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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:09:40 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:09:40 -0700 |
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diff --git a/38164-h/38164-h.htm b/38164-h/38164-h.htm new file mode 100644 index 0000000..3af3fec --- /dev/null +++ b/38164-h/38164-h.htm @@ -0,0 +1,8487 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of English Book-Illustration of To-day, by Rose Esther Dorothea Sketchley. + </title> + <style type="text/css"> + +body { + margin-left: 10%; + margin-right: 10%; +} + + h1,h2,h3 { + text-align: center; /* all headings centered */ + clear: both; +} + +p { + margin-top: .75em; + text-align: justify; + margin-bottom: .75em; +} + +.p4 {margin-top: 4em;} + +p.title { text-align: center; text-indent: 0; + font-weight: bold; + line-height: 1.4; margin-bottom: 3em; } + +.author {text-align: right; + margin-right: 5%; + font-variant: small-caps;} + +hr { + width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; +} + +hr.tb {width: 45%;} +hr.chap {width: 65%} + +table { + margin-left: auto; + margin-right: auto; +} + +.pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; +} /* page numbers */ + +.blockquot { + margin-left: 5%; + margin-right: 10%; +} + +.center {text-align: center;} + +.right {text-align: right;} + +.smcap {font-variant: small-caps;} + +.caption {font-weight: bold;} + +.figcenter { + margin: auto; + text-align: center; +} + +span.dropcap { display: none; } + +span.dropcap012s { float: left; +height: 125px; width: 122px; +margin: 0em .5em .5em 0em; +background: url("images/dropcap012s.png") no-repeat top left; } + +span.dropcap032o { float: left; +height: 125px; width: 123px; +margin: 0em .5em .5em 0em; +background: url("images/dropcap032o.png") no-repeat top left; } + +span.dropcap061o { float: left; +height: 125px; width: 123px; +margin: 0em .5em .5em 0em; +background: url("images/dropcap061o.png") no-repeat top left; } + +span.dropcap091s { float: left; +height: 125px; width: 122px; +margin: 0em .5em .5em 0em; +background: url("images/dropcap091s.png") no-repeat top left; } + +span.dropcap129l { float: left; +height: 125px; width: 121px; +margin: 0em .5em .5em 0em; +background: url("images/dropcap129l.png") no-repeat top left; } + +.footnotes {border: dashed 1px;} + +.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + +.footnote .label {position: absolute; right: 84%; text-align: right;} + +.fnanchor { + vertical-align: super; + font-size: .8em; + text-decoration: + none; +} + +.poem { + margin-left:10%; + margin-right:10%; + text-align: left; +} + +.poem br {display: none;} + +.poem .stanza {margin: 1em 0em 1em 0em;} + +.poem span.i0 { + display: block; + margin-left: 0em; + padding-left: 3em; + text-indent: -3em; +} + +.poem span.i4 { + display: block; + margin-left: 4em; + padding-left: 3em; + text-indent: -3em; +} + +.transnote {background-color: #E6E6FA; + color: black; + font-size:smaller; + padding:0.5em; + margin-bottom:5em; + font-family:sans-serif, serif; } + + </style> + </head> +<body> + + +<pre> + +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) + + + + + + +</pre> + + + + + + +<h1>ENGLISH BOOK-ILLUSTRATION<br /> +OF TO-DAY</h1> +<hr class="chap" /> + + + +<h1> +English Book-Illustration<br /> +of To-day</h1> +<p class="title"> +APPRECIATIONS OF THE WORK OF LIVING<br /> +ENGLISH ILLUSTRATORS WITH<br /> +LISTS OF THEIR BOOKS<br /> +<br /> +<span class="smcap"><big>By R. E. D. SKETCHLEY</big></span><br /> +<br /> +<small>WITH AN INTRODUCTION</small><br /> +<br /> +<span class="smcap">By ALFRED W. POLLARD</span> +<br /> +</p> +<div class="figcenter" style="width: 45px;"> +<img src="images/i_004.png" width="45" height="50" alt=""/> +</div> +<p class="p4 center"> +<small>LONDON</small><br /> +<small>KEGAN PAUL, TRENCH, TRÜBNER AND CO., <span class="smcap">Ltd.</span></small><br /> +<small>PATERNOSTER HOUSE, CHARING CROSS ROAD, W.C.</small><br /> +1903<br /> +</p> +<hr class="chap" /> + +<p class="center"> +<small>CHISWICK PRESS: CHARLES WHITTINGHAM AND CO.<br /> +TOOKS COURT, CHANCERY LANE, LONDON.</small><br /> +</p> +<hr class="chap" /> + + +<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p> +<h2><a name="NOTE" id="NOTE"></a>NOTE.</h2> + + +<p>The four articles and bibliographies contained in +this volume originally appeared in "The Library."</p> + +<p>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.</p> + +<p class="author"> +R. E. D. Sketchley.<br /> +</p> +<hr class="chap" /> + + +<p><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p> +<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.</h2> + + +<div class="center"> +<table border="0" cellpadding="6" cellspacing="0" summary="toc"> +<tr> +<td align="left"> </td><td align="right"><small>PAGE</small></td> +</tr> +<tr> +<td align="left"><span class="smcap">Note</span></td><td align="right"><a href="#Page_v">v</a></td> +</tr> +<tr> +<td align="left"><span class="smcap">Introduction</span></td><td align="right"><a href="#Page_xi">xi</a></td> +</tr> +<tr> +<td align="left">I. <span class="smcap">Some Decorative Illustrators</span></td><td align="right"><a href="#Page_1">1</a></td> +</tr> +<tr> +<td align="left">II. <span class="smcap">Some Open-Air Illustrators</span></td><td align="right"><a href="#Page_30">30</a></td> +</tr> +<tr> +<td align="left">III. <span class="smcap">Some Character Illustrators</span></td><td align="right"><a href="#Page_56">56</a></td> +</tr> +<tr> +<td align="left">IV. <span class="smcap">Some Children's-Books Illustrators</span></td><td align="right"><a href="#Page_94">94</a></td> +</tr> +<tr> +<th align="center">BIBLIOGRAPHIES.</th> +</tr> +<tr> +<td align="left">I. <span class="smcap">Some Decorative Illustrators</span></td><td align="right"><a href="#Page_121">121</a></td> +</tr> +<tr> +<td align="left">II. <span class="smcap">Some Open-Air Illustrators</span></td><td align="right"><a href="#Page_132">132</a></td> +</tr> +<tr> +<td align="left">II. <span class="smcap">III. Some Character Illustrators</span></td><td align="right"><a href="#Character_Illustrators">144</a></td> +</tr> +<tr> +<td align="left">II. <span class="smcap">IV. Some Children's Books Illustrators</span></td><td align="right"><a href="#Childrens_Books_Illustrators">158</a></td> +</tr> +<tr> +<td align="left"><span class="smcap">Index of Artists</span></td><td align="right"><a href="#Page_174">174</a></td> +</tr> +</table> +</div> +<hr class="chap" /> + +<p><span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p> +<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2> + + + +<div class="center"> +<table border="0" cellpadding="6" cellspacing="0" summary="loi"> +<tr><td align="left"><span style="margin-left: 5em;"><small>FROM</small></span></td><td align="left"> </td><td align="right"><small>PAGE</small></td> +</tr> +<tr><td align="left">"Les Quinze Joies de Mariage"</td><td align="left"> </td><td align="right"><a href="#les_quinze_joies_de_mariage">xii</a></td></tr> +<tr><td align="left">The "Dialogus Creaturarum"</td><td align="left"> </td><td align="right"><a href="#dialogus_creaturarum">xiii</a></td></tr> +<tr><td align="left">A Venetian Chapbook</td><td align="left"> </td><td align="right"><a href="#venetian_chapbook">xvii</a></td></tr> +<tr><td align="left">The "Rappresentazione di un Miracolo del Corpo di Gesù"</td><td align="left"> </td><td align="right"><a href="#miracolo_del_corpo_di_gesu">xviii</a></td></tr> +<tr><td align="left">The "Rappresentazione di S. Cristina"</td><td align="left"> </td><td align="right"><a href="#s_cristina">xix</a></td></tr> +<tr><td align="left">"La Nencia da Barberino"</td><td align="left"> </td><td align="right"><a href="#nencia_da_barberino">xxi</a></td></tr> +<tr><td align="left">The "Storia di Ippolito Buondelmonti e Dianora Bardi"</td><td align="left"> </td><td align="right"><a href="#ippolito_buondelmonti">xxii</a></td></tr> +<tr><td align="left">Ingold's "Guldin Spiel"</td><td align="left"> </td><td align="right"><a href="#guldin_spiel">xxiv</a></td></tr> +<tr><td align="left">The Malermi Bible</td><td align="left"> </td><td align="right"><a href="#malermi_bible">xxv</a></td></tr> +<tr><td align="left">A French Book of Hours</td><td align="left"> </td><td align="right"><a href="#french_book_of_hours">xxvii</a></td> +</tr> +<tr> +<td align="left"><span style="margin-left: 5em;"><small>FROM</small></span></td><td align="center"><small>BY</small></td><td align="right"> </td></tr> +<tr><td align="left">"A Farm in Fairyland."</td><td align="left"><i>Laurence Housman</i></td><td align="right"><a href="#farm_in_fairyland">xxx</a></td></tr> +<tr><td align="left">Grimm's "Household Stories."</td><td align="left"><i>Walter Crane</i></td><td align="right"><a href="#grimms_household_stories">5</a></td></tr> +<tr><td align="left">"Undine."</td><td align="left"><i>Heywood Sumner</i></td><td align="right"><a href="#undine">7</a></td></tr> +<tr><td align="left">"Keats' Poems."</td><td align="left"><i>R. Anning Bell</i></td><td align="right"><a href="#keats_poems">9</a></td></tr> +<tr><td align="left">"Stories and Fairy Tales."</td><td align="left"><i>A. J. Gaskin</i></td><td align="right"><a href="#storiesfairytales">11</a></td></tr> +<tr><td align="left">"The Field of Clover."</td><td align="left"><i>Laurence Housman</i></td><td align="right"> <a href="#mercury">20</a> <i>and</i> <a href="#field_of_clover">21</a></td></tr> +<tr><td align="left">"Cupide and Psyches."</td><td align="left"><i>Charles Ricketts</i></td><td align="right"><a href="#cupide_and_psyches">22</a></td></tr> +<tr><td align="left">"Daphnis and Chloe."</td><td align="left"><i>Charles Ricketts and<br />C. H. Shannon</i></td><td align="right"> <a href="#daphnis_and_chloe">23</a></td></tr> +<tr><td align="left">"The Centaur."</td><td align="left"><i>T. Sturge Moore</i></td><td align="right"><a href="#centaur">25</a></td></tr> +<tr><td align="left">"Royal Edinburgh."</td><td align="left"><i>Sir George Reid</i></td><td align="right">facing <a href="#royal_edinburgh">35</a></td></tr> +<tr><td align="left">"The Warwickshire Avon."</td><td align="left"><i>Alfred Parsons</i></td><td align="right"><a href="#warwickshire_avon">37</a></td></tr> +<tr><td align="left">"The Cinque Ports."</td><td align="left"><i>William Hyde</i></td><td align="right"><a href="#cinque_ports">42</a></td></tr> +<tr><td align="left">"Italian Journeys."</td><td align="left"><i>Joseph Pennell</i></td><td align="right">facing <a href="#italian_journeys">45</a></td></tr> +<tr><td align="left">"The Holyhead Road."</td><td align="left"><i>C. G. Harper</i></td><td align="right"><a href="#holyhead_road">49</a></td></tr> +<tr><td align="left">"The Formal Garden."</td><td align="left"><i>F. Inigo Thomas</i></td><td align="right"><a href="#formal_garden">51</a></td></tr> +<tr><td align="left">"The Natural History of Selborne."</td><td align="left"><i>E. H. New</i></td><td align="right"><a href="#Selborne_Street">53</a></td></tr> +<tr><td align="left">"British Deer and their Horns."</td><td align="left"><i>J. G. Millais</i></td><td align="right"><a href="#british_deer">55</a></td></tr> +<tr><td align="left">"Death and the Ploughman's Wife."</td><td align="left"><i>William Strang</i></td><td align="right"><a href="#ploughmans_wife">61</a></td></tr> +<tr><td align="left">"The Bride of Lammermoor."</td><td align="left"><i>Fred Pegram</i></td><td align="right"><a href="#bride_of_lammermoor">71</a></td></tr> +<tr><td align="left">"Shirley."</td><td align="left"><i>F. H. Townsend</i></td><td align="right"><a href="#shirley">73</a></td></tr> +<tr><td align="left">"The Heart of Midlothian."</td><td align="left"><i>Claude A. Shepperson</i></td><td align="right"><a href="#heart_of_midlothian">75</a></td></tr> +<tr><td align="left">"The School for Scandal."</td><td align="left"><i>E. J. Sullivan</i></td><td align="right"><a href="#school_for_scandal">78</a></td></tr> +<tr><td align="left">"The Ballad of Beau Brocade."</td><td align="left"><i>Hugh Thomson</i></td><td align="right"><a href="#beau_brocade">82</a></td></tr> +<tr><td align="left">"The Essays of Elia."</td><td align="left"><i>C. E. Brock</i></td><td align="right"><a href="#essays_of_elia">85</a></td></tr> +<tr><td align="left">"The Talk of the Town."</td><td align="left"><i>Sir Harry Furniss</i></td><td align="right"><a href="#talk_of_the_town">89</a></td></tr> +<tr><td align="left">"Hermy."</td><td align="left"><i>Lewis Baumer</i></td><td align="right"><a href="#hermy">100</a></td></tr> +<tr><td align="left">"To tell the King the Sky is falling."</td><td align="left"><i>Alice B. Woodward</i></td><td align="right"><a href="#tell_the_king_the_sky">105</a></td></tr> +<tr><td align="left">"Fairy Tales of the Brothers Grimm."</td><td align="left"><i>Arthur Rackham</i></td><td align="right"><a href="#grimms_fairy_tales">109</a></td></tr> +<tr><td align="left">"Indian Fairy Tales."</td><td align="left"><i>J. D. Batten</i></td><td align="right"><a href="#indian_fairy_tales">111</a></td></tr> +<tr><td align="left">"The Pink Fairy Book."</td><td align="left"><i>H. J. Ford</i></td><td align="right"><a href="#pink_fairy">113</a></td></tr> +<tr><td align="left">"Fairy Tales by Q."</td><td align="left"><i>H. R. Millar</i></td><td align="right"><a href="#fairy_tales_by_q">115</a></td></tr> +</table></div> +<hr class="chap" /> + +<p><span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></p> +<h2><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION.</h2> + +<p><b>SOME PRESENT-DAY LESSONS FROM +OLD WOODCUTS.</b></p> + +<p><span class="smcap">By Alfred W. Pollard.</span></p> + + +<p><span class="dropcap012s"><span class="dropcap">S</span></span>OME 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.