early
+designers and woodcutters in the field of Decorative and Character
+Illustrations with which Miss Sketchley deals in her first and third
+chapters. Here the first point to be made is that by an invention of
+the last twenty years they are brought nearer to the possible work of
+our own day than to that of any previous time. It has been often enough
+pointed out that, not from preference, but from inability to devise any
+better plan, the art of woodcut illustration began on wholly wrong
+lines. Starting, as was inevitable, from the colour-work of
+illuminated manuscripts, the illustrators could think of no other
+means of simplification than the reduction of pictures to their
+outlines. With a piece of plank cut, not across the grain of the wood,
+but with it, as his material, and a sharp knife and, perhaps, a gouge
+as his only tools, the woodcutter had to reproduce these outlines as
+best he could, and it is little to be wondered at if his lines were
+often scratchy and angular, and many a good design was deplorably ill
+handled. After a time, soft metal, presumably pewter, was used as an
+alternative to wood, and perhaps, though probably slower, was a little
+easier to work successfully. But save in some Florentine pictures and a
+few designs by Geoffroy Tory, the craftsman's work was not to cut the
+lines which the artist had drawn, but to cut away everything else. This
+inverted method of work continued after the invention of crosshatching
+to represent shading, and was undoubtedly the cause of the rapid
+supersession of woodcuts by copper engravings during the sixteenth
+century, the more natural method of work compensating for the trouble
+caused when the illustrations no longer stood in relief like the type,
+but had to be printed as incised plates, either on separate leaves, or
+by passing the sheet through a different press. The eighteenth-century
+invention of wood-engraving as opposed to woodcutting once again caused
+pictures and text to be printed together, and the amazing dexterity of
+successive schools of wood-engravers enabled them to produce, though at
+the cost of immense labour, work which seemed to compete on equal terms
+with engravings on copper. At its best the wood-engraving of the
+nineteenth century was almost miraculously good; at its worst, in the
+wood-engravings of commerce--the wood-engravings of the weekly papers,
+for which the artist's drawing might come in on a Tuesday, to be cut up
+into little squares and worked on all night as well as all day, in the
+engravers' shops--it was unequivocally and deplorably, but hardly
+surprisingly, bad.
+
+Upon this strange medley of the miraculously good and the excusably
+horrid came the invention of the process line-block, and the problem
+which had baffled so many fifteenth-century woodcutters, of how to
+preserve the beauty of simple outlines was solved at a single stroke.
+Have our modern artists made anything like adequate use of this
+excellent invention? My own answer would be that they have used it,
+skilfully enough, to save themselves trouble, but that its artistic
+possibilities have been allowed to remain almost unexplored. As for the
+trouble-saving--and trouble-saving is not only legitimate but
+commendable--the photographer's camera is the most obliging of
+craftsmen. Only leave your work fairly open and you may draw on as
+large a scale and with as coarse lines as you please, and the camera
+will photograph it down for you to the exact space the illustration has
+to fill and will win you undeserved credit for delicacy and fineness of
+touch as well. Thus to save trouble is well, but to produce beautiful
+work is better, and what use has been made of the fidelity with which
+beautiful and gracious line can now be reproduced? The caricaturists,
+it is true, have seen their opportunity. Cleverness could hardly be
+carried further than it is by Mr. Phil May, and a caricaturist of
+another sort, the late Mr. Aubrey Beardsley, degenerate and despicable
+as was almost every figure he drew, yet saw and used the possibilities
+which artists of happier temperament have neglected. With all the
+disadvantages under which they laboured in the reproduction of fine
+line the craftsmen of Venice and Florence essayed and achieved more
+than this. Witness the fine rendering into pure line of a picture by
+Gentile Bellini of a tall preacher preceded by his little crossbearer
+in the 'Doctrina' of Lorenzo Giustiniano printed at Venice in 1494, or
+again the impressiveness, surviving even its little touch of the
+grotesque, of this armed warrior kneeling at the feet of a pope, which
+I have unearthed from a favourite volume of Venetian chapbooks at the
+British Museum. A Florentine picture of Jacopone da Todi on his knees
+before a vision of the Blessed Virgin (from Bonacorsi's edition of his
+'Laude,' 1490) gives another instance of what can be done by simple
+line in a different style. We have yet other examples in many of the
+illustrations to the famous romance, the 'Hypnerotomachia Poliphili,'
+printed at Venice in 1499. Of similar cuts on a much smaller scale, a
+specimen will be given later. Here, lest anyone should despise these
+fifteenth-century efforts, I would once more recall the fact that at
+the time they were made the execution of such woodcuts required the
+greatest possible dexterity, in cutting away on each side so as to
+leave the line as the artist drew it with any semblance of its original
+grace. In many illustrated books which have come down to us what must
+have been beautiful designs have been completely spoilt, rendered even
+grotesque, by the fine curves of the drawing being translated into
+scratchy angularities. But draw he never so finely no artist nowadays
+need fear that his work will be made scratchy or angular by
+photographic process. It is only when he crowds lines together, from
+inability to work simply, that the process block aggravates his
+defects.
+
+[Illustration: La Lega Facta Nouamente a Morte e Destructione de li
+Franzosi & suoí Seguaci.
+
+VENICE. C. 1500.]
+
+[Illustration: FROM THE RAPPRESENTAZIONE DI UN MIRACOLO DEL CORPO DI
+GESÙ, 1572. JAC. CHITI.]
+
+[Illustration: FROM THE RAPPRESENTAZIONE DI S. CRISTINA, 1555.]
+
+I pass on to another point as to which I think the Florentine
+woodcutters have something to teach us. If we put pictures into our
+books, why should not the pictures be framed? A hard single line round
+the edge of a woodcut is a poor set-off to it, often conflicting with
+the lines in the picture itself, and sometimes insufficiently emphatic
+as a frame to make us acquiesce in what seems a mere cutting away a
+portion from a larger whole. Our Florentine friends knew better. Here
+(pp. xiv-xv), for instance, are two scenes, from some unidentified
+romance, which in 1572 and 1555 respectively (by which time they must
+have been about fifty and sixty years old) appeared in Florentine
+religious chapbooks, with which they have nothing to do. The little
+borders are simple enough, but they are sufficiently heavy to carry off
+the blacks which the artist (according to what is the true method of
+woodcutting) has left in his picture, and we are much less inclined to
+grumble at the window being cut in two than we should be if the cut
+were made by a simple line instead of quite firmly and with
+determination by a frame.
+
+[Illustration: FROM LORENZO DE' MEDICI'S LA NENCIA DA BARBERINO, S.A.]
+
+I have given these two Florentine cuts, much the worse for wear though
+they be, with peculiar pleasure, because I take them to be the exact
+equivalents of the pictures in our illustrated novels of the present
+day of which Miss Sketchley gives several examples in her third paper.
+They are good examples of what may be called the diffused
+characterization in which our modern illustrators excel. Every single
+figure is good and has its own individuality, but there is no attempt
+to illustrate a central character at a decisive moment. Decisive
+moments, it may be objected, do not occur (except for epicures) at
+polite dinner parties, or during the 'mauvais quart d'heure,' which
+might very well be the subject of our first picture. But it seems to me
+that modern illustrators often deliberately shun decisive moments,
+preferring to illustrate their characters in more ordinary moods, and
+perhaps the Florentines did this also. Where the illustrator is not a
+great artist the discretion is no doubt a wise one. What for instance
+could be more charming, more completely successful than this little
+picture of a messenger bringing a lady a flower, no doubt with a
+pleasing message with it? In our next cut the artist has been much more
+ambitious. Preceded by soldiers with their long spears, followed by the
+hideously masked 'Battuti' who ministered to the condemned, Ippolito is
+being led to execution. As he passes her door, Dianora flings herself
+on him in a last embrace. The lady's attitude is good, but the
+woodcutter, alas, has made the lover look merely bored. In
+book-illustration, as in life, who would avoid failure must know his
+limitations.
+
+[Illustration: FROM THE STORIA DI IPPOLITO BUONDELMONTI E DIANORA
+BARDI, S.A.]
+
+Whatever shortcomings these Florentine pictures may have in themselves,
+or whatever they may lose when examined by eyes only accustomed to
+modern work, I hope that it will be conceded that as
+character-illustrations they are far from being despicable.
+Nevertheless the true home of character-illustration in the fifteenth
+century was rather in Germany than in Italy. Inferior to the Italian
+craftsmen in delicacy and in producing a general impression of grace
+(partly, perhaps, because their work was intended to be printed in
+conjunction with far heavier type) the German artists and woodcutters
+often showed extraordinary power in rendering facial expression. My
+favourite example of this is a little picture from the 'De Claris
+Mulieribus' of Boccaccio printed at Ulm in 1473, on one side of which
+the Roman general Scipio is shown with uplifted finger bidding the
+craven Massinissa put away his Carthaginian wife, while on the other
+Sophonisba is watched by a horror-stricken messenger as she drains the
+poison her husband sends her. But there is a naïveté about the figure
+of Scipio which has frequently provoked laughter from audiences at
+lantern-lectures, so my readers must look up this illustration for
+themselves at the British Museum, or elsewhere. I fall back on a
+picture of a card-party from a 'Guldin Spiel' printed at Augsburg in
+1472, in which the hesitation of the woman whose turn it is to play,
+the rather supercilious interest of her vis-à-vis, and the calm
+confidence of the third hand, not only ready to play his best, but sure
+that his best will be good enough, are all shown with absolute
+simplicity, but in a really masterly manner. Facial expression such as
+this in modern work seems entirely confined to children's books and
+caricature, but one would sacrifice a good deal of our modern
+prettiness for a few more touches of it.
+
+[Illustration: FROM INGOLD'S 'GULDIN SPIEL.' AUGSBURG, 1472.]
+
+The last point to which I would draw attention is that a good deal more
+use might be made of quite small illustrations. The full-pagers are, no
+doubt, impressive and dignified, but I always seem to see written on
+the back of them the artist's contract to supply so many drawings of
+such and such size at so many guineas apiece, and to hear him groaning
+as he runs through his text trying to pick out the full complement of
+subjects. The little sketch is more popular in France than in England,
+and there is a suggestion of joyous freedom about it which is very
+captivating. Such small pictures did not suit the rather heavy touch of
+the German woodcutters; in Italy they were much more popular. At Venice
+a whole series of large folio books were illustrated in this way in the
+last decade of the fifteenth century, two editions of Malermi's
+translation of the Bible, Lives of the Saints, an Italian Livy, the
+Decamerone of Boccaccio, the Novels of Masuccio, and other works, all
+in the vernacular. At Ferrara, under Venetian influence, an edition of
+the Epistles of S. Jerome was printed in 1497, with upwards of one
+hundred and eighty such little cuts, many of them illustrating
+incidents of monastic life. Both at Venice and Ferrara the cuts are
+mainly in outline, and when they are well cut and two or three come
+together on a page the effect is delightful. In France the vogue of the
+small cut took a very special form. By far the most famous series of
+early French illustrated books is that of the Hours of the Blessed
+Virgin (with which went other devotions, making fairly complete
+prayer-books for lay use), which were at their best for some fifteen
+years reckoning from 1488. These Hour-Books usually contained some
+fifteen large illustrations, but their most notable features are to be
+found in the borders which surround every page. On the outer and lower
+margins these borders are as a rule about an inch broad, sometimes
+more, so that they can hold four or five little pictures of about an
+inch by an inch and a half on the outer margin, and one rather larger
+one at the foot of the page. The variety of the pictures designed to
+fill these spaces is almost endless. Figures of the Saints and their
+emblems and illustrations of the games or occupations suited to each
+month fill the margins of the Calendar. To surround the text of the
+book there is a long series of pictures of incidents in the life of
+Christ, with parallel scenes from the Old Testament, scenes from the
+lives of Joseph and Job, representations of the Virtues, the Deadly
+Sins being overcome by the contrary graces, the Dance of Death, and for
+pleasant relief woodland and pastoral scenes and even grotesques. The
+popularity of these prayer-books was enormous, new editions being
+printed almost every month, with the result that the illustrations were
+soon worn out and had frequently to be replaced. I have often wished,
+if only for the sake of small children in sermon time, that our English
+prayer-books could be similarly illustrated. An attempt to do this was
+made in the middle of the last century, but it was pretentious and
+unsuccessful. The great difficulty in the way of a new essay lies in
+the popularity of very small prayer-books, with so little margin and
+printed on such thin paper as hardly to admit of border cuts. The
+difficulty is real, but should not be insuperable, and I hope that some
+bold illustrator may soon try his hand afresh.
+
+[Illustration: FROM THE MALERMI BIBLE. VENICE, GIUNTA, 1490.]
+
+[Illustration: FROM A FRENCH BOOK OF HOURS. PARIS, KERVER, 1498.]
+
+I should not be candid if I closed this paper without admitting that my
+fifteenth-century friends anticipated modern publishers in one of their
+worst faults, the dragging in illustrations where they are not wanted.
+In the fifteenth century the same cuts were repeated over and over
+again in the same book to serve for different subjects. Modern
+publishers are not so simple-hearted as this, but they add to the cost
+of their books by unpleasant half-tone reproductions of unnecessary
+portraits and views, and I do not think that book-buyers are in the
+least grateful to them. Miss Sketchley, I am glad to see, has not
+concerned herself with illustrators whose designs require to be
+produced by the half-tone process. To condemn this process unreservedly
+would be absurd. It gives us illustrations which are really needed for
+the understanding of the text when they could hardly be produced in any
+other way, and while it does this it must be tolerated. But by
+necessitating the use of heavily-loaded paper--unpleasant to the touch,
+heavy in the hand, doomed, unless all the chemists are wrong, speedily
+to rot--it is the greatest danger to the excellence of our English
+book-work which has at present to be faced, while by wearying readers
+with endless mechanically produced pictures it is injurious also to the
+best interests of artistic illustration.
+
+[Illustration: FROM MR. HOUSMAN'S "A FARM IN FAIRYLAND."
+
+BY LEAVE OF MESSRS. KEGAN PAUL.]
+
+
+
+
+ENGLISH BOOK-ILLUSTRATION OF TO-DAY.
+
+
+
+
+I. SOME DECORATIVE ILLUSTRATORS.
+
+
+OF the famous 'Poems by Alfred Tennyson,' published in 1857 by Edward
+Moxon, Mr. Gleeson White wrote in 1897: 'The whole modern school of
+decorative illustrators regard it, rightly enough, as the genesis of
+the modern movement.' The statement may need some modification to touch
+exact truth, for the 'modern movement' is no single-file,
+straightforward movement. 'Kelmscott,' 'Japan,' the 'Yellow Book,'
+black-and-white art in Germany, in France, in Spain, in America, the
+influence of Blake, the style of artists such as Walter Crane, have
+affected the present form of decorative book-illustration. Such perfect
+unanimity of opinion as is here ascribed to a large and rather
+indefinitely related body of men hardly exists among even the smallest
+and most derided body of artists. Still, allowing for the impossibility
+of telling the whole truth about any modern and eclectic form of art in
+one sentence, there is here a statement of fact. What Rossetti and
+Millais and Holman Hunt achieved in the drawings to the 'Tennyson' of
+1857, was a vital change in the intention of English illustrative art,
+and whatever form decorative illustration may assume, their ideal is
+effective while a personal interpretation of the spirit of the text is
+the creative impulse. The influence of technical mastery is strong and
+enduring enough. It is constantly in sight and constantly in mind. But
+it is in discovering and making evident a principle in art that the
+influence of spirit on spirit becomes one of the illimitable powers.
+
+To Rossetti the illustration of literature meant giving beautiful form
+to the expression of delight, of penetration, that had kindled his
+imagination as he read. He illustrated the 'Palace of Art' in the
+spirit that stirred him to rhythmic translation into words of the still
+music in Giorgione's 'Pastoral,' or of the unpassing movement of
+Mantegna's 'Parnassus.' Not the words of the text, nor those things
+precisely affirmed by the writer, but the spell of significance and of
+beauty that held his mind to the exclusion of other images, gave him
+inspiration for his drawings. As Mr. William Michael Rossetti says: 'He
+drew just what he chose, taking from his author's text nothing more
+than a hint and an opportunity.' It is said, indeed, that Tennyson
+could never see what the St. Cecily drawing had to do with his poem.
+And that is strange enough to be true.
+
+It is clear that such an ideal of illustration is for the attainment of
+a few only. The ordinary illustrator, making drawings for cheap
+reproduction in the ordinary book, can no more work in this mood than
+the journalist can model his style on the prose of Milton. But
+journalism is not literature, and pictured matter-of-fact is not
+illustration, though it is convenient and customary to call it so.
+However, here one need not consider this, for the decorative
+illustrator has usually literature to illustrate, and a commission to
+be beautiful and imaginative in his work. He has the opportunity of
+Rossetti, the opportunity for significant art.
+
+The 'Classics' and children's books give greatest opportunity to
+decorative illustrators. Those who have illustrated children's books
+chiefly, or whose best work has been for the playful classics of
+literature, it is convenient to consider in a separate chapter, though
+there are instances where the division is not maintainable: Walter
+Crane, for example, whose influence on a school of decorative design
+makes his position at the head of his following imperative.
+
+Representing the 'architectural' sense in the decoration of books, many
+years before the supreme achievements of William Morris added that
+ideal to generally recognized motives of book-decoration, Walter Crane
+is the precursor of a large and prolific school of decorative
+illustrators. Many factors, as he himself tells, have gone to the
+shaping of his art. Born in 1846 at Liverpool, he came to London in
+1857, and there after two years was 'apprenticed' to Mr. W. J. Linton,
+the well-known wood-engraver. His work began with 'the sixties,' in
+contact with the enthusiasm and inspiration those years brought into
+English art. The illustrated 'Tennyson,' and Ruskin's 'Elements of
+Drawing,' were in his thoughts before he entered Mr. Linton's workshop,
+and the 'Once a Week' school had a strong influence on his early
+contributions to 'Good Words,' 'Once a Week,' and other famous
+magazines. In 1865 Messrs. Warne published the first toy-book, and by
+1869-70 the 'Walter Crane Toy-book' was a fact in art. The sight of
+some Japanese colour-prints during these years suggested a finer
+decorative quality to be obtained with tint and outline, and in the use
+of black, as well as in a more delicate simplicity of colour, the later
+toy-books show the first effect of Japanese art on the decorative art
+of England. Italian art in England and Italy, the prints of Dürer, the
+Parthenon sculptures, these were influences that affected him strongly.
+'The Baby's Opera' (1877) and 'The Baby's Bouquet' (1879) are classics
+almost impossible to criticise, classics familiar from cover to cover
+before one was aware of any art but the art on their pages. So that if
+these delightful designs seem less expressive of the Greece, Germany,
+and Italy of the supreme artists than of the 'Crane' countries by whose
+coasts ships 'from over the sea' go sailing by with strange cargoes and
+strange crews, it is not in their dispraise. As a decorative
+draughtsman Mr. Crane is at his best when the use of colour gives
+clearness to the composition, but some of his most 'serious' work is in
+the black-and-white pages of 'The Sirens Three,' of 'The Shepheardes
+Calendar,' and especially of 'The Faerie Queene.' The number of books
+he has illustrated--upwards of seventy--makes a detailed account
+impossible. Nursery rhyme and fairy books, children's stories, Spenser,
+Shakespeare, the myths of Greece, 'pageant books' such as 'Flora's
+Feast' or 'Queen Summer,' or the just published 'Masque of Days,' his
+own writings, serious or gay, have given him subjects, as the great art
+of all times has touched the ideals of his art.
+
+[Illustration: FROM MR. WALTER CRANE'S 'GRIMM'S HOUSEHOLD STORIES.'
+
+BY LEAVE OF MESSRS. MACMILLAN.]
+
+But whatever the subject, how strong soever his artistic admirations,
+he is always Walter Crane, unmistakable at a glance. Knights and
+ladies, fairies and fairy people, allegorical figures, nursery and
+school-room children, fulfil his decorative purpose without swerving,
+though not always without injury to their comfort and freedom and the
+life in their limbs. An individual apprehension that sees every
+situation as a conventional 'arrangement' is occasionally beside the
+mark in rendering real life. But when his theme touches imagination,
+and is not a supreme expression of it--for then, as in the
+illustrations to 'The Faerie Queene,' an unusual sense of subservience
+appears to dull his spirit--his humorous fancy knows no weariness nor
+sameness of device.
+
+The work of most of Mr. Crane's followers belongs to 'the nineties,'
+when the 'Arts and Crafts' movement, the 'Century Guild,' the
+Birmingham and other schools had attracted or produced artists working
+according to the canons of Kelmscott. Mr. Heywood Sumner was earlier in
+the field. The drawings to 'Sintram' (1883) and to 'Undine' (1888) show
+his art as an illustrator. Undine--spirit of wind and water,
+flower-like in gladness--seeking to win an immortal soul by submission
+to the forms of life, is realized in the gracefully designed figures of
+frontispiece and title-page. Where Mr. Sumner illustrates incident he
+is 'factual' without being matter-of-fact. The small drawing
+reproduced is hardly representative of his art, but most of his work is
+adapted to a squarer page than this, and has had to be rejected on that
+account. Some of the most apt decorations in 'The English Illustrated'
+were by Mr. Sumner, and during the time when art was represented in the
+magazine Mr. Ryland and Mr. Louis Davis were also frequent
+contributors. The graceful figures of Mr. Ryland, uninterested in
+activity, a garden-world set with statues around them, and the
+carol-like grace of Mr. Davis's designs in that magazine, represent
+them better than the one or two books they have illustrated.
+
+[Illustration: FROM MR. HEYWOOD SUMNER'S 'UNDINE.'
+
+BY LEAVE OF MESSRS. CHAPMAN AND HALL.]
+
+Among those associated with the 'Arts and Crafts' who have given more
+of their art to book-decoration, Mr. Anning Bell is first. He has
+gained the approval even of the most exigent of critics as an artist
+who understands drawing for process. Since 1895, when the 'Midsummer
+Night's Dream' appeared, his winning art has been praised with
+discrimination and without discrimination, but always praised. Trained
+in an architect's office, widely known as the recreator of coloured
+relief for architectural decoration, Mr. Anning Bell's illustrations
+show constructive power no less than that fairy gift of seeming to
+improvise without labour and without hesitancy, which is one of its
+especial charms. In feeling, and in many of his decorative forms, his
+drawings recall the art of Florentine bas-relief, when Agostino di
+Duccio, or Rossellino or Mino da Fiesole, created shapes of delicate
+sweetness, pure, graceful--so graceful that their power is hardly
+realized. The fairy by-play of the 'Midsummer Night's Dream' is exactly
+to Mr. Anning Bell's fancy. He knows better than to go about to expound
+this dream, and it is not likely that a more delightful edition will
+ever be put into the hands of children, or of anyone, than this in the
+white and gold cover devised by the artist.
+
+Of his illustrations to the 'Poems by John Keats' (1897), and to the
+'English Lyrics from Spenser to Milton' of the following year--as
+illustrations--not quite so much can be said, distinguished and
+felicitous as many of them are. The simple profile, the demure type of
+beauty that he affects, hardly suit with Isabella when she hears that
+Lorenzo has gone from her, with Lamia by the clear pool
+
+                 "Wherein she passionëd
+     To see herself escaped from so sore ills,"
+
+or with Madeline, 'St. Agnes' charmëd maid.' Mr. Anning Bell's
+drawings to 'The Pilgrim's Progress' (1898) reveal him in a different
+mood, as do those in 'The Christian Year' of three years earlier. His
+vision is hardly energetic enough, his energy of belief sufficient, to
+make him a strong illustrator of Bunyan, with his many moods, his great
+mood. A little these designs suggest Howard Pyle, and Anning Bell is
+better in a way of beauty not Gothic.
+
+[Illustration: FROM MR. ANNING BELL'S 'KEATS.'
+
+BY LEAVE OF MESSRS. GEORGE BELL.]
+
+So if Mr. Anning Bell represents the 'Arts and Crafts' movement in the
+variety of decorative arts he has practised, and in the architectural
+sense underlying all his art, his work does not agree with the form in
+which the influence of William Morris on decorative illustration has
+chiefly shown itself. That form, of course, is Gothic, as the ideal of
+Kelmscott was Gothic. The work of the 'Century Guild' artists as
+decorative illustrators is chiefly in the pages of 'The Hobby Horse.'
+Mr. Selwyn Image and Mr. Herbert Horne can hardly be included among
+book illustrators, so in this connection one may not stop to consider
+the decorative strength of their ideal in art. The Birmingham school
+represents Gothic ideals with determination and rigidity. Morris
+addressed the students of the school and prefaced the edition of 'Good
+King Wenceslas,' decorated and engraved and printed by Mr. A. J. Gaskin
+'at the press of the Guild of Handicraft in the City of Birmingham,'
+with cordial words of appreciation for the pictures. These
+illustrations are among the best Mr. Gaskin has done. The commission
+for twelve full-page drawings to 'The Shepheardes Calendar' (Kelmscott
+Press, 1896) marks Morris's pleasure in Mr. Gaskin's work--especially
+in the illustrations to Andersen's 'Stories and Fairy Tales.' If not
+quite in tune with Spenser's Elizabethan idyllism, these drawings are
+distinctive of the definite convictions of the artist.
+
+[Illustration: FROM MR. GASKIN'S 'HANS ANDERSEN.'
+
+BY LEAVE OF MR. GEORGE ALLEN.]
+
+These convictions represent a splendid tradition. They are expressive,
+in their regard for the unity of the page, for harmony between type and
+decoration, of the universal truth in all fine bookmaking. Only at
+times, Birmingham work seems rather heavy in spirit, rather too rigid
+for development. Still, judging by results, a code that would appear to
+be against individual expression is inspiring individual artists. Some
+of these--as Mr. E. H. New--have turned their attention to
+architectural and 'open-air' illustration, in which connection their
+work will be considered, and many have illustrated children's books.
+Their quaint and naïve fancy has there, at times, produced a portentous
+embodiment of the 'old-fashioned' child of fiction. Mr. Gere, though he
+has done little book-illustration, is one of the strongest artists of
+the school. His original wood engravings show unmistakably his
+decorative power and his craftsmanship. With Mr. K. Fairfax Muckley he
+was responsible for 'The Quest' (1894-96). Mr. Fairfax Muckley has
+illustrated and decorated a three-volume edition of 'The Faerie Queene'
+(1897), wherein the forest branches and winding ways of woodland and of
+plain are more happily conventionalized than are Spenser's figures.
+Some of the headpieces are especially successful. The artist uses the
+'mixed convention' of solid black and line with less confusion than
+many modern draughtsmen. Once its dangers must have been evident, but
+now the puzzle pattern, with solid blacks in the foreground,
+background, and mid-distance--only there is no distance in these
+drawings--is a common form of black and white.
+
+Miss Celia Levetus, Mr. Henry Payne, Mr. F. Mason, and Mr. Bernard
+Sleigh, are also to the credit of the school. Miss Levetus, in her
+later work, shows that an inclination towards a more flexible style is
+not incompatible with the training in Gothic convention. Mr. Mason's
+illustrations to ancient romances of chivalry give evidence of
+conscientious craftsmanship, and of a spirit sympathetic to themes such
+as 'Renaud of Montauban.' Mr. Bernard Sleigh's original wood-engravings
+are well known and justly appreciated. Strong in tradition and logic
+as is the work of these designers, it is, for many, too consistent with
+convention to be delightful. Perhaps the best result of the Birmingham
+school will hardly be achieved until the formal effect of its training
+is less patent.
+
+The 'sixties' might have been void of art, so far as these designers
+are concerned, save that in those days Morris and Burne-Jones and
+Walter Crane, as well as Millais and Houghton and Sandys, were about
+their work. Far other is the case with artists such as Mr. Byam Shaw,
+or with the many draughtsmen, including Messrs. P. V. Woodroffe, Henry
+Ospovat, Philip Connard, and Herbert Cole, whose art derives its form
+and intention from the sixties. Differing in technical power and
+fineness of invention, in all that distinguishes good from less good,
+they have this in common--that the form of their art would have been
+quite other if the illustrated books of that period were among things
+unseen. Mr. Byam Shaw began his work as an illustrator in 1897 with a
+volume of 'Browning's Poems,' edited by Dr. Garnett. He proved himself
+in these drawings, as in his pictures and later illustrations, an
+artist with a definite memory for the forms, and a genuine sympathy
+with the aims of pre-Raphaelite art. Evidently, too, he admires the
+black-and-white of Mr. Abbey. He has the gift of dramatic conception,
+sees a situation at high pitch, and has a pleasant way of giving
+side-lights, pictorial asides, by means of decorative head and
+tailpieces. His illustrations to the little green and gold volumes of
+the 'Chiswick Shakespeare' are more emphatic than his earlier work, and
+in the decorations his power of summarizing the chief motive is put to
+good use. There is no need of his signature to distinguish the work of
+Byam Shaw, though he shows himself under the influence of various
+masters. Probably he is only an illustrator of books by the way, but in
+the meantime, as the 'Boccaccio,' 'Browning,' and 'Shakespeare'
+drawings show, he works in black and white with vigorous intention.
+
+Mr. Ospovat's illustrations to 'Shakespeare's Sonnets' and to 'Matthew
+Arnold's Poems' are interesting, if not very markedly his own. He
+illustrates the Sonnets as a celebration of a poet's passion for his
+mistress. As in these, so in the Matthew Arnold drawings, he shows some
+genuine creative power and an aptitude for illustrative decoration. Mr.
+Philip Connard has made spirited and well-realized illustrations in
+somewhat the same kind; Miss Amelia Bauerle, and Mr. Bulcock, who began
+by illustrating 'The Blessed Damozel' in memory of Rossetti, have made
+appearance in the 'Flowers of Parnassus' series, and Mr. Herbert Cole,
+with three of these little green volumes, prepared one for more
+important work in 'Gulliver's Travels' (1900).
+
+The work of Mr. Woodroffe was, I think, first seen in the 'Quarto'--the
+organ of the Slade School--where also Mr. A. Garth Jones, Mr. Cyril
+Goldie, and Mr. Robert Spence, gave unmistakable evidence of
+individuality. Mr. Woodroffe's wood-engravings in the 'Quarto' showed
+strength, which is apparent, too, in the delicately characterized
+figures to 'Songs from Shakespeare's Plays' (1898), with their borders
+of lightly-strung field flowers. His drawings to 'The Confessions of
+S. Augustine,' engraved by Miss Clemence Housman, are in keeping with
+the text, not impertinent. Mr. A. Garth Jones in the 'Quarto' seemed
+much influenced by Japanese grotesques; but in illustrations to
+Milton's 'Minor Poems' (1898) he has shown development towards the
+expression of beauty more austere, classical, controlled to the
+presentment of Milton's high thought. His recent 'Essays of Elia'
+remind one of the forcible work of Mr. E. J. Sullivan in 'Sartor
+Resartus.' Mr. Sullivan's 'Sartor' and 'Dream of Fair Women' must be
+mentioned. His mastery over an assertive use of line and solid black,
+the unity of his effects, the humour and imagination of his decorative
+designs, are not likely to be forgotten, though the balance of his work
+in illustrations to Sheridan, Marryat, Sir Walter Scott, obliges one to
+class him with "character" illustrators, and so to leave a blank in
+this article.
+
+Mr. Laurence Housman stands alone among modern illustrators, though one
+may, if one will, speak of him as representing the succession of the
+sixties, or as connected with the group of artists whose noteworthy
+development dates from the publication of 'The Dial' by Charles
+Ricketts and Charles Shannon in 1889. To look at Mr. Housman's art in
+either connection, or to record the effect of Dürer, of Blake, of
+Edward Calvert, on his technique, is only to come back to appreciation
+of all that is his own. As an illustrator he has hardly surpassed the
+spirit of the 'forty-four designs, drawn and written by Laurence
+Housman,' that express his idea of George Meredith's 'Jump to Glory
+Jane' (1890). These designs were the result of the appreciation which
+the editor, Mr. Harry Quilter, felt for Mr. Housman's drawings to 'The
+Green Gaffer' in 'The Universal Review.' Jane--the village woman with
+'wistful eyes in a touching but bony face,' leaping with countenance
+composed, arms and feet 'like those who hang,' leaping in crude
+expression of the unity of soul and body, making her converts, failing
+to move the bishop, dying at last, though not ingloriously, by the
+wayside--this most difficult conception has no 'burlesque outline' in
+Mr. Housman's work, inexperienced and unacademic as is the drawing.
+
+'Weird Tales from Northern Seas,' by Jonas Lie, was the next book
+illustrated by Mr. Housman. Christina Rossetti's 'Goblin Market'
+(1893), offered greater scope for freakish imagination than did 'Jane.'
+The goblins, pale-eyed, mole and rat and weasel-faced; the sisters,
+whose simple life they surround with hideous fantasy, are realized in
+harmony with the unique effect of the poem--an effect of simplicity, of
+naïve imagination, of power, of things stranger than are told in the
+cry of the goblin merchants, as at evening time they invade quiet
+places to traffic with their evil fruits for the souls of maidens. The
+frail-bodied elves of 'The End of Elfin Town,' moving and sleeping
+among the white mushrooms and slender stalks of field flowers, are of
+another land than that of the goblin merchant-folk. Illustrations to
+'The Imitation of Christ,' to 'The Sensitive Plant,' and drawings to
+'The Were-Wolf,' by Miss Clemence Housman, complete the list of Mr.
+Housman's illustrations to writings not his own, with the exception of
+frontispiece drawings to several books.
+
+[Illustration: MERCURY GOD OF MERCHANDISE LOOK ON WITH FAVOURABLE EYES
+
+BY LEAVE OF MESSRS. KEGAN PAUL.]
+
+To explain Mr. Housman's vision of 'The Sensitive Plant' would be as
+superfluous as it would be ineffectual. In a note on the illustrations
+he has told how the formal beauty, the exquisite ministrations, the
+sounds and fragrance and sweet winds of the garden enclosed, seem to
+him as 'a form of beauty that springs out of modes and fashions,' too
+graceful to endure. In his pictures he has realized the perfect
+ensemble of the garden, its sunny lawns and rose-trellises, its
+fountains, statues, and flower-sweet ways; realized, too, the spirit of
+the Sensitive Plant, the lady of the garden, and Pan, the great god who
+never dies, who waits only without the garden, till in a little while
+he enters, 'effacing and replacing with his own image and
+superscription, the parenthetic grace ... of the garden deity.'
+
+Of a talent that treats always of enchanted places, where 'reality' is
+a long day's journey down a dusty road, it is difficult to speak
+without suggesting that it is all just a charming dalliance with pretty
+fancies, lacking strength. Of the strength of Mr. Housman's
+imagination, however, his work speaks. His illustrations to his own
+writings, fairy tales, and poems, cannot with any force be discussed by
+themselves. The words belong to the pictures, the pictures to the
+words. The drawings to 'The Field of Clover' are seen to full advantage
+in the wood-engravings of Miss Housman. Only so, or in reproduction by
+photogravure, is the full intention of Mr. Housman's pen-drawings
+apparent.
+
+[Illustration: THE FIELD OF CLOVER By Laurence Housman, Engraved by
+Clemence Housman
+
+BE KINDLY TO THE WEARY DROVER & PIPE THE SHEEP INTO THE CLOVER
+
+BY LEAVE OF MESSRS. KEGAN PAUL.]
+
+One may group the names of Charles Ricketts, C. H. Shannon, T. Sturge
+Moore, Lucien Pissarro, and Reginald Savage together in memory of 'The
+Dial,' where the activity of five original artists first became
+evident, though, save in the case of Mr. Ricketts and Mr. Shannon, no
+continuance of the classification is possible. The first number of 'The
+Dial' (1889) had a cover design cut on wood by Mr. C. H.
+Shannon--afterwards replaced by the design of Mr. Ricketts. Twelve
+designs by Mr. Ricketts may be said to represent the transitional--or a
+transitional--phase of his art, from the earlier work in magazines,
+which he disregards, to the reticent expression of 'Vale Press'
+illustrations. In 1891 the first book decorated by these artists
+appeared, 'The House of Pomegranates,' by Oscar Wilde. There was,
+however, nothing in this book to suggest the form their joint talent
+was to take. Many delightful designs by Mr. Ricketts, somewhat marred
+by heaviness of line, and full-page illustrations by Mr. Shannon,
+printed in an almost invisible, nondescript colour, contained no
+suggestion of 'Daphnis and Chloe.'
+
+The second 'Dial'(1892) contained Mr. Ricketts' first work as his own
+wood-engraver, and in the following year the result of eleven months'
+joint work by Mr. Ricketts and Mr. Shannon was shown in the publication
+of 'Daphnis and Chloe,' with thirty-seven woodcuts by the artists.
+Fifteen of the pictures were sketched by Mr. Shannon and revised and
+drawn on the wood by Mr. Ricketts, who also engraved the initials. It
+is a complete achievement of individuality subordinated to an ideal.
+Here and there one can affirm that Mr. Shannon drew this figure,
+composed this scene, Mr. Ricketts that; but generally the hand is not
+to be known. The ideal of their inspiration--the immortal
+'Hypnerotomachia'--seems equally theirs, equally potent over their
+individuality. Speaking with diffidence, it would seem as though Mr.
+Shannon's idea of the idyll were more naïve and humorous. Incidents
+beside the main theme of the pastoral loves of young Daphnis and
+Chloe--the household animals, other shepherds--are touched with
+humorous intent. Mr. Ricketts shows more suavity, and, as in the
+charming double-page design of the marriage feast, a more lyrical
+realization of delight and shepherd joys.
+
+The 'Hero and Leander' of 1894 is a less elaborate, and, on the whole,
+a finer production. I must speak of the illustrations only, lest
+consideration of Vale Press publications should fill the remaining
+space at my disposal. Obviously the attenuated type of these figures
+shows Mr. Ricketts' ideal of the human form as a decoration for a page
+of type. The severe reticence he imposes on himself is in order to
+maintain the balance between illustrations and text. One has only to
+turn to illustrations to Lord de Tabley's 'Poems,' published in 1893,
+to see with what eager imagination he realizes a subject, how strong a
+gift he has for dramatic expression. That a more persuasive beauty of
+form was once his wont, much of his early and transitional work
+attests. But I do not think his power to achieve beauty need be
+defended. After the publication of 'Hero and Leander,' Mr. Shannon
+practically ceased wood-engraving for the illustration of books,
+though, as the series of roundel designs in the recent exhibition of
+his work proved, he has not abandoned nor ceased to go forward in the
+art.
+
+[Illustration: FROM MR. RICKETTS' 'CUPIDE AND PSYCHES.'
+
+REPRODUCED BY HIS PERMISSION.]
+
+[Illustration: OF THE APPARITION OF THE THREE NYMPHS TO DAPHNIS IN A
+DREAM.
+
+FROM MESSRS. RICKETTS AND SHANNON'S 'DAPHNIS AND CHLOE.' (MATHEWS AND
+LANE.)
+
+REPRODUCED BY THEIR LEAVE AND THE PUBLISHERS'.]
+
+'The Sphinx,' a poem by Oscar Wilde, 'built, decorated and bound' by
+Mr. Ricketts--but without woodcuts--was published in 1894, just after
+'Hero and Leander,' and designs for a magnificent edition of 'The
+King's Quhair' were begun. Some of these are in 'The Dial,' as are also
+designs for William Adlington's translation of 'Cupide and Psyches' in
+'The Pageant,' 'The Dial,' and 'The Magazine of Art.' The edition of
+the work published by the new Vale Press in 1897, is not that projected
+at this time. It contains roundel designs in place of the square
+designs first intended. These roundels are, I think, the finest
+achievement of Mr. Ricketts as an original wood-engraver. The engraving
+reproduced shows of what quality are both line and form, how successful
+is the placing of the figure within the circle. On the page they are
+what the artist would have them be. With the beginning of the sequence
+of later Vale Press books--books printed from founts designed by Mr.
+Ricketts--a consecutive account is impossible, but the frontispiece to
+the 'Milton' and the borders and initials designed by Mr. Ricketts,
+must be mentioned. As a designer of book-covers only one failure is set
+down to Mr. Ricketts, and that was ten years ago, in the cover to 'The
+House of Pomegranates.'
+
+Mr. Reginald Savage's illustrations to some tales from Wagner lack the
+force of designs in 'The Pageant,' and of woodcuts in Essex House
+publications. Of M. Lucien Pissarro, in an article overcrowded with
+English illustrators, I cannot speak. His fame is in France as the
+forerunner of his art, and we in England know his coloured
+wood-engravings, his designs for 'The Book of Ruth and Esther' and for
+'The Queen of the Fishes,' printed at his press at Epping, but included
+among Vale Press books.
+
+[Illustration: FROM MR. STURGE MOORE'S 'THE CENTAUR.'
+
+REPRODUCED BY PERMISSION OF MR. RICKETTS.]
+
+'The Centaur,' 'The Bacchant,' 'The Metamorphoses of Pan,'
+'Siegfried'--young Siegfried, wood-nurtured, untamed, setting his lusty
+strength against the strength of the brutes, hearing the bird-call
+then, and following the white bird to issues remote from savage
+life--these are subjects realized by the imagination of Mr. T. Sturge
+Moore. There are few artists illustrating books to-day whose work is
+more unified, imaginatively and technically. It is some years since
+first Mr. Moore's wood-engravings attracted notice in 'The Dial' and
+'The Pageant,' and the latest work from his graver--finer, more
+rhythmic in composition though it be--shows no change in ideals, in the
+direction of his talent. He has said, I think, that the easiest line
+for the artist is the true basis of that artist's work, and it would
+seem as though much deliberation in finding that line for himself had
+preceded any of the work by which he is known. The wood-engraving of
+Mr. Sturge Moore is of some importance. Always the true understanding
+of his material, the unhesitating realization of his subject, combine
+to produce the effect of inevitable line and form, of an inevitable
+setting down of forms in expression of the thought within. Only that
+gives the idea of formality, and Mr. Moore's art handles the strong
+impulse of the wild creatures of earth, of the solitary creatures,
+mighty and terrible, haunting the desert places and fearing the order
+men make for safety. Designs to Wordsworth's 'Poems,' not yet
+published, represent with innate perception the earth-spirit as
+Wordsworth knew it, when the great mood of 'impassioned contemplation'
+came upon his careful spirit, when his heart leapt up, or when,
+wandering beneath the wind-driven clouds of March, at sight of
+daffodils, he lost his loneliness.
+
+'The Evergreen,' that 'Northern Seasonal,' represented the pictorial
+outlook of an interesting group of artists--Robert Burns, Andrew K.
+Womrath, John Duncan, and James Cadenhead, for example--and the racial
+element, as well as their own individuality, distinguishes the work of
+Mr. W. B. Macdougall and Mr. J. J. Guthrie of 'The Elf.' Mr. Macdougall
+has been known as a book-illustrator since 1896, when 'The Book of
+Ruth,' with decorated borders showing the fertility of his designing
+power, and illustrations that were no less representative of a unique
+use of material, appeared. The conventionalized landscape backgrounds,
+the long, straightly-draped women, seemed strange enough as a reading
+of the Hebrew pastoral, with its close kinship to the natural life of
+the free children of earth. Their unimpassioned faces, unspontaneous
+gestures, the artificiality of the whole impression, were undoubtedly a
+new reading of the ancient charm of the story. Two books in 1897, and
+'Isabella' and 'The Shadow of Love,' 1898, showed beyond doubt that the
+manner was not assumed, that it was the expression of Mr. Macdougall's
+sense of beauty. The decorations to 'Isabella' are more elaborate than
+to 'Ruth,' and inventive handling of natural forms is as marked. Again,
+the faces are de-characterized in accordance with the desire to make
+the whole figure the symbol of passion, and that without emphasis. Mr.
+J. J. Guthrie is hardly among book-illustrators, since 'Wedding Bells'
+of 1895 does not represent Mr. Guthrie, nor does the child's book of
+the following year, while the illustrations to Edgar Allan Poe's
+'Poems' are still, I think, being issued from the Pear Tree Press in
+single numbers. His treatment of landscape is inventive, his rhythmic
+arrangements, his effects of white line on black, are based on a real
+sense of the beauty of earth, of tall trees and wooded hills, of
+mysterious moon-brightness and shade in the leafy depths of the
+woodlands.
+
+Mr. Granville Fell made his name known in 1896 by his illustrations to
+'The Book of Job.' In careful detail, drawn with fidelity, never
+obtrusive, his art is pre-Raphaelite. He touches Japanese ideals in
+the rendering of flower-growth and animals, but the whole effect of his
+decorative illustrations is far enough away from the art of Japan. In
+the 'Book of Job' he had a subject sufficient to dwarf a very vital
+imaginative sense by its grandeur. In the opinion of competent critics
+Mr. Granville Fell proved more than the technical distinction of his
+work by the manner in which he fulfilled his purpose. The solid black
+and white, the definite line of these drawings, were laid aside for the
+sympathetic medium of pencil in 'The Song of Solomon' (1897). Again,
+his conception is invariably dramatic, and never crudely dramatic,
+robust, with no trace of morbid or sentimental thought about it. The
+garden, the wealth of vineyard and of royal pleasure ground, is used as
+a background to comely and gracious figures. His other work,
+illustrative of children's books and of legend, the cover and
+title-page to Mr. W. B. Yeats's 'Poems,' shows the same definite yet
+restrained imagination.
+
+Mr. Patten Wilson is somewhat akin to Mr. Granville Fell in the energy
+and soundness of his conceptions. Each of these artists is, as we know,
+a colourist, delighting in brilliant and iridescent colour-schemes, yet
+in black and white they do not seek to suggest colour. Mr. Patten
+Wilson's illustrations to Coleridge's 'Poems' have the careful fulness
+of drawings well thought out, and worked upon with the whole idea
+realised in the imagination. He has observed life carefully for the
+purposes of his art. But it is rather in rendering the circumstance of
+poems, such as 'The Ancient Mariner,' or, in a Chaucer
+illustration--Constance on the lonely ship--that he shows his grasp of
+the subject, than by any expression of the spiritual terror or
+loneliness of the one living man among the dead, the solitary woman on
+strange seas.
+
+Few decorative artists habitually use 'wash' rather than line. Among
+these, however, is Mr. Weguelin, who has illustrated Anacreon in a
+manner to earn the appreciation of Greek scholars, and his
+illustrations to Hans Andersen have had a wider and not less
+appreciative reception. His drawings have movement and atmosphere. Mr.
+W. E. F. Britten also uses this medium with fluency, as is shown by his
+successful illustrations to Mr. Swinburne's 'Carols of the Year' in the
+'Magazine of Art' in 1892-3. Since that time his version of 'Undine,'
+and illustrations to Tennyson's 'Early Poems,' have shown the same
+power of graceful composition and sympathy with his subject.
+
+
+
+
+II. SOME OPEN-AIR ILLUSTRATORS.
+
+
+OPEN-AIR illustration is less influenced by the tradition of Rossetti
+and of the romanticists of 'the sixties' than any other branch of
+illustrative art. The reason is obvious. Of all illustrators, the
+illustrator of open-air books has least concern with the interpretation
+of literature, and is most concerned with recording facts from
+observation. It is true that usually he follows where a writer goes,
+and studies garden, village or city, according to another man's
+inclination. But the road they take, the cities and wayside places, are
+as obvious to the one as to the other. The artist has not to realize
+the personal significance of beauty conceived by another mind; he has
+to set down in black and white the aspect of indisputable cities and
+palaces and churches, of the actual highways and gardens of earth. No
+fugitive light, but the light of common day shows him his subject. So,
+although Stevenson's words, that reaching romantic art one becomes
+conscious of the background, are completely true in application to the
+drawings of Rossetti, of Millais, Sandys and Houghton, these
+'backgrounds' have had no traceable effect on modern open-air
+illustration. Nor are the landscape drawings in works such as 'Wayside
+Poesies,' or 'Pictures of English Landscape,' at the beginning of the
+style or styles--formal or picturesque--most in vogue at present.
+Birket Foster has no followers; the pensive landscape is not suited to
+holiday excursion books; and, though Mr. J. W. North is among artists
+of to-day, as a book-illustrator he has unfortunately added little to
+his fine record of landscape drawings made between 1864 and 1867. One
+cannot include his work in a study of contemporary illustration, though
+it is a pleasure passed over to leave unconsidered drawings that in
+'colour,' in effects of winter-weather, of leaf-thrown light and shade
+amid summer woods and over the green lanes of English country, are
+delightfully remote from obvious and paragraphic habits of rendering
+facts.
+
+With few exceptions the open-air illustrators of to-day began their
+work and took their place in public favour, and in the estimation of
+critics, after 1890. Mr. Joseph Pennell, it is true, had been making
+sketches in England, in France, and in Italy for some years; Mr.
+Railton had made some preliminary illustrations; Mr. Alfred Parsons
+illustrated 'Old Songs' with Mr. Abbey in 1889; and Mr. Fulleylove
+contributed to 'The Picturesque Mediterranean,' and published his
+'Oxford' drawings, in the same year. Still, with a little elasticity,
+'the nineties' covers the past activity of these men. The only
+important exception is Sir George Reid, President of the Royal Scottish
+Academy, much of whose illustrative work belongs to the years prior to
+1890. The one subject for regret in connection with Sir George Reid's
+landscape illustrations is that the chapter is closed. He makes no more
+drawings with pen-and-ink, and the more one is content with those he
+has made, the less does the quantity seem sufficient. Those who know
+only the portraits on which Sir George Reid's reputation is firmly
+based will find in his landscape illustrations a new side to his art.
+Here, as in portraiture, he sees distinctly and records without
+prejudice the characteristics of his subject. He renders what he sees,
+and he knows how to see. His conception being clear to himself, he
+avoids vagueness and obscurity, finding, with apparent ease, plain
+modes of expression. A straight observer of men and of the
+country-side, there is this directness and perspicuity about his work,
+whether he paints a portrait, or makes pen-drawings of the village
+worthies of 'Pyketillim' parish, or draws Pyketillim Kirk, small and
+white and plain, with the sparse trees beside it, or great river or
+city of his native land.
+
+But in these pen-stroke landscapes, while the same clear-headed survey,
+the same logical record of facts, is to be observed as in his work as a
+portrait painter, there is besides a charm of manner that brings the
+indefinable element into one's appreciation of excellent work. Of
+course this is not to estimate these drawings above the portraits of
+Sir George Reid. That would be absurd. But he draws a country known to
+him all his life, and unconsciously, from intimate memory, he suggests
+more than actual observation would discover. This identification of
+past knowledge with the special scrutiny of a subject to be rendered is
+not usually possible in portraiture. The 'portrait in-time' is a
+question of occasion as well as of genius.
+
+The first book in which his inimitable pen-drawing of landscape can be
+properly studied is the illustrated edition of 'Johnny Gibb of
+Gushetneuk, in the Parish of Pyketillim,' published in 1880. Here the
+illustrations are facsimile reproductions by Amand-Durand's
+heliogravure process, and their delicacy is perfectly seen. These
+drawings are of the Aberdeenshire country-folk and country, the native
+land of the artist; though, as a lad in Aberdeen, practising
+lithography by day, and seizing opportunities for independent art when
+work was over, the affairs and doings of Gushetneuk, of Smiddyward, of
+Pyketillim, or the quiet of Benachie when the snow lies untrodden on
+its slopes, were things outside the city of work.
+
+It is as difficult to praise these drawings intelligibly to those who
+have not seen them, as it is unnecessary to enforce their charm on
+those who have. Unfortunately, a reproduction of one of them is not
+possible, and admirable as is the drawing from 'Royal Edinburgh,' it is
+in subject and in treatment distinct from the 'Gushetneuk' and 'North
+of Scotland' illustrations. The 'Twelve Sketches of Scenery and
+Antiquities on the Great North of Scotland Railway,' issued in 1883,
+were made in 1881, and have the same characteristics as the
+'Gushetneuk' landscapes. The original drawings for the engraved
+illustrations in 'The Life of a Scotch Naturalist,' belonging to
+1876--drawings made because the artist was 'greatly interested' in the
+story of Thomas Edward--must have been of the same delicate force, and
+the splendid volumes of plates illustrating the 'River Clyde,' and the
+'River Tweed,' issued by the Royal Association for the Promotion of the
+Fine Arts in Scotland, contain more of his fine work. It was this
+society, that, in the difficult days following the artist's abandonment
+of Aberdeen and lithography for Edinburgh and painting, gave him the
+opportunity, by the purchase of two of his early landscapes, for study
+in Holland and in Paris. There is something of Bosboom in a rendering
+of a church interior such as 'The West Kirk,' but of Israels, who was
+his master at the Hague, there is nothing to be seen in Sir George
+Reid's illustrations. They are never merely picturesque, and when too
+many men are 'freakish' in their rendering of architecture, the
+drawings of North of Scotland castles--well founded to endure weather
+and rough times of war--seem as real and true to Scottish romance as
+the "pleasant seat," the martlet-haunted masonry of Macbeth's castle
+set among the brooding wildness of Inverness by the fine words of
+Duncan and Banquo.
+
+The print-black of naked boughs against pale sky, a snow-covered
+country where roofs are white, and the shelter of the woods is thin
+after the passing of the autumn winds--this black and white is the
+black and white of most of Sir George Reid's studies of northern
+landscape. To call it black and white is to stretch the octave and omit
+all the notes of the scale. Pure white of plastered masonry, or of
+snow-covered roof or field in the bleak winter light, pure black in
+some deep-set window, in the figure of a passer-by, or in the bare
+trees, are used with the finesse of a colourist. Look at the
+'Pyketillim Kirk' drawing in 'Johnny Gibb.' Between the white of the
+long church wall, and the black of the little groups of village folk in
+the churchyard, how quiet and easy is the transition, and how true to
+colour is the result. Of the Edinburgh drawings the same may be said;
+but, except in facsimile reproduction, one has to know the scale of
+tone used by Sir George Reid in order to see the original effect where
+the printed page shows unmodified black and white. In 'Holyrood Castle'
+the values are fairly well kept, and the rendering of the ancient
+building in the deep snow, without false emphasis, yet losing nothing
+of emphatic effect, shows the dominant intellectual quality of the
+artist's work.
+
+[Illustration: HOLYROOD CASTLE. BY SIR GEORGE REID. FROM MRS.
+OLIPHANT'S "ROYAL EDINBURGH."
+
+BY LEAVE OF MESSRS. MACMILLAN.]
+
+It does not seem as though Sir George Reid as an illustrator had any
+followers. He could hardly have imitators. If a man had delicacy and
+patience of observation and hand to produce drawings in this 'style,'
+his style would be his own and not an imitation. The number of artists
+in black and white who cannot plausibly be imitated is a small number.
+Sir George Reid is one, Mr. Alfred Parsons is another. Inevitably there
+are points of similarity in the work of artists, the foundation of
+whose black and white is colour, and who render the country-side with
+the understanding of the native, the understanding that is beyond
+knowledge. The difference between them only proves the essential
+similarity in the elements of their art; but that, like most
+paradoxes, is a truism. Mr. Parsons is, of course, thoroughly English
+in his art. He has the particularity of English nature-poets. Pastoral
+country is dear to him, and homesteads and flowering orchards, or
+villages with church tower half hidden by the elms, are part of his
+home country, the country he draws best. It is interesting to compare
+his drawings for 'The Warwickshire Avon' with the Scottish artist's
+drawings of the northern rivers. The drawings of Shakespeare's river
+show spring trees in a mist of green, leafy summer trees, meadowsweet
+and hayfields, green earth and blue sky, and a river of pleasure
+watering a pleasant country. If a man can draw English summer-time in
+colour with black and white, he must rank high as a landscape
+pen-draughtsman. Mr. Alfred Parsons has illustrated about a dozen
+books, and his work is to be found in 'Harper's Magazine,' and 'The
+English Illustrated' in early days. Two books, the 'Old Songs' and 'The
+Quiet Life,' published in 1887 and 1890, were illustrated by E. A.
+Abbey and Alfred Parsons. The drawings of landscape, of fruit and
+flowers, by Mr. Parsons, the Chippendale people and rooms of Mr. Abbey,
+fill two charming volumes with pictures whose pleasantness and happy
+art accord with the dainty verses of eighteenth-century sentiment. 'The
+Warwickshire Avon,' and another river book, 'The Danube from the Black
+Forest to the Sea,' illustrated in collaboration with the author, Mr.
+F. D. Millet, belong to 1892. The slight sketches--passing-by
+sketches--in these books, are among fortunate examples of a briefness
+that few men find compatible with grace and significance. Sketches,
+mostly in wash, of a farther and more decorated country--'Japan, the
+Far East, the Land of Flowers and of the Rising Sun, the country which
+for years it had been my dream to see and paint'--illustrate the
+artist's 'Notes in Japan,' 1895. In the written notes are memoranda of
+actual colour, of the green harmony of the Japanese summer--harmony
+culminating in the vivid tint of the rice fields--of sunset and
+butterflies, of delicate masses of azalea and drifts of cherry-blossom
+and wisteria, while in the drawings are all the flowers, the green
+hills and gray hamlets, and the temples, shrines and bridges, that make
+unspoilt Japan one of the perpetual motives of decorative art.
+Illustrations to Wordsworth--to a selected Wordsworth--gave the artist
+fortunate opportunities to render the England of English descriptive
+verse.
+
+[Illustration: ELMS BY BIDFORD GRANGE. BY ALFRED PARSONS. REPRODUCED
+FROM QUILLER COUCH'S 'THE WARWICKSHIRE AVON.'
+
+BY LEAVE OF OSGOOD, McILVAINE AND CO.]
+
+It is convenient to speak first of these painter-illustrators, because,
+in a sense, they stand alone among illustrative artists. Obviously,
+that is not to say that their work is worth more than the work of
+illustrators, who, conforming to the laws of 'process,' make their
+drawings with brain and hand that know how to win profit by concession.
+But popularisers of an effective topographical or architectural style
+are indirectly responsible for a large amount of work besides their
+own. In one sense a leader does not stand alone, and cannot be
+considered alone. Before, then, passing on to a draughtsman such as Mr.
+Joseph Pennell, again, to Mr. Railton, or to Mr. New, whose successful
+and unforgettable works have inspired many drawings in the books
+whereby authors pay for their holiday journeys, other artists, whose
+style is no convenience to the industrious imitator, may be considered.
+Another painter, known for his work in black and white, is Mr. John
+Fulleylove, whose 'Pictures of Classic Greek Landscape,' and drawings
+of 'Oxford,' show him to be one of the few men who see architecture
+steadily and whole, and who draw beautiful buildings as part of the
+earth which they help to beautify. Compare the Greek drawings with
+ordinary archæological renderings of pillared temples, and the
+difference in beauty and interest is apparent. In Mr. Fulleylove's
+drawings, the relation between landscape and architecture is never
+forgotten, and he draws both with the structural knowledge of a
+landscape painter, who is also by training an architect. In aim, his
+work is in accord with classical traditions; he discerns the classical
+spirit that built temples and carved statues in the beautiful places of
+the open-air, a spirit which has nothing of the museum setting about
+it. The 'Oxford' drawings show that Mr. Fulleylove can draw Gothic.
+
+Though not a painter, Mr. William Hyde works 'to colour' in his
+illustrations, and is generally successful in rendering both colour and
+atmosphere. He has done little with the pen, and it is in wash
+drawings, reproduced by photogravure, that he is best to be studied. Of
+his early training as an engraver there is little to be seen in his
+work, though his appreciation of the range of tone existing between
+black and white may have developed from working within restrictions of
+monotone, when the colour sense was growing strong in him. At all
+events he can gradate from black to white with remarkable minuteness
+and ease. His earliest work of any importance after giving up
+engraving, was in illustration of 'L'Allegro' and 'Il Penseroso,' 1895,
+and shows his talent already well controlled. There are thirteen
+illustrations, and the opportunities for rendering aspects of light,
+from the moment of the lark's morning flight against the dappled skies
+of dawn, to the passing of whispering night-winds over the darkened
+country, given in the verse of a poet sensitive as none before him to
+the gradations of lightness and dark, are realized. So are the
+hawthorns in the dale, and the towered cities. But it is as an
+illustrator of another towered city than that imagined by Milton, that
+some of Mr. Hyde's most individual work has been produced. In the
+etchings and pictures in photogravure published with Mrs. Meynell's
+'London Impressions,' London beneath the strange great sky that smoke
+and weather make over the gray roofs, London when the dawn is low in
+the sky, or when the glow of lamps and lamp-lit windows turns the
+street darkness to golden haze, is drawn by a man who has seen for
+himself how beautiful the great city is in 'between lights.' His other
+work is superficially in contrast with these studies of city light and
+darkness; but the same love for 'big' skies, for the larger aspects of
+changing lights and cloud movements, are expressed in the drawings of
+the wide country that is around and beyond the Cinque Ports, and in the
+illustrations to Mr. George Meredith's 'Nature Poems.' The reproduction
+is from a pen drawing in Mr. Hueffer's book, 'The Cinque Ports.' There
+is no pettiness about it, and the 'phrasing' of castle, trees and sky
+shows the artist.
+
+[Illustration: SALTWOOD CASTLE. BY WILLIAM HYDE.
+
+FROM F. M. HUEFFER'S 'THE CINQUE PORTS.'
+
+BY LEAVE OF MESSRS. BLACKWOOD.]
+
+Mr. D. Y. Cameron has illustrated a book or two with etchings--notably
+White's 'Selborne' 1902,--but to consider him as a book-illustrator
+would be to stretch a point. A few of his etchings are to be seen in
+books, and one would like to make them the text for the consideration
+of other etchings by him, but it would be a digression. He is not among
+painter-illustrators, but among painters who have illustrated, and that
+would bring more names into this chapter than it could hold except in
+catalogue arrangement.
+
+Coming to artists who are illustrators, not on occasion but always,
+there is no question with whom to begin. It is true that Mr. Pennell is
+American, but he is such an important figure in English illustration
+that to leave him out would be impossible. He has been illustrating
+Europe for more than fifteen years, and the forcible fashion of his
+work, and all that he represents, have influenced black-and-white
+artists in this country, as his master Rico influenced him. In range
+and facility, and in getting to the point and keeping there, there is
+no open-air illustrator to put beside Mr. Pennell. Always interested
+and always interesting, he is apparently never bewildered, always ready
+and able to draw. Surely there was never a mind with a greater faculty
+for quick study; and he can apply this power to the realization of an
+architectural detail, or of a cathedral, of miles of country with
+river curves and castles, trees, and hills and fields, and a stretch of
+sky over all; or of a great city-street crowded with traffic, of new or
+old buildings, of Tuscany or of the Stock Exchange, with equal ease. To
+attempt a record of Mr. Pennell's work would leave no room for
+appreciation of it. As far as the English public is concerned, it began
+in 1885 with the publication of 'A Canterbury Pilgrimage,' and since
+then each year has added to Mr. Pennell's notes of the world at the
+rate of two or three volumes. The highways and byways of England--east,
+west, south and north--France from Normandy to Provence, the cities and
+spaces of Italy, the Saone and the Thames, the 'real' Alps and the New
+Zealand Alps, London and Paris, the Cathedrals of Europe, the gipsy
+encampment and the Ghetto, Chelsea and the Alhambra--Mr. Pennell has
+been everywhere and seen most things as he went, and one can see it in
+his drawings.
+
+He draws architecture without missing anything tangible, and his
+buildings belong to cities that have life--and an individual life--in
+their streets. But where he is unapproachable, or at all events
+unapproached among pen-draughtsmen, is in drawing a great scheme of
+country from a height. If one could reproduce a drawing such as that of
+the country of Le Puy in Mr. Wickham Flower's 'Aquitaine,' or, better
+still, the etching of the same amazing country, one need say no more
+about Mr. Pennell's art in this kind. Unluckily the page is too small.
+This strange and lovely landscape, where curving road and river and
+tree-bordered fields are dominated by two image-crowned rocks, built
+about with close-set houses, looks like a design from a dream fantasy
+worked out by a master of definite imagination. One knows it is not.
+Mr. Pennell is concerned to give facts in picturesque order, and here
+he has a theme that affects us poetically, however it may have affected
+Mr. Pennell. His eye measures a landscape that seems outside the
+measure of observation, and his ability to grasp and render the
+characteristics of actuality serves him as ever. It is an unforgettable
+drawing, though the skill displayed in the simplification and relation
+of facts is no greater than in other drawings by the artist. That power
+hardly ever fails him. The 'Devils of Notre Dame' again stands out in
+memory, when one thinks generally of Mr. Pennell's drawings. And again,
+though it seems as if he were working above his usual pitch of
+conception, it is only that he is using his keenness of sight, his
+logical grasp of form and power of expression, on matter that is
+expressive of mental passion. The man who carved the devils, like those
+who crowned the rocks of Le Puy with the haloed figures, created facts.
+The outrageous passion that made these evil things made them in stone.
+You can measure them. They are matter-of-fact. Mr. Pennell has drawn
+them as they are, with so much trenchancy, such assertion of their
+hideous decorativeness, their isolation over modern Paris, that no
+drawings could be better, and any others would be superfluous. It is
+impossible to enumerate all that Mr. Pennell has done and can do in
+black-and-white. He is a master of so many methods. From the sheer
+black ink and white paper of the 'Devils,' to the light broken line
+that suggests Moorish fantastic architecture under a hot sun in the
+'Alhambra' drawings, there is nothing he cannot do with a pen. Nor is
+it only with a pen that he can do what he likes and what we must
+admire. He covers the whole field of black-and-white drawing.
+
+[Illustration: THE HARBOUR, SORRENTO. BY JOSEPH PENNELL. FROM HOWELL'S
+"ITALIAN JOURNEYS."
+
+BY LEAVE OF MR. HEINEMANN.]
+
+After Mr. Pennell comes Mr. Herbert Railton. No architectural drawings
+are more popular than his, and no style is better known or more
+generally 'adopted' by the illustrators of little guide-books or of
+magazine articles. An architect's training and knowledge of structure
+underlies the picturesque dilapidation prevalent in his version of
+Anglo-gothic architecture. His first traceable book-illustrations
+belong to 1888, though in 'The English Illustrated,' in 'The
+Portfolio,' and elsewhere, he had begun before then to formulate the
+style that has served him so admirably in later work with the pen. The
+illustrations to Mr. Loftie's 'Westminster Abbey' (1890) show his
+manner much as it is in his latest pen drawings. There is a lack of
+repose. One would like to undecorate some of the masonry, to reveal the
+austere lines under the prevalence of pattern. At the same time one
+realizes that here is the style needed in illustration of picturesquely
+written books about picturesque places, and that the stone tracery of
+Westminster, or the old brick and tiles of the Inns of Court, are more
+interesting to many people in drawings such as these than in actuality.
+But Rico's 'broken line' is responsible for much, and not every
+draughtsman who adopts it direct, or through a mixed tradition, has
+the architectural knowledge of Mr. Railton to support his deviations
+from stability. Mr. Railton is the artist of the Cathedral Guide; he
+has drawn Westminster, St. Paul's, Winchester, Gloucester,
+Peterborough, and many more cathedrals, inside and out, within the last
+ten years. In illustrations to books where a thread of story runs
+through historical fact, books such as those written by Miss Manning
+concerning Mary Powell, and the household of Sir Thomas More, the
+artist has collaborated with Mr. Jellicoe, who has put figures in the
+streets and country lanes.
+
+There are so many names in the list of those who, in the beginning,
+profited by the initiative of Mr. Pennell or of Mr. Railton that
+generally they may be set aside. Of artists who have made some position
+for themselves, there are enough to fill this chapter. Mr. Holland
+Tringham and Mr. Hedley Fitton were at one time unmistakable in their
+Railtonism. Mr. Fitton has illustrated cathedral books, and in later
+drawings by Mr. Tringham exaggeration of his copy has given place to a
+more direct record of beautiful buildings. Miss Nelly Erichsen and Miss
+Helen James[1] are two artists whose work is much in request for
+illustrated series, such as Dent's 'Mediæval Towns.' Miss James'
+drawings to 'Rambles in Dickens' Land' (1899) showed study of Mr.
+Railton, which is also observable in other books, such as 'The Story of
+Rouen.' At the same time, she carries out her work from individual
+observation, and gets an effect that belongs to study of the subject,
+whether from actuality or from photographs. Miss James and Miss
+Erichsen have collaborated in certain books on Italian towns, but
+architectural drawing is only part of Miss Erichsen's illustrative
+work, though an important part, as the illustrations to the
+recently-published 'Florentine Villas' of Mrs. Ross show. Illustrating
+stories, she works with graceful distinctness, and many of the drawings
+in the 'Story of Rome'--though one remembers that Rome is in Mr.
+Pennell's province--show what she can do.
+
+Mr. C. G. Harper and Mr. C. R. B. Barrett are the most prominent among
+those writers of travel-books who are also their own illustrators. They
+belong, though with all the difference of time and development, to the
+succession of Mr. Augustus Hare. Mr. Hissey also has made many books
+out of his driving tours through England, and may be said to have first
+specialized the subject that Mr. Harper and Mr. Barrett have made their
+own. It is plain that the kind of book has nothing to do with the kind
+of art that is used in its making. Mr. Hare's famous 'Walks' may be the
+prototypes of later books, but each man makes what he can out of an
+idea that has obvious possibilities in it. Mr. Harper has taken to the
+ancient high-roads of England, and has studied their historical and
+legendary, past, present, and imagined aspects. Of these he has
+written; while his illustrations rank him rather among illustrators who
+write than among writers who illustrate. Since 1889 he has published a
+dozen books and more. In 'Royal Winchester'--the first of these--he is
+illustrator only. 'The Brighton Road' of 1892 is the first of the
+road-books, and the illustrations of the road as it was and is, of town
+and of country, have colour and open air in their black-and-white.
+Since then Mr. Harper has been from Paddington to Penzance, has
+followed Dick Turpin along the Exeter road, and bygone fashion from
+London to Bath, while accounts of the Dover road from Southwark Bridge
+to Dover Castle, by way of Dickens' country and hop-gardens, and of the
+Great North Road of which Stevenson longed to write, are written and
+drawn with spirited observation. His drawing is not so picturesque as
+his writing. It has reticence and justness of expression that would not
+serve in relating tales of the road, but which, together with a sense
+of colour and of what is pictorial, combine to form an effective and
+frequently distinctive style of illustration. The drawing reproduced,
+chosen by the artist, is from Mr. Harper's recent book on the Holyhead
+road.
+
+[Illustration: DUNCHURCH. BY C. G. HARPER.
+
+FROM 'THE HOLYHEAD ROAD.'
+
+BY HIS PERMISSION.]
+
+Mr. Barrett has described and illustrated the 'highways and byways and
+waterways' of various English counties, as well as published a volume
+on the battlefields of England, and studies of ancient buildings such
+as the Tower of London. He is always well informed, and illustrates his
+subject fully from pen-and-ink drawings. Mr. F. G. Kitton also writes
+and illustrates, though he has written more than he has drawn. St.
+Albans is his special town, and the old inns and quaint streets of the
+little red city with its long cathedral, are truthfully and dexterously
+given in his pen drawings and etchings. Mr. Alexander Ansted, too, as
+a draughtsman of English cathedrals and of city churches, has made a
+steady reputation since 1894, when his etchings and drawings of Riviera
+scenery showed ambition to render tone, and as much as possible of
+colour and atmosphere, with pen and ink. Since then he has simplified
+his style for general purposes, though in books such as 'London
+Riverside Churches' (1897), or 'The Romance of our Ancient Churches' of
+two years later, many of the drawings are more elaborate than is common
+in modern illustration. The names of Mr. C. E. Mallows and of Mr.
+Raffles Davison must be mentioned among architectural draughtsmen,
+though they are outside the scope of a study of book-illustration. Some
+of Mr. Raffles Davison's work has been reprinted from the 'British
+Architect,' but I do not think either of them illustrates books. An
+extension of architectural art lies in the consideration of the garden
+in relation to the house it surrounds, and Mr. Reginald Blomfield's
+'Formal Garden' treats of the first principles of garden design as
+distinct from horticulture. The drawings by Mr. Inigo Thomas, whether
+one considers them as illustrating principles or gardens, are worth
+looking at, as 'The Yew Walk' sufficiently shows.
+
+[Illustration: THE YEW WALK; MELBOURNE DERBYSHIRE
+
+BY F. INIGO THOMAS.
+
+FROM BLOMFIELD'S 'THE FORMAL GARDEN.'
+
+BY LEAVE OF MESSRS. MACMILLAN.]
+
+The sobriety and decorum of Mr. New's architectural and landscape
+drawings are the antithesis of the flagrantly picturesque. I do not
+know whether Mr. Gere or Mr. New invented this order of landscape and
+house drawing, but Mr. New is the chief exponent of it, and has placed
+it among popular styles of to-day. It has the effect of sincerity, and
+of respectful treatment of ancient buildings. Mr. New does not lapse
+from the perpendicular, his hand does not tremble or break off when
+house-walls or the ridge of a roof are to be drawn. His is a convention
+that is frankly conventional, that confines nature within decorous
+bounds, and makes formality a function of art. But though a great deal
+of Mr. New's work is mechanical and done to pattern, so that sometimes
+little perpendicular strokes to represent grass fill half the pictured
+space, while little horizontal strokes to represent brick-work,
+together with 'touches' that represent foliage, fill up the rest except
+for a corner left blank for the sky; yet, at his best, he achieves an
+effective and dignified way of treating landscape for the decoration of
+books. Sensational skies that repeat one sensation to monotony,
+scattered blacks and emphasized trivialities, are set aside by those
+who follow Mr. New. When they are trivial and undiscriminating, they
+are unaffectedly tedious, and that is almost pleasant after the
+hackneyed sparkle of the inferior picturesque.
+
+Mr. New's reputation as a book-illustrator was first made in 1896, when
+an edition of 'The Compleat Angler' with many drawings by him appeared.
+The homely architecture of Essex villages and small towns, the low
+meadows and quiet streams, gave him opportunity for drawings that are
+pleasant on the page. Two garden books, or strictly speaking, one--for
+'In the Garden of Peace' was succeeded by 'Outside the Garden'--contain
+natural history drawings similar to those of fish in 'The Compleat
+Angler' and of birds in White's 'Selborne.' The illustrations to
+'Oxford and its Colleges,' and 'Cambridge and its Colleges,' are less
+representative of the best Mr. New can do than books where village
+architecture, or the irregular house-frontage of country high-streets
+are his subject. Illustrating Shakespeare's country, 'Sussex,' and
+'The Wessex of Thomas Hardy,' brought him into regions of the
+country-town; but the most important of his recent drawings are those
+in 'The Natural History of Selborne,' published in 1900. The drawing of
+'Selborne Street' is from that volume.
+
+[Illustration: Selborne Street
+
+BY E. H. NEW.
+
+FROM WHITE'S 'SELBORNE.'
+
+BY LEAVE OF MR. LANE.]
+
+With Mr. New, Mr. R. J. Williams and Mr. H. P. Clifford illustrated Mr.
+Aymer Vallance's two books on William Morris. Their illustrations are
+fit records of the homes and working-places of the great man who
+approved their art. Mr. Frederick Griggs, who since 1900 has
+illustrated three or four garden books, also follows the principles of
+Mr. New, but with more variety in detail, less formality in
+tree-drawing and in the rendering of paths and roads and streams and
+sunshine, in short, with more of art outside the school, than Mr. New
+permits himself.
+
+The open-air covers so much that I have little room to give to another
+aspect of open-air illustration--drawings of bird and animal-life. The
+work of Mr. Harrison Weir, begun so many years ago, is chiefly in
+children's books; but Mr. Charles Whymper, who has an old reputation
+among modern reputations, has illustrated the birds and beasts and fish
+of Great Britain in books well known to sportsmen and to natural
+historians, as also books of travel and sport in tropical and ice-bound
+lands. The work of Mr. John Guille Millais is no less well known. No
+one else draws animals in action, whether British deer or African wild
+beast, from more intelligent and thorough observation, and of his art
+the graceful rendering of the play of deer in Cawdor Forest gives proof
+that does not need words. Birds in flight, beasts in action--Mr.
+Millais is undisputably master of his subject. Many drawings show the
+humour which is one of the charms of his work.
+
+[Illustration: FIGURE-OF-EIGHT RING IN CAWDOR FOREST. BY J. G. MILLAIS.
+
+FROM HIS 'BRITISH DEER AND THEIR HORNS.'
+
+BY LEAVE OF MESSRS. SOTHERAN.]
+
+FOOTNOTES:
+
+[Footnote 1: Since this book was in type, I have learned with regret of
+the death of Miss Helen James.]
+
+
+
+
+III. SOME CHARACTER ILLUSTRATORS.
+
+
+SO far, in writing of decorative illustrators and of open-air
+illustrators, the difference in scheme between a study of
+book-illustration and of 'black-and-white' art has not greatly affected
+the scale and order of facts. The intellectual idea of illustration, as
+a personal interpretation of the spirit of the text, finds expression,
+formally at least, in the drawings of most decorative black-and-white
+artists. The deliberate and inventive character of their art, the fact
+that such qualities are non-journalistic, and ineffective in the
+treatment of 'day by day' matters, keeps the interpretative ideal,
+brought into English illustration by Rossetti, and the artists whose
+spirits he kindled, among working ideals for these illustrators. For
+that reason, with the exception of page-decorations such as those of
+Mr. Edgar Wilson, the subject of decorative illustration is almost
+co-extensive with the subject of decorative black-and-white. The
+open-air illustrator represents another aspect of illustration. To
+interpret the spirit of the text would, frequently, allow his art no
+exercise. Much of his text is itinerary. His subject is before his
+eyes in actuality, or in photographs, and not in some phrase of words,
+magical with suggested forms, creating by its gift of delight desire to
+celebrate its beauty. Still, if the artist be independent of the
+intellectual and imaginative qualities of the book, his is no
+independent form of black and white. It is illustration; the author's
+subject is the subject of the artist. Open-air facts, those that are
+beautiful and pleasurable, are too uneventful to make 'news
+illustration.' Unless as background for some event, they have, for most
+people, no immediate interest. So it happens that open-air drawings are
+usually illustrations of text, text of a practical guide-book
+character, or of archæological interest, or of the gossiping, intimate
+kind that tells of possessions, of journeys and pleasurings, or, again,
+illustrations of the open-air classics in prose and verse.