</p><p><span class="pagenum"><a name="Page_xii" id="Page_xii">[Pg xii]</a></span></p> + +<div class="figcenter" style="width: 380px;"> +<a name="les_quinze_joies_de_mariage" id="les_quinze_joies_de_mariage"></a> +<img src="images/i_013.jpg" width="380" height="500" alt="FROM 'LES QUINZE JOIES DE MARIAGE,' + +PARIS, TREPEREL, C. 1500." title="FROM 'LES QUINZE JOIES DE MARIAGE,' + +PARIS, TREPEREL, C. 1500."/> +<span class="caption">FROM 'LES QUINZE JOIES DE MARIAGE,'<br /><br /> + +PARIS, TREPEREL, C. 1500.</span> +</div> +<p><span class="pagenum"><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span></p> + +<p>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<span class="pagenum"><a name="Page_xiv" id="Page_xiv">[Pg xiv]</a></span> +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.</p> + +<div class="figcenter" style="width: 600px;"> +<a name="dialogus_creaturarum" id="dialogus_creaturarum"></a> +<img src="images/i_014.png" width="600" height="286" alt="FROM THE 'DIALOGUS CREATURARUM.' GOUDA, 1480." title="FROM THE 'DIALOGUS CREATURARUM.' GOUDA, 1480."/> +<span class="caption">FROM THE 'DIALOGUS CREATURARUM.' GOUDA, 1480.</span> +</div> + +<p>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<span class="pagenum"><a name="Page_xv" id="Page_xv">[Pg xv]</a></span> +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<span class="pagenum"><a name="Page_xvi" id="Page_xvi">[Pg xvi]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_xvii" id="Page_xvii">[Pg xvii]</a></span> +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<span class="pagenum"><a name="Page_xviii" id="Page_xviii">[Pg xviii]</a></span> +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,<span class="pagenum"><a name="Page_xix" id="Page_xix">[Pg xix]</a></span> +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.</p> + +<div class="figcenter" style="width: 269px;"> +<a name="venetian_chapbook" id="venetian_chapbook"></a> +<img src="images/i_018.png" width="269" height="500" alt="La Lega Facta Nouamente a Morte e Destructione +de li Franzosi & suoí Seguaci. VENICE. C. 1500." title="La Lega Facta Nouamente a Morte e Destructione +de li Franzosi & suoí Seguaci. VENICE. C. 1500."/> +<span class="caption">La Lega Facta Nouamente a Morte e Destructione +de li Franzosi & suoí Seguaci.<br /> +<br /><small>VENICE. C. 1500.</small></span> +</div> +<hr class="tb" /> +<div class="figcenter" style="width: 600px;"> +<a name="miracolo_del_corpo_di_gesu" id="miracolo_del_corpo_di_gesu"></a> +<img src="images/i_019.jpg" width="600" height="484" alt="FROM THE RAPPRESENTAZIONE DI UN MIRACOLO DEL CORPO +DI GESÙ, 1572. JAC. CHITI." title="FROM THE RAPPRESENTAZIONE DI UN MIRACOLO DEL CORPO +DI GESÙ, 1572. JAC. CHITI."/> +<span class="caption">FROM THE RAPPRESENTAZIONE DI UN MIRACOLO DEL CORPO +DI GESÙ, 1572. JAC. CHITI.</span> +</div> +<hr class="tb" /> +<div class="figcenter" style="width: 600px;"> +<a name="s_cristina" id="s_cristina"></a> +<img src="images/i_020.jpg" width="600" height="463" alt="FROM THE RAPPRESENTAZIONE DI S. CRISTINA, 1555." title="FROM THE RAPPRESENTAZIONE DI S. CRISTINA, 1555."/> +<span class="caption">FROM THE RAPPRESENTAZIONE DI S. CRISTINA, 1555.</span> +</div> + +<p>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<span class="pagenum"><a name="Page_xx" id="Page_xx">[Pg xx]</a></span> +instead of quite firmly and with determination by a +frame.</p> + +<div class="figcenter" style="width: 423px;"> +<a name="nencia_da_barberino" id="nencia_da_barberino"></a> +<img src="images/i_022.jpg" width="423" height="500" alt="FROM LORENZO DE' MEDICI'S LA NENCIA DA BARBERINO, S.A." title="FROM LORENZO DE' MEDICI'S LA NENCIA DA BARBERINO, S.A."/> +<span class="caption">FROM LORENZO DE' MEDICI'S LA NENCIA DA BARBERINO, S.A.</span> +</div> + +<p>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<span class="pagenum"><a name="Page_xxi" id="Page_xxi">[Pg xxi]</a></span> +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<span class="pagenum"><a name="Page_xxii" id="Page_xxii">[Pg xxii]</a></span> +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.</p> + +<div class="figcenter" style="width: 413px;"> +<a name="ippolito_buondelmonti" id="ippolito_buondelmonti"></a> +<img src="images/i_023.jpg" width="413" height="500" alt="FROM THE STORIA DI IPPOLITO BUONDELMONTI E DIANORA +BARDI, S.A." title="FROM THE STORIA DI IPPOLITO BUONDELMONTI E DIANORA +BARDI, S.A."/> +<span class="caption">FROM THE STORIA DI IPPOLITO BUONDELMONTI E DIANORA +BARDI, S.A.</span> +</div> + +<p>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.<span class="pagenum"><a name="Page_xxiii" id="Page_xxiii">[Pg xxiii]</a></span> +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<span class="pagenum"><a name="Page_xxiv" id="Page_xxiv">[Pg xxiv]</a></span> +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.</p> + +<div class="figcenter" style="width: 600px;"> +<a name="guldin_spiel" id="guldin_spiel"></a> +<img src="images/i_025.jpg" width="600" height="448" alt="FROM INGOLD'S 'GULDIN SPIEL.' AUGSBURG, 1472." title="FROM INGOLD'S 'GULDIN SPIEL.' AUGSBURG, 1472."/> +<span class="caption">FROM INGOLD'S 'GULDIN SPIEL.' AUGSBURG, 1472.</span> +</div> + +<p>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<span class="pagenum"><a name="Page_xxv" id="Page_xxv">[Pg xxv]</a></span> +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<span class="pagenum"><a name="Page_xxvi" id="Page_xxvi">[Pg xxvi]</a></span> +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.</p> + +<div class="figcenter" style="width: 600px;"> +<a name="malermi_bible" id="malermi_bible"></a> +<img src="images/i_026.jpg" width="600" height="390" alt="FROM THE MALERMI BIBLE. VENICE, GIUNTA, 1490." title="FROM THE MALERMI BIBLE. VENICE, GIUNTA, 1490."/> +<span class="caption">FROM THE MALERMI BIBLE. VENICE, GIUNTA, 1490.</span> +</div> +<hr class="tb" /> +<div class="figcenter" style="width: 379px;"> +<a name="french_book_of_hours" id="french_book_of_hours"></a> +<img src="images/i_028.jpg" width="379" height="600" alt="FROM A FRENCH BOOK OF HOURS. PARIS, KERVER, 1498." title="FROM A FRENCH BOOK OF HOURS. PARIS, KERVER, 1498."/> +<span class="caption">FROM A FRENCH BOOK OF HOURS. PARIS, KERVER, 1498.</span> +</div> + +<p>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<span class="pagenum"><a name="Page_xxvii" id="Page_xxvii">[Pg xxvii]</a></span> +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.</p><p><span class="pagenum"><a name="Page_xxviii" id="Page_xxviii">[Pg xxviii]</a></span></p> + +<div class="figcenter" style="width: 403px;"> +<a name="farm_in_fairyland" id="farm_in_fairyland"></a> +<img src="images/i_031.jpg" width="403" height="600" alt="FROM MR. HOUSMAN'S "A FARM IN FAIRYLAND." + +BY LEAVE OF MESSRS. KEGAN PAUL." title="FROM MR. HOUSMAN'S "A FARM IN FAIRYLAND." + +BY LEAVE OF MESSRS. KEGAN PAUL."/> +<span class="caption">FROM MR. HOUSMAN'S "A FARM IN FAIRYLAND."<br /><br /> + +<small>BY LEAVE OF MESSRS. KEGAN PAUL.</small></span> +</div> +<hr class="chap" /> + + +<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> +<h2><a name="ENGLISH_BOOK-ILLUSTRATION" id="ENGLISH_BOOK-ILLUSTRATION"></a><big>ENGLISH BOOK-ILLUSTRATION +OF TO-DAY.</big></h2> + + + + +<h2><a name="I_SOME_DECORATIVE_ILLUSTRATORS" id="I_SOME_DECORATIVE_ILLUSTRATORS"></a>I. SOME DECORATIVE ILLUSTRATORS.</h2> + + +<p><span class="dropcap032o"><span class="dropcap">O</span></span>F 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,<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> +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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span> +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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> +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.</p><p><span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span></p> + +<div class="figcenter" style="width: 343px;"> +<a name="grimms_household_stories" id="grimms_household_stories"></a> +<img src="images/i_036.jpg" width="343" height="550" alt="FROM MR. WALTER CRANE'S 'GRIMM'S HOUSEHOLD STORIES.' + +BY LEAVE OF MESSRS. MACMILLAN." title="FROM MR. WALTER CRANE'S 'GRIMM'S HOUSEHOLD STORIES.' + +BY LEAVE OF MESSRS. MACMILLAN."/> +<span class="caption">FROM MR. WALTER CRANE'S 'GRIMM'S HOUSEHOLD STORIES.'<br /><br /> + +<small>BY LEAVE OF MESSRS. MACMILLAN</small>.</span> +</div> +<p><span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span></p> +<p>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.</p> + +<p>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'<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> +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.</p> + +<div class="figcenter" style="width: 287px;"> +<a name="undine" id="undine"></a> +<img src="images/i_038.jpg" width="287" height="500" alt="FROM MR. HEYWOODSUMNER'S 'UNDINE.' + +BY LEAVE OF MESSRS. CHAPMAN AND HALL." title="FROM MR. HEYWOOD SUMNER'S 'UNDINE.' + +BY LEAVE OF MESSRS. CHAPMAN AND HALL."/> +<span class="caption">FROM MR. HEYWOOD SUMNER'S 'UNDINE. + +<small>BY LEAVE OF MESSRS. CHAPMAN AND HALL.</small></span> +</div> + +<p>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<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span> +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.</p> + +<p>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</p> + +<div class="poem"><div class="stanza"> +<span class="i4">"Wherein she passionëd<br /></span> +<span class="i0">To see herself escaped from so sore ills,"<br /></span> +</div></div> + +<p>or with Madeline, 'St. Agnes' charmëd maid.' Mr.<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span> +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.</p> + +<div class="figcenter" style="width: 600px;"> +<a name="keats_poems" id="keats_poems"></a> +<img src="images/i_040.jpg" width="600" height="354" alt="FROM MR. ANNING BELL'S 'KEATS.' + +BY LEAVE OF MESSRS. GEORGE BELL." title="FROM MR. ANNING BELL'S 'KEATS.' + +BY LEAVE OF MESSRS. GEORGE BELL."/> +<span class="caption">FROM MR. ANNING BELL'S 'KEATS.'<br /><br /> + +<small>BY LEAVE OF MESSRS. GEORGE BELL.</small></span> +</div> + +<p>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<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> +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.</p> + +<div class="figcenter" style="width: 333px;"> +<a name="storiesfairytales" id="storiesfairytales"></a> +<img src="images/i_042.jpg" width="333" height="550" alt="FROM MR. GASKIN'S 'HANS ANDERSEN.' + +BY LEAVE OF MR. GEORGE ALLEN." title="FROM MR. GASKIN'S 'HANS ANDERSEN.' + +BY LEAVE OF MR. GEORGE ALLEN."/> +<span class="caption">FROM MR. GASKIN'S 'HANS ANDERSEN.'<br /><br /> + +<small>BY LEAVE OF MR. GEORGE ALLEN.</small></span> +</div> + +<p>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<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> +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.</p> + +<p>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).</p> + +<p>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.<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> +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.</p> + +<p>'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,<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> +complete the list of Mr. Housman's illustrations +to writings not his own, with the exception of +frontispiece drawings to several books.</p> + +<div class="figcenter" style="width: 333px;"> +<a name="mercury" id="mercury"></a> +<img src="images/i_051.jpg" width="333" height="500" alt="MERCURY GOD OF MERCHANDISE LOOK ON WITH FAVOURABLE EYES + +BY LEAVE OF MESSRS. KEGAN PAUL." title="MERCURY GOD OF MERCHANDISE LOOK ON WITH FAVOURABLE EYES + +BY LEAVE OF MESSRS. KEGAN PAUL."/> +<span class="caption">MERCURY GOD OF MERCHANDISE LOOK ON WITH FAVOURABLE EYES<br /><br /> + +<small>BY LEAVE OF MESSRS. KEGAN PAUL.</small></span> +</div> + +<p>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.'</p> + +<p>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,<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> +is the full intention of Mr. Housman's +pen-drawings apparent.</p> + +<div class="figcenter" style="width: 404px;"> +<a name="field_of_clover" id="field_of_clover"></a> +<img src="images/i_052.jpg" width="404" height="600" alt="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." title="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."/> +<span class="caption">THE FIELD OF CLOVER By Laurence Housman, +Engraved by Clemence Housman<br /><br /> + +BE KINDLY TO THE WEARY DROVER<br /> +& PIPE THE SHEEP INTO THE CLOVER<br /><br /> + +<small>BY LEAVE OF MESSRS. KEGAN PAUL.</small></span> +</div> + +<p>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.'</p> + +<p>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,<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> +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.</p> + +<div class="figcenter" style="width: 539px;"> +<a name="cupide_and_psyches" id="cupide_and_psyches"></a> +<img src="images/i_053.jpg" width="539" height="550" alt="FROM MR. RICKETTS' 'CUPIDE AND PSYCHES.' + +REPRODUCED BY HIS PERMISSION." title="FROM MR. RICKETTS' 'CUPIDE AND PSYCHES.' + +REPRODUCED BY HIS PERMISSION."/> +<span class="caption">FROM MR. RICKETTS' 'CUPIDE AND PSYCHES.'<br /><br /> + +<small>REPRODUCED BY HIS PERMISSION.</small></span> +</div> +<hr class="tb" /> +<p><span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> + +<div class="figcenter" style="width: 518px;"> +<a name="daphnis_and_chloe" id="daphnis_and_chloe"></a> +<img src="images/i_054.jpg" width="518" height="550" alt="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'." title="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'."/> +<span class="caption">OF THE APPARITION OF THE THREE NYMPHS TO DAPHNIS +IN A DREAM.<br /><br /> + +FROM MESSRS. RICKETTS AND SHANNON'S 'DAPHNIS AND CHLOE.' +(MATHEWS AND LANE.)<br /><br /> + +<small>REPRODUCED BY THEIR LEAVE AND THE PUBLISHERS'.</small></span> +</div> + +<p>'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.<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> +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.'</p> + +<p>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.</p><p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p> + +<div class="figcenter" style="width: 600px;"> +<a name="centaur" id="centaur"></a> +<img src="images/i_056.jpg" width="600" height="418" alt="FROM MR. STURGE MOORE'S 'THE CENTAUR.' + +REPRODUCED BY PERMISSION OF MR. RICKETTS." title="FROM MR. STURGE MOORE'S 'THE CENTAUR.' + +REPRODUCED BY PERMISSION OF MR. RICKETTS."/> +<span class="caption">FROM MR. STURGE MOORE'S 'THE CENTAUR.'<br /><br /> + +<small>REPRODUCED BY PERMISSION OF MR. RICKETTS.</small></span> +</div> + +<p>'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<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> +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.</p> + +<p>'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.<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> +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.</p> + +<p>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.</p> +<hr class="chap" /> + + +<p><span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span></p> +<h2><a name="II_SOME_OPEN-AIR_ILLUSTRATORS" id="II_SOME_OPEN-AIR_ILLUSTRATORS"></a>II. SOME OPEN-AIR ILLUSTRATORS.</h2> + + +<p><span class="dropcap061o"><span class="dropcap">O</span></span>PEN-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<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> +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.</p> + +<p>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.<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> +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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> +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.</p> + +<div class="figcenter" style="width: 600px;"> +<a name="royal_edinburgh" id="royal_edinburgh"></a> +<img src="images/i_067.jpg" width="600" height="345" alt="HOLYROOD CASTLE. BY SIR GEORGE REID. FROM MRS. OLIPHANT'S "ROYAL EDINBURGH." + +BY LEAVE OF MESSRS. MACMILLAN." title="HOLYROOD CASTLE. BY SIR GEORGE REID. FROM MRS. OLIPHANT'S "ROYAL EDINBURGH." + +BY LEAVE OF MESSRS. MACMILLAN."/> +<span class="caption">HOLYROOD CASTLE. BY SIR GEORGE REID. FROM MRS. OLIPHANT'S "ROYAL EDINBURGH."<br /><br /> + +<small>BY LEAVE OF MESSRS. MACMILLAN.</small></span> +</div> + +<p>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;<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> +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<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span> +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.</p> + +<div class="figcenter" style="width: 377px;"> +<a name="warwickshire_avon" id="warwickshire_avon"></a> +<img src="images/i_070.jpg" width="377" height="600" alt="ELMS BY BIDFORD GRANGE. BY ALFRED PARSONS. +REPRODUCED FROM QUILLER COUCH'S 'THE WARWICKSHIRE +AVON.' + +BY LEAVE OF OSGOOD, McILVAINE AND CO." title="ELMS BY BIDFORD GRANGE. BY ALFRED PARSONS. +REPRODUCED FROM QUILLER COUCH'S 'THE WARWICKSHIRE +AVON.' + +BY LEAVE OF OSGOOD, McILVAINE AND CO."/> +<span class="caption">ELMS BY BIDFORD GRANGE. BY ALFRED PARSONS. +REPRODUCED FROM QUILLER COUCH'S 'THE WARWICKSHIRE +AVON.'<br /><br /> + +<small>BY LEAVE OF OSGOOD, McILVAINE AND CO.</small></span> +</div> + +<p>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<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> +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<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span> +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.</p> +<p><span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span></p> +<div class="figcenter" style="width: 600px;"> +<a name="cinque_ports" id="cinque_ports"></a> +<img src="images/i_075.jpg" width="600" height="413" alt="SALTWOOD CASTLE. +BY WILLIAM HYDE. + +FROM F. M. HUEFFER'S 'THE CINQUE PORTS.' + +BY LEAVE OF MESSRS. BLACKWOOD." title="SALTWOOD CASTLE. +BY WILLIAM HYDE. + +FROM F. M. HUEFFER'S 'THE CINQUE PORTS.' + +BY LEAVE OF MESSRS. BLACKWOOD."/> +<span class="caption">SALTWOOD CASTLE. +BY WILLIAM HYDE.<br /><br /> + +FROM F. M. HUEFFER'S 'THE CINQUE PORTS.'<br /><br /> + +<small>BY LEAVE OF MESSRS. BLACKWOOD.</small></span> +</div> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> +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<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span> +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.</p> + +<div class="figcenter" style="width: 334px;"> +<a name="italian_journeys" id="italian_journeys"></a> +<img src="images/i_079.jpg" width="334" height="500" alt="THE HARBOUR, SORRENTO. BY JOSEPH PENNELL. +FROM HOWELL'S "ITALIAN JOURNEYS." + +BY LEAVE OF MR. HEINEMANN." title="THE HARBOUR, SORRENTO. BY JOSEPH PENNELL. +FROM HOWELL'S "ITALIAN JOURNEYS." + +BY LEAVE OF MR. HEINEMANN."/> +<span class="caption">THE HARBOUR, SORRENTO. BY JOSEPH PENNELL. +FROM HOWELL'S "ITALIAN JOURNEYS."<br /><br /> + +<small>BY LEAVE OF MR. HEINEMANN.</small></span> +</div> + +<p>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,<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> +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.</p> + +<p>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<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> 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<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> +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.</p> + +<div class="figcenter" style="width: 600px;"> +<a name="holyhead_road" id="holyhead_road"></a> +<img src="images/i_084.jpg" width="600" height="341" alt="DUNCHURCH. BY C. G. HARPER. + +FROM 'THE HOLYHEAD ROAD.' + +BY HIS PERMISSION." title="DUNCHURCH. BY C. G. HARPER. + +FROM 'THE HOLYHEAD ROAD.' + +BY HIS PERMISSION."/> +<span class="caption">DUNCHURCH. BY C. G. HARPER.<br /><br /> + +FROM 'THE HOLYHEAD ROAD.'<br /><br /> + +<small>BY HIS PERMISSION.</small></span> +</div> + +<p>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<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span> +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.</p> + +<div class="figcenter" style="width: 435px;"> +<a name="formal_garden" id="formal_garden"></a> +<img src="images/i_086.jpg" width="435" height="550" alt="THE YEW WALK; MELBOURNE DERBYSHIRE + +BY F. INIGO THOMAS. + +FROM BLOMFIELD'S 'THE FORMAL GARDEN.' + +BY LEAVE OF MESSRS. MACMILLAN." title="THE YEW WALK; MELBOURNE DERBYSHIRE + +BY F. INIGO THOMAS. + +FROM BLOMFIELD'S 'THE FORMAL GARDEN.' + +BY LEAVE OF MESSRS. MACMILLAN."/> +<span class="caption">THE YEW WALK; MELBOURNE DERBYSHIRE<br /><br /> + +BY F. INIGO THOMAS.<br /><br /> + +FROM BLOMFIELD'S 'THE FORMAL GARDEN.'<br /><br /> + +<small>BY LEAVE OF MESSRS. MACMILLAN.</small></span> +</div> + +<p>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<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span> +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<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> +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.</p> + +<p>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,<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> +'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.</p> + +<div class="figcenter" style="width: 600px;"> +<a name="Selborne_Street" id="Selborne_Street"></a> +<img src="images/i_088.jpg" width="600" height="453" alt="Selborne Street + +BY E. H. NEW. + +FROM WHITE'S 'SELBORNE.' + +BY LEAVE OF MR. LANE." title="Selborne Street + +BY E. H. NEW. + +FROM WHITE'S 'SELBORNE.' + +BY LEAVE OF MR. LANE."/> +<span class="caption">Selborne Street<br /><br /> + +BY E. H. NEW.<br /><br /> + +FROM WHITE'S 'SELBORNE.'<br /><br /> + +<small>BY LEAVE OF MR. LANE.</small></span> +</div> + +<p>With Mr. New, Mr. R. J. Williams and Mr. +H. P. Clifford illustrated Mr. Aymer Vallance's<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span> +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.</p> + +<p>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.</p><p><span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></p> + +<div class="figcenter" style="width: 500px;"> +<a name="british_deer" id="british_deer"></a> +<img src="images/i_090.jpg" width="500" height="362" alt="FIGURE-OF-EIGHT RING IN CAWDOR FOREST. BY J. G. MILLAIS. + +FROM HIS 'BRITISH DEER AND THEIR HORNS.' + +BY LEAVE OF MESSRS. SOTHERAN." title="FIGURE-OF-EIGHT RING IN CAWDOR FOREST. BY J. G. MILLAIS. + +FROM HIS 'BRITISH DEER AND THEIR HORNS.' + +BY LEAVE OF MESSRS. SOTHERAN."/> +<span class="caption">FIGURE-OF-EIGHT RING IN CAWDOR FOREST. BY J. G. MILLAIS.<br /><br /> + +FROM HIS 'BRITISH DEER AND THEIR HORNS.'<br /><br /> + +<small>BY LEAVE OF MESSRS. SOTHERAN.</small></span> +</div> +<hr class="chap" /> +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Since this book was in type, I have learned with regret of the +death of Miss Helen James.</p></div></div> +<hr class="chap" /> + + +<p><span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span></p> +<h2><a name="III_SOME_CHARACTER_ILLUSTRATORS" id="III_SOME_CHARACTER_ILLUSTRATORS"></a>III. SOME CHARACTER ILLUSTRATORS.</h2> + + +<p><span class="dropcap091s"><span class="dropcap">S</span></span>O 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.<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span> +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 <i>la reste</i> to the artist as an opportunity +for pictorial characterization.</p> + +<p>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.'</p> + +<p>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<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span> +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 +<i>voyages imaginaires</i>, and, lacking the shadows cast +by the unspeakable, the intellectual <i>chiaroscuro</i> 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<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span> +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<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> +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.'</p> + +<div class="figcenter" style="width: 600px;"> +<a name="ploughmans_wife" id="ploughmans_wife"></a> +<img src="images/i_096.jpg" width="600" height="384" alt="FROM WILLIAM STRANG'S BALLAD, 'DEATH AND THE PLOUGHMAN'S WIFE' (REDUCED FROM THE +ORIGINAL ETCHING). + +BY LEAVE OF MR. A. H. BULLEN." title="FROM WILLIAM STRANG'S BALLAD, 'DEATH AND THE PLOUGHMAN'S WIFE' (REDUCED FROM THE +ORIGINAL ETCHING). + +BY LEAVE OF MR. A. H. BULLEN."/> +<span class="caption">FROM WILLIAM STRANG'S BALLAD, 'DEATH AND THE PLOUGHMAN'S WIFE' (REDUCED FROM THE +ORIGINAL ETCHING).<br /><br /> + +<small>BY LEAVE OF MR. A. H. BULLEN.</small></span> +</div> + +<p>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<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span> +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,'<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span> +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<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span> +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<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span> +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.</p> + +<p>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.</p> + +<p>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,<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span> +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,<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span> +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<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span> +of Marryat's work. In itself it is always an +expression of a coherent and definite conception of +the story.</p> + +<div class="figcenter" style="width: 485px;"> +<a name="bride_of_lammermoor" id="bride_of_lammermoor"></a> +<img src="images/i_106.jpg" width="485" height="600" alt="FROM MR. PEGRAM'S 'THE BRIDE OF LAMMERMOOR.' + +BY LEAVE OF MESSRS. NISBET." title="FROM MR. PEGRAM'S 'THE BRIDE OF LAMMERMOOR.' + +BY LEAVE OF MESSRS. NISBET."/> +<span class="caption">FROM MR. PEGRAM'S 'THE BRIDE OF LAMMERMOOR.'<br /><br /> + +<small>BY LEAVE OF MESSRS. NISBET.</small></span> +</div> + +<p>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<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> +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.</p> + +<div class="figcenter" style="width: 472px;"> +<a name="shirley" id="shirley"></a> +<img src="images/i_108.jpg" width="472" height="550" alt="FROM MR. TOWNSEND'S 'SHIRLEY.' + +BY LEAVE OF MESSRS. NISBET." title="FROM MR. TOWNSEND'S 'SHIRLEY.' + +BY LEAVE OF MESSRS. NISBET."/> +<span class="caption">FROM MR. TOWNSEND'S 'SHIRLEY.'<br /><br /> + +<small>BY LEAVE OF MESSRS. NISBET.</small></span> +</div> +<p><span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span></p> +<p>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.</p> + +<p>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.</p> +<p><span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span></p> +<div class="figcenter" style="width: 413px;"> +<a name="heart_of_midlothian" id="heart_of_midlothian"></a> +<img src="images/i_110.jpg" width="413" height="600" alt=""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." title=""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."/> +<span class="caption">"Ye are ill, Effie," were the first words Jeanie could utter; "ye are very ill."<br /><br /> + +FROM MR. SHEPPERSON'S 'THE HEART OF MIDLOTHIAN.'<br /><br /> + +<small>BY LEAVE OF THE GRESHAM PUBLISHING COMPANY.