+
+But in turning to the work of those draughtsmen whose subject is the
+presentment of character, of every man in his own humour, the
+illustration of literature is a part only of what is noteworthy. These
+artists have a subject that makes the opportunities of the
+book-illustrator seem formal; a subject, charming, poignant, splendid
+or atrocious, containing all the 'situations' of comedy, tragedy or
+farce; the only subject at once realized by everyone, yet whose
+opportunities none has ever comprehended. The writings of novelists and
+dramatists--life narrowed to the perception of an individual--are
+limitary notions of the matter, compared with the illimitable variety
+of character and incident to be found in the world that changes from
+day to day. And 'real' life, purged of monotony by the wit,
+discrimination or extravagance of the artist, or--on a lower plane--by
+the combination only of approved comical or sentimental or melodramatic
+elements, is the most popular and marketable of all subjects. The
+completeness of a work of art is to some a refuge from the
+incompleteness of actuality; to others this completeness is more
+incomplete than any incident of their own experience. The first bent of
+mind--supposing an artist who illustrates to 'express himself'--makes
+an illustrator of a draughtsman, the second makes literature seem no
+more than _la reste_ to the artist as an opportunity for pictorial
+characterization.
+
+Character illustration is then a subject within a subject, and if it be
+impossible to consider it without overseeing the limitations, yet a
+different point of view gives a different order of impressions.
+Caricaturists, political cartoonists, news-illustrators and graphic
+humorists, the artists who pictorialize society, the stage, the slums
+or some other kind of life interesting to the spectator, are outside
+the scheme of this article--unless they be illustrators also. For
+instance, the illustrations of Sir Harry Furniss are only part of his
+lively activities, and Mr. Bernard Partridge is the illustrator of Mr.
+Austin Dobson's eighteenth-century muse as well as the 'J. B. P.' of
+'socials' in 'Punch.'
+
+An illustrator of many books, and one whose illustrations have unusual
+importance, both as interpretations of literature and for their
+artistic force, Mr. William Strang is yet so incongruous with
+contemporary black-and-white artists of to-day that he must be
+considered first and separately. For the traditions of art and of race
+that find a focus in the illustrative etchings of this artist, the
+creative traditions, and instinctive modes of thought that are
+represented in the forms and formation of his art, are forces of
+intellect and passion and insight not previously, nor now, by more than
+the one artist, associated with the practice of illustration. To
+consider his work in connection with modern illustration is to speak of
+contrasts. It represents nothing that the gift-book picture represents,
+either in technical dexterities, founded on the requirements of process
+reproduction, or in its decorative ideals, or as expressive of the
+pleasures of literature. One phase of Mr. Strang's illustrative art is,
+indeed, distinct from the mass of his work, with which the etched
+illustrations are congruous, and the line-drawings to three
+masterpieces of imaginary adventure--to Lucian, to Baron Munchausen and
+to Sindbad--show, perhaps, some infusion of Aubrey Beardsley's spirit
+of fantasy into the convictions of which Mr. Strang's art is
+compounded. But these drawings represent an excursion from the serious
+purpose of the artist's work. The element in literature expressed by
+that epithet 'weird'--exiled from power to common service--is lacking
+in the extravagances of these _voyages imaginaires_, and, lacking the
+shadows cast by the unspeakable, the intellectual _chiaroscuro_ of Mr.
+Strang's imagination, loses its force. These travellers are too glib
+for the artist, though his comprehension of the grotesque and
+extravagant, and his humour, make the drawings expressive of the text,
+if not of the complete personality of the draughtsman. The 'types,
+shadows and metaphors' of 'The Pilgrim's Progress,' with its
+poignancies of mental experience and conflict, its transcendent
+passages, its theological and naïve moods, gave the artist an
+opportunity for more realized imagination. The etchings in this volume,
+published in 1894, represent little of the allegorical actualities of
+the text. Not the encounters by the way, the clash of blows, the
+'romancing,' but the 'man cloathed with rags and a great Burden on his
+back,' or Christiana his wife, when 'her thoughts began to work in her
+mind,' are the realities to the artist. The pilgrims are real and
+credible, poor folk to the outward sight, worn with toil, limited,
+abused in the circumstances of their lives; and these peasant figures
+are to Mr. Strang, as to his master in etching, Professor Legros,
+symbols of endurance, significant protagonists in the drama of man's
+will and the forces that strive to subdue its strength. To both artists
+the peasant confronting death is the climax of the drama. In the
+etchings of Professor Legros death fells the woodman, death meets the
+wayfarer on the high-road. There is no outfacing the menace of death.
+But to Mr. Strang, the sublimity of Bunyan's 'poor man,' who overcomes
+all influences of mortality by the strength of his faith, is a possible
+fact. His ballad illustrations deal finely with various aspects of the
+theme. In 'The Earth Fiend,' a ballad written and illustrated with
+etchings by Mr. Strang in 1892, the peasant subdues and compels to his
+service the spirit of destruction. He maintains his projects of
+cultivation, conquers the adverse wildness of nature, makes its force
+productive of prosperity and order; then, on a midday of harvest,
+sleeps, and the 'earth fiend,' finding his tyrant defenceless, steals
+on him and kills him as he lies. 'Death and the Ploughman's Wife'
+(1894) has a braver ending. It interprets in an impressive series of
+etchings how 'Death that conquers a'' is vanquished by the mother whose
+child he has snatched from its play. The title-page etching shows a
+little naked child kicking a skull into the air, while the
+peasant-mother, patient, vigilant, keeps watch near by. In 'The Christ
+upon the Hill' of the succeeding year, a ballad by Cosmo Monkhouse with
+etchings by Mr. Strang, the artist follows, of course, the conception
+of the writer; but here, too, his work is expressive of the visionary
+faith that discerns death as one of those 'base things' that 'usher in
+things Divine.'
+
+[Illustration: FROM WILLIAM STRANG'S BALLAD, 'DEATH AND THE PLOUGHMAN'S
+WIFE' (REDUCED FROM THE ORIGINAL ETCHING).
+
+BY LEAVE OF MR. A. H. BULLEN.]
+
+The twelve etchings to 'Paradise Lost' (1896) do not, as I think,
+represent Mr. Strang's imagination at its finest. It is in the
+representation of rude forms of life, subjected to the immeasurable
+influences of passion, love, sorrow, that the images of Mr. Strang's
+art, at once vague and of intense reality, primitive and complex, have
+most force. Adam and Eve driven from Paradise by the angel with the
+flaming sword, are not directly created by the artist. They recall
+Masaccio, and are undone by the recollection. Eve, uprising in the
+darkness of the garden where Adam sleeps, the speech of the serpent
+with the woman, the gathering of the fruit, are traditionary in their
+pictorial forms, and the tradition is too great, it imposes itself
+between the version of Mr. Strang and our admiration. But in the thirty
+etchings illustrative of Mr. Kipling's works, as in the ballad
+etchings, the imagination of the artist is unfettered by tradition. The
+stories he pictures deal, for all their cleverness and definition, with
+themes that, translated out of Mr. Kipling's words into the large
+imagination of Mr. Strang, have powerful purpose. As usual, the artist
+makes his picture not of matter-of-fact--and the etching called 'A
+Matter of Fact' is specially remote from any such matter--but of more
+purposeful, more overpowering realities than any particular instance of
+life would show. He attempts to realize the value, not of an instance
+of emotion or of endeavour, but of the quality itself. He sets his
+mind, for example, to realize the force of western militarism in the
+east, or the attitude of the impulses of life towards contemplation,
+and his soldiers, his 'Purun Bhagat,' express his observations or
+imaginations of these themes. Certainly 'a country's love' never went
+out to this kind of Tommy Atkins, and the India of Mr. Strang is not
+the India that holds the Gadsbys, or of which plain tales can be told.
+But he has imagined a country that binds the contrasts of life together
+in active operation on each other, and in thirty instances of these
+schemed-out realities, or of dramatic events resulting from the clash
+of racial and national and chronological characteristics, he has
+achieved perhaps his most complete expression of insight into
+essentials. Mr. Strang's etchings in the recently published edition of
+'The Compleat Angler,' illustrated by him and by Mr. D. Y. Cameron,
+are less successful. The charm of his subject seems not to have entered
+into his imagination, whereas forms of art seem to have oppressed him.
+The result is oppressive, and that is fatal to the value of his
+etchings as illustrations of the book that 'it would sweeten a man's
+temper at any time to read.' Intensity and large statement of dark and
+light; fine dramatizations of line; an unremitting conflict with the
+superfluous and inexpressive in form and in thought; an art based on
+the realities of life, and without finalities of expression, inelegant,
+as though grace were an affectation, an insincerity in dealing with
+matters of moment: these are qualities that detach the illustrations of
+Mr. Strang from the generality of illustrations. Save that Mr. Robert
+Bryden, in his 'Woodcuts of men of letters' and in the portrait
+illustrations to 'Poets of the younger generation,' shows traces of
+studying the portrait-frontispieces of Mr. Strang, there is no relation
+between his art and the traditions it represents and any other
+book-illustrations of to-day.
+
+Turning now to illustrators who are representative of the tendencies
+and characteristics of modern book-illustration, and so are less
+conspicuous in a general view of the subject than Mr. Strang, there is
+little question with whom to begin. Mr. Abbey represents at their best
+the qualities that belong to gift-book illustration. It would, perhaps,
+be more correct to say that gift-book illustration represents the
+qualities of Mr. Abbey's black and white with more or less fidelity, so
+effective is the example of his technique on the forms of picturesque
+character-illustration. It is nearly a quarter of a century since the
+artist, then a young man fresh from Harper's drawing-office in New
+York, came to England. That first visit, spent in studying the reality
+of English pastoral life in preparation for his 'Herrick'
+illustrations, lasted for two years, and after a few months' interval
+in the States he returned to England. Resident here for nearly all the
+years of his work, a member of the Royal Academy, his art expressive of
+traditions of English literature and of the English country to which he
+came as to the actuality of his imaginings, one may include Mr. Abbey
+among English book-illustrators with more than a show of reason. In
+1882, when the 'Selections from the Poetry of Robert Herrick' was
+published, few of the men whose work is considered in this chapter had
+been heard of. Chronologically, Mr. Abbey is first of contemporary
+character-illustrators, and nowhere but first would he be in his proper
+place, for there is no one to put beside him in his special fashion of
+art, and in the effect of his illustrative work on his contemporaries.
+There is inevitable ease and elegance in the pen-drawings of Mr. Abbey,
+and for that reason it is easy to underestimate their intellectual
+quality. He is inventive. The spirit of Herrick's muse, or of 'She
+Stoops to Conquer,' or of the comedies of Shakespeare, is not a quality
+for which he accepts any formula. He finds shapes for his fancies,
+rejecting as alien to his purpose all that is not the clear result of
+his own understanding of the poet. Accordingly there is, in all his
+work, the expression of an intellectual conception. He sees, too, with
+patience. If he isolates a figure, one feels that figure has stepped
+forward into a clear place of his imagination as he followed its way
+through the crowd. If he sets a pageant on the page, or some piece of
+turbulent action, or moment of decision, the actors have their
+individual value. He thinks his way through processes of gradual
+realization to the final picture of the characters in the play or poem.
+One writes now with special reference to the illustrations of the
+comedies of Shakespeare--so far, the illustrative work most exigent to
+the intellectual powers of the artist. Herrick's verse, full of sweet
+sounds and suggestive of happy sights, 'She Stoops to Conquer,' where
+all the mistakes are but for a night, to be laughed over in the
+morning, the lilt and measure of 'Old Songs,' and of the charming
+verses in 'The Quiet Life,' called for sensitive appreciation of moods,
+lyrical, whimsical, humorous, idyllic, but--intellectually--for no more
+than this. As to Mr. Abbey's technique, curious as he is in the uses of
+antiquity as part of the pleasure of a fresh realization, clothing his
+characters in textiles of the great weaving times, or of a dainty
+simplicity, a student of architecture and of landscape, of household
+fittings, of armoury, of every beautiful accessory to the business of
+living, his clever pen rarely fails to render within the convention of
+black and white the added point of interest and of charm that these
+things bring into actuality. Truth of texture, of atmosphere, and of
+tone, an alertness of vision most daintily expressed--these qualities
+belong to all Mr. Abbey's work, and in the Shakespearean drawings he
+shows with greater force than ever his 'stage-managing' power, and the
+correctness and beauty of his 'mounting.' The drawings are dramatic:
+the women have beauty and individuality, while the men match them, or
+contrast with them as in the plays; the rogues are vagabonds in spirit,
+and the wise men have weight; the world of Shakespeare has been entered
+by the artist. But there are gestures in the text, moments of glad
+grace, of passion, of sudden amazement before the realities of personal
+experience, that make these active, dignified figures of Mr. Abbey
+'merely players,' his Isabella in the extremity of the scene with
+Claudio no more than an image of cloistered virtue, his Hermione
+incapable of her undaunted eloquence and silence, his Perdita and
+Miranda and Rosalind less than themselves.
+
+As illustrations, the drawings of Mr. Abbey represent traditions
+brought into English illustrative art by the Pre-Raphaelites, and
+developed by the freer school of the sixties. But, as drawings, they
+represent ideas not effective before in the practice of English
+pen-draughtsmen; ideas derived from the study of the black and white of
+Spain, of France, and of Munich, by American art students in days when
+English illustrators were not given to look abroad. Technically he has
+suggested many things, especially to costume illustrators, and many
+names might follow his in representation of the place he fills in
+relation to contemporary art. But to work out the effect of a man's
+technique on those who are gaining power of expression is to labour in
+vain. It adds nothing to the intrinsic value of an artist's work, nor
+does it represent the true relationship between him and those whom he
+has influenced. For if they are mere imitators they have no relation
+with any form of art, while to insist upon derived qualities in work
+that has the superscription of individuality is no true way of
+apprehension. What a man owes to himself is the substantial fact, the
+fact that relates him to other men. The value of his work, its
+existence, is in the little more, or the much more, that himself adds
+to the sum of his directed industries, his guided achievements. And to
+estimate that, to attempt to express something of it, must be the chief
+aim of a study, not of one artist and his 'times,' but of many artists
+practising a popular art.
+
+So that if, in consideration of their 'starting-point,' one may group
+most character-illustrators, especially of wig-and-powder subjects, as
+adherents either of Mr. Abbey and the 'American school,' or of Mr. Hugh
+Thomson and the Caldecott-Greenaway tradition, such grouping is also no
+more than a starting-point, and everything concerning the achievements
+of the individual artist has still to be said.
+
+Considering the intention of their technique, one may permissibly group
+the names of Mr. Fred Pegram, Mr. F. H. Townsend, Mr. Shepperson, Mr.
+Sydney Paget, and Mr. Stephen Reid as representing in different degrees
+the effect of American black and white on English technique, though,
+in the case of Mr. Paget, one alludes only to pen-drawings such as
+those in 'Old Mortality,' and not to his Sherlock Holmes and Martin
+Hewitt performances. The art of Mr. Pegram and of Mr. Townsend is akin.
+Mr. Pegram has, perhaps, more sense of beauty, and his work suggests a
+more complete vision of his subject than is realized in the drawings of
+Mr. Townsend, while Mr. Townsend is at times more successful with the
+activities of the story; but the differences between them seem hardly
+more than the work of one hand would show. They really collaborate in
+illustration, though, except in Cassell's survey of 'Living London,'
+they have never, I think, made drawings for the same book.
+
+Mr. Pegram served the usual apprenticeship to book-illustration. He was
+a news-illustrator before he turned to the illustration of literature;
+but he is an artist to whom the reality acquired by a subject after
+study of it is more attractive than the reality of actual impressions.
+Neither sensational nor society events appeal to him. The necessity to
+compose some sort of an impression from the bare facts of a fact,
+without time to make the best of it, was not an inspiring necessity.
+That Mr. Pegram is a book-illustrator by the inclination of his art as
+well as by profession, the illustrations to 'Sybil,' published in 1895,
+prove. In these drawings he showed himself not only observant of facial
+expression and of gesture, but also able to interpret the glances and
+gestures of Disraeli's society. From the completeness of the
+draughtsman's realization of his subject, illustrable situations
+develop themselves with credibility, and his graceful women and
+thoughtful men represent the events of the novel with distinction. With
+'Sybil' may be mentioned the illustrations to 'Ormond,' wherein, five
+years later, the same understanding of the ways and activities of a
+bygone, yet not remote society, found equally satisfactory expression,
+while the technique of the artist had gained in completeness. In 'The
+Last of the Barons' (1897), Mr. Pegram had a picturesque subject with
+much strange humanity in it, despite Lord Lytton's conventional
+travesty of events and character. The names of Richard and Warwick, of
+Hastings and Margaret of Anjou, are names that break through
+conventional romance, but the illustrator has to keep up the fiction of
+the author, and, except that the sham-mediævalism of the novel did not
+prevent a right study of costumes and accessories in the pictures, the
+artist had to be content to 'Bulwerize.' Illustrations to 'The Arabian
+Nights' gave him opportunity for rendering textures and atmosphere, and
+movements charming or grave, and the 'Bride of Lammermoor' drawings
+show a sweet-faced Lucy Ashton, and a Ravenswood who is more than
+melancholy and picturesque. Mr. Pegram's drawings are justly dramatic
+within the limits prescribed by a somewhat composed ideal of bearing. A
+catastrophe is outside these limits, and the discovery of Lucy after
+the bridal lacks real illustration in the artist's version, skilful,
+nevertheless, as are all his drawings, and expressed without
+hesitation. Averse to caricature, and keeping within ideas of life that
+allow of unbroken expression, the novels of Marryat, where action so
+bustling that only caricatures of humanity can endure its exigencies,
+and sentimental episodes of flagrant insincerity, swamp the
+character-drawing, are hardly suited to the art of Mr. Pegram. Still,
+he selects, and his selection is true to the time and circumstance of
+Marryat's work. In itself it is always an expression of a coherent and
+definite conception of the story.
+
+[Illustration: FROM MR. PEGRAM'S 'THE BRIDE OF LAMMERMOOR.'
+
+BY LEAVE OF MESSRS. NISBET.]
+
+Mr. Townsend has illustrated Hawthorne and Peacock, as well as
+Charlotte Brontë and Scott. Hawthorne's men and women--embodiments
+always of some essential quality, rather than of the combination of
+qualities that make 'character'--lend themselves to fine illustration
+as regards gesture, and Mr. Townsend's drawings represent, not
+insensitively, the movement and suggestion of 'The Blithedale Romance'
+and 'The House of the Seven Gables.' In the Peacock illustrations the
+artist had to keep pace with an essentially un-English humour, an
+imagination full of shapes that are opinions and theories and sarcasms
+masquerading under fantastic human semblances. Mr. Townsend kept to
+humanity, and found occasions for representing the eccentrics engaged
+in cheerful open-air and society pursuits in the pauses of paradoxical
+discussion. One realizes in the drawings the pleasant aspect of life at
+Gryll Grange and at Crotchet Castle, the courtesies and amusements out
+of doors and within, while the subjects of 'Maid Marian,' of 'The
+Misfortunes of Elphin' and of 'Rhododaphne' declare themselves in
+excellent terms of romance and adventure. Mr. Townsend has humour, and
+he is in sympathy with the vigorous spirit in life; whether the vigour
+is intellectual as in Jane Eyre and in Shirley Keeldar, or muscular as
+in 'Rob Roy,' in drawings to a manual of fencing, and in Marryat's 'The
+King's Own,' or eccentric as in the fantasies of Peacock. His work is
+never languid and never formal; and if in technique he is sometimes
+experimental, and frequently content with ineffectual accessories to
+his figures, his conception of the situation, and of the characters
+that fulfil the situation, is direct and effective enough.
+
+[Illustration: FROM MR. TOWNSEND'S 'SHIRLEY.'
+
+BY LEAVE OF MESSRS. NISBET.]
+
+As an illustrator of current fiction, Mr. Townsend has also a
+considerable amount of dexterous work to his name, but a record of
+drawings contributed to the illustrated journals cannot even be
+attempted within present limits of space.
+
+Mr. Shepperson in his book-illustrations generally represents affairs
+with picturesqueness, and with a nervous energy that takes the least
+mechanical way of expressing forms and substances. Illustrating the
+modern novel of adventure, he is happy in his intrigues and
+conspiracies, while in books of more weight, such as 'The Heart of
+Midlothian' or 'Lavengro,' he expresses graver issues of life with
+un-elaborate and suggestive effect. The energy of his line, the
+dramatic quality of his imagination, render him in his element as an
+illustrator of events, but the vigour that projects itself into
+subjects such as the murder of Sir George Staunton, or the fight with
+the Flaming Tinman, or the alarms and stratagems of Mr. Stanley Weyman,
+informs also his representation of moments when there is no action.
+Technically Mr. Shepperson represents very little that is traditional
+in English black and white, though the tradition seems likely to be
+there for future generations of English illustrators.
+
+[Illustration: "Ye are ill, Effie," were the first words Jeanie could
+utter; "ye are very ill."
+
+FROM MR. SHEPPERSON'S 'THE HEART OF MIDLOTHIAN.'
+
+BY LEAVE OF THE GRESHAM PUBLISHING COMPANY.]
+
+In a recent work, illustrations to Leigh Hunt's 'Old Court Suburb,' Mr.
+Shepperson collaborates with Mr. E. J. Sullivan and Mr. Herbert
+Railton, to realize the associations, literary, historical and
+gossiping, that have Kensington Palace and Holland House as their
+principal centres. On the whole, of the three artists, the subject
+seems least suggestive to Mr. Shepperson. Mr. Sullivan contributes
+many portraits, and some subject drawings that show him in his
+lightest and most dexterous vein. These drawings of _beaux_ and
+_belles_ are as distinct in their happy flattery of fact from the rigid
+assertion of the artist's 'Fair Women,' as they are from the
+undelightful reporting style that in the beginning injured Mr.
+Sullivan's illustrations. One may describe it as the 'Daily Graphic'
+style, though that is to recognize only the basis of convenience on
+which the training of the 'Daily Graphic' school was necessarily
+founded. Mr. Sullivan's early work, the news-illustration and
+illustrations to current fiction of Mr. Reginald Cleaver and of his
+brother Mr. Ralph Cleaver, the black and white of Mr. A. S. Boyd and of
+Mr. Crowther, show this journalistic training, and show, too, that such
+a training in reporting facts directly is no hindrance to the later
+achievement of an individual way of art. Mr. A. S. Hartrick must also
+be mentioned as an artist whose distinctive black and white developed
+from the basis of pictorial reporting, and how distinctive and
+well-observed that art is, readers of the 'Pall Mall Magazine' know. As
+a book-illustrator, however, his landscape drawings to Borrow's 'Wild
+Wales' represent another art than that of the character-illustrator.
+Nor can one pass over the drawings of Mr. Maurice Greiffenhagen, also a
+contributor to the 'Pall Mall Magazine,' if better known in
+illustrations to fiction in 'The Ladies' Pictorial,' though in an
+article on book-illustration he has nothing like his right place. As an
+admirable and original technician and draughtsman of society, swift in
+sight, excellent in expression, he ranks high among black-and-white
+artists, while as a painter, his reputation, if based on different
+qualities, is not doubtful.
+
+[Illustration: FROM MR. E. J. SULLIVAN'S 'SCHOOL FOR SCANDAL.'
+
+BY LEAVE OF MESSRS. MACMILLAN.]
+
+Mr. Sullivan's drawings to 'Tom Brown's Schooldays' (1896) are
+mechanical and mostly without charm of handling, having an appearance
+of timidity that is inexplicable when one thinks of the vigorous
+news-drawings that preceded them. The wiry line of the drawings appears
+in the 'Compleat Angler,' and in other books, including 'The Rivals'
+and 'The School for Scandal,' 'Lavengro' and 'Newton Forster,'
+illustrated by the artist in '96 and '97; but the decorative purpose of
+Mr. Sullivan's later work is, in all these books, effective in
+modifying its perversity. Increasing elaboration of manner within the
+limits of that purpose marks the transition between the starved reality
+of 'Tom Brown' and the illustrations to 'Sartor Resartus' (1898). These
+emphatic decorations, and those illustrative of Tennyson's 'Dream of
+Fair Women and other Poems,' published two years later, are the
+drawings most representative of Mr. Sullivan's intellectual ideals.
+They show him, if somewhat indifferent to charm, and capable of
+out-facing beauty suggested in the words with statements of the extreme
+definiteness of his own fact-conception, yet strongly appreciative of
+the substance and purpose of the text. Carlyle gives him brave
+opportunities, and the dogmatism of the artist's line and form, his
+speculative humour, working down to a definite certainty in things,
+make these drawings unusually interesting. Tennyson's 'Dream,' and his
+poems to women's names, are not so fit for the exercise of Mr.
+Sullivan's talent. He imposes himself with too much force on the forms
+that the poet suggests. There is no delicacy about the drawings and no
+mystery. They do not accord with the inspiration of Tennyson, an
+inspiration that substitutes the exquisite realities of memory and of
+dream for the realities of experience. Mr. Sullivan's share of the
+illustrations to White's 'Selborne' and to the 'Garden Calendar,' are
+technically more akin to the Carlyle and Tennyson drawings than to
+other examples by him. In these volumes he makes fortunate use of the
+basis of exactitude on which his work is founded, exactitude that
+includes portraiture among the functions of the illustrator. No
+portrait is extant of Gilbert White, but the presentment of him is
+undertaken in a constructive spirit, and, as in 'The Compleat Angler'
+and 'The Old Court Suburb,' portraits of those whose names and
+personalities are connected with the books are redrawn by Mr. Sullivan.
+
+Except Mr. Abbey, no character-illustrator of the modern school has so
+long a record of work, and so visible an influence on English
+contemporary illustration, as Mr. Hugh Thomson. In popularity he is
+foremost. The slight and apparently playful fashion of his art,
+deriving its intention from the irresistible gaieties of Caldecott, is
+a fashion to please both those who like pretty things and those who can
+appreciate the more serious qualities that are beneath. For Mr. Thomson
+is a student of literature. He pauses on his subject, and though his
+invention has always responded to the suggestions of the text, the
+lightness of his later work is the outcome of a selecting judgment that
+has learned what to omit by studying the details and facts of things.
+In rendering facial expression Mr. Thomson is perhaps too much the
+follower of Caldecott, but he goes much farther than his original
+master in realization of the forms and manners of bygone times. Some
+fashions of life, as they pass from use, are laid by in lavender. The
+fashions of the eighteenth century have been so laid by, and Mr. Abbey
+and Mr. Thomson are alike successful in giving a version of fact that
+has the farther charm of lavender-scented antiquity.
+
+When 'Days with Sir Roger de Coverley,' illustrated by Hugh Thomson,
+was published in 1886, the young artist was already known by his
+drawings in the 'English Illustrated,' and recognized as a serious
+student of history and literature, and a delightful illustrator of the
+times he studied. His powers of realizing character, time, and place,
+were shown in this earliest work. Sir Roger is a dignified figure; Mr.
+Spectator, in the guise of Steele, has a semblance of observation; and
+if Will Wimble lacks his own unique quality, he is represented as
+properly engaged about his 'gentleman-like manufactures and obliging
+little humours.' Mr. Thomson can draw animals, if not with the
+possessive understanding of Caldecott, yet with truth to the kind,
+knowledge of movement. The country-side around Sir Roger's house--as,
+in a later book, that where the vicarage of Wakefield stands--is often
+delightfully drawn, while the leisurely and courteous spirit of the
+essays is represented, with an appreciation of its beauty. 'Coaching
+Days and Coaching Ways' (1888) is a picturesque book, where types and
+bustling action picturesquely treated were the subjects of the artist.
+The peopling of high-road and county studies with lively figures is one
+of Mr. Thomson's successful achievements, as he has shown in drawings
+of the cavalier exploits of west-country history, illustrative of
+'Highways and Byways of Devon and Cornwall,' and in episodes of romance
+and warfare and humour in similar volumes on Donegal, North Wales, and
+Yorkshire. Here the presentment of types and action, rather than of
+character, is the aim, but in the drawings to 'Cranford' (1891), to
+'Our Village,' and to Jane Austen's novels, behaviour rather than
+action, the gentilities and proprieties of life and millinery, have to
+be expressed as a part of the artistic sense of the books. That is,
+perhaps, why Jane Austen is so difficult to illustrate. The illustrator
+must be neither formal nor picturesque. He must understand the
+'parlour' as a setting for delicate human comedy. Mr. Thomson is better
+in 'Cranford,' where he has the village as the background for the two
+old ladies, or in 'Our Village,' where the graceful pleasures of Miss
+Mitford's prose have suggested delightful figures to the illustrator's
+fancy, than in illustrating Miss Austen, whose disregard of local
+colouring robs the artist of background material such as interests him.
+Three books of verses by Mr. Austin Dobson, 'The Ballad of Beau
+Brocade' (1892), 'The Story of Rosina,' and 'Coridon's Song' of the
+following years, together with the illustrations to 'Peg Woffington,'
+show, in combination, the picturesque and the intellectual interests
+that Mr. Thomson finds in life. The eight pieces that form the first of
+these volumes were, indeed, chosen to be reprinted because of their
+congruity in time and sentiment with Mr. Thomson's art. And certainly
+he works in accord with the measure of Mr. Austin Dobson's verses. Both
+author and artist carry their eighteenth-century learning in as easy a
+way as though experience of life had given it them without any labour
+in libraries.
+
+[Illustration: FROM MR. HUGH THOMSON'S 'BALLAD OF BEAU BROCADE.'
+
+BY LEAVE OF MESSRS. KEGAN PAUL.]
+
+Mr. C. E. Brock and Mr. H. M. Brock are two artists who to some extent
+may be considered as followers of Mr. Thomson's methods, though Mr. C.
+E. Brock's work in 'Punch,' and humorous characterizations by Mr. H. M.
+Brock in 'Living London,' show how distinct from the elegant fancy of
+Mr. Thomson's art are the latest developments of their artistic
+individuality. Mr. C. E. Brock's illustrations to Hood's 'Humorous
+Poems' (1893) proved his indebtedness to Mr. Thomson, and his ability
+to carry out Caldecott-Thomson ideas with spirit and with invention. An
+active sense of fun, and facility in arranging and expressing his
+subject, made him an addition to the school he represented, and, as in
+later work, his own qualities and the qualities he has adopted combined
+to produce spirited and graceful art. But in work preceding the
+pen-drawing of 1893, and in many books illustrated since then, Mr.
+Brock at times has shown himself an illustrator to whom matter rather
+than a particular charm of manner seems of paramount interest. In the
+illustrated Gulliver of 1894 there is little trace of the daintiness
+and sprightliness of Caldecott's illustrative art. He gives many
+particulars, and is never at a loss for forms and details, representing
+with equal matter-of-factness the crowds, cities and fleets of
+Lilliput, the large details of Brobdingnagian existence, and the
+ceremonies and spectacles of Laputa. In books of more actual adventure,
+such as 'Robinson Crusoe' or 'Westward Ho,' or of quiet particularity,
+such as Galt's 'Annals of the Parish,' the same directness and
+unmannered expression are used, a directness which has more of the
+journalistic than of the playful-inventive quality. The Jane Austen
+drawings, those to 'The Vicar of Wakefield,' and to a recent edition of
+the 'Essays of Elia,' show the graceful eighteenth-centuryist, while,
+whether he reports or adorns, whether action or behaviour, adventure or
+sentiment, is his theme, Mr. Brock is always an illustrator who
+realizes opportunities in the text, and works from a ready and
+observant intelligence.
+
+[Illustration: FROM MR. C. E. BROCK'S 'THE ESSAYS OF ELIA.'
+
+BY LEAVE OF MESSRS. DENT.]
+
+Mr. Henry M. Brock is also an effective illustrator, and his work
+increases in individuality and in freedom of arrangement. 'Jacob
+Faithful' (1895) was followed by 'Handy Andy' and Thackeray's 'Songs
+and Ballads' in 1896. Less influenced by Mr. Thomson than his brother,
+the lively Thackeray drawings, with their versatility and easy
+invention, have nevertheless much in common with the work of Mr.
+Charles Brock. On the whole, time has developed the differences rather
+than the similarities in the work of these artists. In the 'Waverley'
+drawings and in those of 'The Pilgrim's Progress,' Mr. H. M. Brock
+represents action in a more picturesque mood than Mr. Charles Brock
+usually maintains, emphasizing with more dramatic effect the action and
+necessity for action.
+
+The illustrations of Mr. William C. Cooke, especially those to 'Popular
+British Ballads' (1894), and, with less value, those to 'John Halifax,
+Gentleman,' may be mentioned in relation to the Caldecott tradition,
+though it is rather of the art of Kate Greenaway that one is reminded
+in these tinted illustrations. Mr. Cooke's wash-drawings to Jane
+Austen's novels, to 'Evelina' and 'The Man of Feeling,' as well as the
+pen-drawings to 'British Ballads,' have more force, and represent with
+some distinction the stir of ballad romance, the finely arranged
+situations of Miss Austen, and the sentiments of life, as Evelina and
+Harley understood it.
+
+In a study of English black-and-white art, not limited to
+book-illustration, 'Punch' is an almost inevitable and invaluable
+centre for facts. Few draughtsmen of notability are outside the scheme
+of art connected with 'Punch,' and in this connection artists differing
+as widely as Sir John Tenniel and Mr. Phil May, or Mr. Linley Sambourne
+and Mr. Raven Hill, form a coherent group. But, in this volume, 'Punch'
+itself is outside the limits of subject, and, with the exception of Mr.
+Bernard Partridge in the present, and Sir Harry Furniss in the past,
+the wits of the pencil who gather round the 'mahogany tree' are not
+among character-illustrators of literature. Mr. Partridge has drawn for
+'Punch' since 1891, and has been on the staff for nearly all that time.
+His drawings of theatrical types in Mr. Jerome's 'Stage-land'
+(1889)--which, according to some critics, made, by deduction, the
+author's reputation as a humorist--and to a first series of Mr.
+Anstey's 'Voces Populi,' as well as work in many of the illustrated
+papers, were a substantial reason for 'Punch's' invitation to the
+artist. From the 'Bishop and Shoeblack' cut of 1891, to the 'socials'
+and cartoons of to-day, Mr. Partridge's drawings, together with those
+of Mr. Phil May and of Mr. Raven Hill, have brilliantly maintained the
+reputation of 'Punch' as an exponent of the forms and humours of modern
+life. His actual and intimate knowledge of the stage, and his actor's
+observation of significant attitudes and expressions, vivify his
+interpretation of the middle-class, and of bank-holiday makers, of the
+'artiste,' and of such a special type as the 'Baboo Jabberjee' of Mr.
+Anstey's fluent conception. If his 'socials' have not the prestige of
+Mr. Du Maurier's art, if his women lack charm and his children
+delightfulness, he is, in shrewdness and range of observation, a
+pictorial humorist of unusual ability. As a book-illustrator, his most
+'literary' work is in the pages of Mr. Austin Dobson's 'Proverbs in
+Porcelain.' Studied from the model, the draughtsmanship as able and
+searching as though these figures were sketches for an 'important'
+work, there is in every drawing the completeness and fortunate effect
+of imagination. The ease of an actual society is in the pose and
+grouping of the costumed figures, while, in the representation of their
+graces and gallantries, the artist realizes _ce superflu si nécessaire_
+that distinguishes dramatic action from the observed action of the
+model. Problems of atmosphere, of tone, of textures, as well as the
+presentment of life in character, action, and attitude, occupy Mr.
+Partridge's consideration. He, like Mr. Abbey, has the colourist's
+vision, and though the charm of people, of circumstance, of accessories
+and of association is often less his interest than characteristic
+facts, in non-conventional technique, in style that is as
+un-selfconscious as it is individual, Mr. Abbey and Mr. Partridge have
+many points in common.
+
+Sir Harry Furniss, alone of caricaturists, has, in the many-sided
+activity of his career, applied his powers of characterization to
+characters of fiction, though he has illustrated more nonsense-books
+and wonder-books than books of serious narrative. Sir John Tenniel and
+Mr. Linley Sambourne among cartoonists, Sir Harry Furniss, Mr. E. T.
+Reed, and Mr. Carruthers Gould among caricaturists, mark the strong
+connection between politics and political individualities, and the
+irresponsible developments and creatures of nonsense-adventures, as a
+theme for art. To summarize Sir Harry Furniss' career would be to give
+little space to his work as a character-illustrator, but his
+character-illustration is so representative of the other directions of
+his skill, that it merits consideration in the case of a draughtsman as
+effective and ubiquitous in popular art as is 'Lika Joko.' The
+pen-drawings to Mr. James Payn's 'Talk of the Town,' illustrated by Sir
+Harry Furniss in 1885, have, in restrained measure, the qualities of
+flexibility, of imagination so lively as to be contortionistic, of
+emphasis and pugnacity of expression, of pantomimic fun and drama, that
+had been signalized in his Parliamentary antics in 'Punch' for the
+preceding five years. His connection with 'Punch' lasted from 1880 to
+1894, and the 'Parliamentary Views,' two series of 'M.P.s in
+Session,' and the 'Salisbury Parliament,' represent experience gained
+as the illustrator of 'Toby M.P.' His high spirits and energy of sight
+also found scope in caricaturing academic art, 'Pictures at Play'
+(1888), being followed by 'Academy Antics' of no less satirical and
+brilliant purpose. As caricaturist, illustrator, lecturer, journalist,
+traveller, the style and idiosyncrasies of Sir Harry Furniss are so
+public and familiar, and so impossible to emphasize, that a brief
+mention of his insatiable energies is perhaps as adequate as would be a
+more detailed account.
+
+[Illustration: FROM SIR HARRY FURNISS' 'THE TALK OF THE TOWN.'
+
+BY LEAVE OF MESSRS. SMITH, ELDER.]
+
+Other book-illustrators whose connection with 'Punch' is a fact in the
+record of their work are Mr. A. S. Boyd and Mr. Arthur Hopkins. Mr.
+Jalland, too, in drawings to Whyte-Melville used his sporting knowledge
+on a congenial subject. Mr. A. S. Boyd's 'Daily Graphic' sketches
+prepared the way for 'canny' drawings of Scottish types in Stevenson's
+'Lowden Sabbath Morn,' in 'Days of Auld Lang Syne,' and in 'Horace in
+Homespun,' and for other observant illustrations to books of pleasant
+experiences written by Mrs. Boyd. Mr. Arthur Hopkins, and his brother
+Mr. Everard Hopkins, are careful draughtsmen of some distinction.