</small></span> +</div> + +<p>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<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span> +portraits, and some subject drawings that show him +in his lightest and most dexterous vein. These +drawings of <i>beaux</i> and <i>belles</i> 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<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span> +expression, he ranks high among black-and-white +artists, while as a painter, his reputation, if based on +different qualities, is not doubtful.</p> +<p><span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span></p> +<div class="figcenter" style="width: 435px;"> +<a name="school_for_scandal" id="school_for_scandal"></a> +<img src="images/i_113.jpg" width="435" height="600" alt="FROM MR. E. J. SULLIVAN'S 'SCHOOL FOR SCANDAL.' +BY LEAVE OF MESSRS. MACMILLAN." title="FROM MR. E. J. SULLIVAN'S 'SCHOOL FOR SCANDAL.' + +BY LEAVE OF MESSRS. MACMILLAN."/> +<span class="caption">FROM MR. E. J. SULLIVAN'S 'SCHOOL FOR SCANDAL.'<br /><br /> + +<small>BY LEAVE OF MESSRS. MACMILLAN.</small></span> +</div> + +<p>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<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span> +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.</p> + +<p>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,<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span> +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<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span> +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<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span> +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.</p> + +<div class="figcenter" style="width: 398px;"> +<a name="beau_brocade" id="beau_brocade"></a> +<img src="images/i_117.jpg" width="398" height="600" alt="FROM MR. HUGH THOMSON'S 'BALLAD OF BEAU BROCADE.' + +BY LEAVE OF MESSRS. KEGAN PAUL." title="FROM MR. HUGH THOMSON'S 'BALLAD OF BEAU BROCADE.' + +BY LEAVE OF MESSRS. KEGAN PAUL."/> +<span class="caption">FROM MR. HUGH THOMSON'S 'BALLAD OF BEAU BROCADE.'<br /><br /> + +<small>BY LEAVE OF MESSRS. KEGAN PAUL.</small></span> +</div> + +<p>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<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span> +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.</p> +<p><span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span></p> +<div class="figcenter" style="width: 373px;"> +<a name="essays_of_elia" id="essays_of_elia"></a> +<img src="images/i_120.jpg" width="373" height="600" alt="FROM MR. C. E. BROCK'S 'THE ESSAYS OF ELIA.' + +BY LEAVE OF MESSRS. DENT." title="FROM MR. C. E. BROCK'S 'THE ESSAYS OF ELIA.' + +BY LEAVE OF MESSRS. DENT."/> +<span class="caption">FROM MR. C. E. BROCK'S 'THE ESSAYS OF ELIA.'<br /><br /> + +<small>BY LEAVE OF MESSRS. DENT.</small></span> +</div> + +<p>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.</p> + +<p>The illustrations of Mr. William C. Cooke,<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span> +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 <i>ce superflu si nécessaire</i> 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<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span> +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.</p> + +<div class="figcenter" style="width: 439px;"> +<a name="talk_of_the_town" id="talk_of_the_town"></a> +<img src="images/i_124.jpg" width="439" height="550" alt="FROM SIR HARRY FURNISS' 'THE TALK OF THE TOWN.' + +BY LEAVE OF MESSRS. SMITH, ELDER." title="FROM SIR HARRY FURNISS' 'THE TALK OF THE TOWN.' + +BY LEAVE OF MESSRS. SMITH, ELDER."/> +<span class="caption">FROM SIR HARRY FURNISS' 'THE TALK OF THE TOWN.'<br /><br /> + +<small>BY LEAVE OF MESSRS. SMITH, ELDER.</small></span> +</div> + +<p>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.<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span> +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<span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span> +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.</p> +<hr class="chap" /> + + +<p><span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span></p> +<h2><a name="IV_SOME_CHILDRENS-BOOKS_ILLUSTRATORS" id="IV_SOME_CHILDRENS-BOOKS_ILLUSTRATORS"></a>IV. SOME CHILDREN'S-BOOKS ILLUSTRATORS.</h2> + + +<p><span class="dropcap129l"><span class="dropcap">L</span></span>EIGH 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.</p> + +<p>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,<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span> +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.<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span> +A fine aptitude for discerning and rendering +'the mysterious face of common things,' a +fancy full of shapes, perception of the <i>rationale</i> 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.</p> + +<p>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 <i>motif</i> 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.</p><p><span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span></p> + +<p>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.'</p> + +<p>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,<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span> +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 <i>verve</i> of the artist's +style is rarely +forced, and still more rarely inadequate to the +occasion.</p> + +<div class="figcenter" style="width: 415px;"> +<a name="hermy" id="hermy"></a> +<img src="images/i_135.jpg" width="415" height="500" alt="FROM MR. LEWIS BAUMER'S 'HERMY.' + +BY LEAVE OF MESSRS. CHAMBERS." title="FROM MR. LEWIS BAUMER'S 'HERMY.' + +BY LEAVE OF MESSRS. CHAMBERS."/> +<span class="caption">FROM MR. LEWIS BAUMER'S 'HERMY.'<br /><br /> + +<small>BY LEAVE OF MESSRS. CHAMBERS.</small></span> +</div> + +<p>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<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span> +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.'</p> + +<p>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<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span> +Songs' of the following year. Book-illustration +is with Mrs. Gaskin, as with many members of the +school, only a part of craftsmanship.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span> +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.</p> + +<p>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<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span> +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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span> +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.</p> + +<div class="figcenter" style="width: 415px;"> +<a name="tell_the_king_the_sky" id="tell_the_king_the_sky"></a> +<img src="images/i_140.jpg" width="415" height="600" alt="FROM MISS WOODWARD'S 'TO TELL THE KING THE SKY IS +FALLING.' + +BY LEAVE OF MESSRS. BLACKIE." title="FROM MISS WOODWARD'S 'TO TELL THE KING THE SKY IS +FALLING.' + +BY LEAVE OF MESSRS. BLACKIE."/> +<span class="caption">FROM MISS WOODWARD'S 'TO TELL THE KING THE SKY IS +FALLING.'<br /><br /> + +<small>BY LEAVE OF MESSRS. BLACKIE.</small></span> +</div> + +<p>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 <i>jeunesse dorée</i>, 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.</p> + +<p>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<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span> +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.</p> + +<p>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.</p> + +<p>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<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span> +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.</p> + +<p>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,<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span> +but not to the detriment of their inventive +worth.</p> + +<div class="figcenter" style="width: 500px;"> +<a name="grimms_fairy_tales" id="grimms_fairy_tales"></a> +<img src="images/i_144.jpg" width="500" height="428" alt="FROM MR. ARTHUR RACKHAM'S 'GRIMM'S FAIRY TALES.' + +BY LEAVE OF MESSRS. FREEMANTLE." title="FROM MR. ARTHUR RACKHAM'S 'GRIMM'S FAIRY TALES.' + +BY LEAVE OF MESSRS. FREEMANTLE."/> +<span class="caption">FROM MR. ARTHUR RACKHAM'S 'GRIMM'S FAIRY TALES.'<br /><br /> + +<small>BY LEAVE OF MESSRS. FREEMANTLE.</small></span> +</div> + +<p>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.</p><p><span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span></p> + +<p>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.</p> + +<div class="figcenter" style="width: 426px;"> +<a name="indian_fairy_tales" id="indian_fairy_tales"></a> +<img src="images/i_146.jpg" width="426" height="600" alt="FROM MR. BATTEN'S 'INDIAN FAIRY TALES.' + +BY LEAVE OF DAVID NUTT." title="FROM MR. BATTEN'S 'INDIAN FAIRY TALES.' + +BY LEAVE OF DAVID NUTT."/> +<span class="caption">FROM MR. BATTEN'S 'INDIAN FAIRY TALES.'<br /><br /> + +<small>BY LEAVE OF DAVID NUTT.</small></span> +</div> + +<p>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<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span> +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.</p> + +<div class="figcenter" style="width: 366px;"> +<a name="pink_fairy" id="pink_fairy"></a> +<img src="images/i_148.jpg" width="366" height="600" alt="FROM MR. FORD'S 'PINK FAIRY BOOK.' + +BY LEAVE OF MESSRS. LONGMANS." title="FROM MR. FORD'S 'PINK FAIRY BOOK.' + +BY LEAVE OF MESSRS. LONGMANS."/> +<span class="caption">FROM MR. FORD'S 'PINK FAIRY BOOK.'<br /><br /> + +<small>BY LEAVE OF MESSRS. LONGMANS.</small></span> +</div> + +<p>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<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span> +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.'</p> + +<div class="figcenter" style="width: 307px;"> +<a name="fairy_tales_by_q" id="fairy_tales_by_q"></a> +<img src="images/i_150.jpg" width="307" height="600" alt="FROM MR. MILLAR'S 'FAIRY TALES BY Q.' + +BY LEAVE OF MESSRS. CASSELLS." title="FROM MR. MILLAR'S 'FAIRY TALES BY Q.' + +BY LEAVE OF MESSRS. CASSELLS."/> +<span class="caption">FROM MR. MILLAR'S 'FAIRY TALES BY Q.'<br /><br /> + +<small>BY LEAVE OF MESSRS. CASSELLS.</small></span> +</div> + +<p>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 <i>märchen</i>. 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<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span> +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.</p> + +<p>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.</p> + +<p>Miss Helen Stratton published some pleasant but +not very vigorous drawings of children in 'Songs +for Little People' (1896), and illustrations to a<span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span> +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.</p> + +<p>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.</p> + +<p>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,'<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span> +'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.</p> +<hr class="chap" /> + + +<p><span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span></p> +<h2>BIBLIOGRAPHY.</h2> +<hr class="chap" /> + + +<p><span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span></p> +<h2><a name="BIBLIOGRAPHY" id="BIBLIOGRAPHY"></a>BIBLIOGRAPHY.</h2> + +<p class="center">(<i>To September, 1901.</i>)</p> + + +<h3><a name="Decorative_Illustrators" id="Decorative_Illustrators"></a><span class="smcap">Some Decorative Illustrators.</span></h3> + +<p><span class="smcap">Amelia Bauerle.</span></p> + +<blockquote><p><i>Happy-go-Lucky.</i> Ismay Thorn. 8<sup>o</sup>. (Innes, 1894.) 3 f. p.</p> + +<p><i>A Mere Pug.</i> Nemo. 8<sup>o</sup>. (Long, 1897.) 6 f. p.</p> + +<p><i>Allegories.</i> Frederic W. Farrar. 8<sup>o</sup>. (Longmans, 1898.) +20 f. p.</p> + +<p><i>Sir Constant.</i> W. E. Cule. 8<sup>o</sup>. (Melrose, 1899.) 6 f. p.</p> + +<p><i>Glimpses from Wonderland.</i> 8<sup>o</sup>. J. Ingold. (Long, 1900.) +6 f. p.</p> + +<p><i>The Day-Dream.</i> Alfred Tennyson. 8<sup>o</sup>. (Lane, 1901. +'Flowers of Parnassus.') 7 illust. (5 f. p.)</p></blockquote> + +<p><span class="smcap">R. Anning Bell.</span></p> + +<blockquote><p><i>Jack the Giant-Killer</i> and <i>Beauty and the Beast</i>. Edited by +Grace Rhys. 32<sup>o</sup>. (Dent, 1894. Banbury Cross Series.) 35 +illust. (13 f. p.)</p> + +<p><i>The Sleeping Beauty</i> and <i>Dick Whittington and his Cat</i>. Edited +by Grace Rhys. 32<sup>o</sup>. (Dent, 1894. Banbury Cross Series.) +35 illust. (13 f. p.)</p> + +<p><i>The Christian Year.</i> 8<sup>o</sup>. (Methuen, 1895.) 5 f. p.</p> + +<p><i>A Midsummer Night's Dream.</i> 4<sup>o</sup>. (Dent, 1895.) 59 illust. +and decorations. (15 f. p.)</p> + +<p><i>The Riddle.</i> Walter Raleigh. 4<sup>o</sup>. (Privately printed, 1895.) +2 illust. (1 f. p.)</p> + +<p><i>An Altar Book.</i> Fol. (Merrymount Press, U.S.A., 1896.) 7 f. p.</p> + +<p><i>Keats' Poems.</i> Edited by Walter Raleigh. 8<sup>o</sup>. (Bell, 1897. +Endymion Series.) 65 illust. and decorations. (23 f. p.)</p> + +<p><i>The Milan.</i> Walter Raleigh. 4<sup>o</sup>. (Privately printed, 1898.) +1 f. p.</p> + +<p><i>English Lyrics from Spenser to Milton.</i> 8<sup>o</sup>. (Bell, 1898. Endymion +Series.) 57 illust. and decorations. (20 f. p.)</p> + +<p><span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span></p><p><i>Pilgrim's Progress.</i> 8<sup>o</sup>. (Methuen, 1898.) 39 illust. (26 f. p.)</p> + +<p><i>Lamb's Tales from Shakespeare.</i> 8<sup>o</sup>. (Fremantle, 1899.) 15 +f. p.</p></blockquote> + +<p><span class="smcap">W. E. F. Britten.</span></p> + +<blockquote><p><i>The Elf-Errant.</i> Moira O'Neill. 8<sup>o</sup>. (Lawrence and Bullen, +1895.) 7 f. p.</p> + +<p><i>Undine.