+Without much spontaneity or charm of manner, the pretty girls of Mr.
+Arthur Hopkins, and his well-mannered men, fill a place in the pages of
+'Punch,' while illustrations to James Payn's 'By Proxy,' as far back as
+1878, show that the unelaborate style of his recent work is founded on
+past practice that has the earlier and truer Du Maurier technique as
+its standard of thoroughness. Mr. E. J. Wheeler, a regular contributor
+to 'Punch' since 1880, has illustrated editions of Sterne and of
+'Masterman Ready,' other books also containing characteristic examples
+of his rather precise, but not uninteresting, work.
+
+Save by stringing names of artists together on the thread of their
+connection with some one of the illustrated papers or magazines, it
+would be impossible to include in this chapter mention of the enormous
+amount of capable black-and-white art produced in illustration of
+'serial' fiction. Such name-stringing, on the connection--say--of 'The
+Illustrated London News,' 'The Graphic,' or 'The Pall Mall Magazine,'
+would fill a page or two, and represent nothing of the quality of the
+work, the attainment of the artist. Neither is it practicable to
+summarize the illustration of current fiction. One can only attempt to
+give some account of illustrated literature, except where the current
+illustrations of an artist come into the subject 'by the way.' Mr.
+Frank Brangwyn may be isolated from the group of notable painters,
+including Mr. Jacomb Hood, Mr. Seymour Lucas and Mr. R. W. Macbeth, who
+illustrate for 'The Graphic,' by reason of his illustrations to
+classics of fiction such as 'Don Quixote' and 'The Arabian Nights,' as
+well as to Michael Scott's two famous sea-stories. To some extent his
+illustrations are representative of the large-phrased construction of
+Mr. Brangwyn's painting, especially in the drawings of the opulent
+orientalism of 'The Arabian Nights,' with its thousand and one
+opportunities for vivid art. Mr. Brangwyn's east is not the vague east
+of the stay-at-home artist, nor of the conventional traveller; his
+imagination works on facts of memory, and both memory and imagination
+have strong colour and concentration in a mind bent towards adventure.
+One should not, however, narrow the scope of Mr. Brangwyn's art within
+the limits of his work in black and white, and what is no more than an
+aside in the expression of his individuality, cannot, with justice to
+the artist, be considered by itself. Other 'Graphic' illustrators--Mr.
+Frank Dadd, Mr. John Charlton, Mr. William Small, and Mr. H. M. Paget,
+to name a few only--represent the various qualities of their art in
+black-and-white drawings of events and of fiction, and the
+'Illustrated,' with artists including Mr. Caton Woodville, Mr. Seppings
+Wright, Mr. S. Begg, M. Amedée Forestier and Mr. Ralph Cleaver, fills a
+place in current art to which few of the more recently established
+journals can pretend. Mr. Frank Dadd and Mr. H. M. Paget made drawings
+for the 'Dryburgh' edition of the Waverleys. In this edition, too, is
+the work of well-known artists such as Mr. William Hole, whose Scott
+and Stevenson illustrations show his inbred understanding of northern
+romance, and together with the character etchings to Barrie, shrewd and
+valuable, represent with some justice the vigour of his art; of Mr.
+Walter Paget, an excellent illustrator of 'Robinson Crusoe,' and of
+many boys' books and books of adventure, of Mr. Lockhart Bogle, and of
+Mr. Gordon Browne. In the same edition Mr. Paul Hardy, Mr. John
+Williamson and Mr. Overend, showed the more serious purpose of black
+and white that has earned the appreciation of a public critical of any
+failure in vigour and in realization--the public that follows the
+tremendous activity of Mr. Henty's pen, and for whom Dr. Gordon
+Stables, Mr. Manville Fenn and Mr. Sydney Pickering write. Of M. Amedée
+Forestier, whose illustrations are as popular with readers of the
+'Illustrated' and with the larger public of novel-readers as they are
+with students of technique, one cannot justly speak as an English
+illustrator. He, and Mr. Robert Sauber, contributed to Ward Lock's
+edition of Scott illustrated by French artists. Their work, M.
+Forestier's so admirable in realization of episode and romance, Mr.
+Sauber's, vivacious up to the pitch of 'The Impudent Comedian'--as his
+illustrations to Mr. Frankfort Moore's version of Nell Gwynn's
+fascinations showed--needs no introduction to an English public. The
+black and white of Mr. Sauber and of Mr. Dudley Hardy--when Mr. Hardy
+is in the vein that culminated in his theatrical posters--has many
+imitators, but it is not a style that is likely to influence
+illustrators of literature. Mr. Hal Hurst shows something of it, though
+he, and in greater measure Mr. Max Cowper, also suggest the
+unforgettable technique of Charles Dana Gibson.
+
+
+
+
+IV. SOME CHILDREN'S-BOOKS ILLUSTRATORS.
+
+
+LEIGH Hunt is one of many authors gratefully to praise the best-praised
+publisher of any day, Mr. Newbery, who, at "The Bible and Sun" in St.
+Paul's Churchyard, dispensed to long-ago children 'Goody Two Shoes,'
+'Beauty and the Beast,' and other less famous little books, bound in
+gilt paper and rich with many pictures. Charming memories prompt Leigh
+Hunt's mention of the little penny books 'radiant with gold,' that
+'never looked so well as in adorning literature,' and if the radiance
+of his estimate of these nursery volumes is from an actual memory of
+gilt-paper binding, his words exemplify the spirit that makes right
+appreciation of the newest picture-books so difficult.
+
+In no other part of the subject of book-illustration are the books of
+yesterday fraught with charm so inimical to delight in the books of
+to-day. The modern child's book--except, let us hope, to the
+child-owner--is merely a book as other books are. Its qualities are as
+patent as its size, or number of illustrations. The pictures are to the
+credit or discredit of a known and realized artist; they are,
+moreover, generally plain to see as a development of the ideas of some
+'school' or 'movement.' One knows about them as examples of English
+book-illustration of to-day. But the pictures between the worn-out
+covers of the other child's books were known with another kind of
+knowledge, discovered in a long intimacy, and related, not to any
+artist, or fashion of art, but to all manner of unreasonable and
+delightful things.
+
+So it is well, perhaps, that the break between a subject of enthralling
+associations and a subject whose associations are unsentimental,
+should, by the ordering of facts, occur before the proper beginning of
+a study of contemporary illustration in children's books. For one
+reason or another, little work by artists whose reputation is of
+earlier date than to-day comes within present subject-limits. Some,
+like Randolph Caldecott and Kate Greenaway, are dead, some have ceased
+to draw, or draw no longer for children. Happily, the witching drawings
+of Arthur Hughes are still among nursery pictures, in reprints of 'At
+the Back of the North Wind,' and its companions--though the illustrator
+of these books, of 'The Boy in Grey,' and of 'Tom Brown's Schooldays,'
+has long ceased to weave his fortunate dreams into pictures to content
+a child. The drawings of Robert Barnes, of Mrs. Allingham and of Miss
+M. E. Edwards--illustrators of a sound tradition--are known to the
+present nursery generation; and so are the outline and tinted drawings
+of 'T. Pym,' who devised, so far back as the seventies, the naïve and
+sympathetic style of illustration that is pleasantly unchanged in
+recent child-books, such as 'The Gentle Heritage' (1893), and 'Master
+Barthemy' (1896). The later work of Walter Crane is so bent to
+decorative and allegorical purpose, that the creator of the best
+nursery-rhyme pictures ever printed in colours--Randolph Caldecott's
+are rather ballad than nursery-rhyme pictures--is in his place among
+decorative illustrators rather than in this connection. Sir John
+Tenniel's neat, immortal little Alice, with her ankle-strap shoes and
+pocketed apron, is still followed to Wonderland by as many children as
+in 1866, when she and the splendid prototypes of the degenerate
+jargon-beasts of to-day first captivated attention. The drawings of
+these artists, and perhaps also of 'E. V. B.'--for 'Child's Play,'
+though published in 1858, is familiar to present children in a
+reprint--are mentioned because of the place they still take on nursery
+book-shelves. But from such brief record of some among the books
+'radiant with gold' that 'never looked so well as in adorning
+literature,' one must turn to work that has no such radiance of
+sentiment and association over its merits and defects.
+
+Since the eighties Mr. Gordon Browne has been in the forefront of
+illustrators popular with story-book publishers and with readers of
+story-books. He is the son of Hablot Browne, but no trace of the
+'caricaturizations' of 'Phiz' is in Mr. Gordon Browne's work. Probably
+his earliest published work appeared in 'Aunt Judy's Magazine' some
+time in the seventies. These unenlivening drawings suggest nothing of
+the picturesque and unhesitating invention that has shaped his style
+to its present serviceableness in the rapid production of effective
+illustrations. The range and quantity of his work is best realized in
+the bibliographical list, which records his illustrations to
+Shakespeare and Henty, to fairy-tales and boys' stories, girls' stories
+and toy-books, Gulliver, Cervantes, and Sunday-school books, at the
+rate of six or seven volumes a year. In addition, one must remember
+unnumbered illustrations in domestic magazines. And, on the whole, the
+stories illustrated by Gordon Browne are adequately illustrated. It is
+true that as a general rule he illustrates stories whose plan is within
+limits of familiarity, such as those by Mrs. Ewing, Mrs. L. T. Meade,
+or, in a different vein, the boys' stories of Henty, Manville Fenn, or
+Ascott Hope. Romance and the clash of swords engaged the artist in the
+pages of 'Sintram,' of Froissart, of Sir Walter Scott,
+and--pre-eminently--in the illustrations to the 'Henry Irving
+Shakespeare,' numbering nearly six hundred, and representing the work
+of five years. Illustrating these subjects, though in varying degree,
+the vitality and importance of an artist's conception of life and of
+art is put to the test. So far as prompt and definite representation of
+persons, places, and encounters, and unflagging facility in devising
+effective forms of composition constitute interpretation, the artist
+maintained the level of the undertaking. The illustration of stories
+such as those collected by the brothers Grimm, or those Andersen
+discovered in his exile of dreams among the facts of life, demands a
+quality of thought differing from, yet hardly less rare than, the
+thought needed to interpret Shakespeare. A fine aptitude for
+discerning and rendering 'the mysterious face of common things,' a
+fancy full of shapes, perception of the _rationale_ of magic, are
+essential to the writer or artist who elects to send his fancy after
+the elusive forms of fairyland. The recent drawings to Andersen, a
+volume of tales from Grimm, published in 1894, and illustrations to
+modern inventions, such as 'Down the Snow Stairs' (1886), and Mr.
+Andrew Lang's 'Prince Prigio,' show that Mr. Gordon Browne's ideas of
+fairyland, ancient and modern, are no less brisk and picturesque than
+are his ideas of everyday and of romance. His technique is so familiar
+that it is surely unnecessary to make even a brief disquisition on its
+merits in expressing facts as they exist in a popular scheme of reality
+and imagination. It is a healthy style, the ideals of beauty and of
+strength are never coarse, wanton or listless, the humour is friendly,
+and if the pathos occasionally verges on sentimentality, the writer,
+perhaps, rather than the artist is responsible.
+
+Mr. Gordon Browne draws the average child, and represents fun, fancy
+and adventure as the average child understands them. His art is
+unsophisticated. To him, the child is no _motif_ in a decorative
+fantasy, nor a quaint diagram figuring in nursery-Gothic elements of
+design, nor a bold invention among picture-book monsters. The artists
+whose basis of art is the unadapted child, may, perhaps, be classed as
+the 'realists' among children's illustrators. Among these realists are
+the illustrators of Mrs. Molesworth--with the exception of Walter
+Crane, first and chief of them.
+
+Mr. Leslie Brooke succeeded Mr. Crane in 1891 as the illustrator of
+Mrs. Molesworth's stories, and the careful un-selfconscious fashion of
+his drawing, his understanding of child-life and home-life as known to
+children such as those of whom and for whom Mrs. Molesworth writes,
+make these pen-drawings true illustrations of the text. His drawings
+are the result of individual observation and of a sense of what is fit
+and pleasant, though neither in his filling of a page, nor in the
+conception of beauty, is there anything definitely inventive to be
+marked. On the whole, his children and young people are rather
+representative of a class that maintains a standard of good looks among
+other desirable things, than of a type of beauty; and if they are not
+artistic types, neither are they strongly individualized. In his
+'everyday' illustrations Mr. Leslie Brooke does not idealize, but that
+his talent has a range of fancy is proved in illustrations to 'A School
+in Fairyland' (1896), and to some imaginings by Roma White. Graceful,
+regardful of an unspoilt ideal in the fairies, elves and
+flower-spirits, there are also frequent hints in these drawings of the
+humour that finds more complete expression in 'The Nursery Rhyme Book'
+of 1897, and in the happy extravagance of 'The Jumblies' and 'The
+Pelican Chorus' (1900). Outside the scope of picture-book drawings are
+the dainty tinted designs to Nash's 'Spring Song,' and the skilful
+pen-drawings to 'Pippa Passes.'
+
+Mr. Lewis Baumer's drawings of children, whether in 'The Boys and I'
+and other stories by Mrs. Molesworth, or in less known child-stories,
+have distinction that is partly a development of an admiration for Du
+Maurier, though Mr. Baumer is too quick-sighted and appreciative of
+charm to remain faithful to any model in art with the model in life
+before his eyes. The children of Mr. Baumer are of to-day. The effect
+of the earlier 'Punch' artist on the work of the younger man is hardly
+more than suggested in certain felicities of pose and expression added
+to those that a delightful kind of child discovers to an observer
+unusually sensitive to the vivid and engaging qualities of his subject.
+These children are swift of movement and of spirit, and the _verve_ of
+the artist's style is rarely forced, and still more rarely inadequate
+to the occasion.
+
+[Illustration: FROM MR. LEWIS BAUMER'S 'HERMY.'
+
+BY LEAVE OF MESSRS. CHAMBERS.]
+
+The acceptance of a formula, rather than the expression of a hitherto
+unexpressed order of form, is the basis of page-decoration by members
+of the Birmingham School, whose work in its wider aspect has already
+been considered. Originality finds exercise in modifying details, but,
+pre-eminent over differences in style, is the similarity of style that
+suggests 'Birmingham' before the variations in detail suggest the work
+of an individual artist. The influence of Kate Greenaway is strongly
+marked in the work of many of these designers for children's books.
+Indeed, Miss Winifred Green's drawings to Charles and Mary Lamb's
+'Poetry for Children,' and to 'Mrs. Leicester's School,' contain
+figures that, if one allows for some assertion necessary to justify
+their reappearance, might have come direct from 'Under the Window.'
+
+The typical illustrative art of Birmingham is, however, of another
+kind. The quaint propriety of 'old-fashioned' childhood, which Kate
+Greenaway's delicate pencil first represented at its artistic value, is
+akin to the conception of the child that prevails on the pages
+decorated by Mrs. Arthur Gaskin, but the work of Mrs. Gaskin shows
+nothing of the Stothard-like ideal that seems to have been the
+suggesting cause of 'Greenaway' play-pictures. In the arabesques of
+flowers and leaves which decorate many pages designed by Mrs. Gaskin
+one sees a freedom and fluency of line that are checked to quaintness
+and naïve angularity when the child is the subject. Her conception of a
+pictorial child is very definite, and in her later work, one must
+confess, it is a conception hardly corroborated by observation of fact.
+'Horn Book Jingles' and 'The Travellers' of 1897 and 1898 show the
+culmination of a style that had more sympathetic charm in the tinted
+pages of the 'A. B. C.' (1895), or the 'Divine and Moral Songs' of the
+following year. Book-illustration is with Mrs. Gaskin, as with many
+members of the school, only a part of craftsmanship.
+
+Miss Calvert's winsome drawings in 'Baby Lays' and 'More Baby Lays' are
+obviously related to the drawings of Mrs. Gaskin, though observation of
+real babies seems to have come between a rigid adherence to the model.
+The decorative illustrations by the Miss Holdens to 'Jack and the
+Beanstalk' (1895), and to 'The Real Princess,' show evidence of fancy
+that finds expression while nothing of Mr. Gaskin's teaching is
+forgotten.
+
+As different in spirit from the drawings of the Birmingham designers as
+is the Lambs' 'Poetry for Children' from 'A Child's Garden of Verses,'
+the captivating illustrations of Mr. Charles Robinson seem a direct
+pictorial evocation of the mood of Stevenson's child's rhymes, or of
+Eugene Field's lullabies. Familiar now, and exaggerated in imitations
+and in some of the artist's later work, the children and
+child-fantasies of Mr. Robinson, as they were realized in the first
+unspoilt freshness of improvisation, are among the delightful surprises
+of modern book-illustration. In the pages of 'A Child's Garden of
+Verses' (1896), of 'The Child World,' and of Field's 'Lullaby Land,'
+the frolic babes of his fancy play hide and seek wherever the text
+leaves space for them, rioting, or attitudinizing with spritely
+ceremony, from cover to cover. The mood of imaginative play, of
+daylight make-believe with its realistic and romantic excesses, and of
+the make-believe enforced by flickering fire-light, and by the shadows
+in the darkened house, is expressed in Mr. Robinson's drawings. Not
+children, but child's-play, and the unexplored shadows and mysteries
+that lie 'up the mountain side of dreams' are the motives of the
+fantasies he sets on the page beside Stevenson's rhymes of old
+delights, and the rhymes of the land of counterpane, where Wynken
+Blynken and Nod, the Rockaby lady from Hushaby Street, and all kind
+drowsy fancies close round and shut away the crooked shadows into the
+night outside the nursery.
+
+The three books mentioned represent, as I think, the artist's work at
+its truest value. There is variety of touch and of method, and the
+heavier fact-enforcing line of 'Child Voices,' of 'Lilliput Lyrics,' or
+of the coloured pictures to 'Jack of all Trades' is used, as well as
+the fanciful line of the by-the-way drawings, and the arabesques and
+delicate detail of the fantasy and dream pictures. A scheme of solid
+black and white, connected and rendered fully valuable by interweaving
+with line, white lines telling against black masses, and black lines
+relieved against white, with pattern as a resource to fill spaces when
+plain black or plain white seem uninteresting, is, of course, the
+scheme of the majority of decorative illustrators. But of this scheme
+Mr. Charles Robinson has made individual use. Whether his lines trace a
+fairy's transparent wing on a background of night-sky, of drifting
+cloud or of dream mountain-side, or make the child visible among
+dream-buildings, or seated on the world of fancy in the immensity of
+night, or passing in a sleep-ship through faëry seas, they have the
+quality of imagination, imagination in their disposition to form a
+decorative effect, and in the forms they express. The full-page
+drawings to 'King Longbeard' have this quality, and hardly a drawing to
+any theme of fancy, whether in old or in new fairy tales, or in verses,
+but is the result of a vision of charm and distinction.
+
+It would seem that the imagination of Mr. Charles Robinson realizes a
+subject with more delight when the text is suggestive, rather than
+impressive with definite conceptions. The mighty forms of 'The
+Odyssey,' the chivalric symbolism of 'Sintram and Aslaugas Knight,'
+even the magical particularity of Hans Andersen, are not, apparently,
+supreme in his imagination, as is his vision of fairy-seeing childhood.
+One is unenlightened by the graceful drawings to 'The Adventures of
+Odyseus,' or the romances of De la Motte Fouqué.
+
+That Miss Alice Woodward has, on occasion, made one of the many
+illustrators who have profited by the example of Mr. Charles Robinson,
+various drawings seem to show, but few of these illustrators have the
+originality and purpose that allow Miss Woodward to enlarge her range
+of expression without nullifying the spontaneity of her work. She has
+illustrated over a dozen books, beginning with 'Banbury Cross' in 1895,
+and mostly she treats her subject with humour and variety and with a
+consistent idea of the pictorial aspect of things. She has quick
+appreciation of unconscious humour in attitude and in expression,
+though she seems at times to rely too much on memory, thereby
+diminishing vividness. When most successful she can draw a pleasing
+child with lines almost as few as those used by any modern artist.
+Miss Gertrude Bradley is another pleasant illustrator. Her later
+drawings of children are modified from the print-pinafore freshness of
+those in 'Songs for Somebody' (1893), to a type that has evident
+affinities with the Charles Robinson child, though in 'Just Forty
+Winks' (1897) Miss Bradley proves her individual sense of humour. The
+taking simplicity of Miss Marion Wallace-Dunlop's illustrations of
+elf-babies in 'Fairies, Elves and Flower Babies,' and of the human
+twins who adventure in 'The Magic Fruit Garden' also suggests the
+influence of the fortunate inventor of an admirable child.
+
+[Illustration: FROM MISS WOODWARD'S 'TO TELL THE KING THE SKY IS
+FALLING.'
+
+BY LEAVE OF MESSRS. BLACKIE.]
+
+The greater amount of Mr. Bedford's work for children consists of
+coloured illustrations to nursery-books, and, when the humour of
+half-penny paper journalism is supposed to be entertainment for babies,
+one may be thankful for the pleasant and peaceful drawings of this
+artist. Little Miss Muffet, Wee Willie Winkie, and the activities of
+town and country, are a relief from the _jeunesse dorée_, and the
+lethargy of the War Office as toy-book subjects, while 'The Battle of
+the Frogs and Mice'--though Miss Barlow's version of Aristophanes, with
+Mr. Bedford's effective decorations, is hardly a nursery-book--is a
+better child's subject than the punishable pretensions of other
+nations.
+
+In work hitherto noticed, the child may be regarded as the central
+figure of the design, whether fact or fancy be set about his little
+personality. Besides the illustrators whose subject is childhood in
+some aspect or another, and those children's illustrators who
+pictorialize the wide imaginings of the national fairy tales, there
+are others in whose work the child figures incidentally, but not as the
+central fact. In this connection one may consider those draughtsmen who
+illustrate modern wonder-books with Zankiwanks, Krabs and Wallypugs.
+
+Mr. Archie Macgregor should be classed, perhaps, among artists of the
+child in wonderland, but the personalities of Tomakin and his sisters,
+though Judge Parry sets them forth in prose and in verse with his usual
+high spirits, are not the illustrator's first care. 'Katawampus,' 'The
+First Book of Krab,' and 'Butterscotia,' have made Mr. Macgregor's
+robust and strongly-defined drawings familiar, and, within the limits
+of the author's hearty imagination, his droll and unflagging
+representations of adventures, ceremonies and humours, are extremely
+apt. Children, goblins, animals and queer monsters are drawn with
+unhesitating spirit and humour, and with decorative invention that
+would be even more successful if it were less fertile in devising
+detail. More fortunate in rendering action than facial expression,
+without the mystery that is the atmosphere of the magical fairy-land,
+the fact and fancy of Mr. Macgregor are so admirably illustrative of
+Judge Parry's text that one is almost inclined to attribute the absence
+of glamour to the artist's strong conception of the function of an
+illustrator.
+
+Mr. Alan Wright's work, again, is inevitably associated with the
+invention of an author, though Mr. Farrow's 'Wallypug' books have not
+all been illustrated by one artist. Mr. Wright's drawings are proof of
+an energetic and serviceable conception of all sorts of out-of-the-way
+things. His humour is unelaborate, he goes straight to the fact, and,
+having expressed its extraordinary and fantastic characteristics, he
+does not linger to develop his drawing into a decorative scheme.
+Apparently he draws 'out of his head,' whether his subject is fact or
+extravagance. The three small humans who figure in 'The Little
+Panjandrum's Dodo,' and the ambassador's son of 'The Mandarin's Kite,'
+are as briefly sketched as the whimsicalities with whom they consort.
+
+Mr. Arthur Rackham's illustrations to 'Two Old Ladies, Two Foolish
+Fairies, and a Tom-Cat' (1897), and to 'The Zankiwank and the
+Bletherwitch' show inspiriting talent for nursery extravaganza. The
+children, whirled from reality into a phantasmagoria of adventure, are
+deftly and happily drawn, the fairies have fairy grace, and the rout of
+hobgoblins and grotesques fill their parts. Drawing real animals, Mr.
+Rackham is equally quick to note what is characteristic, and his
+facility in realizing fact and magic finds expression in the
+illustrations to 'Grimm's Fairy Tales' (1900). This is the most
+important work of Mr. Rackham as a child's illustrator, and if the
+drawings are somewhat calculated to impress the horrid horror of
+witches and forest enchantments on uneasy minds, the charm of
+princesses and peasant maids, the sagacious humour of talking animals
+and the grotesque enlivenment of cobolds and gnomes are no less vividly
+represented. That Mr. Rackham admires Mr. E. J. Sullivan's scheme of
+decorative black-and-white is evident in these drawings, but not to
+the detriment of their inventive worth.
+
+[Illustration: FROM MR. ARTHUR RACKHAM'S 'GRIMM'S FAIRY TALES.'
+
+BY LEAVE OF MESSRS. FREEMANTLE.]
+
+Mr. J. D. Batten, Mr. H. J. Ford, and Mr. H. R. Millar represent, in
+various ways, the modern art of fairy-tale illustration at its best.
+Mr. Batten's connection with Mr. Joseph Jacob's treasuries of
+fairy-lore, Mr. Ford's long record of work in the multicoloured fairy
+and true story books edited by Mr. Lang, and the drawings of Mr. Millar
+in various collections of fairy tales, entitle them to a foremost place
+among contemporary illustrators of the world's immortal
+wonder-stories.
+
+Mr. Batten knows the rules of chivalry, of sentiment, humour, and
+horridness, as they exist in the magical convention of the real
+fairy-tales, and whether their purpose be merry or sad, heroic or
+grotesque, he illustrates the old tales of Celt and Saxon, of India,
+Arabia and Greece with appreciation of the largeness and splendour of
+their conception. One might wish for more vitality in his women, and
+think that a representation of the mournful beauty of Deirdre, the
+passion of Circe or of Medea, should differ from the untroubled
+sweetness of the King's daughter of faery. Still one appreciates the
+dignity of these smooth-browed women, and, after all, the passionate
+figures of Greek and Celtic epics need translation before they can
+figure in fairy-tale books. Mr. Batten's ideas are never trite and
+never morbid. His giants are gigantic, his monsters of true devastating
+breed, and his drawings--especially the later ones--are as able
+technically as they are apt to the occasion.
+
+[Illustration: FROM MR. BATTEN'S 'INDIAN FAIRY TALES.'
+
+BY LEAVE OF DAVID NUTT.]
+
+There can hardly be an existent fairy-story among the hundreds told
+before the making of books that Mr. Ford has not illustrated in one
+version or another. The telling-house of every nation has yielded
+stories for Mr. Lang's annual volumes; and since the appearance of 'The
+Blue Fairy Book' in 1888, Mr. Ford, alone or in collaboration with Mr.
+Jacomb Hood, Mr. Lancelot Speed and other well-known artists, has
+illustrated the stories Mr. Lang has gathered. Moreover, in addition to
+seven volumes of fairy tales, and many true story and animal story
+books, Mr. Ford has made drawings for Æsop, for the 'Arabian Nights,'
+and for 'Early Italian Love Stories.' His decorative and illustrative
+ideal has never lacked distinction, and his recent work is the coherent
+development of that of fourteen years ago, though he has gained in
+freedom and variety of conception and in quality of expression. Mr.
+Ford's art is obviously founded on that of Walter Crane, but he looks
+at a subject with greater interest in its dramatic possibilities, and
+in the facts of place and time than the later 'Crane' convention
+admits. An abundant fancy, familiarity with the facts of legendary,
+romantic and animal life, over a wide tract of country and through long
+ages of time, fill the decorative pages of the artist with a plentitude
+of graceful, vigorous and persuasive forms. The well-devised pages of
+Miss Emily J. Harding's 'Fairy Tales of the Slav Peasants and
+Herdsmen,' are akin in form to the drawings of Mr. Batten and of Mr.
+Ford, though regard for the national tone of the stories gives these
+illustrations individuality and interest.
+
+[Illustration: FROM MR. FORD'S 'PINK FAIRY BOOK.'
+
+BY LEAVE OF MESSRS. LONGMANS.]
+
+The principles of art represented by the drawings of Mr. Ford have
+little in common with those which determine the scheme of Mr. Millar's
+many illustrations. Vierge, and Gigoux, the master of Vierge, are the
+indubitable suggesters of his style, and the antitheses of sheer black
+and white, the audacities, evasions and accentuations of these jugglers
+with line and form, are dexterously handled by Mr. Millar. He has not
+invented his convention, he has accepted it, and begun original work
+within accepted limits. A less original artist would thereby have
+doomed himself to extinction, but Mr. Millar has a lively apprehension
+of romance, especially in an oriental setting, and interest in
+subject is incompatible with merely imitative work. Illustrations to
+'Hajji Baba' (1895), and to 'Eothen,' show how dramatic and true to
+picturesque notions of the East are the conceptions, and the same
+vigour projects itself into themes of western adventure in 'Frank
+Mildmay' and 'Snarleyow.' But his right to be considered here is
+determined by the rapid visions of fairy romance realized in the pages
+of 'Fairy Tales by Q.' (1895), of 'The Golden Fairy Book' with its
+companions, and on the more concrete but not less sufficient drawings
+to 'The Book of Dragons,' and 'Nine Unlikely Tales for Children.'
+
+[Illustration: FROM MR. MILLAR'S 'FAIRY TALES BY Q.'
+
+BY LEAVE OF MESSRS. CASSELLS.]
+
+The pen-drawings of Mr. T. H. Robinson in the "Andersen" illustrated by
+the brother artists, show ability to realize not only the incidents and
+ideas of the stories, but also something of the national inspiration
+that is an element in all _märchen_. At times determinedly decorative,
+his work is generally in closer alliance with actuality than is the
+typical work of Mr. Charles or of Mr. W. H. Robinson. Character,
+action, costume, picturesque facts of life and scenery are suggested,
+and suggested with interest in the actual geographical and
+chronological circumstances of the stories, whether a poet's Denmark,
+the Arabia of Scheherazade, the Greece of Kingsley's 'The Heroes,' or
+the rivers and mountains of Carmen Sylva's stories determine the
+fact-scheme for his decorative invention. In addition to these vigorous
+and generally harmonious illustrations, the artist's drawings to
+'Cranford,' 'The Scarlet Letter,' 'Lichtenstein,' 'The Sentimental
+Journey,' and 'Esmond,' prove his interest and inventive sense to be
+effective in realizing actual historical and local conditions. If Mr.
+W. H. Robinson is also an apt illustrator of legends and of folk-tales,
+whose setting demands attention to the facts of life as they were to
+story-tellers in far countries of once-upon-a-time, the more individual
+side of his talent is discovered in work of wilder and more intense
+fancy. Andersen's 'Marsh King's Daughter,' the Snow Queen with her
+frozen eyes, the picaresque mood of Little Claus, or the doom of proud
+Inger, are to his mind, and in illustrations to 'Don Quixote' (1897),
+to 'The Pilgrim's Progress,' and especially in the fully decorated
+volume of Poe's 'Poems,' the forcible conceptions of the text find
+pictorial expression.
+
+Mr. A. G. Walker, though a sculptor by profession, claims notice as an
+illustrator of various children's books, notably 'The Lost Princess'
+(1895), 'Stories from the Faerie Queene' (1897), and 'The Book of King
+Arthur.' His pen-drawings are expressive of a thoughtful realization of
+the subject in its actual and moral beauty. The nobility of Spenser's
+conceptions, the remote beauty of the Arthurian legend, appeal to him,
+and the careful rendering of costume, landscape and the aspect of
+things, is only part of a scheme of execution that has as its complete
+intention the rendering of the 'mood' of the narrative. These drawings
+are realizations rather than illuminations of the text, and one
+appreciates their thoroughness, clearness, and dignity.
+
+Miss Helen Stratton published some pleasant but not very vigorous
+drawings of children in 'Songs for Little People' (1896), and
+illustrations to a selection from Andersen suggested the later
+direction of her ability. This, as the copiously illustrated 'Fairy
+Tales from Hans Christian Andersen' (1899), and the large number of
+drawings contributed to Messrs. Newnes' edition of 'The Arabian
+Nights,' show, is in realizing themes less actual than those of Nursery
+Lyrics. A sense of drama in the pose and grouping of the multitudes of
+figures on the pages of the Danish and Arabian stories, and a
+sufficient care for the background, as the poet's eyes might have seen
+it behind the dream-figures that passed between him and reality, are
+qualities that give Miss Stratton's competent work imaginative value.
+
+The work of Miss R. M. M. Pitman comes within the subject in her
+illustrations to Lady Jersey's fairy tale, 'Maurice and the Red Jar,'
+and to 'The Magic Nuts' of Mrs. Molesworth. But though their decorative
+intention and technique represent the forms of the artist's work, the
+spirit of fantasy that informs her illustrations to 'Undine' finds only
+modified expression. The symbolism of 'Undine' is wrought into
+decorations of inventive elaborateness. The technical ideal of Miss
+Pitman suggests study of Dürer's pen-drawing, and though at times there
+is too much sweetness and luxury in her representation of beauty, at
+her best she expresses free fancy with distinction not common in modern
+book-illustration.
+
+Brief allusion only--where drawings of more definitely illustrative
+purpose over-crowd the available space--can be made to the numerous
+animal books, serious and comic. Mr. Percy J. Billinghurst's full-page
+designs to 'A Hundred Fables of Æsop,' 'A Hundred Fables of La
+Fontaine,' and 'A Hundred Anecdotes of Animals' deserve more than
+passing mention for their decorative and observant qualities and their
+enlivening humour. Another decorative draughtsman of animals for
+children's books is Mr. Carton Moore Park, who, since 1899, when the
+'Alphabet of Animals' and 'The Book of Birds' appeared, has published
+seven or eight volumes of his strongly devised designs. One can hardly
+conclude without reference to Mr. Louis Wain, the cats' artist of
+twenty years' standing, and to Mr. J. A. Shepherd, chief caricaturist
+of animals; but while toy-book artists such as Mrs. Percy Dearmer, Mrs.
+Farmiloe, Miss Rosamond Praeger, Mr. Aldin, and Mr. Hassall (whose
+subject--the child--takes precedence of Zoological subjects) must be
+left unconsidered, the humourists of the Zoo can hardly be included.
+
+
+
+
+BIBLIOGRAPHY.
+
+
+
+
+BIBLIOGRAPHY.
+
+(_To September, 1901._)
+
+
+SOME DECORATIVE ILLUSTRATORS.
+
+AMELIA BAUERLE.
+
+     _Happy-go-Lucky._ Ismay Thorn. 8º. (Innes, 1894.) 3 f. p.
+
+     _A Mere Pug._ Nemo. 8º. (Long, 1897.) 6 f. p.
+
+     _Allegories._ Frederic W. Farrar. 8º. (Longmans, 1898.) 20 f. p.
+
+     _Sir Constant._ W. E. Cule. 8º. (Melrose, 1899.) 6 f. p.
+
+     _Glimpses from Wonderland._ 8º. J. Ingold. (Long, 1900.) 6 f. p.
+
+     _The Day-Dream._ Alfred Tennyson. 8º. (Lane, 1901. 'Flowers of
+     Parnassus.') 7 illust. (5 f. p.)
+
+R. ANNING BELL.
+
+     _Jack the Giant-Killer_ and _Beauty and the Beast_. Edited
+     by Grace Rhys. 32º. (Dent, 1894. Banbury Cross Series.) 35
+     illust. (13 f. p.)
+
+     _The Sleeping Beauty_ and _Dick Whittington and his Cat_. Edited
+     by Grace Rhys. 32º. (Dent, 1894. Banbury Cross Series.) 35
+     illust. (13 f. p.)
+
+     _The Christian Year._ 8º. (Methuen, 1895.) 5 f. p.
+
+     _A Midsummer Night's Dream._ 4º. (Dent, 1895.) 59 illust. and
+     decorations. (15 f. p.)
+
+     _The Riddle._ Walter Raleigh. 4º. (Privately printed, 1895.)
+     2 illust. (1 f. p.)
+
+     _An Altar Book._ Fol. (Merrymount Press, U.S.A., 1896.) 7 f. p.
+
+     _Keats' Poems._ Edited by Walter Raleigh. 8º. (Bell, 1897.
+     Endymion Series.) 65 illust. and decorations. (23 f. p.)
+
+     _The Milan._ Walter Raleigh. 4º. (Privately printed, 1898.)
+     1 f. p.
+
+     _English Lyrics from Spenser to Milton._ 8º. (Bell, 1898.
+     Endymion Series.) 57 illust. and decorations. (20 f. p.)
+
+     _Pilgrim's Progress._ 8º. (Methuen, 1898.) 39 illust. (26 f. p.)
+
+     _Lamb's Tales from Shakespeare._ 8º. (Fremantle, 1899.) 15 f. p.
+
+W. E. F. BRITTEN.
+
+     _The Elf-Errant._ Moira O'Neill. 8º. (Lawrence and Bullen,
+     1895.) 7 f. p.
+
+     _Undine._ Translated from the German of Baron de la Motte Fouqué
+     by Edmund Gosse. 4º. (Lawrence and Bullen, 1896.) 10 f. p.,
+     photogravure.
+
+     _The Early Poems of Alfred Lord Tennyson._ Edited by John
+     Churton-Collins. 8º. (Methuen, 1901.) 10 f. p., photogravure.
+
+PERCY BULCOCK.
+
+     _The Blessed Damozel._ Dante Gabriel Rossetti. 8º. (Lane,
+     1900. 'Flowers of Parnassus.') 8 illust. (6 f. p.)
+
+HERBERT COLE.
+
+     _Gulliver's Travels._ J. Swift. 8º. (Lane, 1900.) 114 illust.
+     (20 f. p.)
+
+     _The Rubaiyat._ 8º. (Lane, 1901. 'Flowers of Parnassus.') 9
+     illust. (6 f. p.)
+
+     _The Nut-Brown Maid._ A new version by F. B. Money-Coutts. 8º.
+     (Lane, 1901. 'F. of P.') 9 illust. (6 f. p.)
+
+     _A Ballade upon a Wedding._ Sir John Suckling. 8º. (Lane, 1901.
+     'F. of P.') 9 illust. (6 f. p.)
+
+     _The Rime of the Ancient Mariner._ S. T. Coleridge. 8º. (Gay and
+     Bird, 1900.) 6 f. p.
+
+PHILIP CONNARD.
+
+     _The Statue and the Bust._ Robert Browning. 8º. (Lane, 1900.
+     'Flowers of Parnassus.') 9 illust. (6 f. p.)
+
+     _Marpessa._ Stephen Phillips. 8º. (Lane, 1900. 'F. of P.')
+     7 illust. (5 f. p.)
+
+WALTER CRANE.
+
+     _The New Forest._ J. R. Wise. 4º. (Smith, Elder, 1863.) 63
+     illust. engraved by W. J. Linton. (A new edition, published
+     by Henry Sotheran, 1883, with the original illust. and 12
+     etchings by Heywood Sumner.)
+
+     _Stories from Memel._ Mrs. De Haviland. 12º. (William Hunt,
+     1864.) 6 f. p.