</i> Translated from the German of Baron de la Motte +Fouqué by Edmund Gosse. 4<sup>o</sup>. (Lawrence and Bullen, +1896.) 10 f. p., photogravure.</p> + +<p><i>The Early Poems of Alfred Lord Tennyson.</i> Edited by John +Churton-Collins. 8<sup>o</sup>. (Methuen, 1901.) 10 f. p., photogravure.</p></blockquote> + +<p><span class="smcap">Percy Bulcock.</span></p> + +<blockquote><p><i>The Blessed Damozel.</i> Dante Gabriel Rossetti. 8<sup>o</sup>. (Lane, +1900. 'Flowers of Parnassus.') 8 illust. (6 f. p.)</p></blockquote> + +<p><span class="smcap">Herbert Cole.</span></p> + +<blockquote><p><i>Gulliver's Travels.</i> J. Swift. 8<sup>o</sup>. (Lane, 1900.) 114 illust. +(20 f. p.)</p> + +<p><i>The Rubaiyat.</i> 8<sup>o</sup>. (Lane, 1901. 'Flowers of Parnassus.') +9 illust. (6 f. p.)</p> + +<p><i>The Nut-Brown Maid.</i> A new version by F. B. Money-Coutts. +8<sup>o</sup>. (Lane, 1901. 'F. of P.') 9 illust. (6 f. p.)</p> + +<p><i>A Ballade upon a Wedding.</i> Sir John Suckling. 8<sup>o</sup>. (Lane, +1901. 'F. of P.') 9 illust. (6 f. p.)</p> + +<p><i>The Rime of the Ancient Mariner.</i> S. T. Coleridge. 8<sup>o</sup>. +(Gay and Bird, 1900.) 6 f. p.</p></blockquote> + +<p><span class="smcap">Philip Connard.</span></p> + +<blockquote><p><i>The Statue and the Bust.</i> Robert Browning. 8<sup>o</sup>. (Lane, +1900. 'Flowers of Parnassus.') 9 illust. (6 f. p.)</p> + +<p><i>Marpessa.</i> Stephen Phillips. 8<sup>o</sup>. (Lane, 1900. 'F. of P.') 7 +illust. (5 f. p.)</p></blockquote> + +<p><span class="smcap"><a name="Walter_Crane" id="Walter_Crane"></a>Walter Crane.</span></p> + +<blockquote><p><i>The New Forest.</i> J. R. Wise. 4<sup>o</sup>. (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.)</p> + +<p><i>Stories from Memel.</i> Mrs. De Haviland. 12<sup>o</sup>. (William Hunt, +1864.) 6 f. p.</p> + +<p><i>Walter Crane's Toy-Books.</i> Issued in single numbers, from 1865-1876.</p> + +<p>---- <i>Collected Editions</i>, all published in 4<sup>o</sup>, by George Routledge, +and printed throughout in colours.</p></blockquote> + +<p> +<span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span><span style="margin-left: 5em;"><i>Walter Crane's Picture Book.</i> (1874.) 64 pp.</span><br /> +<br /> +<span style="margin-left: 5em;"><i>The Marquis of Carabas' Picture Book.</i> (1874.) 64 pp.</span><br /> +<br /> +<span style="margin-left: 5em;"><i>The Blue Beard Picture Book.</i> (1876.) 32 pp.</span><br /> +<br /> +<span style="margin-left: 5em;"><i>Song of Sixpence Toy-Book.</i> (1876.) 32 pp.</span><br /> +<br /> +<span style="margin-left: 5em;"><i>Chattering Jack's Picture Book.</i> (1876.) 32 pp.</span><br /> +<br /> +<span style="margin-left: 5em;"><i>The Three Bears Picture Book.</i> (1876.) 32 pp.</span><br /> +<br /> +<span style="margin-left: 5em;"><i>Aladdin's Picture Book.</i> (1876.) 24 pp.</span><br /> +</p> + +<blockquote><p><i>The Magic of Kindness.</i> H. and A. Mayhew. 8<sup>o</sup>. (Cassell, +Petter and Galpin, 1869.) 8 f. p.</p> + +<p><i>Sunny Days, or a Month at the Great Stowe.</i> Author of 'Our +White Violet.' 8<sup>o</sup>. (Griffith and Farran, 1871.) 4 f. p., +in colours.</p> + +<p><i>Our Old Uncle's Home.</i> 'Mother Carey.' 8<sup>o</sup>. (Griffith and +Farran, 1871.) 4 f. p.</p> + +<p><i>The Head of the Family.</i> Mrs. Craik. 8<sup>o</sup>. (Macmillan, 1875.) +6 f. p.</p> + +<p><i>Agatha's Husband.</i> Mrs. Craik. 8<sup>o</sup>. (Macmillan, 1875.) +6 f. p.</p> + +<p><i>Tell me a Story.</i> Mrs. Molesworth. 8<sup>o</sup>. (Macmillan, 1875.) +8 illust. (7 f. p.)</p> + +<p><i>The Quiver of Love.</i> A Collection of Valentines, Ancient and +Modern. 4<sup>o</sup>. (Marcus Ward, 1876.) With Kate Greenaway. +8 f. p. in colours.</p> + +<p><i>Carrots.</i> Mrs. Molesworth. 8<sup>o</sup>. (Macmillan, 1876.) 8 illust. +(7 f. p.)</p> + +<p><i>Songs of Many Seasons.</i> Jemmett Browne. 4<sup>o</sup>. (Simpkin, +Marshall, 1876.) With others. 1 f. p. by Walter Crane.</p> + +<p><i>The Baby's Opera.</i> 4<sup>o</sup>. (Routledge, 1877.) 55 pictured pages +in colours. (11 f. p.)</p> + +<p><i>The Cuckoo Clock.</i> Mrs. Molesworth. 8<sup>o</sup>. (Macmillan, 1877.) 8 +illust. (7 f. p.)</p> + +<p><i>Grandmother Dear.</i> Mrs. Molesworth. 8<sup>o</sup>. (Macmillan, 1878.) 8 +illust. (7 f. p.)</p> + +<p><i>The Tapestry Room.</i> Mrs. Molesworth. 8<sup>o</sup>. (Macmillan, +1879.) 8 illust. (7 f. p.)</p> + +<p><i>The Baby's Bouquet.</i> 4<sup>o</sup>. (Routledge, 1879.) 53 pictured pages, +in colours. (11 f. p.)</p> + +<p><i>A Christmas Child.</i> Mrs. Molesworth. 8<sup>o</sup>. (Macmillan, +1880.) 8 illust. (7 f. p.)</p> + +<p><i>The Necklace of Princess Fiorimonde.</i> Mrs. De Morgan. 8<sup>o</sup>. +(Macmillan, 1880.) 25 illust.</p> + +<p><i>Herr Baby.</i> Mrs. Molesworth. 8<sup>o</sup>. (Macmillan, 1881.) 8 +illust. (7 f. p.)</p><p><span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span></p> + +<p><i>The First of May.</i> A Fairy Masque. J. R. Wise. Fol. +(Henry Sotheran, 1881.) 56 decorated pages. (1 f. p.)</p> + +<p><i>Household Stories.</i> Translated from the German of the Brothers +Grimm by Lucy Crane. 8<sup>o</sup>. (Macmillan, 1882.) 120 +illust. (11 f. p.)</p> + +<p><i>Rosy.</i> Mrs. Molesworth. 8<sup>o</sup>. (Macmillan, 1882.) 8 illust. +(7 f. p.)</p> + +<p><i>Pan-Pipes.</i> A Book of Old Songs. Theo. Marzials. Oblong +folio. (Routledge, 1883.) 52 pictured pages, in colours.</p> + +<p><i>Christmas Tree Land.</i> Mrs. Molesworth. 8<sup>o</sup>. (Macmillan, +1884.) 8 illust. (7 f. p.)</p> + +<p><i>Walter Crane's New Series of Picture Books.</i> 4<sup>o</sup>. (Marcus Ward, +1885-6.)</p></blockquote> + +<blockquote><p><i>Slate and Pencilvania.</i>—<i>Little Queen Anne.</i>—<i>Pothooks and +Perseverance.</i> 24 pages each, in colours.</p></blockquote> + +<blockquote><p><i>The Golden Primer.</i> J. M. D. Meiklejohn. 8<sup>o</sup>. (Blackwood, +1885.) Part I. and Part II. 14 decorated pages in colours +in each part.</p> + +<p><i>Folk and Fairy Tales.</i> C. C. Harrison. 8<sup>o</sup>. (Ward and +Downey, 1885.) 24 f. p.</p> + +<p><i>"Us."</i> Mrs. Molesworth. 8<sup>o</sup>. (Macmillan, 1885.) 8 illust. +(7 f. p.)</p> + +<p><i>The Sirens Three.</i> Walter Crane. 4<sup>o</sup>. (Macmillan, 1886.) 41 +pictured pages.</p> + +<p><i>The Baby's Own Æsop.</i> 4<sup>o</sup>. (Routledge, 1886.) 56 pictured +pages, in colours.</p> + +<p><i>Echoes of Hellas.</i> 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.</p> + +<p><i>Four Winds Farm.</i> Mrs. Molesworth. 8<sup>o</sup>. (Macmillan, +1887.) 8 illust. (7 f. p.)</p> + +<p><i>Legends for Lionel.</i> 4<sup>o</sup>. (Cassell, 1887.) 40 pictured pages, in +colours.</p> + +<p><i>A Christmas Posy.</i> Mrs. Molesworth. 8<sup>o</sup>. (Macmillan, +1888.) 8 illust. (7 f. p.)</p> + +<p><i>The Happy Prince, and other tales.</i> Oscar Wilde. 4<sup>o</sup>. (Nutt, +1888.) 14 illust. and decorations with G. P. Jacomb-Hood. +3 f. p. by Walter Crane.</p> + +<p><i>The Book of Wedding Days.</i> Quotations for every day in the +year, compiled by K. E. J. Reid, etc. 4<sup>o</sup>. (Longmans, 1889.) +100 pictured pages.</p><p><span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span></p> + +<p><i>The Rectory Children.</i> Mrs. Molesworth. 8<sup>o</sup>. (Macmillan, +1889.) 8 illust. (7 f. p.)</p> + +<p><i>Flora's Feast.</i> A Masque of Flowers. Walter Crane. 4<sup>o</sup>. +(Cassell, 1889.) 40 pictured pages, in colours.</p> + +<p><i>The Turtle Dove's Nest.</i> 8<sup>o</sup>. (Routledge, 1890.) 87 illust. +(8 f. p.) With others.</p> + +<p><i>Chambers Twain.</i> Ernest Radford. 4<sup>o</sup>. (Elkin Matthews, +1890.) 1 f. p.</p> + +<p><i>A Sicilian Idyll.</i> Dr. Todhunter. 4<sup>o</sup>. (Elkin Matthews, +1890.) 1 f. p.</p> + +<p><i>Renascence.</i> A Book of Verse. Walter Crane. Including +'The Sirens Three' and 'Flora's Feast.' 4<sup>o</sup>. (Elkin +Mathews, 1891.) 39 illust. and decorations, some engraved +on wood by Arthur Leverett.</p> + +<p><i>A Wonder Book for Girls and Boys.</i> Nathaniel Hawthorne. +(Osgood, 1892.) 60 illust. and decorations in colours. (19 +f. p.)</p> + +<p><i>Queen Summer, or the Tourney of the Lily and the Rose.</i> +Walter Crane. 4<sup>o</sup>. (Cassell, 1892.) 40 pictured pages in +colours.</p> + +<p><i>The Tempest.</i> 8 illust. to Shakespeare's 'Tempest.' Engraved +and printed by Duncan C. Dallas. (Dent, 1893.)</p> + +<p><i>Under the Hawthorn.</i> Augusta de Gruchy. 8<sup>o</sup>. (Mathews +and Lane, 1803.) 1 f. p.</p> + +<p><i>The Old Garden.</i> Margaret Deland. 8<sup>o</sup>. (Osgood, 1893.) +96 decorated pages.</p> + +<p><i>The Two Gentlemen of Verona.</i> 8 illust. to Shakespeare's 'Two +Gentlemen of Verona.' Engraved and printed by Duncan +C. Dallas. (Dent, 1894.)</p> + +<p><i>The Story of the Glittering Plain.</i> William Morris. 4<sup>o</sup>. +(Kelmscott Press. 1894.) 23 illust. Borders, titles and +initials by William Morris.</p> + +<p><i>The History of Reynard the Fox.</i> English Verse by F. S. Ellis. +4<sup>o</sup>. (David Nutt, 1894.) 53 illust. and decorations. (1 +f. p.)</p> + +<p><i>The Merry Wives of Windsor.</i> 8 illust. to Shakespeare's 'Merry +Wives of Windsor.' Engraved and printed by Duncan C. +Dallas. 4<sup>o</sup>. (George Allen, 1894.)</p> + +<p><i>The Vision of Dante.</i> Miss Harrison. 8<sup>o</sup>. 1894. 4 f. p.</p> + +<p><i>The Faerie Queene.</i> Edited by Thomas J. Wise. 3 vols. +4<sup>o</sup>. (George Allen, 1895.) 231 illust. and decorations. +(98 f. p.)</p><p><span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span></p> + +<p><i>A Book of Christmas Verse.</i> Selected by H. C. Beeching. 8<sup>o</sup>. +(Methuen, 1895.) 10 illust. (5 f. p.)</p> + +<p><i>The Shepheard's Calendar.</i> Edmund Spenser. 4<sup>o</sup>. (Harper, +1898.) 16 illust. and decorations. (12 f. p.)</p> + +<p><i>The Walter Crane Readers.</i> Nelle Dale. 3 vols. 8<sup>o</sup>. (Dent, +1898.) 109 pictured pages, in colours. (8 f. p.)</p> + +<p><i>A Floral Fantasy in an Old English Garden.</i> Walter Crane. +8<sup>o</sup>. (Harper, 1899.) 40 pictured pages, in colours.</p></blockquote> + +<p><span class="smcap">H. Granville Fell.</span></p> + +<blockquote><p><i>Our Lady's Tumbler.</i> A Twelfth Century legend transcribed +for Lady Day, 1894. 4<sup>o</sup>. (Dent, 1894.) 4 f. p.</p> + +<p><i>Wagner's Heroes.</i> Constance Maud. 8<sup>o</sup>. (Arnold, 1895.) 8 f. p.</p> + +<p><i>Cinderella</i> and <i>Jack and the Beanstalk</i>. 32<sup>o</sup>. (Dent, 1895. +Banbury Cross Series.) 38 illust. (14 f. p.)</p> + +<p><i>Ali Baba</i> and <i>The Forty Thieves</i>. 32<sup>o</sup>. (Dent, 1895. Banbury +Cross Series.) 38 illust. (11 f. p.)</p> + +<p><i>The Fairy Gifts</i> and <i>Tom Hickathrift</i>. 32<sup>o</sup>. (Dent, 1895. +Banbury Cross Series.) 38 illust. (16 f. p.)</p> + +<p><i>The Book of Job.</i> 4<sup>o</sup>. (Dent, 1896.) 43 illust. and decorations. +(24 f. p., 3 double pages.)</p> + +<p><i>The Song of Solomon.</i> 4<sup>o</sup>. (Chapman and Hall, 1897.) 29 +illust. and decorations. (12 f. p.)</p> + +<p><i>Wonder Stories from Herodotus.</i> Re-told by C. H. Boden and +W. Barrington D'Almeida. 8<sup>o</sup>. (Harper, 1900.) 19 illust. +in colours. (12 f. p.)</p></blockquote> + +<p><span class="smcap"><a name="A_J_Gaskin" id="A_J_Gaskin"></a>A. J. Gaskin.</span></p> + +<blockquote><p><i>A Book of Pictured Carols.</i> Designed by members of the +Birmingham Art School under the direction of A. J. Gaskin. +4<sup>o</sup>. (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.)</p> + +<p><i>Stories and Fairy Tales.</i> Hans Andersen. 8<sup>o</sup>. (George Allen. +1893.) 100 illust. (11 f. p.)</p> + +<p><i>A Book of Fairy Tales.</i> Re-told by S. Baring Gould. 8<sup>o</sup>. +(Methuen, 1894.) 20 illust. (5 f. p.)</p> + +<p><i>Good King Wenceslas.</i> Dr. Neale. 4<sup>o</sup>. (Cornish Brothers, +Birmingham, 1895.) 6 f. p.</p> + +<p><i>The Shepheard's Calendar.</i> E. Spenser. 8<sup>o</sup>. (Kelmscott Press, +1896.) 12 f. p.</p></blockquote> + +<p><span class="smcap">C. M. Gere.</span></p> + +<blockquote><p><i>Russian Fairy Tales.</i> R. Nisbet Bain. 8<sup>o</sup>. (Lawrence and +Bullen, 1893.) 6 f. p.</p><p><span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span></p> + +<p><i>News from Nowhere.</i> William Morris. 8<sup>o</sup>. (Kelmscott +Press, 1893.) 1 f. p.</p> + +<p><i>The Imitation of Christ.</i> Thomas à Kempis. Introduction by +F. W. Farrar. 8<sup>o</sup>. (Methuen, 1894.) 5 f. p.</p> + +<p><i>A Book of Pictured Carols.</i> See <i><a href="#A_J_Gaskin">A. J. Gaskin</a></i>.</p></blockquote> + +<p><span class="smcap">J. J. Guthrie.</span></p> + +<blockquote><p><i>Wedding Bells.</i> A new old Nursery Rhyme by A. F. S. and +E. de Passemore. 4<sup>o</sup>. (Simpkin, Marshall, 1895.) 7 decorated +pages.</p> + +<p><i>The Little Men in Scarlet.</i> Frances H. Low. (Jarrold, 1896.) +42 illust. (8 f. p.)</p> + +<p><i>The Garden of Time.</i> Mrs. Davidson. 8<sup>o</sup>. (Jarrold, 1896.) +40 illust. (8 f. p.)</p> + +<p><i>An Album of Drawings.</i> Fol. (The White Cottage, Shorne, +Kent, 1900.) 24 f. p. from various magazines.</p></blockquote> + +<p><span class="smcap">Laurence Housman.</span></p> + +<blockquote><p><i>Jump-to-Glory Jane.</i> George Meredith. 8<sup>o</sup>. (Swan, Sonnenschein, +1892.) 44 illust. (8 f. p.)</p> + +<p><i>Goblin Market.</i> Christina Rossetti. 8<sup>o</sup>. (Macmillan, 1893.) +42 illust. and decorations. (12 f. p.)</p> + +<p><i>Weird Tales from Northern Seas.</i> From the Danish of Jonas +Lie. 8<sup>o</sup>. (Kegan Paul, 1893.) 12 f. p.</p> + +<p><i>The End of Elfin-town.</i> Jane Barlow. 8<sup>o</sup>. (Macmillan, 1894.) +15 illust. and decorations. (8 f. p.)</p> + +<p><i>A Farm in Fairyland.</i> Laurence Housman. 8<sup>o</sup>. (Kegan +Paul, 1894.) 14 f. p.</p> + +<p><i>The House of Joy.</i> Laurence Housman. 8<sup>o</sup>. (Kegan Paul, +1895.) 10 f. p.</p> + +<p><i>Poems.</i> Francis Thompson. 8<sup>o</sup>. (Mathews and Lane, 1895.) +1 f. p.</p> + +<p><i>Sister Songs.</i> Francis Thompson. 8<sup>o</sup>. (Lane, 1895.) +1 f. p.</p> + +<p><i>Green Arras.</i> Laurence Housman. 8<sup>o</sup>. (Lane, 1896.) +6 f. p.</p> + +<p><i>All-Fellows.</i> Laurence Housman. 8<sup>o</sup>. (Kegan Paul, 1896.) +7 f. p.</p> + +<p><i>The Were-Wolf.</i> Clemence Housman. 8<sup>o</sup>. (Lane, 1896.) +6 f. p.</p> + +<p><i>The Sensitive Plant.</i> P. B. Shelley. 4<sup>o</sup>. (Aldine House, +1898.) 12 f. p. photogravure.</p> + +<p><i>The Field of Clover.</i> Laurence Housman. 8<sup>o</sup>. (Kegan Paul, +1898.) 12 f. p., engraved by Clemence Housman.</p><p><span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span></p> + +<p><i>The Little Flowers of Saint Francis.</i> Translated by T. W. +Arnold. 12<sup>o</sup>. (Dent, 1898, Temple Classics.) 1 f. p.</p> + +<p><i>Of the Imitation of Christ.</i> Thomas à Kempis. 8<sup>o</sup>. (Kegan +Paul, 1898.) 5 f. p.</p> + +<p><i>The Little Land.</i> Laurence Housman. 8<sup>o</sup>. (Grant Richards, +1899.) 4 f. p.</p> + +<p><i>At the Back of the North Wind.</i> G. Macdonald. 8<sup>o</sup>. (Blackie, +1900.) 1 f. p.</p> + +<p><i>The Princess and the Goblin.</i> G. Macdonald. 8<sup>o</sup>. (Blackie, +1900.) 1 f. p.</p></blockquote> + +<p><span class="smcap">A. Garth Jones.</span></p> + +<blockquote><p><i>The Tournament of Love.</i> W. T. Peters. 8<sup>o</sup>. (Brentano, +1894.) 3 illust. (2 f. p.)</p> + +<p><i>The Minor Poems of John Milton.</i> 8<sup>o</sup>. (Bell, 1898. Endymion +Series.) 46 illust., and decorations. (28 f. p.)</p> + +<p><i>Contes de Haute-Lisse.</i> Jérome Doucet. (Bernoux and Cumin, +1899.) 56 illust. and decorations.</p> + +<p><i>Contes de la Fileuse.</i> Jérome Doucet. (Tallandier, 1900.) +163 illust. and decorations.</p></blockquote> + +<p><span class="smcap">Celia Levetus.</span></p> + +<blockquote><p><i>Turkish Fairy Tales.</i> Trans. by R. Nisbet Bain. 8<sup>o</sup>. +(Lawrence and Bullen, 1896.) 10 illust. (9 f. p.)</p> + +<p><i>Verse Fancies.</i> Edward L. Levetus. 8<sup>o</sup>. (Chapman and Hall, +1898.) 8 illust. (7 f. p.)</p> + +<p><i>Songs of Innocence.</i> William Blake. 32<sup>o</sup>. (Wells, Gardner, +and Darton, 1899.) 25 illust. (14 f. p.)</p></blockquote> + +<p><span class="smcap">W. B. Macdougall</span></p> + +<blockquote><p><i>Chronicles of Strathearn.</i> 8<sup>o</sup>. (David Philips, 1896.) 15 f. p.</p> + +<p><i>The Fall of the Nibelungs.</i> In Two Books. Translated by +Margaret Armour. 8<sup>o</sup>. (Dent, 1897.) 8 f. p. in each book.</p> + +<p><i>Thames Sonnets and Semblances.</i> Margaret Armour. 8<sup>o</sup>. +(Elkin Mathews, 1897.) 12 f. p.</p> + +<p><i>The Book of Ruth.</i> Introduction by Ernest Rhys. 4<sup>o</sup>. (Dent, +1896.) 8 f. p.</p> + +<p><i>Isabella, or the Pot of Basil.</i> John Keats. 4<sup>o</sup>. (Kegan Paul, +1898.) 8 f. p.</p> + +<p><i>The Shadow of Love and other Poems.</i> Margaret Armour. 8<sup>o</sup>. +(Duckworth, 1898.) 2 f. p.</p></blockquote> + +<p><span class="smcap">Fred. Mason.</span></p> + +<blockquote><p><i>A Book of Pictured Carols.</i> See <a href="#A_J_Gaskin"><i>A. J. Gaskin</i></a>.</p> + +<p><i>The Story of Alexander.</i> Robert Steele. 4<sup>o</sup>. (David Nutt, +1894.) 27 illust. (5 f. p.)</p><p><span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span></p> + +<p><i>Huon of Bordeaux.</i> Robert Steele. 8<sup>o</sup>. (George Allen, 1895.) +22 illust. (6 f. p.)</p> + +<p><i>Renaud of Montauban.</i> Robert Steele. 8<sup>o</sup>. (George Allen, +1897.) 12 f. p.</p></blockquote> + +<p><span class="smcap">T. Sturge Moore.</span></p> + +<blockquote><p><i>The Centaur.</i> <i>The Bacchant.</i> Translated from the French of +Maurice de Guérin by T. Sturge Moore. (Vale Press, +1899.) 4<sup>o</sup>. 5 wood engravings.</p> + +<p><i>Some Fruits of Solitude.</i> William Penn. 8<sup>o</sup>. (Essex House +Press, 1901.) Wood engraving on title-page.</p></blockquote> + +<p><span class="smcap">L. Fairfax Muckley.</span></p> + +<blockquote><p><i>The Faerie Queene.</i> E. Spenser. Introduction by Prof. Hales. +3 vols. 4<sup>o</sup>. (Dent, 1897.) 42 illust. and decorations. (24 +f. p., 10 double page.)</p> + +<p><i>Fringilla.</i> R. D. Blackmore. 8<sup>o</sup>. (Elkin Mathews, 1895.) +21 illust. and decorations. (11 f. p.) 3 by James Linton.</p></blockquote> + +<p><span class="smcap">Henry Ospovat.</span></p> + +<blockquote><p><i>Shakespeare's Sonnets.</i> 8<sup>o</sup>. (Lane, 1899.) 14 illust. (10 f. p.)</p> + +<p><i>Poems.</i> Matthew Arnold. 8<sup>o</sup>. Edited by A. C. Benson. +(Lane, 1900.) 65 illust. and decorations. (16 f. p.)</p></blockquote> + +<p><span class="smcap"><a name="Charles_Ricketts" id="Charles_Ricketts"></a>Charles Ricketts.</span></p> + +<blockquote><p><i>A House of Pomegranates.</i> Oscar Wilde. 4<sup>o</sup>. (Osgood, +1891.) 17 illust. with C. H. Shannon. 13 by C. Ricketts.</p> + +<p><i>Poems, Dramatic and Lyrical.</i> Lord de Tabley. 8<sup>o</sup>. (Mathews +and Lane, 1893.) 5 f. p., photogravure.</p> + +<p><i>Daphnis and Chloe.</i> Longus. Translated by Geo. Thornley. +4<sup>o</sup>. (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.</p> + +<p><i>The Sphinx.</i> Oscar Wilde. 4<sup>o</sup>. (Ballantyne Press, 1894.) +10 illust. (9 f. p.)</p> + +<p><i>Hero and Leander.</i> Christopher Marlowe and George Chapman. +8<sup>o</sup>. (Vale Press, 1894.) 7 illust., border and initials, drawn +on the wood, engraved by Charles Ricketts and Charles +Shannon.</p> + +<p><i>Nymphidia and the Muses Elizium.</i> Michael Drayton. 8<sup>o</sup>. +(Vale Press, 1896.) Frontispiece, border and initials, engraved +on wood.</p> + +<p><i>Spiritual Poems.</i> T. Gray. 8<sup>o</sup>. (Vale Press, 1896.) Frontispiece +and border, engraved on wood.</p> + +<p><i>Milton's Early Poems.</i> 8<sup>o</sup>. (Vale Press, 1896.) Frontispiece, +border and initials, engraved on wood.</p><p><span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span></p> + +<p><i>Songs of Innocence.</i> W. Blake. 8<sup>o</sup>. (Vale Press, 1897.) +Frontispiece, border and initials, engraved on wood.</p> + +<p><i>Sacred Poems of Henry Vaughan.</i> 8<sup>o</sup>. (Vale Press, 1897.) +Frontispiece and border, engraved on wood.</p> + +<p><i>The Excellent Narration of the Marriage of Cupide and Psyches.</i> +Translated from the Latin of Lucius Apuleius, by William +Adlington. 8<sup>o</sup>. (Vale Press, 1897.) 5 illust. engraved on +wood.</p> + +<p><i>The Book of Thel</i>, <i>Songs of Innocence</i> and <i>Songs of Experience</i>. +William Blake. 4<sup>o</sup>. (Vale Press, 1897.) Frontispiece, +initials and border, engraved on wood.</p> + +<p><i>Blake's Poetical Sketches.</i> 4<sup>o</sup>. (Vale Press, 1899.) Frontispiece +and initials, engraved on wood.</p></blockquote> + +<p><span class="smcap">Reginald Savage.</span></p> + +<blockquote><p><i>Der Ring des Nibelungen.</i> Described by R. Farquharson Sharp. +4<sup>o</sup>. (Marshall, Russell, 1898.) 5 f. p.</p> + +<p><span class="smcap">Essex House Press.</span> <i>The Pilgrim's Progress.</i> <i>Venus and Adonis.</i> +<i>The Eve of St. Agnes.</i> <i>The Journal of John Woolman.</i> +<i>Epithalamium.</i> (1900-1.) Frontispiece engraved on wood to +each volume.</p></blockquote> + +<p><span class="smcap">Charles Shannon.</span></p> + +<blockquote><p>See <a href="#Charles_Ricketts"><i>Charles Ricketts</i></a>.</p> + +<p>'House of Pomegranates,' 'Hero and Leander,' 'Daphnis and +Chloe.'</p></blockquote> + +<p><span class="smcap">Byam Shaw.</span></p> + +<blockquote><p><i>Poems by Robert Browning.</i> 8<sup>o</sup>. (Bell, 1897. Endymion +Series.) 67 illust. (22 f. p.)</p> + +<p><i>Tales from Boccaccio.</i> Joseph Jacobs. 4<sup>o</sup>. (George Allen, +1899.) 20 f. p.</p> + +<p><i>The Chiswick Shakespeare.</i> 8<sup>o</sup>. (Bell, 1899, etc.) 11 illust. +and decorations (6 f. p.), in each volume.</p></blockquote> + +<p><span class="smcap">Bernard Sleigh.</span></p> + +<blockquote><p><i>The Sea-King's Daughter, and other Poems.</i> 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.</p> + +<p><i>A Book of Pictured Carols.</i> See <a href="#A_J_Gaskin"><i>A. J. Gaskin</i></a>. 2 f. p., by +Bernard Sleigh.</p></blockquote> + +<p><span class="smcap">Heywood Sumner.</span></p> + +<blockquote><p><i>The Itchen Valley.</i> Fol. (Seeley, Jackson and Halliday, 1881.)</p> + +<p><i>The Avon from Naxby to Tewkesbury.</i> Fol. (Seeley, Jackson +and Halliday, 1882.) 21 etchings.</p><p><span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span></p> + +<p><i>Cinderella:</i> A Fairy Opera. John Farmer and Henry Leigh. +4<sup>o</sup>. (Novello, Ewer, 1882.) 17 illust.</p> + +<p><i>Epping Forest.</i> E. M. Buxton. 8<sup>o</sup>. (Stamford, 1884.) 36 illust. +(5 f. p.)</p> + +<p><i>Sintram and his Companions.</i> Translated from the German of +De la Motte Fouqué. 4<sup>o</sup>. (Seeley, Jackson and Halliday, +1883.) 22 illust. (1 f. p.)</p> + +<p><i>The New Forest.</i> J. R. Wise. See <a href="#Walter_Crane"><i>Walter Crane</i></a>.</p> + +<p><i>Undine.</i> 4<sup>o</sup>. (Chapman and Hall, 1888.) 16 illust. (2 f. p.)</p> + +<p><i>The Besom Maker, and other country Folk Songs.</i> Collected by +Heywood Sumner. 4<sup>o</sup>. (Longmans, 1888.) 26 decorated +pages. 1 f. p.</p> + +<p><i>Jacob and the Raven.</i> Frances M. Peard. 8<sup>o</sup>. (George Allen, +1896.) 40 illust. and decorations. (9 f. p.)</p></blockquote> + +<p><span class="smcap">J. R. Weguelin.</span></p> + +<blockquote><p><i>Lays of Ancient Rome.</i> Lord Macaulay. 8<sup>o</sup>. (Longmans, +1881.) 41 illust. (7 f. p.)</p> + +<p><i>The Cat of Bubastes.</i> G. A. Henty. 8<sup>o</sup>. (Blackie, 1889.) 8 f. p.</p> + +<p><i>Anacreon: with Thomas Stanley's translation.</i> Edited by A. H. +Bullen. 8<sup>o</sup>. (Lawrence and Bullen, 1892.) 11 f. p.</p> + +<p><i>The Little Mermaid and other Stories.</i> Hans Andersen. Translated +by R. Nisbet Bain. 4<sup>o</sup>. (Lawrence and Bullen, 1893.) +61 illus. (36 f. p.)</p> + +<p><i>Catullus: with the Pervigilium Veneris.</i> Edited by S. G. Owen. +8<sup>o</sup>. (Lawrence and Bullen, 1893.) 8 f. p.</p> + +<p><i>The Wooing of Malkatoon</i>; <i>Commodus</i>. Lewis Wallace. 8<sup>o</sup>. +(Harper, 1898.) 12 f. p. with Du Mond. 6 by J. R. +Weguelin.</p></blockquote> + +<p><span class="smcap">Patten Wilson.</span></p> + +<blockquote><p><i>Miracle Plays. Our Lord's Coming and Childhood.</i> Katherine +Tynan Hinkson. 8<sup>o</sup>. (Lane, 1895.) 6 f. p.</p> + +<p><i>A Houseful of Rebels.</i> Walter C. Rhoades. 8<sup>o</sup>. (Archibald +Constable, 1897.) 10 f. p.</p> + +<p><i>Selections from Coleridge.</i> Andrew Lang. 8<sup>o</sup>. (Longmans, +1898.) 18 f. p.</p> + +<p><i>King John.</i> Edited by J. W. Young. 8<sup>o</sup>. (Longmans, 1899. +Swan Shakespeare.) 9 f. p.</p></blockquote> + +<p><span class="smcap">Paul Woodroffe.</span></p> + +<blockquote><p><i>Shakespeare's Songs.</i> Edited by E. Rhys. 4<sup>o</sup>. (Dent, 1898.) +12 f. p.</p> + +<p><i>The Little Flowers of St. Francis.</i> 8<sup>o</sup>. (Kegan Paul, 1899.) +8 f. p.</p><p><span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span></p> + +<p><i>The Confessions of St. Augustine.</i> 8<sup>o</sup>. (Kegan Paul, 1900.) +4 f. p. Title-page by Laurence Housman.</p> + +<p><i>The Little Flowers of St. Benet.</i> 8<sup>o</sup>. (Kegan Paul, 1901.) +8 f. p.</p></blockquote> + + +<h3><a name="Open-Air_Illustrators" id="Open-Air_Illustrators"></a><span class="smcap">Some Open-Air Illustrators.</span></h3> + +<p><span class="smcap">Alexander Ansted.</span></p> + +<blockquote><p><i>The Rivers of Devon.</i> J. L. Warden-Page. 8<sup>o</sup>. (Seeley, 1893.) +17 illust. (4 etched plates.)</p> + +<p><i>The Riviera.</i> Notes by the artist. Fol. (Seeley, 1894.) 64 illust. +(20 etched plates.)</p> + +<p><i>The Coasts of Devon.</i> J. L. Warden-Page. 8<sup>o</sup>. (H. Cox, 1895.) +21 illust.</p> + +<p><i>Episcopal Palaces of England.</i> Canon Venables and others. 4<sup>o</sup>. +(Isbister, 1895.) Etched frontispiece and 104 illust. (7 f. p.)</p> + +<p><i>The Master of the Musicians.</i> Emma Marshall. 8<sup>o</sup>. (Seeley, +1896.) 8 f. p.</p> + +<p><i>London Riverside Churches.</i> A. E. Daniell. 8<sup>o</sup>. (Constable, +1897.) 84 illust. (27 f. p.)</p> + +<p><span class="smcap">English Cathedral Series.</span> 8<sup>o</sup>. (Isbister, 1897-8.)</p> + +<blockquote><p><i>Salisbury Cathedral.</i> The Very Rev. Dean Boyle. 15 illust. +(10 f. p.)</p> + +<p><i>York Minster.</i> The Very Rev. Dean Purey-Cust. 14 illust. +(11 f. p.)</p> + +<p><i>Norwich Cathedral.</i> The Very Rev. Dean Lefroy. 9 f. p.</p> + +<p><i>Ely Cathedral.</i> The Rev. Canon Dickson. 10 f. p.</p> + +<p><i>Carlisle Cathedral.</i> Chancellor R. S. Ferguson. 11 f. p.</p></blockquote> + +<p><i>The Romance of our Ancient Churches.</i> Sarah Wilson. 8<sup>o</sup>. +(Constable, 1899.) 180 illust. (15 f. p.)</p> + +<p><i>Boswell's Life of Johnson.</i> Edited by Augustine Birrell. (Constable, +1899.) 6 vols. Frontispiece to each vol.</p></blockquote> + +<p><span class="smcap">C. R. B. Barrett.</span></p> + +<blockquote><p><i>The Tower.</i> C. R. B. Barrett. Fol. (Catty and Dobson, +1889.) 26 illust. (13 etched plates.)</p> + +<p><i>Essex: Highways, Byways and Waterways.</i> C. R. B. Barrett. +8<sup>o</sup>. (Lawrence and Bullen, 1892-3.) Series I. 99 illust. +(13 etched plates.) Series II. 128 illust. (13 etched plates.)</p> + +<p><i>The Trinity House of Deptford Strond.</i> C. R. B. Barrett. 4<sup>o</sup>. +(Lawrence and Bullen, 1893.) 18 illust. (1 etched plate.)</p><p><span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span></p> + +<p><i>Barrett's Illustrated Guides.</i> 8<sup>o</sup>. (Lawrence and Bullen, +1892-3.) 9 numbers.</p> + +<p><i>Somersetshire: Highways, Byways and Waterways.</i> C. R. B. +Barrett. 4<sup>o</sup>. (Bliss, Sands and Foster, 1894.) 167 illust. +(6 etched plates.)</p> + +<p><i>Shelley's Visit to France.</i> Charles J. Elton. 8<sup>o</sup>. (Bliss, Sands, +1894.) 