+
+     _Walter Crane's Toy-Books._ Issued in single numbers, from
+     1865-1876.
+
+     ---- _Collected Editions_, all published in 4º, by George
+     Routledge, and printed throughout in colours.
+
+          _Walter Crane's Picture Book._ (1874.) 64 pp.
+
+          _The Marquis of Carabas' Picture Book._ (1874.) 64 pp.
+
+          _The Blue Beard Picture Book._ (1876.) 32 pp.
+
+          _Song of Sixpence Toy-Book._ (1876.) 32 pp.
+
+          _Chattering Jack's Picture Book._ (1876.) 32 pp.
+
+          _The Three Bears Picture Book._ (1876.) 32 pp.
+
+          _Aladdin's Picture Book._ (1876.) 24 pp.
+
+     _The Magic of Kindness._ H. and A. Mayhew. 8º. (Cassell,
+     Petter and Galpin, 1869.) 8 f. p.
+
+     _Sunny Days, or a Month at the Great Stowe._ Author of 'Our White
+     Violet.' 8º. (Griffith and Farran, 1871.) 4 f. p., in colours.
+
+     _Our Old Uncle's Home._ 'Mother Carey.' 8º. (Griffith and Farran,
+     1871.) 4 f. p.
+
+     _The Head of the Family._ Mrs. Craik. 8º. (Macmillan, 1875.)
+     6 f. p.
+
+     _Agatha's Husband._ Mrs. Craik. 8º. (Macmillan, 1875.) 6 f. p.
+
+     _Tell me a Story._ Mrs. Molesworth. 8º. (Macmillan, 1875.)
+     8 illust. (7 f. p.)
+
+     _The Quiver of Love._ A Collection of Valentines, Ancient and
+     Modern. 4º. (Marcus Ward, 1876.) With Kate Greenaway. 8 f. p. in
+     colours.
+
+     _Carrots._ Mrs. Molesworth. 8º. (Macmillan, 1876.) 8 illust.
+     (7 f. p.)
+
+     _Songs of Many Seasons._ Jemmett Browne. 4º. (Simpkin, Marshall,
+     1876.) With others. 1 f. p. by Walter Crane.
+
+     _The Baby's Opera._ 4º. (Routledge, 1877.) 55 pictured pages in
+     colours. (11 f. p.)
+
+     _The Cuckoo Clock._ Mrs. Molesworth. 8º. (Macmillan, 1877.)
+     8 illust. (7 f. p.)
+
+     _Grandmother Dear._ Mrs. Molesworth. 8º. (Macmillan, 1878.)
+     8 illust. (7 f. p.)
+
+     _The Tapestry Room._ Mrs. Molesworth. 8º. (Macmillan, 1879.)
+     8 illust. (7 f. p.)
+
+     _The Baby's Bouquet._ 4º. (Routledge, 1879.) 53 pictured pages,
+     in colours. (11 f. p.)
+
+     _A Christmas Child._ Mrs. Molesworth. 8º. (Macmillan, 1880.)
+     8 illust. (7 f. p.)
+
+     _The Necklace of Princess Fiorimonde._ Mrs. De Morgan. 8º.
+     (Macmillan, 1880.) 25 illust.
+
+     _Herr Baby._ Mrs. Molesworth. 8º. (Macmillan, 1881.) 8 illust.
+     (7 f. p.)
+
+     _The First of May._ A Fairy Masque. J. R. Wise. Fol. (Henry
+     Sotheran, 1881.) 56 decorated pages. (1 f. p.)
+
+     _Household Stories._ Translated from the German of the Brothers
+     Grimm by Lucy Crane. 8º. (Macmillan, 1882.) 120 illust. (11 f. p.)
+
+     _Rosy._ Mrs. Molesworth. 8º. (Macmillan, 1882.) 8 illust.
+     (7 f. p.)
+
+     _Pan-Pipes._ A Book of Old Songs. Theo. Marzials. Oblong folio.
+     (Routledge, 1883.) 52 pictured pages, in colours.
+
+     _Christmas Tree Land._ Mrs. Molesworth. 8º. (Macmillan, 1884.)
+     8 illust. (7 f. p.)
+
+     _Walter Crane's New Series of Picture Books._ 4º. (Marcus Ward,
+     1885-6.)
+
+          _Slate and Pencilvania._--_Little Queen Anne._--_Pothooks
+          and Perseverance._ 24 pages each, in colours.
+
+     _The Golden Primer._ J. M. D. Meiklejohn. 8º. (Blackwood, 1885.)
+     Part I. and Part II. 14 decorated pages in colours in each part.
+
+     _Folk and Fairy Tales._ C. C. Harrison. 8º. (Ward and Downey,
+     1885.) 24 f. p.
+
+     _"Us."_ Mrs. Molesworth. 8º. (Macmillan, 1885.) 8 illust.
+     (7 f. p.)
+
+     _The Sirens Three._ Walter Crane. 4º. (Macmillan, 1886.) 41
+     pictured pages.
+
+     _The Baby's Own Æsop._ 4º. (Routledge, 1886.) 56 pictured pages,
+     in colours.
+
+     _Echoes of Hellas._ The Tale of Troy and the Story of Orestes
+     from Homer and Aeschylus. With introductory essay and sonnets
+     by Prof. George C. Warr. Fol. (Marcus Ward, 1887.) 82 decorated
+     pages.
+
+     _Four Winds Farm._ Mrs. Molesworth. 8º. (Macmillan, 1887.)
+     8 illust. (7 f. p.)
+
+     _Legends for Lionel._ 4º. (Cassell, 1887.) 40 pictured pages,
+     in colours.
+
+     _A Christmas Posy._ Mrs. Molesworth. 8º. (Macmillan, 1888.)
+     8 illust. (7 f. p.)
+
+     _The Happy Prince, and other tales._ Oscar Wilde. 4º. (Nutt,
+     1888.) 14 illust. and decorations with G. P. Jacomb-Hood. 3 f. p.
+     by Walter Crane.
+
+     _The Book of Wedding Days._ Quotations for every day in the
+     year, compiled by K. E. J. Reid, etc. 4º. (Longmans, 1889.)
+     100 pictured pages.
+
+     _The Rectory Children._ Mrs. Molesworth. 8º. (Macmillan, 1889.)
+     8 illust. (7 f. p.)
+
+     _Flora's Feast._ A Masque of Flowers. Walter Crane. 4º. (Cassell,
+     1889.) 40 pictured pages, in colours.
+
+     _The Turtle Dove's Nest._ 8º. (Routledge, 1890.) 87 illust.
+     (8 f. p.) With others.
+
+     _Chambers Twain._ Ernest Radford. 4º. (Elkin Matthews, 1890.)
+     1 f. p.
+
+     _A Sicilian Idyll._ Dr. Todhunter. 4º. (Elkin Matthews, 1890.)
+     1 f. p.
+
+     _Renascence._ A Book of Verse. Walter Crane. Including 'The
+     Sirens Three' and 'Flora's Feast.' 4º. (Elkin Mathews, 1891.)
+     39 illust. and decorations, some engraved on wood by Arthur
+     Leverett.
+
+     _A Wonder Book for Girls and Boys._ Nathaniel Hawthorne. (Osgood,
+     1892.) 60 illust. and decorations in colours. (19 f. p.)
+
+     _Queen Summer, or the Tourney of the Lily and the Rose._ Walter
+     Crane. 4º. (Cassell, 1892.) 40 pictured pages in colours.
+
+     _The Tempest._ 8 illust. to Shakespeare's 'Tempest.' Engraved
+     and printed by Duncan C. Dallas. (Dent, 1893.)
+
+     _Under the Hawthorn._ Augusta de Gruchy. 8º. (Mathews and Lane,
+     1803.) 1 f. p.
+
+     _The Old Garden._ Margaret Deland. 8º. (Osgood, 1893.) 96
+     decorated pages.
+
+     _The Two Gentlemen of Verona._ 8 illust. to Shakespeare's
+     'Two Gentlemen of Verona.' Engraved and printed by Duncan C.
+     Dallas. (Dent, 1894.)
+
+     _The Story of the Glittering Plain._ William Morris. 4º.
+     (Kelmscott Press. 1894.) 23 illust. Borders, titles and initials
+     by William Morris.
+
+     _The History of Reynard the Fox._ English Verse by F. S. Ellis.
+     4º. (David Nutt, 1894.) 53 illust. and decorations. (1 f. p.)
+
+     _The Merry Wives of Windsor._ 8 illust. to Shakespeare's 'Merry
+     Wives of Windsor.' Engraved and printed by Duncan C. Dallas. 4º.
+     (George Allen, 1894.)
+
+     _The Vision of Dante._ Miss Harrison. 8º. 1894. 4 f. p.
+
+     _The Faerie Queene._ Edited by Thomas J. Wise. 3 vols. 4º.
+     (George Allen, 1895.) 231 illust. and decorations. (98 f. p.)
+
+     _A Book of Christmas Verse._ Selected by H. C. Beeching. 8º.
+     (Methuen, 1895.) 10 illust. (5 f. p.)
+
+     _The Shepheard's Calendar._ Edmund Spenser. 4º. (Harper, 1898.)
+     16 illust. and decorations. (12 f. p.)
+
+     _The Walter Crane Readers._ Nelle Dale. 3 vols. 8º. (Dent, 1898.)
+     109 pictured pages, in colours. (8 f. p.)
+
+     _A Floral Fantasy in an Old English Garden._ Walter Crane. 8º.
+     (Harper, 1899.) 40 pictured pages, in colours.
+
+H. GRANVILLE FELL.
+
+     _Our Lady's Tumbler._ A Twelfth Century legend transcribed
+     for Lady Day, 1894. 4º. (Dent, 1894.) 4 f. p.
+
+     _Wagner's Heroes._ Constance Maud. 8º. (Arnold, 1895.) 8 f. p.
+
+     _Cinderella_ and _Jack and the Beanstalk_. 32º. (Dent, 1895.
+     Banbury Cross Series.) 38 illust. (14 f. p.)
+
+     _Ali Baba_ and _The Forty Thieves_. 32º. (Dent, 1895. Banbury
+     Cross Series.) 38 illust. (11 f. p.)
+
+     _The Fairy Gifts_ and _Tom Hickathrift_. 32º. (Dent, 1895.
+     Banbury Cross Series.) 38 illust. (16 f. p.)
+
+     _The Book of Job._ 4º. (Dent, 1896.) 43 illust. and decorations.
+     (24 f. p., 3 double pages.)
+
+     _The Song of Solomon._ 4º. (Chapman and Hall, 1897.) 29 illust.
+     and decorations. (12 f. p.)
+
+     _Wonder Stories from Herodotus._ Re-told by C. H. Boden and
+     W. Barrington D'Almeida. 8º. (Harper, 1900.) 19 illust. in
+     colours. (12 f. p.)
+
+A. J. GASKIN.
+
+     _A Book of Pictured Carols._ Designed by members of the
+     Birmingham Art School under the direction of A. J. Gaskin. 4º.
+     (George Allen, 1893.) 13 illust. and decorations with C. M. Gere,
+     Henry Payne, Bernard Sleigh, Fred. Mason, and others. (1 f. p. by
+     A. J. Gaskin.)
+
+     _Stories and Fairy Tales._ Hans Andersen. 8º. (George Allen.
+     1893.) 100 illust. (11 f. p.)
+
+     _A Book of Fairy Tales._ Re-told by S. Baring Gould. 8º.
+     (Methuen, 1894.) 20 illust. (5 f. p.)
+
+     _Good King Wenceslas._ Dr. Neale. 4º. (Cornish Brothers,
+     Birmingham, 1895.) 6 f. p.
+
+     _The Shepheard's Calendar._ E. Spenser. 8º. (Kelmscott Press,
+     1896.) 12 f. p.
+
+C. M. GERE.
+
+     _Russian Fairy Tales._ R. Nisbet Bain. 8º. (Lawrence and
+     Bullen, 1893.) 6 f. p.
+
+     _News from Nowhere._ William Morris. 8º. (Kelmscott Press,
+     1893.) 1 f. p.
+
+     _The Imitation of Christ._ Thomas à Kempis. Introduction by
+     F. W. Farrar. 8º. (Methuen, 1894.) 5 f. p.
+
+     _A Book of Pictured Carols._ See _A. J. Gaskin_.
+
+J. J. GUTHRIE.
+
+     _Wedding Bells._ A new old Nursery Rhyme by A. F. S. and E.
+     de Passemore. 4º. (Simpkin, Marshall, 1895.) 7 decorated pages.
+
+     _The Little Men in Scarlet._ Frances H. Low. (Jarrold, 1896.)
+     42 illust. (8 f. p.)
+
+     _The Garden of Time._ Mrs. Davidson. 8º. (Jarrold, 1896.)
+     40 illust. (8 f. p.)
+
+     _An Album of Drawings._ Fol. (The White Cottage, Shorne, Kent,
+     1900.) 24 f. p. from various magazines.
+
+LAURENCE HOUSMAN.
+
+     _Jump-to-Glory Jane._ George Meredith. 8º. (Swan, Sonnenschein,
+     1892.) 44 illust. (8 f. p.)
+
+     _Goblin Market._ Christina Rossetti. 8º. (Macmillan, 1893.)
+     42 illust. and decorations. (12 f. p.)
+
+     _Weird Tales from Northern Seas._ From the Danish of Jonas
+     Lie. 8º. (Kegan Paul, 1893.) 12 f. p.
+
+     _The End of Elfin-town._ Jane Barlow. 8º. (Macmillan, 1894.)
+     15 illust. and decorations. (8 f. p.)
+
+     _A Farm in Fairyland._ Laurence Housman. 8º. (Kegan Paul, 1894.)
+     14 f. p.
+
+     _The House of Joy._ Laurence Housman. 8º. (Kegan Paul, 1895.)
+     10 f. p.
+
+     _Poems._ Francis Thompson. 8º. (Mathews and Lane, 1895.) 1 f. p.
+
+     _Sister Songs._ Francis Thompson. 8º. (Lane, 1895.) 1 f. p.
+
+     _Green Arras._ Laurence Housman. 8º. (Lane, 1896.) 6 f. p.
+
+     _All-Fellows._ Laurence Housman. 8º. (Kegan Paul, 1896.) 7 f. p.
+
+     _The Were-Wolf._ Clemence Housman. 8º. (Lane, 1896.) 6 f. p.
+
+     _The Sensitive Plant._ P. B. Shelley. 4º. (Aldine House, 1898.)
+     12 f. p. photogravure.
+
+     _The Field of Clover._ Laurence Housman. 8º. (Kegan Paul, 1898.)
+     12 f. p., engraved by Clemence Housman.
+
+     _The Little Flowers of Saint Francis._ Translated by T. W.
+     Arnold. 12º. (Dent, 1898, Temple Classics.) 1 f. p.
+
+     _Of the Imitation of Christ._ Thomas à Kempis. 8º. (Kegan Paul,
+     1898.) 5 f. p.
+
+     _The Little Land._ Laurence Housman. 8º. (Grant Richards, 1899.)
+     4 f. p.
+
+     _At the Back of the North Wind._ G. Macdonald. 8º. (Blackie,
+     1900.) 1 f. p.
+
+     _The Princess and the Goblin._ G. Macdonald. 8º. (Blackie, 1900.)
+     1 f. p.
+
+A. GARTH JONES.
+
+     _The Tournament of Love._ W. T. Peters. 8º. (Brentano, 1894.)
+     3 illust. (2 f. p.)
+
+     _The Minor Poems of John Milton._ 8º. (Bell, 1898. Endymion
+     Series.) 46 illust., and decorations. (28 f. p.)
+
+     _Contes de Haute-Lisse._ Jérome Doucet. (Bernoux and Cumin,
+     1899.) 56 illust. and decorations.
+
+     _Contes de la Fileuse._ Jérome Doucet. (Tallandier, 1900.)
+     163 illust. and decorations.
+
+CELIA LEVETUS.
+
+     _Turkish Fairy Tales._ Trans. by R. Nisbet Bain. 8º.
+     (Lawrence and Bullen, 1896.) 10 illust. (9 f. p.)
+
+     _Verse Fancies._ Edward L. Levetus. 8º. (Chapman and Hall,
+     1898.) 8 illust. (7 f. p.)
+
+     _Songs of Innocence._ William Blake. 32º. (Wells, Gardner,
+     and Darton, 1899.) 25 illust. (14 f. p.)
+
+W. B. MACDOUGALL
+
+     _Chronicles of Strathearn._ 8º. (David Philips, 1896.) 15 f. p.
+
+     _The Fall of the Nibelungs._ In Two Books. Translated by
+     Margaret Armour. 8º. (Dent, 1897.) 8 f. p. in each book.
+
+     _Thames Sonnets and Semblances._ Margaret Armour. 8º.
+     (Elkin Mathews, 1897.) 12 f. p.
+
+     _The Book of Ruth._ Introduction by Ernest Rhys. 4º. (Dent,
+     1896.) 8 f. p.
+
+     _Isabella, or the Pot of Basil._ John Keats. 4º. (Kegan Paul,
+     1898.) 8 f. p.
+
+     _The Shadow of Love and other Poems._ Margaret Armour. 8º.
+     (Duckworth, 1898.) 2 f. p.
+
+FRED. MASON.
+
+     _A Book of Pictured Carols._ See _A. J. Gaskin_.
+
+     _The Story of Alexander._ Robert Steele. 4º. (David Nutt, 1894.)
+     27 illust. (5 f. p.)
+
+     _Huon of Bordeaux._ Robert Steele. 8º. (George Allen, 1895.)
+     22 illust. (6 f. p.)
+
+     _Renaud of Montauban._ Robert Steele. 8º. (George Allen, 1897.)
+     12 f. p.
+
+T. STURGE MOORE.
+
+     _The Centaur._ _The Bacchant._ Translated from the French of
+     Maurice de Guérin by T. Sturge Moore. (Vale Press, 1899.) 4º.
+     5 wood engravings.
+
+     _Some Fruits of Solitude._ William Penn. 8º. (Essex House
+     Press, 1901.) Wood engraving on title-page.
+
+L. FAIRFAX MUCKLEY.
+
+     _The Faerie Queene._ E. Spenser. Introduction by Prof. Hales.
+     3 vols. 4º. (Dent, 1897.) 42 illust. and decorations. (24 f. p.,
+     10 double page.)
+
+     _Fringilla._ R. D. Blackmore. 8º. (Elkin Mathews, 1895.) 21
+     illust. and decorations. (11 f. p.) 3 by James Linton.
+
+HENRY OSPOVAT.
+
+     _Shakespeare's Sonnets._ 8º. (Lane, 1899.) 14 illust. (10 f. p.)
+
+     _Poems._ Matthew Arnold. 8º. Edited by A. C. Benson. (Lane,
+     1900.) 65 illust. and decorations. (16 f. p.)
+
+CHARLES RICKETTS.
+
+     _A House of Pomegranates._ Oscar Wilde. 4º. (Osgood, 1891.)
+     17 illust. with C. H. Shannon. 13 by C. Ricketts.
+
+     _Poems, Dramatic and Lyrical._ Lord de Tabley. 8º. (Mathews
+     and Lane, 1893.) 5 f. p., photogravure.
+
+     _Daphnis and Chloe._ Longus. Translated by Geo. Thornley.
+     4º. (Mathews and Lane, 1893.) 37 illust. drawn on the wood
+     by Charles Ricketts from the designs of Charles Ricketts and
+     Charles Shannon. Engraved by both artists.
+
+     _The Sphinx._ Oscar Wilde. 4º. (Ballantyne Press, 1894.) 10
+     illust. (9 f. p.)
+
+     _Hero and Leander._ Christopher Marlowe and George Chapman.
+     8º. (Vale Press, 1894.) 7 illust., border and initials,
+     drawn on the wood, engraved by Charles Ricketts and Charles
+     Shannon.
+
+     _Nymphidia and the Muses Elizium._ Michael Drayton. 8º. (Vale
+     Press, 1896.) Frontispiece, border and initials, engraved on
+     wood.
+
+     _Spiritual Poems._ T. Gray. 8º. (Vale Press, 1896.) Frontispiece
+     and border, engraved on wood.
+
+     _Milton's Early Poems._ 8º. (Vale Press, 1896.) Frontispiece,
+     border and initials, engraved on wood.
+
+     _Songs of Innocence._ W. Blake. 8º. (Vale Press, 1897.)
+     Frontispiece, border and initials, engraved on wood.
+
+     _Sacred Poems of Henry Vaughan._ 8º. (Vale Press, 1897.)
+     Frontispiece and border, engraved on wood.
+
+     _The Excellent Narration of the Marriage of Cupide and Psyches._
+     Translated from the Latin of Lucius Apuleius, by William
+     Adlington. 8º. (Vale Press, 1897.) 5 illust. engraved on wood.
+
+     _The Book of Thel_, _Songs of Innocence_ and _Songs of
+     Experience_. William Blake. 4º. (Vale Press, 1897.) Frontispiece,
+     initials and border, engraved on wood.
+
+     _Blake's Poetical Sketches._ 4º. (Vale Press, 1899.) Frontispiece
+     and initials, engraved on wood.
+
+REGINALD SAVAGE.
+
+     _Der Ring des Nibelungen._ Described by R. Farquharson Sharp. 4º.
+     (Marshall, Russell, 1898.) 5 f. p.
+
+     ESSEX HOUSE PRESS. _The Pilgrim's Progress._ _Venus and Adonis._
+     _The Eve of St. Agnes._ _The Journal of John Woolman._
+     _Epithalamium._ (1900-1.) Frontispiece engraved on wood to each
+     volume.
+
+CHARLES SHANNON.
+
+     See _Charles Ricketts_.
+
+     'House of Pomegranates,' 'Hero and Leander,' 'Daphnis and Chloe.'
+
+BYAM SHAW.
+
+     _Poems by Robert Browning._ 8º. (Bell, 1897. Endymion Series.)
+     67 illust. (22 f. p.)
+
+     _Tales from Boccaccio._ Joseph Jacobs. 4º. (George Allen, 1899.)
+     20 f. p.
+
+     _The Chiswick Shakespeare._ 8º. (Bell, 1899, etc.) 11 illust. and
+     decorations (6 f. p.), in each volume.
+
+BERNARD SLEIGH.
+
+     _The Sea-King's Daughter, and other Poems._ Amy Mark. Printed
+     at the Press of the Birmingham Guild of Handicraft. (G. Napier,
+     Birmingham, 1895.) 39 decorated pages (4 f. p.), engraved with
+     L. A. Talbot.
+
+     _A Book of Pictured Carols._ See _A. J. Gaskin_. 2 f. p., by
+     Bernard Sleigh.
+
+HEYWOOD SUMNER.
+
+     _The Itchen Valley._ Fol. (Seeley, Jackson and Halliday, 1881.)
+
+     _The Avon from Naxby to Tewkesbury._ Fol. (Seeley, Jackson and
+     Halliday, 1882.) 21 etchings.
+
+     _Cinderella:_ A Fairy Opera. John Farmer and Henry Leigh. 4º.
+     (Novello, Ewer, 1882.) 17 illust.
+
+     _Epping Forest._ E. M. Buxton. 8º. (Stamford, 1884.) 36 illust.
+     (5 f. p.)
+
+     _Sintram and his Companions._ Translated from the German of
+     De la Motte Fouqué. 4º. (Seeley, Jackson and Halliday, 1883.)
+     22 illust. (1 f. p.)
+
+     _The New Forest._ J. R. Wise. See _Walter Crane_.
+
+     _Undine._ 4º. (Chapman and Hall, 1888.) 16 illust. (2 f. p.)
+
+     _The Besom Maker, and other country Folk Songs._ Collected by
+     Heywood Sumner. 4º. (Longmans, 1888.) 26 decorated pages. 1 f. p.
+
+     _Jacob and the Raven._ Frances M. Peard. 8º. (George Allen,
+     1896.) 40 illust. and decorations. (9 f. p.)
+
+J. R. WEGUELIN.
+
+     _Lays of Ancient Rome._ Lord Macaulay. 8º. (Longmans, 1881.)
+     41 illust. (7 f. p.)
+
+     _The Cat of Bubastes._ G. A. Henty. 8º. (Blackie, 1889.) 8 f. p.
+
+     _Anacreon: with Thomas Stanley's translation._ Edited by A. H.
+     Bullen. 8º. (Lawrence and Bullen, 1892.) 11 f. p.
+
+     _The Little Mermaid and other Stories._ Hans Andersen. Translated
+     by R. Nisbet Bain. 4º. (Lawrence and Bullen, 1893.) 61 illus.
+     (36 f. p.)
+
+     _Catullus: with the Pervigilium Veneris._ Edited by S. G. Owen.
+     8º. (Lawrence and Bullen, 1893.) 8 f. p.
+
+     _The Wooing of Malkatoon_; _Commodus_. Lewis Wallace. 8º.
+     (Harper, 1898.) 12 f. p. with Du Mond. 6 by J. R. Weguelin.
+
+PATTEN WILSON.
+
+     _Miracle Plays. Our Lord's Coming and Childhood._ Katherine
+     Tynan Hinkson. 8º. (Lane, 1895.) 6 f. p.
+
+     _A Houseful of Rebels._ Walter C. Rhoades. 8º. (Archibald
+     Constable, 1897.) 10 f. p.
+
+     _Selections from Coleridge._ Andrew Lang. 8º. (Longmans, 1898.)
+     18 f. p.
+
+     _King John._ Edited by J. W. Young. 8º. (Longmans, 1899.
+     Swan Shakespeare.) 9 f. p.
+
+PAUL WOODROFFE.
+
+     _Shakespeare's Songs._ Edited by E. Rhys. 4º. (Dent, 1898.)
+     12 f. p.
+
+     _The Little Flowers of St. Francis._ 8º. (Kegan Paul, 1899.)
+     8 f. p.
+
+     _The Confessions of St. Augustine._ 8º. (Kegan Paul, 1900.)
+     4 f. p. Title-page by Laurence Housman.
+
+     _The Little Flowers of St. Benet._ 8º. (Kegan Paul, 1901.)
+     8 f. p.
+
+
+SOME OPEN-AIR ILLUSTRATORS.
+
+ALEXANDER ANSTED.
+
+     _The Rivers of Devon._ J. L. Warden-Page. 8º. (Seeley, 1893.)
+     17 illust. (4 etched plates.)
+
+     _The Riviera._ Notes by the artist. Fol. (Seeley, 1894.) 64
+     illust. (20 etched plates.)
+
+     _The Coasts of Devon._ J. L. Warden-Page. 8º. (H. Cox, 1895.)
+     21 illust.
+
+     _Episcopal Palaces of England._ Canon Venables and others. 4º.
+     (Isbister, 1895.) Etched frontispiece and 104 illust. (7 f. p.)
+
+     _The Master of the Musicians._ Emma Marshall. 8º. (Seeley, 1896.)
+     8 f. p.
+
+     _London Riverside Churches._ A. E. Daniell. 8º. (Constable,
+     1897.) 84 illust. (27 f. p.)
+
+     ENGLISH CATHEDRAL SERIES. 8º. (Isbister, 1897-8.)
+
+          _Salisbury Cathedral._ The Very Rev. Dean Boyle. 15 illust.
+          (10 f. p.)
+
+          _York Minster._ The Very Rev. Dean Purey-Cust. 14 illust.
+          (11 f. p.)
+
+          _Norwich Cathedral._ The Very Rev. Dean Lefroy. 9 f. p.
+
+          _Ely Cathedral._ The Rev. Canon Dickson. 10 f. p.
+
+          _Carlisle Cathedral._ Chancellor R. S. Ferguson. 11 f. p.
+
+     _The Romance of our Ancient Churches._ Sarah Wilson. 8º.
+     (Constable, 1899.) 180 illust. (15 f. p.)
+
+     _Boswell's Life of Johnson._ Edited by Augustine Birrell.
+     (Constable, 1899.) 6 vols. Frontispiece to each vol.
+
+C. R. B. BARRETT.
+
+     _The Tower._ C. R. B. Barrett. Fol. (Catty and Dobson, 1889.)
+     26 illust. (13 etched plates.)
+
+     _Essex: Highways, Byways and Waterways._ C. R. B. Barrett.
+     8º. (Lawrence and Bullen, 1892-3.) Series I. 99 illust. (13
+     etched plates.) Series II. 128 illust. (13 etched plates.)
+
+     _The Trinity House of Deptford Strond._ C. R. B. Barrett.
+     4º. (Lawrence and Bullen, 1893.) 18 illust. (1 etched plate.)
+
+     _Barrett's Illustrated Guides._ 8º. (Lawrence and Bullen,
+     1892-3.) 9 numbers.
+
+     _Somersetshire: Highways, Byways and Waterways._ C. R. B.
+     Barrett. 4º. (Bliss, Sands and Foster, 1894.) 167 illust.
+     (6 etched plates.)
+
+     _Shelley's Visit to France._ Charles J. Elton. 8º. (Bliss,
+     Sands, 1894.) 16 illus. (2 etched plates.)
+
+     _Charterhouse, in Pen and Ink._ By C. R. B. Barrett. Preface
+     by George E. Smythe. 4º. (Bliss, Sands and Foster, 1895.)
+     43 illust. (1 f. p.)
+
+     _Surrey: Highways, Byways and Waterways._ C. R. B. Barrett. 4º.
+     (Bliss, Sands and Foster, 1895.) 140 illust. (5 etched plates.)
+
+     _Battles and Battlefields of England._ C. R. B. Barrett. 8º.
+     (Innes, 1896.) 102 illust. (2 f. p.)
+
+D. Y. CAMERON.
+
+     _Charterhouse, Old and New._ E. P. Eardley-Wilmot and E. C.
+     Streatfield. 4º. (Nimmo, 1895.) 4 etchings.
+
+     _Scholar Gipsies._ John Buchan. 8º. (Lane, 1896. The Arcady
+     Library.) 7 etchings.
+
+NELLY ERICHSEN.
+
+     _The Novels of Susan Edmonstone Ferrier._ Introduction by R.
+     Brimley Johnson. 8º. (Dent, 1894.) 6 vols. 17 f. p.
+
+     _The Promised Land._ Translated from the Danish of Henrik
+     Pontoppidan by Mrs. Edgar Lucas. 8º. (Dent, 1896.) 29 illust.
+     (14 f. p.)
+
+     _Emanuel, or Children of the Soil._ Translated from the Danish
+     of Henrik Pontoppidan by Mrs. Edgar Lucas. 8º. (Dent, 1896.)
+     29 illust. (17 f. p.)
+
+     Mediæval Towns. 8º. (Dent, 1898-1901.)
+
+          _The Story of Assisi._ Lina Duff Gordon. 50 illust., with
+          others. 25 (3 f. p.) by Nelly Erichsen.
+
+          _The Story of Rome._ Norwood Young. 48 illust., with others.
+          (10 f. p.) by Nelly Erichsen.
+
+          _The Story of Florence._ Edmund G. Gardner. 45 illust., with
+          others. 20 f. p. by Nelly Erichsen.
+
+HEDLEY FITTON.
+
+     English Cathedral Series. 8º. (Isbister, 1899-1901.)
+
+          _Worcester Cathedral._ The Rev. Canon Teignmouth Shore.
+          9 f. p.
+
+          _Rochester Cathedral._ The Rev. Canon Benham. 11 illust.
+          (10 f. p.)
+
+          _Hereford Cathedral._ The Very Rev. Dean Leigh. 11 illust.
+          (10 f. p.)
+
+     _Æschylos._ Translated by G. H. Plumtre. 2 vols. 8º. (Isbister,
+     1901.) 1 f. p.
+
+JOHN FULLEYLOVE.
+
+     _Henry Irving._ Austin Brereton. 8º. (Bogue, 1883.) 17 f. p.
+     With others.
+
+     _The Picturesque Mediterranean._ 4º. (Cassell, 1899.) With
+     others. 68 illust. by John Fulleylove.
+
+     _Oxford._ With notes by T. Humphry Ward. Fol. (Fine Art Society,
+     1889.) 40 illust. (30 plates.)
+
+     _In the Footprints of Charles Lamb._ See _Herbert Railton_.
+
+     _Pictures of Classic Greek Landscape and Architecture._ With text
+     in explanation by Henry W. Nevinson. 4º. (Dent, 1897.) 40 plates.
+
+     _The Stones of Paris._ B. E. and C. M. Martin. 2 vols. 8º.
+     (Smith, Elder, 1900.) 62 illust. 40 (16 f. p.) by J. Fulleylove.
+
+FREDERICK L. GRIGGS.
+
+     _Seven Gardens and a Palace._ E. V. B. 8º. (Lane, 1900.) 9
+     illust. with Arthur Gordon. 5 by Frederick L. Griggs.
+
+     _Stray Leaves from a Border Garden._ Mary Pamela Milne-Home.
+     8º. (Lane, 1901.) 8 f. p.
+
+     _The Chronicle of a Cornish Garden._ Harry Roberts. 8º. (Lane,
+     1901.) 7 f. p.
+
+CHARLES G. HARPER.
+
+     _Royal Winchester._ Rev. A. G. L'Estrange. 8º. (Spencer, 1889.)
+     37 illust. (22 f. p.)
+
+     _The Brighton Road._ C. G. Harper. 8º. (Chatto and Windus,
+     1892.) 90 illust. 60 (29 f. p.) by C. G. Harper.
+
+     _From Paddington to Penzance._ C. G. Harper. 8º. (Chatto and
+     Windus, 1893.) 104 illust. (34 f. p.)
+
+     _The Marches of Wales._ C. G. Harper. 8º. (Chapman and Hall,
+     1894.) 114 illust. 95 (24 f. p.) by C. G. Harper.
+
+     _The Dover Road._ C. G. Harper. 8º. (Chapman and Hall, 1895.)
+     57 illust. 48 (12 f. p.) by C. G. Harper.
+
+     _The Portsmouth Road._ C. G. Harper. 8º. (Chapman and Hall,
+     1895.) 77 illust. 44 (12 f. p.) by C. G. Harper.
+
+     _Some English Sketching Grounds._ C. G. Harper. 8º.
+     (Reeves, 1897.) 44 illust. (18 f. p.)
+
+     _Stories of the Streets of London._ H. Barton Baker. 8º. (Chapman
+     and Hall, 1899.) 38 illust. 30 (15 f. p.) by C. G. Harper.
+
+     _The Exeter Road._ C. G. Harper. 8º. (Chapman and Hall, 1899.)
+     69 illust. 51 (20 f. p.) by C. G. Harper.
+
+     _The Bath Road._ C. G. Harper. 8º. (Chapman and Hall, 1899.)
+     75 illust. 64 (19 f. p.) by C. G. Harper.
+
+     _The Great North Road._ C. G. Harper. 2 vols. 8º. (Chapman and
+     Hall, 1900.) 132 illust. 100 (30 f. p.) by C. G. Harper.
+
+WILLIAM HYDE.
+
+     _An Imaged World._ Edward Garnett. 8º. (Dent, 1894.) 5 f. p.
+
+     _Milton's L'Allegro and Il Penseroso._ 8º. (Dent, 1896.) 13 f. p.
+
+     _London Impressions._ Alice Meynell. Fol. (Constable, 1898.)
+     3 etchings, 23 photogravures. (13 f. p.)
+
+     _The Nature Poems of George Meredith._ 4º. (Constable, 1898.)
+     Etched frontispiece and 20 photogravures.
+
+     _The Cinque Ports._ Ford Madox Hueffer. 4º. (Blackwood, 1900.)
+     33 illust. (20 f. p., 14 in photogravure.)
+
+     _The Victoria History of the Counties of England. Hampshire;
+     Norfolk._ 8º. (Constable, 1901.) 1 f. p.
+
+FREDERIC G. KITTON.
+
+     _Charles Dickens and the Stage._ T. Edgar Pemberton. 8º.
+     (Redway, 1888.) 3 f. p., photogravure.
+
+     _Charles Dickens by Pen and Pencil._ F. G. Kitton. 4º. (Sabini
+     and Dexter, 1889-90.) With others. 15 by F. G. Kitton.
+
+     _In Tennyson Land._ J. Cuming Walters. 8º. (Redway, 1890.)
+     12 f. p.
+
+     _A Week's Tramp in Dickens' Land._ Wm. R. Hughes. 8º. (Chapman
+     and Hall, 1891.) 100 illust., chiefly by F. G. Kitton. (12 f. p.)
+
+     _Hertfordshire County Homes._ (Published by subscription, 1892.)
+     40 f. p.
+
+     _St. Albans, Historical and Picturesque._ C. H. Ashdown. 4º.
+     (Elliot Stock, 1893.) 70 illust., chiefly by F. G. Kitton (15
+     f. p.)
+
+     _St. Albans Abbey._ The Rev. Canon Liddell. 8º. (Isbister,
+     1897. English Cathedral Series.) 9 illust. (7 f. p.)
+
+     _The Romany Rye._ George Borrow. (Murray, 1900.) 8 f. p.
+
+JOHN GUILLE MILLAIS.
+
+     _A Fauna of Sutherland, Caithness and West Cromarty._ J. Harvie
+     Brown and T. E. Buckley. 8º. (Douglas, 1887.) 12 illust., with
+     others. 2 (1 f. p.) by J. G. Millais.
+
+     _Shooting._ Lord Walsingham and Sir R. Payne Gallwey. (Badminton
+     Library.) 8º. (Longmans, 1887.) With others. 3 illust. (1 f. p.)
+     by J. G. Millais.
+
+     _A Monograph of the Charadriidae._ Henry Seebohm. 4º. (Sotheran,
+     1888.) 28 illust.
+
+     _A Fauna of the Outer Hebrides._ J. Harvie Brown and T. E.
+     Buckley. 8º. (Douglas, 1888.) 12 illust., with others. 1 by
+     J. G. Millais.
+
+     _A Fauna of the Orkney Islands._ J. Harvie Brown and T. E.
+     Buckley. 8º. (Douglas, 1891.) 13 illust., with others. 3 f. p.
+     photogravures by J. G. Millais.
+
+     _A Fauna of Argyll and the Inner Hebrides._ J. Harvie Brown and
+     T. E. Buckley. 8º. (Douglas, 1892.) 9 illust., with others. 1
+     photogravure by J. G. Millais.
+
+     _Game-Birds and Shooting Sketches._ J. G. Millais. 4º.
+     (Sotheran, 1892.) 64 illust., 33 plates.
+
+     _A Breath from the Veldt._ J. G. Millais. 4º. (Sotheran,
+     1895.) 149 illust. (24 plates.)
+
+     _Letters to Young Shooters._ 3rd series. Sir R. Payne Gallwey.
+     (Longmans, 1896.) 46 illust.
+
+     _Elephant Hunting in East Equatorial Africa._ Arthur Newmann.
+     8º. (Ward, 1897.) 3 f. p.
+
+     _British Deer and their Horns._ J. G. Millais. 4º. (Sotheran,
+     1897.) 185 illust., mostly by the author. (20 plates.)
+
+     _Pheasants._ W. B. Tegetmeier. 8º. (Cox, 1897.) 16 illust.
+     (1 f. p. by J. G. Millais.) With others.
+
+     _Encyclopaedia of Sport._ Edited by the Earl of Berkshire.
+     (Lawrence and Bullen, 1898.) 31 illust. (2 f. p. in photogravure.)
+
+     _The Wildfowler in Scotland._ J. G. Millais. 4º. (Longmans, 1901.)
+     60 illust., 10 plates. (13 f. p.)
+
+EDMUND H. NEW.
+
+     _The Compleat Angler._ Izaak Walton and Charles Cotton. Edited
+     by Richard Le Gallienne. 4º. (Lane, 1896.) 200 illust. (47 f. p.)
+
+     _In the Garden of Peace._ Helen Milman. 8º. (Lane, 1896. The
+     Arcady Library.) 24 illust.
+
+     _Oxford and its Colleges._ J. Wells. 8º. (Methuen, 1897.) 27
+     drawings from photographs.
+
+     _Cambridge and its Colleges._ A. Hamilton Thompson. 8º. (Methuen,
+      1898.) 23 drawings from photographs.
+
+     _The Life of William Morris._ J. W. Mackail. 2 vols. 8º.
+     (Longmans, 1899.) 15 illus. (14 f. p.)
+
+     _Shakespeare's Country._ Bertram C. A. Windle. 8º. (Methuen,
+     1899.) 14 f. p. Drawings from photographs.
+
+     _The Natural History of Selborne._ Gilbert White. Edited by
+     Grant Allen. 4º. (Lane, 1900.) 178 illust. (43 f. p.)
+
+     _Outside the Garden._ Helen Milman. 8º. (Lane, 1900.) 30 illust.
+     and decorations.
+
+     _Sussex._ F. G. Brabant. 8º. (Methuen, 1900.) 12 f. p. Drawings
+     from photographs.
+
+     _The Malvern Country._ Bertram C. A. Windle. 8º. (Methuen,
+     1901.) 11 f. p. Drawings from photographs.
+
+ALFRED PARSONS.
+
+     _God's Acre Beautiful._ W. Robinson. 8º. ("Garden" Office, 1880.)
+     8 f. p.
+
+     _Selections from the Poetry of Robert Herrick._ 4º. (Sampson
+     Low, 1882.) 59 illust. (2 f. p.) With E. A. Abbey.
+
+     _Springhaven._ R. D. Blackmore. 8º. (Sampson Low, 1888.) 64
+     illust. (35 f. p.) With F. Barnard.
+
+     _Old Songs._ 4º. (Macmillan, 1889.) 102 illust. With E. A. Abbey.
+
+     _The Quiet Life._ Certain Verses by various hands: Prologue and
+     Epilogue by Austin Dobson. 4º. (Sampson Low, 1890.) 82 illust.
+     With E. A. Abbey. 42 by Alfred Parsons. (9 f. p.)
+
+     _A Selection from the Sonnets of William Wordsworth._ 8º.
+     (Osgood, 1891.) 55 illust. and decorations. (24 f. p.)
+
+     _The Warwickshire Avon._ Notes by A. T. Quiller-Couch. 8º.
+     (Osgood, 1892.) 96 illust. (25 f. p.)
+
+     _The Danube from the Black Forest to the Sea._ F. D. Millet. 8º.
+     (Osgood, 1892.) 133 illust. With F. D. Millet. 61 by Alfred
+     Parsons. (41 f. p.)
+
+     _The Wild Garden._ W. Robinson. 8º. (Murray, 1895.) 90
+     wood-engravings. (14 f. p.)
+
+     _The Bamboo Garden._ A. B. Freeman-Mitford. 8º. (Macmillan,
+     1896.) 11 illust. and decorations. (7 f. p.)
+
+     _Notes in Japan._ Alfred Parsons. 8º. (Osgood, 1896.) 119
+     illust. (36 f. p.)
+
+     _Wordsworth._ Andrew Lang. 8º. (Longmans, 1897. Selections from
+     the Poets.) 17 illust., and initials to each poem. (9 f. p.)
+
+JOSEPH PENNELL.
+
+     _A Canterbury Pilgrimage._ Elizabeth Robins Pennell. 8º.
+     (Seeley, 1885.) 30 illust. (7 f. p.)
+
+     _Tuscan Cities._ W. D. Howells. 4º. (Ticknor, Boston, 1886.)
+     67 illust., chiefly by Joseph Pennell. (11 f. p.)
+
+     _The Saone._ P. G. Hamerton. 4º. (Seeley, 1887.) 148 illust.
+     With the author. 102 by Joseph Pennell; 24 by J. Pennell after
+     pencil drawings by P. G. Hamerton. (16 f. p.)
+
+     _An Italian Pilgrimage._ Elizabeth Robins Pennell. 8º. (Seeley,
+     1887.) 30 f. p.
+
+     _Our Sentimental Journey through France and Italy._ Elizabeth
+     Robins Pennell. 8º. (Longmans, 1888.) 122 illust. (21 f. p.)
+
+     _Old Chelsea._ Benjamin Ellis Martin. 8º. (Fisher Unwin, 1889.)
+     23 illust. (20 f. p.)
+
+     _Our Journey to the Hebrides._ Elizabeth Robins Pennell. 8º.
+     (Fisher Unwin, 1889.) 43 illust. (29 f. p.)
+
+     _Personally Conducted._ F. R. Stockton. 4º. (Sampson Low,
+     1889.) 48 illust. With others.
+
+     _Charing Cross to St. Paul's._ Justin McCarthy. Fol. (Seeley,
+     1891.) 36 illust. (12 f. p.)
+
+     _The Stream of Pleasure._ Joseph and Elizabeth Robins Pennell.
+     With a practical chapter by J. G. Legge. 4º. (Fisher Unwin,
+     1891.) 90 illust. (16 f. p.)
+
+     _Play in Provence._ Joseph and Elizabeth Robins Pennell. 8º.
+     (Fisher Unwin, 1892.) 92 illust. (29 f. p.)
+
+     _The Jew at Home._ Joseph Pennell. 8º. (Heinemann, 1892.)
+     27 illust. (15 f. p.)
+
+     _English Cathedrals._ Mrs. Schuyler Van Rensselaer. 8º.
+     (Fisher Unwin, 1892.) 154 illust. (18 f. p.) With others.
+
+     _To Gipsyland._ Elizabeth Robins Pennell. 8º. (Fisher Unwin,
+     1893.) 82 illust. (35 f. p.)
+
+     _The Devils of Notre Dame._ 18 illust., with descriptive
+     text by R. A. M. Stevenson. Fol. ('Pall Mall Gazette,' 1894.)
+
+     _Cycling._ The Earl of Albemarle and G. Lacy Hillier. 4º.
+     (Longmans, 1894. The Badminton Library.) 49 illust. With the
+     Earl of Albemarle, and George Moore. 21 by Joseph Pennell.
+     (12 f. p.)
+
+     _Tantallon Castle._ Elizabeth Robins Pennell. 8º. (Constable,
+     1895.) 33 illust. (7 f. p.) With others. 24 by Joseph Pennell.
+
+     _The Makers of Modern Rome._ Mrs. Oliphant. 8º. (Macmillan,
+     1895.) 71 illust. With Henry P. Riviere, and from old engravings.
+     53 by Joseph Pennell. (7 f. p.)
+
+     _The Alhambra._ Washington Irving. Introduction by Elizabeth
+     Robins Pennell. 8º. (Macmillan, 1896.) 288 illust. (24 f. p.)
+
+     _On the Broads._ Anna Bowman Dodd. 8º. (Macmillan, 1896.)
+     29 illust. (24 f. p.)
+
+     _Climbs in the New Zealand Alps._ E. A. Fitzgerald. 8º. (Fisher
+     Unwin, 1896.) 25 illust. With others. (8 f. p. by Joseph Pennell
+     from paintings).
+
+     _Highways and Byways in Devon and Cornwall._ Arthur H. Norway.
+     8º. (Macmillan, 1897.) 66 illust. (18 f. p.) With Hugh Thomson.
+     58 by Joseph Pennell.
+
+     _Aquitaine, a Traveller's Tales._ Wickham Flower. 4º. (Chapman
+     and Hall, 1897.) 24 illust. (22 f. p.)
+
+     _Over the Alps on a Bicycle._ Elizabeth Robins Pennell. 8º.
+     (Fisher Unwin, 1898.) 34 illust. (18 f. p.)
+
+     _Highways and Byways in North Wales._ A. G. Bradley. 8º.
+     (Macmillan, 1898.) 96 illust. (13 f. p.) With Hugh Thomson.
+     87 by Joseph Pennell.
+
+     _Highways and Byways in Yorkshire._ Arthur H. Norway. 8º.
+     (Macmillan, 1899.) 110 illust. (14 f. p.) With Hugh Thomson.
+     102 by Joseph Pennell.
+
+     _Highways and Byways in Normandy._ Percy Dearmer. 8º. (Macmillan,
+     1900.) 153 illust. (17 f. p.)
+
+     _A little Tour in France._ Henry James. 8º. (Heinemann, 1900.)
+     94 illust. (44 f. p.)
+
+     _The Stock Exchange in 1900._ W. Eden Hooper. 4º. (Spottiswoode,
+     1900.) With Dudley Hardy. 7 illust. by Joseph Pennell. 3 proof
+     plates.
+
+     _Highways and Byways in the Lake District._ A. G. Bradley. 8º.
+     (Macmillan, 1901.) 86 illust.
+
+     _East London._ Walter Besant. 8º. (Chatto, 1901.) 54 illust.
+     (17 f. p.) With others. 36 by Joseph Pennell.
+
+     _Highways and Byways in East Anglia._ William A. Dutt. 8º.
+     (Macmillan, 1901.) 150 illust. (15 f. p.)
+
+     _Italian Journeys._ W. D. Howells. 8º. (Heinemann, 1901.)
+     103 illust. (39 f. p.)
+
+HERBERT RAILTON.
+
+     _Coaching Days and Coaching Ways._ 4º. (Macmillan, 1888.)
+     213 illust. With Hugh Thomson. 140 by Herbert Railton.
+
+     _The Essays of Elia._ Charles Lamb. Edited by Augustine
+     Birrell. 8º. (Dent, 1888. The Temple Library.) 3 etchings.
+
+     _Select Essays of Dr. Johnson._ Edited by George Birkbeck
+     Hill. 8º. (Dent, 1889. The Temple Library.) 2 vols. 6 etchings.
+     Figures by John Jellicoe.
+
+     _The Poems and Plays of Oliver Goldsmith._ Edited by Austin
+     Dobson. 8º. (Dent, 1889. The Temple Library.) 2 vols. 6 etchings
+     with John Jellicoe. 3 by Herbert Railton.
+
+     _Pericles and Aspasia._ W. S. Landor. 8º. (Dent, 1890. The Temple
+     Library.) 2 vols. 2 etchings.
+
+     _Westminster Abbey._ W. J. Loftie. Fol. (Seeley, 1890.) 75 illust.
+
+     _The Citizen of the World._ Oliver Goldsmith. Edited by Austin
+     Dobson. 8º. (Dent, 1891. The Temple Library.) 2 vols. 6 etchings.
+
+     _The Poetical Works of Thomas Lovell Beddoes._ Edited, with a
+     memoir, by Edmund Gosse. 8º. (Dent, 1891. The Temple Library.)
+     2 vols. 2 etchings.
+
+     _In the Footsteps of Charles Lamb._ Benjamin Ellis Martin. 8º.
+     (Bentley, 1891.) 11 f. p. With John Fulleylove. 6 by Herbert
+     Railton.
+
+     _The Collected Works of Thomas Love Peacock._ Edited by Richard
+     Garnett. 8º. (Dent, 1891.) 10 vols. 4 etchings.
+
+     _Essays and Poems of Leigh Hunt._ Selected and edited by R.
+     Brimley Johnson. 8º. (Dent, 1891.) 2 vols. 5 etchings.
+
+     _Dreamland in History._ The Very Rev. Dean Spence. 8º.
+     (Isbister, 1891.) 59 illust. (7 f. p.) Engraved by L.
+     Chefdeville.
+
+     _The Peak of Derbyshire._ John Leyland. 8º. (Seeley, 1891.)
+     20 illust. (8 f. p.) With Alfred Dawson. 16 by Herbert Railton.
+
+     _Ripon Millenary._ 4º. (W. Harrison, Ripon, 1892.) 140 illust.
+     With others, also from old prints. 32 by Herbert Railton.
+     (10 f. p.)
+
+     _The Inns of Court and Chancery._ W. J. Loftie. Fol. (Seeley,
+     1893.) 57 illust. (10 f. p.) 42 by Herbert Railton.
+
+     _The Household of Sir Thomas More._ Anne Manning. 8º. (Nimmo,
+     1896.) 26 illust. (9 f. p.) With John Jellicoe. 12 by Herbert
+     Railton, figures by John Jellicoe.
+
+     _The Haunted House._ Thomas Hood. Introduction by Austin Dobson.
+     (Lawrence and Bullen, 1896.) 63 illust. (21 f. p.)
+
+     _Cherry and Violet._ Anne Manning. 8º. (Nimmo, 1897.) 26 illust.
+     With John Jellicoe.
+
+     _Hampton Court._ William Holden Hutton. 8º. (Nimmo, 1897.)
+     43 illust. (32 f. p.)
+
+     ENGLISH CATHEDRAL SERIES. 8º. (Isbister, 1897-9.)
+
+          _Westminster Abbey._ The Very Rev. Dean Farrar. 12 f. p.
+
+          _St. Paul's Cathedral._ The Rev. Canon Newbolt. 12 f. p.
+
+          _Winchester Cathedral._ The Rev. Canon Benham. 7 f. p.
+
+          _Wells Cathedral._ The Rev. Canon Church. 15 illust.
+          (14 f. p.)
+
+          _Gloucester Cathedral._ The Very Rev. Dean Spence. 13 f. p.
+
+          _Peterborough Cathedral._ The Very Rev. Dean Ingram. 9 f. p.
+
+          _Lincoln Cathedral._ The Rev. Canon Venables. 9 f. p.
+
+          _Durham Cathedral._ The Rev. Canon Fowler. 9 f. p.
+
+          _Chester Cathedral._ The Very Rev. Dean Darby. 9 f. p.
+
+          _Ripon Cathedral._ The Ven. Archdeacon Danks. 16 illust.
+          (14 f. p.)
+
+     _The Maiden and Married Life of Mary Powell and Deborah's Diary._
+     Anne Manning. 8º. (Nimmo, 1898.) 26 illust. With John Jellicoe.
+
+     _The Old Chelsea Bun Shop._ Anne Manning. 8º. (Nimmo, 1899.)
+     10 illust. With John Jellicoe.
+
+     _Travels in England._ Richard Le Gallienne. 8º. (Grant Richards,
+     1900.) 6 f. p.
+
+     _The Natural History and Antiquities of Selborne_ and _A
+     Garden Kalendar_. Gilbert White. 8º. (Freemantle, 1900.) 2
+     vols. 176 illust. (23 f. p.) With others. 59 by Herbert Railton.
+
+     _The Story of Bruges._ Ernest Gilliat Smith. 8º. (Dent, 1901.
+     Mediæval Towns.) 57 illust. (9 f. p.) With others. 23 by Herbert
+     Railton.
+
+     _Boswell's Life of Johnson._ Edited by A. Glover. Introduction
+     by Austin Dobson. 8º. (Dent, 1901.) 100 illust. and portraits.
+
+SIR GEORGE REID.
+
+     _The Selected Writings of John Ramsay._ Alexander Walker. 8º.
+     (Blackwood, 1871.) Portrait and 9 illust.
+
+     _Life of a Scotch Naturalist._ Samuel Smiles. 8º. (Murray,
+     1876.) Portrait and 25 illust. (18 f. p.)
+
+     _George Paul Chalmers._ A. Gibson. 4º. (David Douglas, 1879.)
+     5 heliogravure plates.
+
+     _Johnny Gibb of Gushetneuk in the Parish of Pyketillim._ W.
+     Alexander. 8º. (David Douglas, 1880.) Portrait, title-page
+     and 18 heliogravure plates.
+
+     _Twelve Sketches of Scenery and Antiquities on the line of the
+     Great North of Scotland Railway._ 12 heliogravure plates with
+     illustrative Letterpress by W. Ferguson of Kinmundy. 8º. (David
+     Douglas, 1882.)
+
+     _Natural History and Sport in Norway._ Charles St. John. 8º.
+     (Douglas, 1882.) 10 f. p., heliogravure.
+
+     _The River Tweed from Its Source to the Sea._ Fol. (Royal
+     Association for the Promotion of Fine Arts in Scotland, 1884.)
+     16 f. p., heliogravure.
+
+     _George Jamesone, the Scottish Van Dyck._ John Bulloch. 4º.
+     (David Douglas, 1885.) 2 heliogravure plates.
+
+     _The River Clyde._ Fol. (Royal Association for the Promotion
+     of Fine Arts in Scotland, 1886.) 12 f. p., heliogravure.
+
+     _Salmon Fishing on the Ristigouche._ Dean Sage. 4º. (Douglas,
+     1888.) 2 illust. (1 f. p. photogravure).
+
+     _Lacunar Basilicae Sancti Macarii Aberdonensis._ 4º. (New
+     Spalding Club, Aberdeen, 1888). 2 f. p., photogravure.
+
+     _Cartularium Ecclesiae Sancti Nicholai Aberdonensis._ 2 vols. 4º.
+     (New Spalding Club, Aberdeen, 1888-92.) 2 f. p., photogravure.
+
+     _St. Giles', Edinburgh, Church, College and Cathedral._ J.
+     Cameron Lees. 4º (Chambers, 1889.) 3 f. p., heliogravure.
+
+     _Royal Edinburgh._ Mrs. Oliphant. 8º. (Macmillan, 1890.) 60
+     illust. (22 f. p.)
+
+     _Familiar Letters of Sir Walter Scott._ Edited by D. Douglas.
+     2 vols. 8º. (Douglas, 1894.) 2 vignettes, photogravure.
+
+F. INIGO THOMAS.
+
+     _The Formal Garden in England._ Reginald Blomfield and F.
+     Inigo Thomas. 8º. (Macmillan, 1892.) 74 illust. (19 f. p.)
+     46 by F. Inigo Thomas.
+
+CHARLES WHYMPER.
+
+     _Wild Sport in the Highlands._ Charles St. John. 8º. (Murray,
+     1878.) 30 illust.
+
+     _The Game-Keeper at Home._ Richard Jefferies. 8º. (Smith,
+     Elder, 1880.) 41 illust.
+
+     _Siberia in Europe._ Henry Seebohm. 8º. (Murray, 1880.) 47 illust.
+
+     _Matabele Land and Victoria Falls._ Frank Oates. 8º. (Kegan Paul,
+     1881.) 50 illust. (13 f. p.) With others.
+
+     _Siberia in Asia._ Henry Seebohm. 8º. (Murray, 1882). 67 illust.
+
+     _The Fowler in Ireland._ Sir R. Payne Gallwey. 8º. (Van Voorst,
+     1882.) 88 illust. (17 f. p.)
+
+     _A Highland Gathering._ E. Lennox Peel. 8º. (Longmans, 1885.)
+     35 illust.
+
+     _A Highland Gathering._ E. Lennox Peel. 8º. (Longmans, 1885.)
+     31 illust, engraved on wood by E. Whymper. (6 f. p.)
+
+     _Our Rarer Birds._ Charles Dixon. 8º. (Bentley, 1888.) 20
+     illust. (1 f. p.)
+
+     _Story of the Rear-Guard of Emin Relief Expedition._ J. S.
+     Jameson. 8º. (Porter, 1890.) 97 illust.
+
+     _Travel and Adventure in South Africa._ F. C. Selous. 8º. (Ward,
+     1893.) 37 illust. (23 f. p.) With others. 3 by Charles Whymper.
+
+     _Birds of the Wave and Moorland._ P. Robinson. 8º. (Isbister,
+     1894.) 44 illust. (18 f. p.) With others.
+
+     _Sporting Days in Southern India._ Lieut.-Colonel Pollock. 8º.
+     (Cox, 1894.) 27 illust. (19 f. p.)
+
+     _Big Game Shooting._ Clive Phillipps-Wolley and other writers.
+     8º. (Longmans, 1895. The Badminton Library.) 2 vols. 150 illust.
+     With others. (22 f. p.) 67 by Charles Whymper.
+
+     _The Pilgrim Fathers of New England and their Puritan Successors._
+     John Brown. 8º. (Religious Tract Society, 1895.) 15 illust.
+     (9 f. p.)
+
+     _Icebound on Kolguev._ A. Trevor-Battye. 8º. (Constable, 1895.)
+     70 illust. With others. 5 f. p. by Charles Whymper.
+
+     _The Hare._ The Rev. H. A. Macpherson and others. 8º. (Longmans,
+     1896. Fur, Feather and Fin Series.) 9 illust. With others.
+     2 f. p. by Charles Whymper.
+
+     _On the World's Roof._ J. Macdonald Oxley. 8º. (Nisbet, 1896.)
+     4 f. p.
+
+     _In Haunts of Wild Game._ Frederick Vaughan Kirby. 8º.
+     (Blackwood, 1896.) 39 illust. (15 f. p.)
+
+     _In and Beyond the Himalayas._ S. J. Stone. 8º. (Arnold, 1896.)
+     16 f. p.
+
+     _Sunshine and Storm in Rhodesia._ F. C. Selous. 8º. (Ward, 1896.)
+     18 illust. (6 f. p.) With others. 3 by Charles Whymper.
+
+     _Letters to Young Shooters._ Sir R. Payne Gallwey. (Longmans,
+     1896.) 246 illust., with J. G. Millais.
+
+     _The Art of Wildfowling._ Abel Chapman. 8º. (Cox, 1896.) 39
+     illust. (23 f. p.). With author.
+
+     _Wild Norway._ Abel Chapman. 8º. (Arnold, 1897.) 63 illust.
+     (13 f. p.) With others.
+
+     _Travel and Big Game._ Percy Selous and H. A. Bryden. 8º.
+     (Bellairs, 1897.) 6 f. p.
+
+     _Lost and Vanishing Birds._ Charles Dixon. 8º. (John Macqueen,
+     1898.) 10 f. p.
+
+     _Off to Klondyke._ Gordon Stables. 8º. (Nisbet, 1898.) 8 f. p.
+
+     _The Rabbit._ James Edmund Harting. 8º. (Longmans, 1898. Fur,
+     Feather and Fin Series.) 10 illust. With others. 2 f. p. by
+     Charles Whymper.
+
+     _Exploration and Hunting in Central Africa._ A. St. H. Gibbons.
+     8º. (Methuen, 1898.) 8 f. p. by Charles Whymper.
+
+     _The Salmon._ Hon. A. E. Gathorne Hardy. 8º. (Longmans, 1898.
+     Fur, Feather and Fin Series.) 8 illust. by Charles Whymper.
+
+     _Homes and Haunts of the Pilgrim Fathers._ Alexander Mackennal.
+     4º. (The Religious Tract Society, 1899.) 94 illust. from original
+     drawings and photographs. (20 f. p.)
+
+     _Bird Life in a Southern County._ Charles Dixon. (Scott, 1899.)
+     10 f. p.
+
+     _The Cruise of the Marchesa to Kamschatka and New Guinea._
+     F. H. H. Guillemard. 8º. (Murray, 1899.) 139 illust. With others.
+     Engraved by E. Whymper.
+
+     _Among the Birds in Northern Shires._ Charles Dixon. 8º.
+     (Blackie, 1900.) 41 illust. (1 f. p.)
+
+     _Shooting._ Lord Walsingham and Sir Ralph Payne-Gallwey. 8º.
+     (Longmans, 1900. The Badminton Library.) 103 illust. With others.
+     26 by Charles Whymper.
+
+
+SOME CHARACTER ILLUSTRATORS.
+
+EDWIN A. ABBEY.
+
+     _Selections from the Poetry of Robert Herrick._ 4º. (Sampson
+     Low, 1882.) 59 illust. With Alfred Parsons. (2 f. p.)
+
+     _The Rivals and the School for Scandal._ R. B. Sheridan.
+     Edited by Brander Matthews. 8º. (Chatto and Windus, 1885.)
+     13 illust. With others. 3 f. p. by E. A. Abbey.
+
+     _Sketching Rambles in Holland._ George H. Boughton. 8º.
+     (Macmillan, 1885.) 89 illust. (25 f. p.) With others. 26 by
+     E. A. Abbey.
+
+     _Old Songs._ 4º. (Macmillan, 1889.) 102 illust. (32 f. p.)
+     With Alfred Parsons. 61 by E. A. Abbey.
+
+     _The Quiet Life._ Certain Verses by various hands. Prologue
+     and Epilogue by Austin Dobson. 4º. (Sampson Low, 1890.) 82
+     illust. (21 f. p.) With Alfred Parsons. 40 by E. A. Abbey.
+
+     _The Comedies of Shakespeare._ 4 vols. 8º. (Harper, 1896.)
+     131 photogravure plates.
+
+     _She Stoops to Conquer._ Oliver Goldsmith. 8º. (Harper, 1901.)
+     67 illust. (17 f. p.)
+
+A. S. BOYD.
+
+     _Peter Stonnor._ Charles Blatherwick. 8º. (Chapman, 1884.)
+     15 illust. With James Guthrie. 6 by A. S. Boyd.
+
+     _The Birthday Book of Solomon Grundy._ Will Roberts. 12º.
+     (Gowan and Gray, 1884.) 371 illust. (6 f. p.)
+
+     _Novel Notes._ J. K. Jerome. 8º. (Leadenhall Press, 1893.)
+     90 illust. With others. 15 by A. S. Boyd.
+
+     _At the Rising of the Moon._ Frank Mathew. 8º. (McClure,
+     1893.) 27 illust. With F. Pegram. 4 by A. S. Boyd.
+
+     _Ghetto Tragedies._ I. Zangwill. 12º. (McClure, 1894.) 3 f. p.
+
+     _A Protègèe of Jack Hamlin's._ Bret Harte. 8º. (Chatto, 1894.)
+     26 illust. With others. 18 by A. S. Boyd.
+
+     _The Bell-Ringer of Angel's._ Bret Harte. 8º. (Chatto, 1894.)
+     39 illust. With others. 5 by A. S. Boyd.
+
+     _John Ingerfield._ Jerome K. Jerome. 12º. (McClure, 1894.)
+     9 f. p. with John Gulich.
+
+     _The Sketch-Book of the North._ George Eyre Todd. 8º. (Morrison,
+     1896.) 16 illust. With others. 5 f. p. by A. S. Boyd.
+
+     _Pictures from Punch._ Vol. VI. 4º. (Bradbury, Agnew, 1896.)
+     With others. 14 illust. by A. S. Boyd.
+
+     _Rabbi Saunderson._ Ian Maclaren. 12º. (Hodder, 1898.) 12 f. p.
+
+     _A Lowden Sabbath Morn._ R. L. Stevenson. 8º. (Chatto and
+     Windus, 1898.) 27 f. p.
+
+     _The Days of Auld Lang Syne._ Ian Maclaren. 8º. (Hodder and
+     Stoughton, 1898.) 10 f. p.
+
+     _Horace in Homespun._ Hugh Haliburton. 8º. (Blackwood, 1900.)
+     26 f. p.
+
+     _Our Stolen Summer._ Mary Stuart Boyd. 8º. (Blackwood, 1900.)
+     170 illust.
+
+     _A Versailles Christmas-Tide._ M. S. Boyd. 8º. (Chatto and
+     Windus, 1901.) 53 illust. (6 f. p.)
+
+FRANK BRANGWYN.
+
+     _Collingwood._ W. Clark Russell. 8º. (Methuen, 1891.) 12 illust.
+     10 f. p. by Frank Brangwyn.
+
+     _The Captured Cruiser._ C. J. Hyne. 8º. (Blackie, 1893.) 6 f. p.
+
+     _Tales of our Coast._ S. R. Crockett, etc. 8º. (Chatto and
+     Windus, 1896.) 12 f. p.
+
+     _The Arabian Nights._ 8º. (Gibbings, 1897.) 36 f. p.
+
+     _The History of Don Quixote._ Translated by Thomas Shelton.
+     Introduction by J. H. McCarthy. 4 vols. 8º. (Gibbings, 1898.)
+     24 illust.
+
+     _Tom Cringle's Log._ Michael Scott. 8º. (Gibbings, 1898.) 2 vols.
+
+     _The Cruise of the Midge._ Michael Scott. 8º. (Gibbings, 1898.)
+     2 vols.
+
+     _A Spliced Yarn._ G. Cupples. 8º. (Gibbings, 1899.) 5 f. p.
+
+     _Naval Yarns._ Collected and edited by W. H. Long. 8º.
+     (Gibbings, 1899.) 1 f. p.
+
+CHARLES E. BROCK.
+
+     _The Parachute and other Bad Shots._ J. R. Johnson. 4º.
+     (Routledge, 1891.) 44 illust. (4 f. p.)
+
+     _Hood's Humorous Poems._ Preface by Alfred Ainger. 8º.
+     (Macmillan, 1893.) 130 illust. (3 f. p.)
+
+     _Scenes in Fairyland._ Canon Atkinson. 8º. (Macmillan,
+     1893.) 34 illust. (5 f. p.)
+
+     _The Humour of America._ Edited by J. Barr. 8º. (Scott,
+     1893.) 78 illust. (32 f. p.)
+
+     _The Humour of Germany._ Edited by Hans Mueller-Casenov.
+     8º. (Scott, 1893.) 54 illust. (15 f. p.)
+
+     _English Fairy and Folk Tales._ Edited by E. S. Hartland.
+     8º. (Scott, 1893.) 13 f. p.
+
+     _Gulliver's Travels._ Preface by Henry Craik. 8º. (Macmillan,
+     1894.) 100 illust. (18 f. p.)
+
+     _History Readers._ Book II. 8º. (Macmillan, 1894.) 20 illust.
+     With H. M. Brock. 10 by C. E. Brock.
+
+     _Nema and other Stories._ Hedley Peek. 8º. (Chapman and Hall,
+     1895.) 35 illust. (26 f. p. 6 photogravure plates.)
+
+     _Annals of the Parish and The Ayrshire Legatees._ John Galt.
+     8º. (Macmillan, 1895.) 40 illust. (32 f. p.)
+
+     _W. V. Her Book and Various Verses._ William Canton. 8º.
+     (Isbister, 1896.) 2 f. p.
+
+     _Westward Ho!_ Charles Kingsley. 2 vols. 8º. (Macmillan, 1896.)
+     84 illust. (51 f. p.)
+
+     _The Poetry of Sport._ Edited by Hedley Peek. 8º. (Longman,
+     1896.) 32 illust. With others. (19 f. p. by C. E. Brock.)
+
+     _Pride and Prejudice._ Jane Austen. 8º. (Macmillan, 1896.
+     Illustrated Standard Novels.) 40 illust. (38 f. p.)
+
+     _Racing and Chasing._ See _H. M. Brock_.
+
+     _Ivanhoe._ Sir Walter Scott. 8º. (Service and Paton, 1897.
+     Illustrated English Library.) 16 f. p.
+
+     _The Invisible Playmate and W. V. Her Book._ William Canton.
+     8º. (Isbister, 1897.) 2 f. p.
+
+     _The Lady of the Lake._ Sir Walter Scott. 8º. (Service and
+     Paton, 1898.) 24 f. p.
+
+     _Robinson Crusoe._ Daniel Defoe. 8º. (Service and Paton,
+     1898. Ill. Eng. Lib.) 16 f. p.
+
+     _Dent's Second French Book._ 8º. (Dent, 1898.) 3 f. p.
+
+     _The Novels of Jane Austen._ Edited by R. Brimley Johnson.
+     8º. (Dent, 1898.) 10 vols. 6 f. p. in each by C. E. and H.
+     M. Brock. 30 by C. E. Brock. In colours.
+
+     _The Vicar of Wakefield._ Oliver Goldsmith. 8º. (Service
+     and Paton, 1898. Ill. Eng. Lib.) 16 f. p.
+
+     _John Gilpin._ William Cowper. 4º. (Dent, 1898. Illustrated
+     English Poems.) 25 illust. (11 f. p.)
+
+     _The Bravest of them All._ Mrs. Edwin Hohler. 8º. (Macmillan,
+     1899.) 8 f. p.
+
+     _M. or N._ G. J. Whyte-Melville. 8º. (Thacker, 1899.) 14 f. p.
+     Coloured frontispiece.
+
+     _The Works of Jane Austen._ 8º. (Dent, 1899. Temple Library.)
+     10 vols. 10 f. p. In colours. With H. M. Brock. 5 by C. E. Brock.
+
+     _Ivanhoe._ Sir Walter Scott. 8º. (Dent, 1899.) 12 f. p., in
+     colours.
+
+     _Une Joyeuse Nichée._ 8º. (Dent's Modern Language Series,
+     1900.) 4 f. p.
+
+     _The Path Finder._ _The Prairie._ Fenimore Cooper. 2 vols. 8º.
+     (Macmillan, 1900. Illustrated Standard Novels.) 25 f. p. each.
+
+     _Penelope's English Experiences._ Kate Douglas Wiggin. 8º.
+     (Gay and Bird, 1900.) 53 illust. (14 f. p.)
+
+     _Penelope's Experiences in Scotland._ Kate Douglas Wiggin.
+     8º. (Gay and Bird, 1900.) 56 illust. (14 f. p.)
+
+     _Ivanhoe._ Sir W. Scott. 8º. (Dent, 1900. Temple Classics
+     for Young People.) 2 vols. 24 f. p. With H. M. Brock. 12 by
+     C. E. Brock reproduced from 1899 edition.
+
+     _The Essays and Last Essays of Elia._ Edited by Augustine
+     Birrell. 8º. (Dent, 1900.) 2 vols. 163 illust. (32 f. p.)
+
+     _The Holly Tree Inn_ and _The Seven Poor Travellers_.
+     Charles Dickens. 8º. (Dent, 1900.) 49 illust. (12 f. p. 2
+     photogravure plates.)
+
+HENRY M. BROCK.
+
+     _Macmillan's History Readers._ See _C. E. Brock_.
+
+     _Jacob Faithful._ Captain Marryat. Introduction by David
+     Hannay. 8º. (Macmillan, 1895. Illustrated Standard Novels.)
+     40 illust. (37 f. p.)
+
+     _Tales of the Covenanters._ Robert Pollok. 8º. (Oliphant
+     Anderson, 1895.) 12 illust. (7 f. p.)
+
+     _Racing and Chasing._ A. G. T. Watson. 8º. Longmans, 1867.
+     With others. 10 illust. (8 f. p.) By H. M. Brock.
+
+     _Scenes of Child Life._ Mrs. J. G. Fraser. 8º. (Macmillan,
+     1898.) 29 illust. (1 f. p.)
+
+     _Scenes of Familiar Life._ Mrs. J. G. Fraser. 8º. (Macmillan,
+     1898.) 8 f. p.
+
+     _Uncle John._ G. J. Whyte-Melville. 8º. (Thacker, 1898.) 14
+     illust. With E. Caldwell. 10 f. p. by H. M. Brock.
+
+     _Song and Verses._ G. J. Whyte-Melville. 8º. (Thacker, 1899.)
+     13 illust. (1. f. p.)
+
+     _The Little Browns._ Mabel E. Wotton. 4º. (Blackie, 1900.)
+     80 illust. (9 f. p.)
+
+     _Asinette._ Mrs. J. G. Frazer. 8º. (Dent, 1900.) 208 illust.
+     (8 f. p. in colours.)
+
+     By Fenimore Cooper. 8º. (Macmillan, 1900. Illustrated Standard
+     Novels.) _The Deerslayer_, 40 f. p.; _The Last of the Mohicans_,
+     25 f. p.; _The Pioneers_, 25 f. p.
+
+     _Digby Grand._ G. J. Whyte-Melville. 8º. (Thacker, 1900.) 8 f. p.
+
+     _The Old Curiosity Shop._ Charles Dickens. 8º. (Gresham Pub. Co.,
+     1901.) 8 f. p.
+
+     _Japhet in Search of a Father._ Captain Marryat. 8º. (Macmillan,
+     1895. Ill. Stan. Nov.) 40 illust. (12 f. p.)
+
+     _Handy Andy._ Samuel Lover. 8º. (Macmillan, 1896. Ill. Stan.
+     Nov.) 40 illust. (33 f. p.)
+
+     _Ballads and Songs._ W. M. Thackeray. 8º. (Cassell, 1896.)
+     111 illust. (6 f. p.)
+
+     _Cranford._ Mrs. Gaskell. 8º. (Service and Paton, 1898.
+     Ill. Eng. Lib.) 16 f. p.
+
+     _The Novels of Jane Austen._ 1898. See _C. E. Brock_.
+
+     _Waverley._ Sir Walter Scott. 8º. (Service and Paton, 1899.
+     Ill. Eng. Lib.) 16 f. p.
+
+     _The Works of Jane Austen._ 1899. See _C. E. Brock_.
+
+     _Black but Comely._ G. J. Whyte-Melville. 8º. (Thacker,
+     1899.) 10 f. p.
+
+     _The Drummer's Coat._ Hon. J. W. Fortescue. 4º. (Macmillan,
+     1899.) 4 f. p.
+
+     _King Richard II._ Edited by W. J. Abel. 8º. (Longmans, 1899.
+     Swan Edition.) 11 f. p.
+
+     _Ivanhoe._ 1900. See _C. E. Brock_.
+
+     _The Pilgrim's Progress._ John Bunyan. 8º. (Pearson, 1900.)
+     8 f. p.
+
+     _Ben Hur._ General Lew Wallace. 8º. (Pearson, 1901.) 8 f. p.
+
+     _Sister Louise_ and _Rosine_. _Kate Coventry._ _Cerise._ G. J.
+     Whyte-Melville. 8º. (Thacker, 1901.) 10 f. p. each. Frontispiece
+     in colours.
+
+W. CUBITT COOKE.
+
+     _Evelina._ Frances Burney. 2 vols. 8º. (Dent, 1893.) 6
+     photogravure plates and portrait.
+
+     _Cecilia._ 3 vols. Uniform with above. 9 f. p.
+
+     _The Man of Feeling._ Henry Mackenzie. 8º. (Dent, 1893.) 3
+     photogravure plates and portrait.
+
+     _My Study Fire._ H. W. Mabie. 8º. (Dent, 1893.) 3 f. p.,
+     photogravure.
+
+     _The Vicar of Wakefield._ O. Goldsmith. 8º. (Dent, 1893.) 6 f. p.
+
+     _Reveries of a Bachelor._ D. G. Mitchell. 8º. (Dent, 1894.)
+     Frontispiece.
+
+     _The Master Beggars._ Cope Cornford. 8º. (Dent, 1897.) 8 f. p.