16 illus. (2 etched plates.)</p> + +<p><i>Charterhouse, in Pen and Ink.</i> By C. R. B. Barrett. Preface +by George E. Smythe. 4<sup>o</sup>. (Bliss, Sands and Foster, 1895.) +43 illust. (1 f. p.)</p> + +<p><i>Surrey: Highways, Byways and Waterways.</i> C. R. B. Barrett. +4<sup>o</sup>. (Bliss, Sands and Foster, 1895.) 140 illust. (5 etched +plates.)</p> + +<p><i>Battles and Battlefields of England.</i> C. R. B. Barrett. 8<sup>o</sup>. +(Innes, 1896.) 102 illust. (2 f. p.)</p></blockquote> + +<p><span class="smcap">D. Y. Cameron.</span></p> + +<blockquote><p><i>Charterhouse, Old and New.</i> E. P. Eardley-Wilmot and E. C. +Streatfield. 4<sup>o</sup>. (Nimmo, 1895.) 4 etchings.</p> + +<p><i>Scholar Gipsies.</i> John Buchan. 8<sup>o</sup>. (Lane, 1896. The +Arcady Library.) 7 etchings.</p></blockquote> + +<p><span class="smcap">Nelly Erichsen.</span></p> + +<blockquote><p><i>The Novels of Susan Edmonstone Ferrier.</i> Introduction by +R. Brimley Johnson. 8<sup>o</sup>. (Dent, 1894.) 6 vols. 17 f. p.</p> + +<p><i>The Promised Land.</i> Translated from the Danish of Henrik +Pontoppidan by Mrs. Edgar Lucas. 8<sup>o</sup>. (Dent, 1896.) +29 illust. (14 f. p.)</p> + +<p><i>Emanuel, or Children of the Soil.</i> Translated from the Danish +of Henrik Pontoppidan by Mrs. Edgar Lucas. 8<sup>o</sup>. (Dent, +1896.) 29 illust. (17 f. p.)</p></blockquote> + +<p>Mediæval Towns. 8<sup>o</sup>. (Dent, 1898-1901.)</p> + +<blockquote><p><i>The Story of Assisi.</i> Lina Duff Gordon. 50 illust., with others. +25 (3 f. p.) by Nelly Erichsen.</p> + +<p><i>The Story of Rome.</i> Norwood Young. 48 illust., with others. +(10 f. p.) by Nelly Erichsen.</p> + +<p><i>The Story of Florence.</i> Edmund G. Gardner. 45 illust., +with others. 20 f. p. by Nelly Erichsen.</p></blockquote> + +<p><span class="smcap">Hedley Fitton.</span></p> + +<blockquote><p>English Cathedral Series. 8<sup>o</sup>. (Isbister, 1899-1901.)</p></blockquote> + +<blockquote><p><i>Worcester Cathedral.</i> The Rev. Canon Teignmouth Shore. +9 f. p.</p> + +<p><i>Rochester Cathedral.</i> The Rev. Canon Benham. 11 illust. +(10 f. p.)</p><p><span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span></p></blockquote> + +<blockquote><p><i>Hereford Cathedral.</i> The Very Rev. Dean Leigh. 11 +illust. (10 f. p.)</p></blockquote> + +<blockquote><p><i>Æschylos.</i> Translated by G. H. Plumtre. 2 vols. 8<sup>o</sup>. (Isbister, +1901.) 1 f. p.</p></blockquote> + +<p><span class="smcap">John Fulleylove.</span></p> + +<blockquote><p><i>Henry Irving.</i> Austin Brereton. 8<sup>o</sup>. (Bogue, 1883.) 17 f. p. +With others.</p> + +<p><i>The Picturesque Mediterranean.</i> 4<sup>o</sup>. (Cassell, 1899.) With +others. 68 illust. by John Fulleylove.</p> + +<p><i>Oxford.</i> With notes by T. Humphry Ward. Fol. (Fine Art +Society, 1889.) 40 illust. (30 plates.)</p> + +<p><i>In the Footprints of Charles Lamb.</i> See <a href="#Herbert_Railton"><i>Herbert Railton</i></a>.</p> + +<p><i>Pictures of Classic Greek Landscape and Architecture.</i> With +text in explanation by Henry W. Nevinson. 4<sup>o</sup>. (Dent, +1897.) 40 plates.</p> + +<p><i>The Stones of Paris.</i> B. E. and C. M. Martin. 2 vols. 8<sup>o</sup>. +(Smith, Elder, 1900.) 62 illust. 40 (16 f. p.) by J. Fulleylove.</p></blockquote> + +<p><span class="smcap">Frederick L. Griggs.</span></p> + +<blockquote><p><i>Seven Gardens and a Palace.</i> E. V. B. 8<sup>o</sup>. (Lane, 1900.) +9 illust. with Arthur Gordon. 5 by Frederick L. Griggs.</p> + +<p><i>Stray Leaves from a Border Garden.</i> Mary Pamela Milne-Home. +8<sup>o</sup>. (Lane, 1901.) 8 f. p.</p> + +<p><i>The Chronicle of a Cornish Garden.</i> Harry Roberts. 8<sup>o</sup>. +(Lane, 1901.) 7 f. p.</p></blockquote> + +<p><span class="smcap">Charles G. Harper.</span></p> + +<blockquote><p><i>Royal Winchester.</i> Rev. A. G. L'Estrange. 8<sup>o</sup>. (Spencer, +1889.) 37 illust. (22 f. p.)</p> + +<p><i>The Brighton Road.</i> C. G. Harper. 8<sup>o</sup>. (Chatto and +Windus, 1892.) 90 illust. 60 (29 f. p.) by C. G. Harper.</p> + +<p><i>From Paddington to Penzance.</i> C. G. Harper. 8<sup>o</sup>. (Chatto +and Windus, 1893.) 104 illust. (34 f. p.)</p> + +<p><i>The Marches of Wales.</i> C. G. Harper. 8<sup>o</sup>. (Chapman and +Hall, 1894.) 114 illust. 95 (24 f. p.) by C. G. Harper.</p> + +<p><i>The Dover Road.</i> C. G. Harper. 8<sup>o</sup>. (Chapman and Hall, +1895.) 57 illust. 48 (12 f. p.) by C. G. Harper.</p> + +<p><i>The Portsmouth Road.</i> C. G. Harper. 8<sup>o</sup>. (Chapman and +Hall, 1895.) 77 illust. 44 (12 f. p.) by C. G. Harper.</p> + +<p><i>Some English Sketching Grounds.</i> C. G. Harper. 8<sup>o</sup>. (Reeves, +1897.) 44 illust. (18 f. p.)</p> + +<p><i>Stories of the Streets of London.</i> H. Barton Baker. 8<sup>o</sup>. (Chapman +and Hall, 1899.) 38 illust. 30 (15 f. p.) by C. G. +Harper.</p><p><span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span></p> + +<p><i>The Exeter Road.</i> C. G. Harper. 8<sup>o</sup>. (Chapman and Hall, +1899.) 69 illust. 51 (20 f. p.) by C. G. Harper.</p> + +<p><i>The Bath Road.</i> C. G. Harper. 8<sup>o</sup>. (Chapman and Hall, +1899.) 75 illust. 64 (19 f. p.) by C. G. Harper.</p> + +<p><i>The Great North Road.</i> C. G. Harper. 2 vols. 8<sup>o</sup>. (Chapman +and Hall, 1900.) 132 illust. 100 (30 f. p.) by C. G. +Harper.</p></blockquote> + +<p><span class="smcap">William Hyde.</span></p> + +<blockquote><p><i>An Imaged World.</i> Edward Garnett. 8<sup>o</sup>. (Dent, 1894.) +5 f. p.</p> + +<p><i>Milton's L'Allegro and Il Penseroso.</i> 8<sup>o</sup>. (Dent, 1896.) 13 f. p.</p> + +<p><i>London Impressions.</i> Alice Meynell. Fol. (Constable, 1898.) +3 etchings, 23 photogravures. (13 f. p.)</p> + +<p><i>The Nature Poems of George Meredith.</i> 4<sup>o</sup>. (Constable, 1898.) +Etched frontispiece and 20 photogravures.</p> + +<p><i>The Cinque Ports.</i> Ford Madox Hueffer. 4<sup>o</sup>. (Blackwood, +1900.) 33 illust. (20 f. p., 14 in photogravure.)</p> + +<p><i>The Victoria History of the Counties of England. Hampshire; +Norfolk.</i> 8<sup>o</sup>. (Constable, 1901.) 1 f. p.</p></blockquote> + +<p><span class="smcap">Frederic G. Kitton.</span></p> + +<blockquote><p><i>Charles Dickens and the Stage.</i> T. Edgar Pemberton. 8<sup>o</sup>. (Redway, +1888.) 3 f. p., photogravure.</p> + +<p><i>Charles Dickens by Pen and Pencil.</i> F. G. Kitton. 4<sup>o</sup>. (Sabini +and Dexter, 1889-90.) With others. 15 by F. G. Kitton.</p> + +<p><i>In Tennyson Land.</i> J. Cuming Walters. 8<sup>o</sup>. (Redway, 1890.) +12 f. p.</p> + +<p><i>A Week's Tramp in Dickens' Land.</i> Wm. R. Hughes. 8<sup>o</sup>. +(Chapman and Hall, 1891.) 100 illust., chiefly by F. G. +Kitton. (12 f. p.)</p> + +<p><i>Hertfordshire County Homes.</i> (Published by subscription, 1892.) +40 f. p.</p> + +<p><i>St. Albans, Historical and Picturesque.</i> C. H. Ashdown. 4<sup>o</sup>. +(Elliot Stock, 1893.) 70 illust., chiefly by F. G. Kitton +(15 f. p.)</p> + +<p><i>St. Albans Abbey.</i> The Rev. Canon Liddell. 8<sup>o</sup>. (Isbister, +1897. English Cathedral Series.) 9 illust. (7 f. p.)</p> + +<p><i>The Romany Rye.</i> George Borrow. (Murray, 1900.) 8 f. p.</p></blockquote> + +<p><span class="smcap">John Guille Millais.</span></p> + +<blockquote><p><i>A Fauna of Sutherland, Caithness and West Cromarty.</i> J. Harvie +Brown and T. E. Buckley. 8<sup>o</sup>. (Douglas, 1887.) 12 illust., +with others. 2 (1 f. p.) by J. G. Millais.</p> +<p><span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span></p> +<p><i>Shooting.</i> Lord Walsingham and Sir R. Payne Gallwey. (Badminton +Library.) 8<sup>o</sup>. (Longmans, 1887.) With others. +3 illust. (1 f. p.) by J. G. Millais.</p> + +<p><i>A Monograph of the Charadriidae.</i> Henry Seebohm. 4<sup>o</sup>. +(Sotheran, 1888.) 28 illust.</p> + +<p><i>A Fauna of the Outer Hebrides.</i> J. Harvie Brown and T. E. +Buckley. 8<sup>o</sup>. (Douglas, 1888.) 12 illust., with others. +1 by J. G. Millais.</p> + +<p><i>A Fauna of the Orkney Islands.</i> J. Harvie Brown and T. E. +Buckley. 8<sup>o</sup>. (Douglas, 1891.) 13 illust., with others. +3 f. p. photogravures by J. G. Millais.</p> + +<p><i>A Fauna of Argyll and the Inner Hebrides.</i> J. Harvie Brown +and T. E. Buckley. 8<sup>o</sup>. (Douglas, 1892.) 9 illust., with +others. 1 photogravure by J. G. Millais.</p> + +<p><i>Game-Birds and Shooting Sketches.</i> J. G. Millais. 4<sup>o</sup>. (Sotheran, +1892.) 64 illust., 33 plates.</p> + +<p><i>A Breath from the Veldt.</i> J. G. Millais. 4<sup>o</sup>. (Sotheran, 1895.) +149 illust. (24 plates.)</p> + +<p><i>Letters to Young Shooters.</i> 3rd series. Sir R. Payne Gallwey. +(Longmans, 1896.) 46 illust.</p> + +<p><i>Elephant Hunting in East Equatorial Africa.</i> Arthur Newmann. +8<sup>o</sup>. (Ward, 1897.) 3 f. p.</p> + +<p><i>British Deer and their Horns.</i> J. G. Millais. 4<sup>o</sup>. (Sotheran, +1897.) 185 illust., mostly by the author. (20 plates.)</p> + +<p><i>Pheasants.</i> W. B. Tegetmeier. 8<sup>o</sup>. (Cox, 1897.) 16 illust. +(1 f. p. by J. G. Millais.) With others.</p> + +<p><i>Encyclopaedia of Sport.</i> Edited by the Earl of Berkshire. (Lawrence +and Bullen, 1898.) 31 illust. (2 f. p. in photogravure.)</p> + +<p><i>The Wildfowler in Scotland.</i> J. G. Millais. 4<sup>o</sup>. (Longmans, +1901.) 60 illust., 10 plates. (13 f. p.)</p></blockquote> + +<p><span class="smcap">Edmund H. New.</span></p> + +<blockquote><p><i>The Compleat Angler.</i> Izaak Walton and Charles Cotton. +Edited by Richard Le Gallienne. 4<sup>o</sup>. (Lane, 1896.) 200 +illust. (47 f. p.)</p> + +<p><i>In the Garden of Peace.</i> Helen Milman. 8<sup>o</sup>. (Lane, 1896. +The Arcady Library.) 24 illust.</p> + +<p><i>Oxford and its Colleges.</i> J. Wells. 8<sup>o</sup>. (Methuen, 1897.) +27 drawings from photographs.</p> + +<p><i>Cambridge and its Colleges.</i> A. Hamilton Thompson. 8<sup>o</sup>. +(Methuen, 1898.) 23 drawings from photographs.</p> + +<p><i>The Life of William Morris.</i> J. W. Mackail. 2 vols. 8<sup>o</sup>. +(Longmans, 1899.) 15 illus. (14 f. p.)</p><p><span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span></p> + +<p><i>Shakespeare's Country.</i> Bertram C. A. Windle. 8<sup>o</sup>. (Methuen, +1899.) 14 f. p. Drawings from photographs.</p> + +<p><i>The Natural History of Selborne.</i> Gilbert White. Edited by +Grant Allen. 4<sup>o</sup>. (Lane, 1900.) 178 illust. (43 f. p.)</p> + +<p><i>Outside the Garden.</i> Helen Milman. 8<sup>o</sup>. (Lane, 1900.) +30 illust. and decorations.</p> + +<p><i>Sussex.</i> F. G. Brabant. 8<sup>o</sup>. (Methuen, 1900.) 12 f. p. +Drawings from photographs.</p> + +<p><i>The Malvern Country.</i> Bertram C. A. Windle. 8<sup>o</sup>. (Methuen, +1901.) 11 f. p. Drawings from photographs.</p></blockquote> + +<p><span class="smcap">Alfred Parsons.</span></p> + +<blockquote><p><i>God's Acre Beautiful.</i> W. Robinson. 8<sup>o</sup>. ("Garden" Office, +1880.) 8 f. p.</p> + +<p><i>Selections from the Poetry of Robert Herrick.</i> 4<sup>o</sup>. (Sampson +Low, 1882.) 59 illust. (2 f. p.) With E. A. Abbey.</p> + +<p><i>Springhaven.</i> R. D. Blackmore. 8<sup>o</sup>. (Sampson Low, 1888.) +64 illust. (35 f. p.) With F. Barnard.</p> + +<p><i>Old Songs.</i> 4<sup>o</sup>. (Macmillan, 1889.) 102 illust. With E. A. +Abbey.</p> + +<p><i>The Quiet Life.</i> Certain Verses by various hands: Prologue +and Epilogue by Austin Dobson. 4<sup>o</sup>. (Sampson Low, +1890.) 82 illust. With E. A. Abbey. 42 by Alfred Parsons. +(9 f. p.)</p> + +<p><i>A Selection from the Sonnets of William Wordsworth.</i> 8<sup>o</sup>. +(Osgood, 1891.) 55 illust. and decorations. (24 f. p.)</p> + +<p><i>The Warwickshire Avon.</i> Notes by A. T. Quiller-Couch. +8<sup>o</sup>. (Osgood, 1892.) 96 illust. (25 f. p.)</p> + +<p><i>The Danube from the Black Forest to the Sea.</i> F. D. Millet. +8<sup>o</sup>. (Osgood, 1892.) 133 illust. With F. D. Millet. 61 +by Alfred Parsons. (41 f. p.)</p> + +<p><i>The Wild Garden.</i> W. Robinson. 8<sup>o</sup>. (Murray, 1895.) +90 wood-engravings. (14 f. p.)</p> + +<p><i>The Bamboo Garden.</i> A. B. Freeman-Mitford. 8<sup>o</sup>. (Macmillan, +1896.) 11 illust. and decorations. (7 f. p.)</p> + +<p><i>Notes in Japan.</i> Alfred Parsons. 8<sup>o</sup>. (Osgood, 1896.) 119 +illust. (36 f. p.)</p> + +<p><i>Wordsworth.</i> Andrew Lang. 8<sup>o</sup>. (Longmans, 1897. Selections +from the Poets.) 17 illust., and initials to each +poem. (9 f. p.)</p></blockquote> + +<p><span class="smcap">Joseph Pennell.</span></p> + +<blockquote><p><i>A Canterbury Pilgrimage.</i> Elizabeth Robins Pennell. 8<sup>o</sup>. +(Seeley, 1885.) 30 illust. (7 f. p.)</p><p><span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span></p> + +<p><i>Tuscan Cities.</i> W. D. Howells. 4<sup>o</sup>. (Ticknor, Boston, +1886.) 67 illust., chiefly by Joseph Pennell. (11 f. p.)</p> + +<p><i>The Saone.</i> P. G. Hamerton. 4<sup>o</sup>. (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.)</p> + +<p><i>An Italian Pilgrimage.</i> Elizabeth Robins Pennell. 8<sup>o</sup>. +(Seeley, 1887.) 30 f. p.</p> + +<p><i>Our Sentimental Journey through France and Italy.</i> Elizabeth +Robins Pennell. 8<sup>o</sup>. (Longmans, 1888.) 122 illust. (21 f. p.)</p> + +<p><i>Old Chelsea.</i> Benjamin Ellis Martin. 8<sup>o</sup>. (Fisher Unwin, +1889.) 23 illust. (20 f. p.)</p> + +<p><i>Our Journey to the Hebrides.</i> Elizabeth Robins Pennell. 8<sup>o</sup>. +(Fisher Unwin, 1889.) 43 illust. (29 f. p.)</p> + +<p><i>Personally Conducted.</i> F. R. Stockton. 4<sup>o</sup>. (Sampson Low, +1889.) 48 illust. With others.</p> + +<p><i>Charing Cross to St. Paul's.</i> Justin McCarthy. Fol. (Seeley, +1891.) 36 illust. (12 f. p.)</p> + +<p><i>The Stream of Pleasure.</i> Joseph and Elizabeth Robins Pennell. +With a practical chapter by J. G. Legge. 4<sup>o</sup>. (Fisher +Unwin, 1891.) 90 illust. (16 f. p.)</p> + +<p><i>Play in Provence.</i> Joseph and Elizabeth Robins Pennell. 8<sup>o</sup>. +(Fisher Unwin, 1892.) 92 illust. (29 f. p.)