+
+     _The Singer of Marly._ Ida Hooper. 8º. (Methuen, 1897.) 4 f. p.
+
+     By Charles Dickens. 8º. (Dent, 1899. The Temple Dickens.)
+     _Sketches by Boz_, 2 vols.; _Dombey and Son_, 3 vols.; _Martin
+     Chuzzlewit_, 3 vols.; _A Christmas Carol_, 1 vol. 1 f. p. in each
+     vol.
+
+     _The Novels of Jane Austen._ Edited by R. Brimley Johnson.
+     10 vols. 8º. (Dent, 1894.) 3 photogravure plates in each vol.
+
+     _Popular British Ballads._ Chosen by R. Brimley Johnson. 4 vols.
+     8º. (Dent, 1894.) 219 illust. (22 f. p.)
+
+     _By Stroke of Sword._ Andrew Balfour. 8º. (Methuen, 1897.) 4 f. p.
+
+     _John Halifax._ Mrs. Craik. 8º. (Dent, 1898.) 12 illust. in
+     colours, with others. 4 f. p. by W. C. Cooke.
+
+SIR HARRY FURNISS.
+
+     _Tristram Shandy._ Laurence Sterne. 8º. (Nimmo, 1883.) 8
+     etchings from drawings by Harry Furniss.
+
+     _A River Holiday._ 8º. (Fisher Unwin, 1883.) 15 illust. (3 f. p.)
+
+     _The Talk of the Town._ James Payn. 2 vols. 8º. (Smith, Elder,
+     1884.) 14 f. p.
+
+     _All in a Garden Fair._ Walter Besant. 8º. (Chatto and Windus,
+     1884.) 6 f. p.
+
+     _Romps at the Sea-side_ and _Romps in Town_. Verses by Horace
+     Leonard. 4º. (Routledge, 1885.) 28 pictured pages in colours.
+
+     _Parliamentary Views._ 4º. (Bradbury, Agnew, 1885.) 28 f. p.
+
+     _Hugh's Sacrifice._ C. M. Norris. 8º. (Griffith, Farran, 1886.)
+     4 f. p.
+
+     _More Romps._ Verses by E. J. Milliken. 4º. (Routledge, 1886.)
+     52 pictured pages in colours.
+
+     _The Comic Blackstone._ Arthur W. A'Beckett. 8º. (Bradbury,
+     Agnew, 1886.) 9 parts. 28 illust. (10 f. p. in colours.)
+
+     _Travels in the Interior._ L. T. Courtenay. 8º. (Ward and
+     Downey, 1887.) 17 illust. (3 f. p.)
+
+     _The Incompleat Angler._ F. C. Burnand. 8º. (Bradbury, Agnew,
+     1887.) 29 illust. (6 f. p.)
+
+     _How he did it._ Harry Furniss. 8º. (Bradbury, Agnew, 1887.)
+     50 illust. (4 f. p.)
+
+     _The Moderate Man and other Verses._ Edwin Hamilton. 4º.
+     (Ward and Downey, 1888.) 12 f. p.
+
+     _Pictures at Play._ 8º. (Bradbury, Agnew, 1888.) 18 illust.
+     (5 f. p.)
+
+     _Sylvie and Bruno._ Lewis Carroll. 8º. (Macmillan, 1889.)
+     46 illust. (9 f. p.)
+
+     _Perfervid._ John Davidson. 8º. (Ward and Downey, 1890.) 23
+     illust. (5 f. p.)
+
+     _M.P.s in Session._ Obl. 4º. (Bradbury, Agnew, 1890.) 500 illust.
+
+     _Wanted a King._ Maggie Browne. 8º. (Cassell, 1890.) 76 illust.
+     (8 f. p.)
+
+     _Brayhard._ F. M. Allen. 8º. (Ward and Downey, 1890.) 37 illust.
+     (7 f. p.)
+
+     _Academy Antics._ 8º. (Bradbury, Agnew, 1890.) 60 illust.
+
+     _Flying Visits._ H. Furniss. 8º. (Simpkin, 1892.) 192 illust.
+     (6 f. p.)
+
+     _Olga's Dream._ Norley Chester. 8º. (Skeffington, 1892.) 24
+     illust. (4 f. p.) With Irving Montague. 6 by H. Furniss.
+
+     _A Diary of the Salisbury Parliament._ Henry W. Lucy. 8º.
+     (Cassell, 1892.) 89 illust. (1 f. p.)
+
+     _Sylvie and Bruno concluded._ Lewis Carroll. 8º. (Macmillan,
+     1893.) 46 illust. (9 f. p.)
+
+     _The Grand Old Mystery unravelled._ 8º. (Simpkin, 1894.) 20
+     illust. (12 f. p.)
+
+     _The Wallypug of Why._ G. E. Farrow. 8º. (Hutchinson, 1895.)
+     62 illust. With Dorothy Furniss. 20 by H. Furniss. (17 f. p.)
+
+     _Golf._ Horace G. Hutchinson. 8º. (Longmans, 1895. Badminton
+     Library.) 87 illust. With others. 9 f. p. by H. Furniss.
+
+     _The Missing Prince._ G. E. Farrow. 8º. (Hutchinson, 1896.)
+     51 illust. With D. Furniss. 13 f. p. by H. Furniss.
+
+     _Cricket Sketches._ E. B. V. Christian. 8º. (Simpkin, 1896.)
+     100 illust.
+
+     _Pen and Pencil in Parliament._ Harry Furniss. 8º. (Sampson
+     Low, 1897.) 173 illust. (50 f. p.)
+
+     _Miss Secretary Ethel._ Elinor D. Adams. 8º. (Hurst and Blackett,
+     1898.) 6 illust. (5 f. p.)
+
+     _Australian Sketches._ Harry Furniss. 8º. (Ward, Lock, 1899.)
+     86 illust. (1 f. p.)
+
+WILLIAM B. HOLE.
+
+     _The Master of Ballantrae._ R. L. Stevenson. 8º. (Cassell,
+     1891.) 10 f. p.
+
+     _A Window in Thrums._ J. M. Barrie. 8º. (Hodder and Stoughton,
+     1892.) 14 etchings. (13 f. p.)
+
+     _The Heart of Midlothian._ Sir Walter Scott. 8º. (Black, 1893.
+     Dryburgh edition.) 10 woodcuts. (9 f. p.)
+
+     _The Little Minister._ J. M. Barrie. 8º. (Cassell, 1893.) 9 f. p.
+     woodcuts.
+
+     _Auld Licht Idylls._ J. M. Barrie. 8º. (Hodder and Stoughton,
+     1895.) 13 etchings. (12 f. p.)
+
+     _Catriona._ R. L. Stevenson. 8º. (Cassell, 1895.) 16 woodcuts.
+
+     _Kidnapped._ R. L. Stevenson. 8º. (Cassell, 1895.) 16 woodcuts.
+
+     _Beside the Bonnie Brier Bush._ Ian Maclaren. 8º. (Hodder and
+     Stoughton, 1896.) 12 etchings.
+
+     _The Century Edition of the Poetry of Robert Burns._ 4 vols.
+     4º. (Jack, 1896.) 20 f. p. etchings.
+
+H. M. PAGET.
+
+     _Kenilworth._ Sir Walter Scott. 8º. (Black, 1893. Dryburgh
+     edition.) 10 woodcuts. (9 f. p.)
+
+     _Quentin Durward._ Sir Walter Scott. 8º. (Black, 1894.
+     Dryburgh edition.) 10 woodcuts. (9 f. p.)
+
+     _Pictures from Dickens._ 4º. (Nister, 1895.) 12 coloured
+     illust. with others.
+
+     _Annals of Westminster Abbey._ E. T. Bradley. 4º. (Cassell,
+     1895.) 163 illust. With others.
+
+     _The Vicar of Wakefield._ Oliver Goldsmith. 8º. (Nister,
+     1898.) 25 illust. (12 f. p. 5 heliogravure plates.)
+
+     Also illustrations to boys' books by G. A. Henty, etc.
+
+SIDNEY PAGET.
+
+     _Adventures of Sherlock Holmes._ Conan Doyle. 8º. (Newnes,
+     1892.) 104 illust.
+
+     _Rodney Stone._ Conan Doyle. 8º. (Smith Elder, 1896.) 8 f. p.
+
+     _The Tragedy of the Korosko._ Conan Doyle. 8º. (Smith Elder,
+     1898.) 40 f. p.
+
+     _Old Mortality._ Sir Walter Scott. 8º. (Service and Paton,
+     1898. Illustrated English Library.) 16 f. p.
+
+     _Terence._ B. M. Croker. 8º. (Chatto and Windus, 1899.) 6 f. p.
+
+     _The Sanctuary Club._ L. T. Meade and Robert Eustace. 8º.
+     (Ward, Lock, 1900.) 6 f. p.
+
+WALTER PAGET.
+
+     _The Black Dwarf._ Sir Walter Scott. 8º. (Black, 1893.
+     Dryburgh edition). 4 f. p.
+
+     _Castle Dangerous._ Sir Walter Scott. 8º. (Black, 1894.
+     Dryburgh edition.) 6 illust. (5 f. p.)
+
+     _The Talisman._ Sir Walter Scott. 8º. (Ward, Lock, 1895.)
+     68 illust. With others.
+
+     _A Legend of Montrose._ Sir Walter Scott. 8º. (Ward, Lock,
+     1895.) 76 illust. With A. de Parys.
+
+     _Robinson Crusoe._ Daniel Defoe. 8º. (Cassell, 1896.) 120
+     illust. (13 f. p.)
+
+     _Treasure Island._ R. L. Stevenson. 8º. (Cassell, 1899.) 46
+     illust. (15 f. p.)
+
+     _Tales from Shakespeare._ Charles and Mary Lamb. 4º.
+     (Nister, 1901.) 76 illust. (18 f. p. 6 printed in colours.)
+
+J. BERNARD PARTRIDGE.
+
+     _Stage-land._ Jerome K. Jerome. 8º. (Chatto and Windus,
+     1889.) 63 illust. (14 f. p.)
+
+     _Voces Populi._ F. Anstey. 8º. (Longmans, 1890.) 20 illust.
+     (9 f. p.)
+
+     _Voces Populi._ Second Series. 1892. 25 illust. (17 f. p.)
+
+     _My Flirtations._ Margaret Wynman. 8º. (Chatto and Windus,
+     1892.) 13 illust. (11 f. p.)
+
+     _The Travelling Companions._ F. Anstey. 8º. (Longmans, 1892.)
+     26 illust. (1 f. p.)
+
+     _Mr. Punch's Pocket Ibsen._ F. Anstey. 8º. (Heinemann, 1893.)
+     14 f. p.
+
+     _The Man from Blankley's._ F. Anstey. 4º. (Longmans, 1893.)
+     25 illust. (9 f. p.)
+
+     _When a Man's Single._ _A Window in Thrums._ _The Little
+     Minister._ _My Lady Nicotine._ J. M. Barrie. 8º. Scribner,
+     1896. 1 f. p. each.
+
+     _Tommy and Grizel._ J. M. Barrie. 8º. (Copp, Torontono, 1901.)
+     11 f. p.
+
+     _Proverbs in Porcelain._ Austin Dobson. 8º. (Kegan Paul, 1893.)
+     25 f. p.
+
+     _Under the Rose._ F. Anstey. 8º. (Bradbury, Agnew, 1894.) 15 f. p.
+
+     _Lyre and Lancet._ F. Anstey. 8º. (Smith, Elder, 1895.) 24 f. p.
+
+     _Puppets at Large._ F. Anstey. 8º. (Bradbury, Agnew, 1897).
+     16 f. p.
+
+     _Baboo Jabberjee, B.A._ F. Anstey. 8º. (Dent, 1897.) 29 f. p.
+
+     _The Tinted Venus._ F. Anstey. 8º. (Harper, 1898.) 15 f. p.
+
+     _Wee Folk; good Folk._ L. Allen Harker. 8º. (Duckworth, 1899.)
+     5 f. p.
+
+FRED PEGRAM.
+
+     _At the Rising of the Moon._ See _A. S. Boyd_.
+
+     _Mr. Midshipman Easy._ Captain Marryat. Introduction by David
+     Hannay. 8º. (Macmillan, 1896. Illustrated Standard Novels.)
+     38 f. p.
+
+     _Sybil or the Two Nations._ Benjamin Disraeli. Introduction by
+     H. D. Traill. 8º. (Macmillan, 1895. Ill. Stan. Nov.) 40 illust.
+     (29 f. p.)
+
+     _The Last of the Barons._ Lord Lytton. 8º. (Service and Paton,
+     1897. Illustrated English Library.) 16 f. p.
+
+     _Masterman Ready._ Captain Marryat. Introduction by David
+     Hannay. 8º. (Macmillan, 1897. Ill. Stan. Nov.) 40 illust.
+     (39 f. p.)
+
+     _Poor Jack._ Captain Marryat. Introduction by David Hannay.
+     8º. (Macmillan, 1897. Ill. Stan. Nov.) 40 illust. (39 f. p.)
+
+     _The Arabian Nights Entertainments._ 8º. (Service and Paton,
+     1898. Ill. Eng. Lib.) 16 f. p.
+
+     _The Bride of Lammermoor._ Sir Walter Scott. 8º. (Service
+     and Paton, 1898. Ill. Eng. Lib.) 16 f. p.
+
+     _The Orange Girl._ Walter Besant. 8º. (Chatto and Windus,
+     1899.) 8 f. p.
+
+     _Ormond._ Maria Edgeworth. Introduction by Austin H. Johnson.
+     8º. (Gresham Publishing Company, 1900.) 6 f. p.
+
+     _Concerning Isabel Carnaby._ E. Thorneycroft Fowler. 8º.
+     (Hodder and Stoughton, 1900.) 8 f. p.
+
+     _The Wide Wide World._ Miss Wetherell. 8º. (Pearson.) 8 f. p.
+
+     _Martin Chuzzlewit._ 8º. C. Dickens. (Blackie.) 10 f. p.
+
+CLAUDE A. SHEPPERSON.
+
+     _Shrewsbury._ Stanley J. Weyman. 8º. (Longmans, 1898.) 24 illust.
+     (14 f. p.)
+
+     _The Merchant of Venice._ Edited by John Bidgood. 8º. (Longmans,
+     1899. Swan edition.) 10 f. p.
+
+     _The Heart of Mid-Lothian._ Sir Walter Scott. Introduction by
+     William Keith Leask. 8º. (Gresham Publishing Company, 1900.)
+     6 f. p.
+
+     _Lavengro._ George Borrow. Introduction by Charles E. Beckett.
+     8º. (Gresham Publishing Company, 1900.) 6 f. p.
+
+     _Coningsby._ Benjamin Disraeli. Introduction by William Keith
+     Leask. 8º. (Gresham Publishing Company, 1900.) 6 f. p.
+
+     _As You Like It._ Edited by W. Dyche. 8º. (Longmans, 1900.
+     Swan edition.) 10 f. p.
+
+WILLIAM STRANG.
+
+     _The Earth Fiend._ William Strang. 4º. (Elkin Mathews and
+     John Lane, 1892.) 11 etchings.
+
+     _Lucian's True History._ Translated by Francis Hickes. 8º.
+     (Privately printed, 1894.) 16 illust. With others. 7 f. p.
+     by William Strang.
+
+     _Death and the Ploughman's Wife._ A Ballad by William
+     Strang. Fol. (Lawrence and Bullen, 1894.) 12 etchings.
+
+     _Nathan the Wise._ G. E. Lessing. Translated by William
+     Jacks. 8º. (Maclehose, 1894.) 8 etchings.
+
+     _The Pilgrim's Progress._ John Bunyan. 8º. (Nimmo, 1895.)
+     14 etchings.
+
+     _The Christ upon the Hill._ Cosmo Monkhouse. Fol. (Smith,
+     Elder, 1895.) 9 etchings.
+
+     _The Surprising Adventures of Baron Munchausen._ Introduction by
+     Thomas Seccombe. 8º. (Lawrence and Bullen, 1895.) 50 illust.
+     (15 f. p.) With J. B. Clark. 25 by William Strang.
+
+     _Paradise Lost._ John Milton. Fol. (Nimmo, 1896.) 12 etchings.
+
+     _Sindbad the Sailor_, _Ali Baba and the Forty Thieves_. 8º.
+     (Lawrence and Bullen, 1896.) 50 illust. (15 f. p.) With J. B.
+     Clark. 25 by William Strang.
+
+     _A Book of Ballads._ Alice Sargant. 4º. (Elkin Mathews, 1898.)
+     5 etchings.
+
+     _A Book of Giants._ William Strang. 4º. (Unicorn Press, 1898.
+     Unicorn Quartos.) 12 f. p. woodcuts in colours.
+
+     _Western Flanders._ Laurence Binyon. Fol. (Unicorn Press, 1899.)
+     10 etchings.
+
+     _A Series of Thirty Etchings illustrating subjects from the
+     Writings of Rudyard Kipling._ Fol. (Macmillan, 1901.)
+
+     _The Praise of Folie._ Erasmus. Translated by Sir Thomas
+     Chaloner. Edited by Janet E. Ashbee. (Arnold, 1901.) 8 woodcuts,
+     drawn by William Strang and cut by Bernard Sleigh.
+
+EDMUND J. SULLIVAN.
+
+     _The Rivals_ and _The School for Scandal_. R. B. Sheridan.
+     Introduction by Augustine Birrell. 8º. (Macmillan, 1896.)
+     50 f. p.
+
+     _Lavengro._ George Borrow. Introduction by Augustine Birrell.
+     8º. (Macmillan, 1896. Illustrated Standard Novels.) 45 illust.
+     (37 f. p.)
+
+     _The Compleat Angler._ Izaak Walton. Edited by Andrew Lang.
+     8º. (Dent, 1896.) 89 illust. (42 f. p.)
+
+     _Tom Brown's School-Days._ 8º. (Macmillan, 1896.) 79 illust.
+     (20 f. p.)
+
+     _The Pirate_ and _The Three Cutters_. Captain Marryat. 8º.
+     (Macmillan, 1897. Ill. Stan. Nov.) 40 f. p.
+
+     _Newton Forster._ Captain Marryat. 8º. (Macmillan, 1897.
+     Ill. Stan. Nov.) 40 f. p.
+
+     _Sartor Resartus._ Thomas Carlyle. 8º. (Bell, 1898.) 77 illust.
+     (12 f. p.)
+
+     _The Pirate._ Sir Walter Scott. 8º. (Service and Paton, 1898.
+     Illustrated English Library.) 16 f. p.
+
+     _The Natural History and Antiquities of Selborne_ and _A Garden
+     Kalendar_. Gilbert White. 8º. (Freemantle, 1900.) 2 vols. 176
+     illust. (20 f. p.) With others. 45 by E. J. Sullivan.
+
+     _A Dream of Fair Women._ Lord Tennyson. 4º. (Grant Richards,
+     1900.) 40 f. p. 4 photogravure plates.
+
+HUGH THOMSON.
+
+     _Days with Sir Roger de Coverley._ 4º. (Macmillan, 1886.)
+     51 illust. (1 f. p.)
+
+     _Coaching Days and Coaching Ways._ W. Outram Tristram. 4º.
+     (Macmillan, 1888.) 213 illust. With Herbert Railton. 73 by
+     Hugh Thomson.
+
+     _Cranford._ Mrs. Gaskell. Preface by Anne Thackeray Ritchie.
+     8º. (Macmillan, 1891.) 111 illust.
+
+     _The Vicar of Wakefield._ Oliver Goldsmith. Preface by Austin
+     Dobson. 8º. (Macmillan, 1891.) 182 illust. (1 f. p.)
+
+     _The Ballad of Beau Brocade._ Austin Dobson. 8º. (Kegan Paul,
+     1892.) 50 illust. (27 f. p.)
+
+     _Our Village._ Mary Russell Mitford. Introduction by Anne
+     Thackeray Ritchie. 8º. (Macmillan, 1893.) 100 illust.
+
+     _The Piper of Hamelin. A Fantastic Opera._ Robert Buchanan.
+     8º. (Heinemann, 1893.) 12 plates.
+
+     _St. Ronan's Well._ Sir Walter Scott. 8º. (Black, 1894.
+     Dryburgh edition.) 10 woodcuts. (9 f. p.)
+
+     _Pride and Prejudice._ Jane Austen. Preface by George
+     Saintsbury. 8º. (Allen, 1894.) 101 illust. (1 f. p.)
+
+     _Coridon's Song and other Verses._ Austin Dobson. 8º. (Macmillan,
+     1894.) 76 f. p.
+
+     _The Story of Rosina and other Verses._ Austin Dobson. 8º.
+     (Kegan Paul, 1895.) 49 illust. (32 f. p.)
+
+     _Sense and Sensibility._ Jane Austen. Introduction by Austin
+     Dobson. 8º. (Macmillan, 1896. Illustrated Standard Novels.)
+     40 f. p.
+
+     _Emma._ Jane Austen. Introduction by Austin Dobson. 8º.
+     (Macmillan, 1896. Ill. Stan. Nov.) 40 f. p.
+
+     _The Chace._ William Somerville. 8º. (George Redway, 1896.)
+     9 f. p.
+
+     _The Poor in Great Cities._ Robert A. Woods and others. 8º.
+     (Kegan Paul, 1896.) 105 illust. (8 f. p.) With others. 21 by
+     Hugh Thomson.
+
+     _Highways and Byways in Devon and Cornwall._ Arthur H. Norway.
+     8º. (Macmillan, 1897.) 66 illust. With Joseph Pennell. 8 f. p.
+     by Hugh Thomson.
+
+     _Mansfield Park._ Jane Austen. Introduction by Austin Dobson. 8º.
+     (Macmillan, 1897. Ill. Stan. Nov.) 40 illust. (38 f. p.)
+
+     _Northanger Abbey and Persuasion._ Jane Austen. Introduction by
+     Austin Dobson. 8º. (Macmillan, 1897. Ill. Stan. Nov.) 40 illust.
+     (38 f. p.)
+
+     _Cranford._ Mrs. Gaskell. Preface by Anne Thackeray Ritchie.
+     8º. (Macmillan, 1898.) 100 illust. 40 in colours.
+
+     _Riding Recollections._ G. J. Whyte-Melville. (Thacker, 1898.)
+     12 f. p. Coloured frontispiece.
+
+     _Highways and Byways in North Wales._ Arthur G. Bradley. 8º.
+     (Macmillan, 1898.) 66 illust. with Joseph Pennell. 9 f. p. by
+     Hugh Thomson.
+
+     _Highways and Byways in Donegal and Antrim._ Stephen Gwynn.
+     8º. (Macmillan, 1899.) 87 illust. (20 f. p.)
+
+     _Highways and Byways in Yorkshire._ Arthur H. Norway. 8º.
+     (Macmillan, 1899.) 96 illust. With Joseph Pennell. 8 f. p.
+     by Hugh Thomson.
+
+     _Peg Woffington._ Charles Reade. Introduction by Austin Dobson.
+     8º. (Allen, 1899.) 75 illust. (30 f. p.)
+
+     _This and That._ Mrs. Molesworth. 8º. (Macmillan, 1899.) 8 f. p.
+
+     _Ray Farley._ John Moffat and Ernest Druce. 8º. (Fisher Unwin,
+     1901.) 6 f. p.
+
+     _A Kentucky Cardinal_ and _Aftermath_. James Lane Allen. 8º.
+     (Macmillan, 1901.) 48 illust. and decorations. (34 f. p.)
+
+F. H. TOWNSEND.
+
+     _A Social Departure._ Sara Jeannette Duncan. 8º. (Chatto and
+     Windus, 1890.) 111 illust. (12 f. p.)
+
+     _An American Girl in London._ Sara Jeannette Duncan. 8º.
+     (Chatto and Windus, 1891.) 80 illust. (19 f. p.)
+
+     _The Simple Adventures of a Memsahib._ Sara Jeannette Duncan.
+     8º. (Chatto and Windus, 1893.) 37 illust. (12 f. p.)
+
+     Illustrated Standard Novels. 8º. (Macmillan, 1895-7.)
+
+          The Novels of Thomas Love Peacock. Edited by George
+          Saintsbury.
+
+          _Maid Marian and Crotchet Castle._ 40 illust. (37 f. p.)
+
+          _Gryll Grange._ 40 f. p.
+
+          _Melincourt._ 40 illust. (39 f. p.)
+
+          _The Misfortunes of Elphin and Rhododaphne._ 40 illust.
+          (39 f. p.)
+
+          _The King's Own._ Captain Marryat. Introduction by David
+          Hannay. 8º. 40 illust. (38 f. p.)
+
+     Illustrated English Library. 8º. (Service and Paton, 1897-8.)
+
+          _Jane Eyre._ Charlotte Brontë. 16 f. p.
+
+          _Shirley._ Charlotte Brontë. 16 f. p.
+
+          _Rob Roy._ Sir Walter Scott. 16 f. p.
+
+     _Bladys of the Stewponey._ S. Baring Gould. 8º. (Methuen, 1897.)
+     5 illust. with B. Munns. 3 f. p. by F. H. Townsend.
+
+     The Works of Nathaniel Hawthorne. Edited by Moncure D. Conway.
+     8º. (Service and Paton, 1897-9.)
+
+          _The Scarlet Letter._ 8 f. p.
+
+          _The House of the Seven Gables._ 8 f. p.
+
+          _The Blithedale Romance._ 8 f. p.
+
+     _The Path of a Star._ Sara Jeannette Duncan. 8º. (Methuen, 1899.)
+     12 f. p.
+
+
+SOME CHILDREN'S BOOKS ILLUSTRATORS.
+
+JOHN D. BATTEN.
+
+     _Oedipus the Wreck; or, 'To Trace the Knave.'_ Owen Seaman.
+     8º. (F. Johnson, Cambridge, 1888.) 18 illust. (5 f. p.) With
+     Lancelot Speed.
+
+     _English Fairy Tales._ Collected by Joseph Jacobs. 8º. (Nutt,
+     1890.) 60 illust. and decorations. 2 by Henry Ryland. (8 f. p.)
+
+     _Celtic Fairy Tales._ Selected and edited by Joseph Jacobs.
+     8º. (Nutt, 1892.) 70 illust. and decorations. (8 f. p.)
+
+     _Indian Fairy Tales._ Selected and edited by Joseph Jacobs.
+     8º. (Nutt, 1892.) 65 illust. and decorations. (9 f. p.)
+
+     _Fairy Tales from the Arabian Nights._ Edited and arranged
+     by E. Dixon. 8º. (Dent, 1893.) 50 illust. and decorations.
+     (5 f. p. in photogravure.)
+
+     _More English Fairy Tales._ Collected and edited by Joseph
+     Jacobs. 8º. (Nutt, 1894.) 50 illust. and decorations. (8 f. p.)
+
+     _More Celtic Fairy Tales._ Selected and edited by Joseph
+     Jacobs. 8º. (Nutt, 1894.) 67 illust. and decorations. (8 f. p.)
+
+     _More Fairy Tales from the Arabian Nights._ Edited and arranged
+     by E. Dixon. 8º. (Dent, 1895.) 40 illust. and decorations.
+     (5 f. p. in photogravure.)
+
+     _A Masque of Dead Florentines._ Maurice Hewlett. Obl. fol.
+     (Dent, 1895.) 15 illust. (4 f. p.)
+
+     _The Book of Wonder Voyages._ Edited by Joseph Jacobs. 8º.
+     (Nutt, 1896.) 26 illust. (7 f. p. in photogravure.)
+
+     _The Saga of the Sea-Swallow and Greenfeather the Changeling._
+     8º. (Innes, 1896.) 33 illust. and decorations. (4 f. p.) With
+     Hilda Fairbairn.
+
+LEWIS BAUMER.
+
+     _Jumbles._ Lewis Baumer. 8º. (Pearson, 1897.) 50 pictured pages.
+     (24 f. p., in colours.)
+
+     _Hoodie._ Mrs. Molesworth. 8º. (Chambers, 1897.) 17 illust.
+     (8 f. p.)
+
+     _Elsie's Magician._ Fred Whishaw. 8º. (Chambers, 1897) 10 illust.
+     (5 f. p.)
+
+     _The Baby Philosopher._ Ruth Berridge. 8º. (Jarrold, 1898.)
+     13 illust. (4 f. p.)
+
+     _The Story of the Treasure Seekers._ E. Nesbit. 8º. (Fisher
+     Unwin, 1899.) 17 f. p.; 15 by Gordon Browne.
+
+     By Mrs. Molesworth. 8º. (Chambers, 1898-1900.) _Hermy._ _The
+     Boys and I._ _The Three Witches._ 17 illust. (12 f. p.) in each.
+
+F. D. BEDFORD.
+
+     _Old Country Life._ S. Baring-Gould. 4º. (Methuen, 1890.)
+     37 illust. and decorations.
+
+     _The Deserts of Southern France._ S. Baring-Gould. 2 vols.
+     4º. Methuen, 1894. 144 illust. and diagrams; 37 by F. D. Bedford.
+     (14 f. p.)
+
+     _The Battle of the Frogs and Mice._ Rendered into English by
+     Jane Barlow. (Methuen, 1894.) 147 pictured pages. (5 f. p.)
+
+     _Old English Fairy Tales._ S. Baring-Gould. 8º. (Methuen, 1895.)
+     19 illust.
+
+     _A Book of Nursery Rhymes._ 8º. (Methuen, 1897.) 66 pictured
+     pages. (21 f. p. in colours.)
+
+     _The Vicar of Wakefield._ O. Goldsmith. 8º. (Dent, 1898.)
+     12 f. p. in colours.
+
+     _The History of Henry Esmond._ W. M. Thackeray. 8º. (Dent,
+     1898.) 12 f. p., in colours.
+
+     _The Book of Shops._ E. V. Lucas. Obl. 4º. (Grant Richards,
+     1899.) 28 illust. and decorations. (26 f. p. in colours.)
+
+     _Four and Twenty Toilers._ E. V. Lucas. Obl. 4º. (Grant Richards,
+     1900.) 28 illust. and decorations. (26 f. p. in colours.)
+
+     _Westminster Abbey._ G. E. Troutbeck. 8º. Methuen, 1900. 28
+     illust. (13 f. p.)
+
+PERCY J. BILLINGHURST.
+
+     _A Hundred Fables of Æsop._ From the English Version of Sir
+     Roger L'Estrange. Introduction by Kenneth Grahame. 8º.
+     (Lane, 1899.) 101 f. p.
+
+     _A Hundred Fables of La Fontaine._ 8º. (Lane, 1900.) 101 f. p.
+
+     _A Hundred Anecdotes of Animals._ 8º. (Lane, 1901.) 101 f. p.
+
+GERTRUDE M. BRADLEY.
+
+     _Songs for Somebody._ Dollie Radford. 8º. (Nutt, 1893.) 33
+     pictured pages. (7 f. p.)
+
+     _The Red Hen and other Fairy Tales._ Agatha F. 8º. (Wilson,
+     Dublin, 1893.) 4 f. p.
+
+     _New Pictures in Old Frames._ Gertrude M. Bradley and Amy Mark.
+     4º. (Mark and Moody, Stourbridge, 1894.) 37 pictured pages.
+     (6 f. p.)
+
+     _Just Forty Winks._ Hamish Hendry. 8º. (Blackie, 1897.) 80
+     illust. and decorations. (11 f. p.)
+
+     _Tom, Unlimited._ M. L. Warborough. 8º. (Grant Richards, 1897.)
+     56 illust. (1 f. p.)
+
+     _Nursery Rhymes._ 8º. (Review of Reviews, 1899.) 95 pictured
+     pages. With Brinsley Le Fanu. (1 f. p. in colours.)
+
+     _Puff-Puff._ Gertrude Bradley. Obl. fol. (Sands, 1899.) 18 f. p.
+     in colours.
+
+     _Pillow Stories._ S. L. Howard and Gertrude M. Bradley.
+     (Grant-Richards, 1901). 41 illust.
+
+L. LESLIE BROOKE.
+
+     _Miriam's Ambition._ Evelyn Everett-Green. 8º. (Blackie, 1889.)
+     4 f. p.
+
+     _Thorndyke Manor._ Mary C. Rowsell. 8º. (Blackie, 1890.) 6 f. p.
+
+     _The Secret of the Old House._ Evelyn Everett-Green. 8º.
+     (Blackie, 1890.) 6 f. p.
+
+     _The Light Princess._ George Macdonald. 8º. (Blackie, 1890.)
+     3 f. p.
+
+     _Brownies and Rose Leaves._ Roma White. 8º. (Innes, 1892.)
+     19 illust. (9 f. p.)
+
+     _Bab._ Ismay Thorn. 8º. (Blackie, 1892.) 3 f. p.
+
+     _Marian._ Annie E. Armstrong. 8º. (Blackie, 1892.) 4 f. p.
+
+     _A Hit and a Miss._ Hon. Eva Knatchbull-Hugessen. 8º. (Innes,
+     1893. Dainty Books.) 10 illust. (5 f. p.)
+
+     _Moonbeams and Brownies._ Roma White. 8º. (Innes, 1894.
+     Dainty Books.) 12 illust. (5 f. p.)
+
+     _Penelope and the Others._ Amy Walton. 8º. (Blackie, 1896.)
+     2 f. p.
+
+     _School in Fairy Land._ E. H. Strain. 8º. (Fisher Unwin, 1896.)
+     7 f. p.
+
+     _The Nursery Rhyme Book._ Edited by Andrew Lang. 8º. (Warne,
+     1897.) 109 illust. and decorations. (9 f. p.)
+
+     _A Spring Song._ T. Nash. 8º. (Dent, 1898.) 16 pictured pages,
+     in colours.
+
+     _Pippa Passes._ Robert Browning. 8º. (Duckworth, 1898.) 7 f. p.
+     Lemerciergravures.
+
+     _The Pelican Chorus and other Nonsense Verses._ Edward Lear. 4º.
+     (Warne, 1900.) 38 illust. and decorations. (8 f. p., in colours.)
+
+     _The Jumblies and other Nonsense Verses._ Edward Lear. 4º.
+     (Warne, 1900.) 36 illust. and decorations. (14 f. p., in colours.)
+
+     By Mrs. Molesworth. 8º. (Macmillan, 1891-7.) _Nurse Heatherdale's
+     Story._ _The Girls and I._ _Mary._ _My New Home._ _Sheila's
+     Mystery._ _The Carved Lions._ _The Oriel Window._ _Miss Mouse and
+     her Boys._ 8 illust. (7 f. p.) in each.
+
+GORDON BROWNE.
+
+     _Stories of Old Renown._ Ascott R. Hope. 8º. (Blackie, 1883.)
+     96 illust. (8 f. p.)
+
+     _A Waif of the Sea._ Kate Wood. 8º. (Blackie, 1884.) 4 f. p.
+
+     _Miss Fenwick's Failures._ Esme Stuart. 8º. (Blackie, 1885.)
+     4 f. p.
+
+     _Thrown on the World._ Edwin Hodder. 8º. (Hodder, 1885.) 8 f. p.
+
+     _Winnie's Secret._ Kate Wood. 8º. (Blackie, 1885.) 4 f. p.
+
+     _Robinson Crusoe._ Daniel Defoe. 8º. (Blackie, 1885.) 103
+     illust. (8 f. p.)
+
+     _Kirke's Mill._ Mrs. Robert O'Reilly. 8º. (Hatchards, 1885.)
+     3 f. p.
+
+     _The Champion of Odin._ J. F. Hodgetts. 8º. (Cassell, 1885.)
+     8 f. p.
+
+     _'That Child.'_ By the author of 'L'Atelier du Lys.' 8º.
+     (Hatchards, 1885.) 2 f. p.
+
+     _Christmas Angel._ B. L. Farjeon. 8º. (Ward, 1885.) 22 illust.
+
+     _The Legend of Sir Juvenis._ George Halse. Obl. 8º. (Hamilton,
+     1886.) 6 f. p.
+
+     _Mary's Meadow._ Juliana Horatia Ewing. 8º. (S.P.C.K., 1886.)
+     23 illust.
+
+     _Fritz and Eric._ John C. Hutcheson. 8º. (Hodder, 1886.) 8 f. p.
+
+     _Melchior's Dream._ Juliana Horatia Ewing. 8º. (Bell, 1886.)
+     8 f. p.
+
+     _The Hermit's Apprentice._ Ascott R. Hope. 8º. (Nimmo, 1886.)
+     4 illust. (3 f. p.)
+
+     _Gulliver's Travels._ Jonathan Swift. 8º. (Blackie, 1886.)
+     101 illust. (8 f. p.)
+
+     _Rip van Winkle._ Washington Irving. 8º. (Blackie, 1887.)
+     46 illust. (42 f. p.)
+
+     _Devon Boys._ Geo. Manville Fenn. 8º. (Blackie, 1887.) 12 f. p.
+
+     _The Log of the 'Flying Fish.'_ Harry Collingwood. 8º. (Blackie,
+     1887.) 12 f. p.
+
+     _Down the Snow-stairs._ Alice Corkran. 8º. (Blackie, 1887.)
+     60 illust. (5 f. p.)
+
+     _Dandelion Clocks._ Juliana Horatia Ewing. 4º. (S.P.C.K., 1887.)
+     13 illust. by Gordon Browne, etc. (4 f. p.)
+
+     _The Peace-Egg._ Juliana Horatia Ewing. 4º. (S.P.C.K., 1887.)
+     13 illust. (4 f. p.)
+
+     _The Seven Wise Scholars._ Ascott R. Hope. 8º. (Blackie, 1887.)
+     93 illust. (4 f. p.)
+
+     _Chirp and Chatter._ Alice Banks. 8º. (Blackie, 1888.) 54 illust.
+     (4 f. p.)
+
+     _The Henry Irving Shakespeare. The Works of William Shakespeare._
+     Edited by Henry Irving and Frank A. Marshall. 4º. (Blackie, 1888,
+     etc.) 8 vols. 642 illust. by Gordon Browne, W. H. Margetson and
+     Maynard Brown. (37 f. p. etchings.) 552 by Gordon Browne. (32
+     etchings.)
+
+     _Snap-dragons._ Juliana Horatia Ewing. 8º. (S.P.C.K., 1888.)
+     14 illust. (4 f. p.)
+
+     _A Golden Age._ Ismay Thorn. 8º. (Hatchards, 1888.) 6 f. p.
+
+     _Fairy Tales by the Countess d'Aulnoy._ Translated by J. R.
+     Planché. 8º. (Routledge, 1888.) 60 illust. (11 f. p.)
+
+     _Harold the Boy-Earl._ J. F. Hodgetts. 8º. (Religious Tract
+     Society, 1888.) 11 f. p. With Alfred Pearse.
+
+     _Bunty and the Boys._ Helen Atteridge. 8º. (Cassell, 1888.)
+     4 f. p.
+
+     _Tom's Nugget._ J. F. Hodgetts. 8º. (Sunday School Union, 1888.)
+     13 illust. (6 f. p.)
+
+     _Claimed at Last._ Sibella B. Edgcumb. 8º. (Cassell, 1888.)
+     4 f. p.
+
+     _Great-Uncle Hoot-Toot._ Mrs. Molesworth. 4º. (S.P.C.K., 1889.)
+     24 illust. (4 f. p.)
+
+     _My Friend Smith._ Talbot Baines Reed. 8º. (Religious Tract
+     Society, 1889.) 16 illust. (6 f. p.)
+
+     _The Origin of Plum Pudding._ Frank Hudson. 8º. (Ward, 1889.)
+     9 illust. (4 f. p., in colours.)
+
+     _Prince Prigio._ Andrew Lang. 8º. (Arrowsmith, Bristol, 1889.)
+     24 illust. (9 f. p.)
+
+     _A Flock of Four._ Ismay Thorn. 8º. (Wells, Gardner, 1889.)
+     7 f. p.
+
+     _A Apple Pie._ 8º. (Evans, 1890.) 12 pictured pages.
+
+     _Syd Belton._ G. Manville Fenn. 8º. (Methuen, 1891.) 6 f. p.
+
+     _Great-Grandmamma._ Georgina M. Synge. 8º. (Cassell, 1891.)
+     19 illust. (3 f. p.)
+
+     _Master Rockafellar's Voyage._ W. Clarke Russell. 8º.
+     (Methuen, 1891.) 27 illust. (6 f. p.)
+
+     _The Red Grange._ Mrs. Molesworth. 8º. (Methuen, 1891.) 6 f. p.
+
+     _A Pinch of Experience._ L. B. Walford. 8º. (Methuen, 1892.)
+     6 f. p.
+
+     _The Doctor of the 'Juliet.'_ H. Collingwood. 8º. (Methuen,
+     1892.) 6 f. p.
+
+     _A Young Mutineer._ L. T. Meade. 8º. (Wells, Gardner, 1893.)
+     3 f. p.
+
+     _Graeme and Cyril._ Barry Pain. 8º. (Hodder, 1893.) 19 f. p.
+
+     _The Two Dorothys._ Mrs. Herbert Martin. 8º. (Blackie, 1893.)
+     4 f. p.
+
+     _One in Charity._ Silas K. Hocking. 8º. (Warne, 1893.) 4 f. p.
+
+     _The Book of Good Counsels._ Hitopadesa. Translated by Sir Edwin
+     Arnold. 8º. (W. H. Allen, 1893.) 20 illust. and decorations.
+    (7 f. p.)
+
+     _Beryl._ Georgina M. Synge. 8º. (Skeffington, 1894.) 3 f. p.
+
+     _Fairy Tales from Grimm._ With introduction by S. Baring Gould.
+     8º. (Wells, Gardner, 1895.) 169 illust. and decorations.
+     (16 f. p.)
+
+     _Prince Boohoo and Little Smuts._ Harry Jones. 8º. (Gardner,
+     Darton, 1896.) 93 illust. and decorations. (27 f. p.)
+
+     _Sintram and his Companions_ and _Undine_. Baron de la Motte
+     Fouqué. 8º. (Gardner, Darton, 1896.) 80 illust. (12 f. p.)
+
+     _The Surprising Adventures of Sir Toady Lion._ S. R. Crockett.
+     8º. (Gardner, Darton, 1897.) 127 illust. and decorations.
+     (18 f. p.)
+
+     _An African Millionaire._ Grant Allen. 8º. (Grant Richards,
+     1897.) 66 illust.
+
+     _Butterfly Ballads and Stories in Rhyme._ Helen Atteridge. 8º.
+     (Milne, 1898.) 63 illust. (4 f. p.) With Louis Wain and others.
+     32 by Gordon Browne.
+
+     _Paleface and Redskin and other Stories._ F. Anstey. 8º.
+     (Grant Richards, 1898.) 73 illust. and decorations. (10 f. p.)
+
+     _Dr. Jollyboy's A. B. C._ 4º. (Wells, Gardner, 1898.) 43 pictured
+     pages. (21 f. p.)
+
+     _Paul Carah Cornishman._ Charles Lee. 8º. (Bowden, 1898.) 4 f. p.
+
+     _Macbeth._ Wm. Shakespeare. 8º. (Longmans, 1899. Swan edition.)
+     10 f. p.
+
+     _Miss Cayley's Adventures._ Grant Allen. 8º. (Grant Richards,
+     1899.) 79 illus. (2 f. p.)
+
+     _The Story of the Treasure Seekers._ (See _Baumer_.)
+
+     _Stories from Froissart._ Henry Newbolt. 8º. (Wells, Gardner,
+     1899.) 32 illust. (17 f. p.)
+
+     _Eric, or Little by Little._ F. W. Farrar. 8º. (Black, 1899.)
+     78 illust.
+
+     _Hilda Wade._ Grant Allen. 8º. (Grant Richards, 1900.) 98 illust.
+     (1 f. p.)
+
+     _St. Winifred's._ F. W. Farrar. 8º. (Black, 1900.) 152 illust.
+
+     _Daddy's Girl._ L. T. Meade. 8º. (Newnes, 1901.) 37 illust.
+     (2 f. p.)
+
+     _Gordon Browne's Series of Old Fairy Tales._ 4º. (Blackie,
+     1886-7.)
+
+          _Hop o' my Thumb._ 28 pictured pages. (4 f. p.)
+
+          _Beauty and the Beast._ 34 pictured pages. (4 f. p.)
+
+     _Ivanhoe._ _Guy Mannering._ _Count Robert of Paris._ Walter
+     Scott. 8º. (Black. Dryburgh Edition.) 10 Woodcuts from drawings
+     by Gordon Browne.
+
+     By G. A. Henty. 8º. (Blackie, 1887, etc.)
+
+          _Bonnie Prince Charlie._ _With Wolfe in Canada._ _True to
+          the Old Flag._ _In Freedom's Cause._ _With Clive in India._
+          _Under Drake's Flag._ 12 f. p. in each vol.
+
+          _With Lee in Virginia._ _The Lion of St. Mark._ 10 f. p. in
+          each vol.
+
+          _Orange and Green._ _For Home and Fame._ _St. George for
+          England._ _Hold fast for England._ _Facing Death._ 8 f. p.
+          in each vol.
+
+EDITH CALVERT.
+
+     _Baby Lays._ A. Stow. 8º. (Elkin Matthews, 1897.) 16 illust.
+     (15 f. p.)
+
+     _More Baby Lays._ A Stow. 8º. (Elkin Matthews, 1898.) 14 illust.
+     (13 f. p.)
+
+MARION WALLACE-DUNLOP.
+
+     _Fairies, Elves and Flower Babies._ M. Rivett-Carnac. Obl.
+     8º. (Duckworth, 1899.) 55 pictured pages. (4 f. p.)
+
+     _The Magic Fruit Garden._ Marion Wallace-Dunlop. 8º. (Nister,
+     1899.) 48 illust. (5 f. p.)
+
+H. J. FORD.
+
+     _Æsop's Fables._ Arthur Brookfield. 4º. (Fisher Unwin, 1888.)
+     29 illust.
+
+     _The Blue Fairy Book._ Edited by Andrew Lang. 8º. (Longmans,
+     1899.) 137 illust. (8 f. p.) With G. P. Jacomb Hood.
+
+     _The Red Fairy Book._ Edited by Andrew Lang. 8º. (Longmans,
+     1890.) 99 illust. (4 f. p.) With Lancelot Speed.
+
+     _When Mother was little._ S. P. Yorke. 8º. (Fisher Unwin,
+     1890.) 13 f. p.
+
+     _A Lost God._ Francis W. Bourdillon. 8º. (Elkin Matthews,
+     1891.) 3 Photogravures.
+
+     _The Blue Poetry Book._ Edited by Andrew Lang. 8º. (Longmans,
+     1891.) 98 illust. (12 f. p.) With Lancelot Speed.
+
+     _The Green Fairy Book._ Edited by Andrew Lang. 8º. (Longmans,
+     1892.) 101 illust. (12 f. p.)
+
+     _The True Story Book._ Edited by Andrew Lang. 8º. (Longmans,
+     1893.) 64 illust. (8 f. p.) With L. Bogle, etc.
+
+     _The Yellow Fairy Book._ Edited by Andrew Lang. 8º. (Longmans,
+     1894.) 104 illust. (22 f. p.)
+
+     _The Animal Story Book._ Edited by Andrew Lang. 8º. (Longmans,
+     1896.) 66 illust. (29 f. p.)
+
+     _The Blue True Story Book._ Edited by Andrew Lang. 8º.
+     (Longmans, 1896.) 22 illust. (8 f. p.) With Lucien Davis,
+     etc. Some from _The True Story Book_.
+
+     _The Red True Story Book._ Edited by Andrew Lang. 8º.
+     (Longmans, 1897.) 41 illust. (10 f. p.)
+
+     _The Pink Fairy Book._ Edited by Andrew Lang. 8º. (Longmans,
+     1897.) 68 illust. (33 f. p.)
+
+     _The Arabian Nights' Entertainment._ Selected and Edited by
+     Andrew Lang. 8º. (Longmans, 1898.) 66 illust. (33 f. p.)
+
+     _Early Italian Love Stories._ Taken from the original by Una
+     Taylor. 4º. (Longmans, 1899.) 12 illust. and photogravure
+     frontispiece.
+
+     _The Red Book of Animal Stories._ Selected and edited by
+     Andrew Lang. 8º. (Longmans, 1899.) 67 illust. (32 f. p.)
+
+     _The Grey Fairy Book._ Edited by Andrew Lang. 8º. (Longmans,
+     1900.) 59 illust. (32 f. p.)
+
+     _The Violet Fairy Book._ Edited by Andrew Lang. 8º. (Longmans,
+     1901.) 66 illust. (33 f. p., 8 in colours.)
+
+MRS. ARTHUR GASKIN.
+
+     _A. B. C._ Mrs. Arthur Gaskin. 8º. (Elkin Matthews, 1896.)
+     56 pictured pages.
+
+     _Divine and Moral Songs for Children._ Isaac Watts. 8º.
+     (Elkin Matthews, 1896.) 14 illust. (13 f. p.) In colours.
+
+     _Horn-book Jingles._ Mrs. Arthur Gaskin. 8º. (Leadenhall
+     Press, 1896-7.) 70 pictured pages.
+
+     _Little Girls and Little Boys._ Mrs. Arthur Gaskin. 12º.
+     (Dent, 1898.) 27 pictured pages, in colours.
+
+     _The Travellers and other Stories._ Mrs. Arthur Gaskin. 8º.
+     (Bowden, 1898.) 61 pictured pages, in colours.
+
+WINIFRED GREEN.
+
+     _Poetry for Children._ Charles and Mary Lamb. Prefatory note
+     by Israel Gollancz. 8º. (Dent, 1898.) 56 illust. and decorations.
+     (30 f. p., in colours.)
+
+     _Mrs. Leicester's School._ Charles and Mary Lamb. Obl. 8º.
+     (Dent, 1899.) 41 illust. and decorations. (13 f. p., in colours.)
+
+EMILY J. HARDING.
+
+     _An Affair of Honour._ Alice Weber. 4º. (Farran, 1892.) 19
+     illust. (6 f. p.)
+
+     _The Disagreeable Duke._ Ellinor Davenport Adams. 8º. (Geo.
+     Allen, 1894.) 8 f. p.
+
+     _Fairy Tales of the Slav Peasants and Herdsmen._ From the
+     French of Alex. Chodsko. Translated by Emily J. Harding.
+     (Allen, 1896.) 56 illust. (33 f. p.)
+
+     _Hymn on the Morning of Christ's Nativity._ (See _T. H.
+     Robinson_.)
+
+VIOLET M. AND E. HOLDEN.
+
+     _The Real Princess._ Blanche Atkinson. 8º. (Innes, 1894.)
+     19 illust. (5 f. p.)
+
+     _The House that Jack Built._ 32º. (Dent, 1895. Banbury
+     Cross Series.) 39 illust. and decorations. (14 f. p.)
+
+ARCHIE MACGREGOR.
+
+     _Katawampus: Its Treatment and Cure._ Judge Parry. 8º.
+     (Nutt, 1895.) 31 illust. and decorations. (7 f. p.)
+
+     _Butterscotia, or A Cheap Trip to Fairyland._ Judge Parry.
+     8º. (Nutt, 1896.) 35 illust. (5 f. p.)
+
+     _The First Book of Krab._ Judge Parry. 8º. (Nutt, 1897.) 25
+     illust. and decorations. (3 f. p.)
+
+     _The World Wonderful._ Charles Squire. 8º. (Nutt, 1898.) 35
+     illust. and decorations. (10 f. p.)
+
+H. R. MILLAR.
+
+     _The Humour of Spain._ Selected with an introduction and notes
+     by Susan M. Taylor. 8º. (Scott, 1894.) 52 illust. (39 f. p.)
+
+     _The Golden Fairy Book._ George Sand, etc. (Hutchinson, 1894.)
+     110 illust. (11 f. p.)
+
+     _Fairy Tales Far and Near._ 8º. (Cassell, 1895.) 28 illust.
+     (7 f. p.)
+
+     _The Adventures of Hajji Baba of Ispahan._ James Morier.
+     8º. (Macmillan, 1895.) 40 illust. (25 f. p.)
+
+     _The Silver Fairy Book._ Sarah Bernhardt, etc. 8º. (Hutchinson,
+     1895.) 84 illust. (7 f. p.)
+
+     _The Phantom Ship._ Captain Marryat. 8º. (Macmillan, 1896.
+     Illustrated Standard Novels.) 40 f. p.
+
+     _Headlong Hall, and Nightmare Abbey._ T. Love Peacock. With
+     introduction by George Saintsbury. 8º. (Macmillan, 1896.)
+     40 f. p.
+
+     _Frank Mildmay._ Captain Marryat. Introduction by David
+     Hannay. 8º. (Macmillan, 1897. Illustrated Standard Novels.)
+     40 illust. (27 f. p.)
+
+     _Snarleyyow._ Captain Marryat. Introduction by David Hannay.
+     8º. (Macmillan, 1897. Illustrated Standard Novels.) 40
+     illust. (33 f. p.)
+
+     _The Diamond Fairy Book._ Isabel Bellerby, etc. 8º. (Hutchinson,
+     1897.) 83 illust. (12 f. p.)
+
+     _Untold Tales of the Past._ Beatrice Harraden. 8º. (Blackwood,
+     1897.) 39 illust. (31 f. p.)
+
+     _Eothen._ A. W. Kinglake. 8º. (Newnes, 1898.) 40 illust.
+     (17 f. p.)
+
+     _Phroso._ Anthony Hope. 8º. (Methuen, 1897.) 8 f. p.
+
+     _The Book of Dragons._ E. Nesbit. 8º. (Harper, 1900.) 15 f. p.
+     Decorations by H. Granville Fell.
+
+     _Nine Unlikely Tales for Children._ E. Nesbit. 8º. (Fisher
+     Unwin, 1901.) 27 f. p.
+
+     _Booklets by Count Tolstoi._ 8º. (Walter Scott, 1895-7.) 2 f. p.
+     in each vol.
+
+          _Master and Man._ _Ivan the Fool._ _What Men Live By._
+          _Where Love is there God is also._ _The Two Pilgrims._
+
+CARTON MOORE PARK.
+
+     _An Alphabet of Animals._ Carton Moore Park. 4º. (Blackie,
+     1899.) 52 pictured pages. (26 f. p.)
+
+     _A Book of Birds._ Carton Moore Park. Fol. (Blackie, 1900.)
+     27 f. p.
+
+     _A Child's London._ Hamish Hendry. 4º. (Sands, 1900.) 46 illust.
+     and decorations. (14 f. p.)
+
+     _The Confessions of Harry Lorrequer._ Charles Lever. With
+     introduction by W. K. Leask. 8º. (Gresham Publishing Co.,
+     1900.) 6 f. p.
+
+     _A Book of Elfin Rhymes._ Norman. 4º. (Gay and Bird, 1900.)
+     40 illust., in colours.
+
+     _The Child's Pictorial Natural History._ 4º. (S.P.C.K., 1901.)
+     12 illust. (9 f. p.)
+
+ROSIE M. M. PITMAN.
+
+     _Maurice, or the Red Jar._ The Countess of Jersey. 8º.
+     (Macmillan, 1894.) 9 f. p.
+
+     _Undine._ Baron de la Motte Fouqué. 8º. (Macmillan, 1897.)
+     63 illust. and decorations. (32 f. p.)
+
+     _The Magic Nuts._ Mrs. Molesworth. 8º. (Macmillan, 1898.) 8
+     illust. (7 f. p.)
+
+ARTHUR RACKHAM.
+
+     _The Dolly Dialogues._ Anthony Hope. 8º. ('Westminster
+     Gazette,' 1894.) 4 f. p.
+
+     _Sunrise-Land._ Mrs. Alfred Berlyn. 8º. (Jarrold, 1894.)
+     136 illust. (2 f. p.)
+
+     _Tales of a Traveller._ Washington Irving. 2 vols. 4º.
+     (Putman, 1895. Buckthorne edition.) 25 illust., with
+     borders and initials. 5 photogravures by Arthur Rackham.
+
+     _The Sketch Book._ Washington Irving. 2 vols. 4º. (Putman,
+     1895. Van Tassel edition.) 32 illust., with others. Borders.
+     4 photogravures by Arthur Rackham.
+
+     _The Money Spinner and other Character Notes._ Henry Seton
+     Merriman and S. G. Tallintyre. 8º. (Smith, Elder, 1896.) 12 f. p.
+
+     _The Zankiwank and the Bletherwitch._ S. J. Adair Fitzgerald.
+     8º. (Dent, 1896.) 41 illust. (17 f. p.)
+
+     _Two Old Ladies, Two Foolish Fairies and a Tom Cat._ Maggie
+     Browne. 8º. (Cassell, 1897.) 23 illust. (14 f. p., 4 in colours.)
+
+     _Charles O'Malley._ Charles Lever. 8º. (Service and Paton,
+     1897.) 16 f. p.
+
+     _The Grey Lady._ Henry Seton Merriman. 8º. (Smith, Elder,
+     1897.) 12 f. p.
+
+     _Evelina._ Frances Burney. 8º. (Newnes, 1898.) 16 f. p.
+
+     _The Ingoldsby Legends._ H. R. Barham. 8º. (Dent, 1898.)
+     102 illust. (40 f. p.) 12 printed in colours.
+
+     _Feats on the Fjords._ Harriet Martineau. 8º. (Dent, 1899.
+     Temple Classics for Young People.) 12 f. p.
+
+     _Tales from Shakespeare._ Charles and Mary Lamb. 8º. (Dent,
+     1899. Temple Classics for Young People.) 12 f. p.
+
+     _Fairy Tales of the Brothers Grimm._ Translated by Mrs.
+     Edgar Lucas. 8º. (Freemantle, 1900.) 102 illust. (32 f. p.,
+     in colours.)
+
+CHARLES ROBINSON.
+
+     _Æsop's Fables._ 32º. (Dent, 1895. Banbury Cross Series.)
+     45 illust. and decorations. (15 f. p.)
+
+     _Animals in the Wrong Places._ Edith Carrington. 16º. (Bell,
+     1896.) 14 illust. (11 f. p.)
+
+     _The Child World._ Gabriel Setoun. 8º. (Lane, 1896.) 104 illust.
+     and decorations. (11 f. p.)
+
+     _Make-believe._ H. D. Lowry. 8º. (Lane, 1896.) 53 illust. and
+     decorations. (4 f. p.)
+
+     _A Child's Garden of Verses._ Robert Louis Stevenson. 8º.
+     (Lane, 1896.) 173 illust. and decorations. (14 f. p.)
+
+     _Dobbie's Little Master._ Mrs. Arthur Bell. (Bell, 1897.) 8
+     illust. (3 f. p.)
+
+     _King Longbeard, or Annals of the Golden Dreamland._
+     Barrington MacGregor. 8º. (Lane, 1898.) 116 illust. and
+     decorations. (12 f. p.)
+
+     _Lullaby Land._ Eugene Field. Selected by Kenneth Grahame.
+     8º. (Lane, 1898.) 204 illust. and decorations. (14 f. p.)
+
+     _Lilliput Lyrics._ W. B. Rand. Edited by R. Brimley Johnson.
+     8º. (Lane, 1899.) 113 illust. and decorations. (9 f. p., 1 in
+     colours.)
+
+     _Fairy Tales from Hans Christian Andersen._ Translated by
+     Mrs. E. Lucas. 8º. (Dent, 1899.) 107 illust. and decorations.
+     (40 f. p., 1 in colours.) With Messrs. T. H. and W. H. Robinson.
+
+     _Pierrette._ Henry de Vere Stacpoole. 8º. (Lane, 1900.) 21
+     illust. and decorations. (14 f. p.)
+
+     _Child Voices._ W. E. Cule. 8º. (Melrose, 1900.) 17 illust.
+     and decorations. (13 f. p.)
+
+     _The Little Lives of the Saints._ Rev. Percy Dearmer. 8º.
+     (Wells, Gardner, 1900.) 64 illust. and decorations. (13 f. p.)
+
+     _The Adventures of Odysseus._ Retold in English by F. S.
+     Marion, R. J. G. Mayor, and F. M. Stawell. 8º. (Dent,
+     1900.) 28 illust. and decorations. (14 f. p., 1 in colours.)
+
+     _The True Annals of Fairy Land. The Reign of King Herla._
+     Edited by William Canton. 8º. (Dent, 1900.) 185 illust. and
+     decorations. (22 f. p., 1 in colours.)
+
+     _Sintram and his Companions_ and _Aslauga's Knight_. Baron
+     de la Motte Fouqué. 8º. (Dent, 1900. Temple Classics for
+     Young People.) 12 f. p., 1 in colours.
+
+     _The Master Mosaic-Workers._ George Sand. Translated by
+     Charlotte C. Johnston. 8º. (Dent, 1900. Temp. Class. for
+     Young People.) 12 f. p., 1 in colours.
+
+     _The Suitors of Aprille._ Norman Garstin. 8º. (Lane, 1900.)
+     18 illust. and decorations. (15 f. p.)
+
+     _Jack of all Trades._ J. J. Bell. 4º. (Lane, 1900.) 32 f. p.,
+     in colours.
+
+T. H. ROBINSON.
+
+     _Old World Japan._ Frank Rinder. 8º. (Allen, 1895.) 34 illust.
+     (14 f. p.)
+
+     _Cranford._ Mrs. Gaskell. 8º. (Bliss, Sands, 1896.) 17 illust.
+     (16 f. p.)
+
+     _Legends from River and Mountain._ Carmen Sylva and Alma
+     Strettell. 8º. (Allen, 1896.) 41 illust. (10 f. p.)
+
+     _The History of Henry Esmond._ W. M. Thackeray. 8º. (Allen,
+     1896.) 72 illust. and decorations, (1 f. p.)
+
+     _The Scarlet Letter._ Nathaniel Hawthorne. 8º. (Bliss, Sands,
+     1897.) 8 f. p.
+
+     _A Sentimental Journey through France and Italy._ Laurence
+     Sterne. 8º. (Bliss, Sands, 1897.) 89 illust. and decorations.
+     (13 f. p.)
+
+     _Hymn on the Morning of Christ's Nativity._ John Milton.
+     8º. (Allen, 1897.) 15 f. p. With Emily J. Harding.
+
+     _A Child's Book of Saints._ W. Canton. 8º. (Dent, 1898.) 19 f. p.
+     (1 in colours.)
+
+     _The Heroes, or Greek Fairy Tales for my Children._ Chas.
+     Kingsley. 8º. (Dent, 1899. Temple Classics for Young People.)
+     12 f. p., 1 in colours.
+
+     _Fairy Tales from the Arabian Nights._ 11 f. p., 1 in colours.
+
+     _Fairy Tales from Hans Christian Andersen._ 8º. (Dent, 1899.)
+     (See _C. H. Robinson_.)
+
+     _A Book of French Songs for the Young._ Bernard Minssen.
+     8º. (Dent, 1899.) 55 illust. and decorations. (9 f. p.)
+
+     _Lichtenstein._ Adapted from the German of Wilhelm Hauff by
+     L. L. Weedon. 8º. (Nister, 1900.) 20 illust. and decorations.
+     (8 f. p.)
+
+     _The Scottish Chiefs._ Jane Porter. 8º. (Dent, 1900.) 65 illust.
+     (19 f. p.)
+
+W. H. ROBINSON.
+
+     _Don Quixote._ Translated by Charles Jarvis. 8º. (Bliss, Sands,
+     1897.) 16 f. p.
+
+     _The Pilgrim's Progress._ John Bunyan. Edited by George Offer.
+     8º. (Bliss, Sands, 1897.) 24 f. p.
+
+     _The Giant Crab and Other Tales from Old India._ Retold by
+     W. H. D. Rouse. 8º. (Nutt, 1897.) 52 illust. and decorations.
+     (7 f. p.)
+
+     _Danish Fairy Tales and Legends._ Hans Christian Andersen.
+     8º. (Bliss, Sands, 1897.) 16 f. p.
+
+     _The Arabian Nights' Entertainments._ 4º. (Newnes, by arrangement
+     with Messrs. Constable, 1899.) 546 illust. With Helen Stratton,
+     A. D. McCormick, A. L. Davis and A. P. Norbury. (38 f. p.)
+
+     _The Talking Thrush and other Tales from India._ Collected by
+     W. Cooke. Retold by W. H. D. Rouse. 8º. (Dent, 1899.) 84 illust.
+     and decorations. (8 f. p.)
+
+     _Fairy Tales from Hans Christian Andersen._ (See _Charles
+     Robinson_.)
+
+     _The Poems of Edgar Allan Poe._ Introduction by H. Noel Williams.
+     8º. (Bell, 1900. The Endymion Series.) 103 illust. and
+     decorations. (2 double-page, 26 f. p.)
+
+     _Tales for Toby._ Ascott R. Hope. 8º. (Dent, 1900.) 29 illust.
+     and decorations. (5 f. p.) With S. Jacobs.
+
+HELEN STRATTON.
+
+     _Songs for Little People._ Norman Gale. 8º. (Constable, 1896.)
+     119 illust. and decorations. (8 f. p.)
+
+     _Tales from Hans Andersen._ 8º. (Constable, 1896.) 58 illust.
+     and decorations. (6 f. p.)
+
+     _Beyond the Border._ Walter Douglas Campbell. 8º. (Constable,
+     1898.) 167 illust. (40 f. p.)
+
+     _The Fairy Tales of Hans Christian Andersen._ 4º. (Newnes,
+     by arrangement with Messrs. Constable, 1899.) 424 illust.
+     Some reprinted from _Tales from Hans Andersen_.
+
+     _The Arabian Nights' Entertainments._ (See _W. H. Robinson_.)
+
+A. G. WALKER.
+
+     _The Lost Princess, or the Wise Woman._ George Macdonald.
+     8º. (Wells, Gardner, 1895.) 22 illus. (6 f. p.)
+
+     _Stories from the Faerie Queene._ Mary Macleod. With introduction
+     by J. W. Hales. 8º. (Gardner, Darton, 1897.) 86 illust. (40 f. p.)
+
+     _The Book of King Arthur and his Noble Knights._ Stories from
+     Sir Thomas Malory's _Morte D'Arthur_. Mary Macleod. 8º. (Wells,
+     Gardner, 1900.) 72 illust. (35 f. p.)
+
+ALICE B. WOODWARD.
+
+     _Eric, Prince of Lorlonia._ Countess of Jersey. 8º.
+     (Macmillan, 1895.) 8 f. p.
+
+     _Banbury Cross and other Nursery Rhymes._ 32º. (Dent, 1895.
+     Banbury Cross Series.) 62 pictured pages. (23 f. p.)
+
+     _To Tell the King the Sky is Falling._ Sheila E. Braine.
+     8º. (Blackie, 1896.) 85 illust. and decorations. (8 f. p.)
+
+     _Bon-Mots of the Eighteenth Century._ 16º. (Dent, 1897.) 64
+     grotesques. (7 f. p.)
+
+     _Bon-Mots of the Nineteenth Century._ 16º. (Dent, 1897.) 64
+     grotesques. (9 f. p.)
+
+     _Brownie._ Alice Sargant. Music by Lilian Mackenzie. Obl.
+     folio. (Dent, 1897.) 44 pictured pages, in colours.
+
+     _Red Apple and Silver Bells._ Hamish Hendry. 8º. (Blackie,
+     1897.) 152 pictured pages. (21 f. p., in colours.)
+
+     _Adventures in Toyland._ Edith Hall King. 4º. (Blackie,
+     1897.) 78 illust. and decorations. (8 f. p., in colours.)
+
+     _The Troubles of Tatters and other Stories._ Alice Talwin Morris.
+     8º. (Blackie, 1898.) 62 illust. and decorations. (8 f. p.)
+
+     _The Princess of Hearts._ Sheila E. Braine. 4º. (Blackie,
+     1899.) 69 illust. and decorations. (4 f. p., in colours.)
+
+     _The Cat and the Mouse._ Obl. 4º. (Blackie, 1899.) 24 pictured
+     pages. (6 f. p., in colours.)
+
+     _The Elephant's Apology._ Alice Talwin Morris. 8º. (Blackie,
+     1899.) 35 illust.
+
+     _The Golden Ship and other Tales._ Translated from the Swahili.
+     8º. (Universities' Mission, 1900.) 36 illust. and decorations,
+     with Lilian Bell. (19 f. p., 4 by A. B. Woodward.)
+
+     _The House that Grew._ Mrs. Molesworth. 8º. (Macmillan, 1900.)
+     8 illust. (7 f. p.)
+
+ALAN WRIGHT.
+
+     _Queen Victoria's Dolls._ Frances H. Low. 4º. (Newnes, 1894.)
+     73 illust. and decorations. (36 f. p., 34 in colours.)
+
+     _The Wallypug in London._ G. E. Farrow. 8º. (Methuen, 1898.)
+     56 illust. (13 f. p.)
+
+     _Adventures in Wallypug Land._ G. E. Farrow. 8º. (Methuen,
+     1898.) 55 illust. (18 f. p.)
+
+     _The Little Panjandrum's Dodo._ G. E. Farrow. 8º. (Skeffington,
+     1899.) 72 illust. (4 f. p.)
+
+     _The Mandarin's Kite._ G. E. Farrow. 8º. (Skeffington, 1900.)
+     57 illust.
+
+
+
+
+INDEX OF ARTISTS.
+
+
+Abbey, E. A., 36, 64, 87, 144.
+
+Allingham, Mrs., 95.
+
+Ansted, Alexander, 50, 132.
+
+
+Barnes, Robert, 95.
+
+Barrett, C. R. B., 47, 48, 132.
+
+Batten, J. D., 109, 110, 158.
+
+Bauerle, Amelia, 14, 121.
+
+Baumer, Lewis, 99, 159.
+
+Bedford, F. D., 106, 159.
+
+Bell, R. Anning, 7, 121.
+
+Billinghurst, P. J., 117, 160.
+
+Boyd, A. S., 76, 90, 145.
+
+Bradley, Gertrude M., 106, 160.
+
+Brangwyn, Frank, 91, 146.
+
+Britten, W. E. F., 29, 122.
+
+Brock, C. E., 83, 146.
+
+Brock, H. M., 83, 84, 148.
+
+Brooke, L. Leslie, 99, 160.
+
+Browne, Gordon, 96, 161.
+
+Bryden, Robert, 64.
+
+Bulcock, Percy, 14, 122.
+
+Burns, Robert, 26.
+
+
+Cadenhead, James, 26.
+
+Calvert, Edith, 102, 165.
+
+Cameron, D. Y., 41, 64, 133.
+
+Cleaver, Ralph, 76.
+
+Cleaver, Reginald, 76.
+
+Clifford, H. P., 53.
+
+Cole, Herbert, 13, 14, 122.
+
+Connard, Philip, 13, 14, 122.
+
+Cooke, W. Cubitt, 84, 149.
+
+Cowper, Max, 93.
+
+Crane, Walter, 3, 96, 98, 122.
+
+
+Dadd, Frank, 92.
+
+Davis, Louis, 7.
+
+Davison, Raffles, 50.
+
+Duncan, John, 26.
+
+Dunlop, Marion Wallace, 106, 165.
+
+
+Edwards, M. E., 95.
+
+Erichsen, Nelly, 46, 133.
+
+
+Fell, H. Granville, 27, 126.
+
+Fitton, Hedley, 46, 133.
+
+Ford, H. J., 109, 110, 165.
+
+Forestier, Amedée, 92, 93.
+
+Fulleylove, J., 31, 39, 134.
+
+Furniss, Sir Harry, 58, 86, 88, 150.
+
+
+Gaskin, A. J., 10, 126.
+
+Gaskin, Mrs. Arthur, 101, 166.
+
+Gere, C. M., 12, 50, 126.
+
+Goldie, Cyril, 14.
+
+Gould, F. Carruthers, 88.
+
+Green, Winifred, 101, 166.
+
+Greiffenhagen, Maurice, 76.
+
+Griggs, F. L., 54, 134.
+
+Guthrie, J. J., 26, 27, 127.
+
+
+Harding, Emily J., 112, 166.
+
+Hardy, Dudley, 93.
+
+Hardy, Paul, 92.
+
+Hare, Augustus, 47.
+
+Hartrick, A. S., 76.
+
+Harper, C. G., 47, 134.
+
+Hill, L. Raven, 86, 87.
+
+Holden, Violet M. and E., 102, 167.
+
+Hole, William B., 92, 151.
+
+Hood, G. P. Jacomb, 91.
+
+Hopkins, Arthur, 90.
+
+Hopkins, Edward, 90.
+
+Horne, Herbert, 10.
+
+Housman, Laurence, 15, 127.
+
+Hughes, Arthur, 95.
+
+Hurst, Hal, 93.
+
+Hyde, William, 39, 135.
+
+
+Image, Selwyn, 10.
+
+
+Jalland, G. P., 90.
+
+James, Helen, 46.
+
+Jones, A. Garth, 14, 15, 128.
+
+
+Kitton, F. G., 48, 135.
+
+
+Levetus, Celia, 12, 128.
+
+
+Macdougall, W. B., 26, 128.
+
+MacGregor, Archie, 107, 167.
+
+Mallows, C. E., 50.
+
+Mason, Fred, 12, 128.
+
+May, Phil, 86, 87.
+
+Millais, J. G., 54, 135.
+
+Millar, H. R., 109, 112, 167.
+
+Millet, F. D., 36.
+
+Moore, T. Sturge, 18, 24, 129.
+
+Muckley, L. Fairfax, 12, 129.
+
+
+New, E. H., 10, 38, 50, 136.
+
+North, J. W., 31.
+
+
+Ospovat, Henry, 13, 14, 129.
+
+
+Paget, H. M., 92, 152.
+
+Paget, Sidney, 68, 152.
+
+Paget, Walter, 92, 152.
+
+Park, Carton Moore, 118, 168.
+
+Parsons, Alfred, 31, 35, 137.
+
+Partridge, J. Bernard, 58, 86, 153.
+
+Payne, Henry, 12.
+
+Pegram, Fred, 68, 69, 153.
+
+Pennell, Joseph, 31, 38, 41, 137.
+
+Pissarro, Lucien, 18, 24.
+
+Pitman, Rosie M. M., 117, 168.
+
+"Pym, T.," 95.
+
+
+Rackham, Arthur, 108, 168.
+
+Railton, Herbert, 31, 38, 45, 74, 139
+
+Reed, E. T., 88.
+
+Reid, Sir George, 31, 141.
+
+Reid, Stephen, 68.
+
+Ricketts, Charles, 18, 129.
+
+Robinson, Charles, 102, 114, 169.
+
+Robinson, T. H., 114, 170.
+
+Robinson, W. H., 114, 116, 171.
+
+Ryland, Henry, 7.
+
+
+Sambourne, Linley, 86, 88.
+
+Sauber, Robert, 93.
+
+Savage, Reginald, 18, 24, 130.
+
+Shannon, C. H., 18, 130.
+
+Shaw, Byam, 13, 130.
+
+Shepherd, J. A., 118.
+
+Shepperson, C. A., 68, 74, 154.
+
+Sleigh, Bernard, 12, 130.
+
+Speed, Lancelot, 110.
+
+Spence, Robert, 14.
+
+Strang, William, 58, 154.
+
+Stratton, Helen, 116, 172.
+
+Sullivan, E. J., 15, 74, 77, 155.
+
+Sumner, Heywood, 6, 130.
+
+
+Tenniel, Sir John, 86, 88, 96.
+
+Thomas, F. Inigo, 50, 142.
+
+Thomson, Hugh, 68, 79, 156.
+
+Townsend, F. H., 68, 69, 72, 157.
+
+Tringham, Holland, 46.
+
+
+Wain, Louis, 118.
+
+Walker, A. G., 116, 172.
+
+Weguelin, J. R., 29, 131.
+
+Weir, Harrison, 54.
+
+Wheeler, E. J., 91.
+
+Whymper, Charles, 54, 142.
+
+Williams, R. J., 53.
+
+Wilson, Edgar, 56.
+
+Wilson, Patten, 28, 131.
+
+Woodroffe, P. V., 13, 14, 131.
+
+Woodward, Alice B., 104, 172.
+
+Wright, Alan, 107, 173.
+
+[Illustration]
+
+CHISWICK PRESS: CHARLES WHITTINGHAM AND CO.
+TOOKS COURT, CHANCERY LANE, LONDON.
+
+       *       *       *       *       *
+
+
+Transcriber's Notes
+
+
+Italicized text is shown within _underscores_. Quarto, (normally 4to),
+is shown as 4º, and octavo, (normally 8vo), is shown as 8º.
+
+Illustrations were moved outside of paragraphs and closer to their
+pertinent paragraphs. Although the List of Illustrations displays the
+original page number, the html version of this book links the page
+numbers to the illustrations.
+
+Made minor punctuation corrections and the following changes:
+
+Page vii: Contents, Bibliographies: Changed "Book" to "Books" and
+"Illustrations" to "Illustrators".
+  Orig.: Some Children's-Book Illustrations.
+
+Page 55: Illustration: Changed "HOMES" to "HORNS".
+  Orig.: FROM HIS 'BRITISH DEER AND THEIR HOMES.'
+
+Page 130: Indented Essex House Press under author Reginald Savage.
+Changed "Woolam" to "Woolman".
+  Orig.: Essex House Press ... The Journal of John Woolam.
+
+Page 141: Changed "Tho" to "The".
+  Orig.: Ripon Cathedral. Tho Ven. Archdeacon Danks.
+
+Page 170: Changed "Ohe" to "The", and "Hesla" to "Herla".
+  Orig.: The True Annals of Fairy Land. Ohe Reign of King Hesla.
+
+Note: The remainder of this text matches the original publication,
+which might contain additional title, author, or spelling errors.
+
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of English Book-Illustration of To-day, by 
+Rose Esther Dorothea Sketchley
+
+*** END OF THIS PROJECT GUTENBERG EBOOK ENGLISH BOOK-ILLUSTRATION ***
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