</p> + +<p><i>The Jew at Home.</i> Joseph Pennell. 8<sup>o</sup>. (Heinemann, 1892.) +27 illust. (15 f. p.)</p> + +<p><i>English Cathedrals.</i> Mrs. Schuyler Van Rensselaer. 8<sup>o</sup>. +(Fisher Unwin, 1892.) 154 illust. (18 f. p.) With others.</p> + +<p><i>To Gipsyland.</i> Elizabeth Robins Pennell. 8<sup>o</sup>. (Fisher Unwin, +1893.) 82 illust. (35 f. p.)</p> + +<p><i>The Devils of Notre Dame.</i> 18 illust., with descriptive text by +R. A. M. Stevenson. Fol. ('Pall Mall Gazette,' 1894.)</p> + +<p><i>Cycling.</i> The Earl of Albemarle and G. Lacy Hillier. 4<sup>o</sup>. +(Longmans, 1894. The Badminton Library.) 49 illust. +With the Earl of Albemarle, and George Moore. 21 by +Joseph Pennell. (12 f. p.)</p> + +<p><i>Tantallon Castle.</i> Elizabeth Robins Pennell. 8<sup>o</sup>. (Constable, +1895.) 33 illust. (7 f. p.) With others. 24 by Joseph +Pennell.</p> + +<p><i>The Makers of Modern Rome.</i> Mrs. Oliphant. 8<sup>o</sup>. (Macmillan, +1895.) 71 illust. With Henry P. Riviere, and from +old engravings. 53 by Joseph Pennell. (7 f. p.)</p> + +<p><i>The Alhambra.</i> Washington Irving. Introduction by Elizabeth +<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span>Robins Pennell. 8<sup>o</sup>. (Macmillan, 1896.) 288 illust. (24 f. p.)</p> + +<p><i>On the Broads.</i> Anna Bowman Dodd. 8<sup>o</sup>. (Macmillan, +1896.) 29 illust. (24 f. p.)</p> + +<p><i>Climbs in the New Zealand Alps.</i> E. A. Fitzgerald. 8<sup>o</sup>. +(Fisher Unwin, 1896.) 25 illust. With others. (8 f. p. +by Joseph Pennell from paintings).</p> + +<p><i>Highways and Byways in Devon and Cornwall.</i> Arthur H. +Norway. 8<sup>o</sup>. (Macmillan, 1897.) 66 illust. (18 f. p.) +With Hugh Thomson. 58 by Joseph Pennell.</p> + +<p><i>Aquitaine, a Traveller's Tales.</i> Wickham Flower. 4<sup>o</sup>. (Chapman +and Hall, 1897.) 24 illust. (22 f. p.)</p> + +<p><i>Over the Alps on a Bicycle.</i> Elizabeth Robins Pennell. 8<sup>o</sup>. +(Fisher Unwin, 1898.) 34 illust. (18 f. p.)</p> + +<p><i>Highways and Byways in North Wales.</i> A. G. Bradley. 8<sup>o</sup>. +(Macmillan, 1898.) 96 illust. (13 f. p.) With Hugh +Thomson. 87 by Joseph Pennell.</p> + +<p><i>Highways and Byways in Yorkshire.</i> Arthur H. Norway. 8<sup>o</sup>. +(Macmillan, 1899.) 110 illust. (14 f. p.) With Hugh +Thomson. 102 by Joseph Pennell.</p> + +<p><i>Highways and Byways in Normandy.</i> Percy Dearmer. 8<sup>o</sup>. +(Macmillan, 1900.) 153 illust. (17 f. p.)</p> + +<p><i>A little Tour in France.</i> Henry James. 8<sup>o</sup>. (Heinemann, +1900.) 94 illust. (44 f. p.)</p> + +<p><i>The Stock Exchange in 1900.</i> W. Eden Hooper. 4<sup>o</sup>. (Spottiswoode, +1900.) With Dudley Hardy. 7 illust. by Joseph +Pennell. 3 proof plates.</p> + +<p><i>Highways and Byways in the Lake District.</i> A. G. Bradley. +8<sup>o</sup>. (Macmillan, 1901.) 86 illust.</p> + +<p><i>East London.</i> Walter Besant. 8<sup>o</sup>. (Chatto, 1901.) 54 illust. +(17 f. p.) With others. 36 by Joseph Pennell.</p> + +<p><i>Highways and Byways in East Anglia.</i> William A. Dutt. 8<sup>o</sup>. +(Macmillan, 1901.) 150 illust. (15 f. p.)</p> + +<p><i>Italian Journeys.</i> W. D. Howells. 8<sup>o</sup>. (Heinemann, 1901.) +103 illust. (39 f. p.)</p></blockquote> + +<p><span class="smcap"><a name="Herbert_Railton" id="Herbert_Railton"></a>Herbert Railton.</span></p> + +<blockquote><p><i>Coaching Days and Coaching Ways.</i> 4<sup>o</sup>. (Macmillan, 1888.) +213 illust. With Hugh Thomson. 140 by Herbert Railton.</p> + +<p><i>The Essays of Elia.</i> Charles Lamb. Edited by Augustine +Birrell. 8<sup>o</sup>. (Dent, 1888. The Temple Library.) 3 +etchings.</p> + +<p><i>Select Essays of Dr. Johnson.</i> Edited by George Birkbeck Hill. +8<sup>o</sup>. (Dent, 1889. The Temple Library.) 2 vols. 6 etchings. +Figures by John Jellicoe.</p><p><span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span></p> + +<p><i>The Poems and Plays of Oliver Goldsmith.</i> Edited by Austin +Dobson. 8<sup>o</sup>. (Dent, 1889. The Temple Library.) 2 vols. +6 etchings with John Jellicoe. 3 by Herbert Railton.</p> + +<p><i>Pericles and Aspasia.</i> W. S. Landor. 8<sup>o</sup>. (Dent, 1890. The +Temple Library.) 2 vols. 2 etchings.</p> + +<p><i>Westminster Abbey.</i> W. J. Loftie. Fol. (Seeley, 1890.) 75 +illust.</p> + +<p><i>The Citizen of the World.</i> Oliver Goldsmith. Edited by +Austin Dobson. 8<sup>o</sup>. (Dent, 1891. The Temple Library.) +2 vols. 6 etchings.</p> + +<p><i>The Poetical Works of Thomas Lovell Beddoes.</i> Edited, with a +memoir, by Edmund Gosse. 8<sup>o</sup>. (Dent, 1891. The +Temple Library.) 2 vols. 2 etchings.</p> + +<p><i>In the Footsteps of Charles Lamb.</i> Benjamin Ellis Martin. 8<sup>o</sup>. +(Bentley, 1891.) 11 f. p. With John Fulleylove. 6 by +Herbert Railton.</p> + +<p><i>The Collected Works of Thomas Love Peacock.</i> Edited by Richard +Garnett. 8<sup>o</sup>. (Dent, 1891.) 10 vols. 4 etchings.</p> + +<p><i>Essays and Poems of Leigh Hunt.</i> Selected and edited by R. +Brimley Johnson. 8<sup>o</sup>. (Dent, 1891.) 2 vols. 5 etchings.</p> + +<p><i>Dreamland in History.</i> The Very Rev. Dean Spence. 8<sup>o</sup>. +(Isbister, 1891.) 59 illust. (7 f. p.) Engraved by L. Chefdeville.</p> + +<p><i>The Peak of Derbyshire.</i> John Leyland. 8<sup>o</sup>. (Seeley, 1891.) +20 illust. (8 f. p.) With Alfred Dawson. 16 by Herbert +Railton.</p> + +<p><i>Ripon Millenary.</i> 4<sup>o</sup>. (W. Harrison, Ripon, 1892.) 140 +illust. With others, also from old prints. 32 by Herbert +Railton. (10 f. p.)</p> + +<p><i>The Inns of Court and Chancery.</i> W. J. Loftie. Fol. (Seeley, +1893.) 57 illust. (10 f. p.) 42 by Herbert Railton.</p> + +<p><i>The Household of Sir Thomas More.</i> Anne Manning. 8<sup>o</sup>. +(Nimmo, 1896.) 26 illust. (9 f. p.) With John Jellicoe. +12 by Herbert Railton, figures by John Jellicoe.</p> + +<p><i>The Haunted House.</i> Thomas Hood. Introduction by Austin +Dobson. (Lawrence and Bullen, 1896.) 63 illust. (21 f. p.)</p> + +<p><i>Cherry and Violet.</i> Anne Manning. 8<sup>o</sup>. (Nimmo, 1897.) +26 illust. With John Jellicoe.</p> + +<p><i>Hampton Court.</i> William Holden Hutton. 8<sup>o</sup>. (Nimmo, +1897.) 43 illust. (32 f. p.)</p> + +<p><span class="smcap">English Cathedral Series.</span> 8<sup>o</sup>. (Isbister, 1897-9.)</p></blockquote> + +<p> +<span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span><span style="margin-left: 5em;"><i>Westminster Abbey.</i> The Very Rev. Dean Farrar. 12 f. p.</span><br /> +<br /> +<span style="margin-left: 5em;"><i>St. Paul's Cathedral.</i> The Rev. Canon Newbolt. 12 f. p.</span><br /> +<br /> +<span style="margin-left: 5em;"><i>Winchester Cathedral.</i> The Rev. Canon Benham. 7 f. p.</span><br /> +<br /> +<span style="margin-left: 5em;"><i>Wells Cathedral.</i> The Rev. Canon Church. 15 illust. (14 f. p.)</span><br /> +<br /> +<span style="margin-left: 5em;"><i>Gloucester Cathedral.</i> The Very Rev. Dean Spence. 13 f. p.</span><br /> +<br /> +<span style="margin-left: 5em;"><i>Peterborough Cathedral.</i> The Very Rev. Dean Ingram. 9 f. p.</span><br /> +<br /> +<span style="margin-left: 5em;"><i>Lincoln Cathedral.</i> The Rev. Canon Venables. 9 f. p.</span><br /> +<br /> +<span style="margin-left: 5em;"><i>Durham Cathedral.</i> The Rev. Canon Fowler. 9 f. p.</span><br /> +<br /> +<span style="margin-left: 5em;"><i>Chester Cathedral.</i> The Very Rev. Dean Darby. 9 f. p.</span><br /> +<br /> +<span style="margin-left: 5em;"><i>Ripon Cathedral.</i> The Ven. Archdeacon Danks. 16 illust. (14 f. p.)</span><br /> +</p> + +<blockquote><p><i>The Maiden and Married Life of Mary Powell and Deborah's +Diary.</i> Anne Manning. 8<sup>o</sup>. (Nimmo, 1898.) 26 illust. +With John Jellicoe.</p> + +<p><i>The Old Chelsea Bun Shop.</i> Anne Manning. 8<sup>o</sup>. (Nimmo, +1899.) 10 illust. With John Jellicoe.</p> + +<p><i>Travels in England.</i> Richard Le Gallienne. 8<sup>o</sup>. (Grant +Richards, 1900.) 6 f. p.</p> + +<p><i>The Natural History and Antiquities of Selborne</i> and <i>A Garden +Kalendar</i>. Gilbert White. 8<sup>o</sup>. (Freemantle, 1900.) 2 +vols. 176 illust. (23 f. p.) With others. 59 by Herbert +Railton.</p> + +<p><i>The Story of Bruges.</i> Ernest Gilliat Smith. 8<sup>o</sup>. (Dent, 1901. +Mediæval Towns.) 57 illust. (9 f. p.) With others. 23 +by Herbert Railton.</p> + +<p><i>Boswell's Life of Johnson.</i> Edited by A. Glover. Introduction +by Austin Dobson. 8<sup>o</sup>. (Dent, 1901.) 100 illust. and +portraits.</p></blockquote> + +<p><span class="smcap">Sir George Reid.</span></p> + +<blockquote><p><i>The Selected Writings of John Ramsay.</i> Alexander Walker. +8<sup>o</sup>. (Blackwood, 1871.) Portrait and 9 illust.</p> + +<p><i>Life of a Scotch Naturalist.</i> Samuel Smiles. 8<sup>o</sup>. (Murray, +1876.) Portrait and 25 illust. (18 f. p.)</p> + +<p><i>George Paul Chalmers.</i> A. Gibson. 4<sup>o</sup>. (David Douglas, +1879.) 5 heliogravure plates.</p> + +<p><i>Johnny Gibb of Gushetneuk in the Parish of Pyketillim.</i> W. +Alexander. 8<sup>o</sup>. (David Douglas, 1880.) Portrait, title-page +and 18 heliogravure plates.</p> + +<p><i>Twelve Sketches of Scenery and Antiquities on the line of the +Great North of Scotland Railway.</i> 12 heliogravure plates with +illustrative Letterpress by W. Ferguson of Kinmundy. 8<sup>o</sup>. +(David Douglas, 1882.)</p> +<p><span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span></p> +<p><i>Natural History and Sport in Norway.</i> Charles St. John. 8<sup>o</sup>. +(Douglas, 1882.) 10 f. p., heliogravure.</p> + +<p><i>The River Tweed from Its Source to the Sea.</i> Fol. (Royal +Association for the Promotion of Fine Arts in Scotland, +1884.) 16 f. p., heliogravure.</p> + +<p><i>George Jamesone, the Scottish Van Dyck.</i> John Bulloch. 4<sup>o</sup>. +(David Douglas, 1885.) 2 heliogravure plates.</p> + +<p><i>The River Clyde.</i> Fol. (Royal Association for the Promotion +of Fine Arts in Scotland, 1886.) 12 f. p., heliogravure.</p> + +<p><i>Salmon Fishing on the Ristigouche.</i> Dean Sage. 4<sup>o</sup>. (Douglas, +1888.) 2 illust. (1 f. p. photogravure).</p> + +<p><i>Lacunar Basilicae Sancti Macarii Aberdonensis.</i> 4<sup>o</sup>. (New +Spalding Club, Aberdeen, 1888). 2 f. p., photogravure.</p> + +<p><i>Cartularium Ecclesiae Sancti Nicholai Aberdonensis.</i> 2 vols. 4<sup>o</sup>. +(New Spalding Club, Aberdeen, 1888-92.) 2 f. p., photogravure.</p> + +<p><i>St. Giles', Edinburgh, Church, College and Cathedral.</i> J. Cameron +Lees. 4<sup>o</sup> (Chambers, 1889.) 3 f. p., heliogravure.</p> + +<p><i>Royal Edinburgh.</i> Mrs. Oliphant. 8<sup>o</sup>. (Macmillan, 1890.) +60 illust. (22 f. p.)</p> + +<p><i>Familiar Letters of Sir Walter Scott.</i> Edited by D. Douglas. +2 vols. 8<sup>o</sup>. (Douglas, 1894.) 2 vignettes, photogravure.</p></blockquote> + +<p><span class="smcap">F. Inigo Thomas.</span></p> + +<blockquote><p><i>The Formal Garden in England.</i> Reginald Blomfield and F. +Inigo Thomas. 8<sup>o</sup>. (Macmillan, 1892.) 74 illust. (19 +f. p.) 46 by F. Inigo Thomas.</p></blockquote> + +<p><span class="smcap">Charles Whymper.</span></p> + +<blockquote><p><i>Wild Sport in the Highlands.</i> Charles St. John. 8<sup>o</sup>. (Murray, +1878.) 30 illust.</p> + +<p><i>The Game-Keeper at Home.</i> Richard Jefferies. 8<sup>o</sup>. (Smith, +Elder, 1880.) 41 illust.</p> + +<p><i>Siberia in Europe.</i> Henry Seebohm. 8<sup>o</sup>. (Murray, 1880.) +47 illust.</p> + +<p><i>Matabele Land and Victoria Falls.</i> Frank Oates. 8<sup>o</sup>. (Kegan +Paul, 1881.) 50 illust. (13 f. p.) With others.</p> + +<p><i>Siberia in Asia.</i> Henry Seebohm. 8<sup>o</sup>. (Murray, 1882). 67 +illust.</p> + +<p><i>The Fowler in Ireland.</i> Sir R. Payne Gallwey. 8<sup>o</sup>. (Van +Voorst, 1882.) 88 illust. (17 f. p.)</p><p><span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span></p> + +<p><i>A Highland Gathering.</i> E. Lennox Peel. 8<sup>o</sup>. (Longmans, +1885.) 35 illust.</p> + +<p><i>A Highland Gathering.</i> E. Lennox Peel. 8<sup>o</sup>. (Longmans, +1885.) 31 illust, engraved on wood by E. Whymper. +(6 f. p.)</p> + +<p><i>Our Rarer Birds.</i> Charles Dixon. 8<sup>o</sup>. (Bentley, 1888.) +20 illust. (1 f. p.)</p> + +<p><i>Story of the Rear-Guard of Emin Relief Expedition.</i> J. S. +Jameson. 8<sup>o</sup>. (Porter, 1890.) 97 illust.</p> + +<p><i>Travel and Adventure in South Africa.</i> F. C. Selous. 8<sup>o</sup>. +(Ward, 1893.) 37 illust. (23 f. p.) With others. 3 by +Charles Whymper.</p> + +<p><i>Birds of the Wave and Moorland.</i> P. Robinson. 8<sup>o</sup>. (Isbister, +1894.) 44 illust. (18 f. p.) With others.</p> + +<p><i>Sporting Days in Southern India.</i> Lieut.-Colonel Pollock. 8<sup>o</sup>. +(Cox, 1894.) 27 illust. (19 f. p.)</p> + +<p><i>Big Game Shooting.</i> Clive Phillipps-Wolley and other writers. +8<sup>o</sup>. (Longmans, 1895. The Badminton Library.) 2 +vols. 150 illust. With others. (22 f. p.) 67 by Charles +Whymper.</p> + +<p><i>The Pilgrim Fathers of New England and their Puritan Successors.</i> +John Brown. 8<sup>o</sup>. (Religious Tract Society, 1895.) +15 illust. (9 f. p.)</p> + +<p><i>Icebound on Kolguev.</i> A. Trevor-Battye. 8<sup>o</sup>. (Constable, +1895.) 70 illust. With others. 5 f. p. by Charles Whymper.</p> + +<p><i>The Hare.</i> The Rev. H. A. Macpherson and others. 8<sup>o</sup>. +(Longmans, 1896. Fur, Feather and Fin Series.) 9 illust. +With others. 2 f. p. by Charles Whymper.</p> + +<p><i>On the World's Roof.</i> J. Macdonald Oxley. 8<sup>o</sup>. (Nisbet, +1896.) 4 f. p.</p> + +<p><i>In Haunts of Wild Game.</i> Frederick Vaughan Kirby. 8<sup>o</sup>. +(Blackwood, 1896.) 39 illust. (15 f. p.)</p> + +<p><i>In and Beyond the Himalayas.</i> S. J. Stone. 8<sup>o</sup>. (Arnold, +1896.) 16 f. p.</p> + +<p><i>Sunshine and Storm in Rhodesia.</i> F. C. Selous. 8<sup>o</sup>. (Ward, 1896.) +18 illust. (6 f. p.) With others. 3 by Charles Whymper.</p> + +<p><i>Letters to Young Shooters.</i> Sir R. Payne Gallwey. (Longmans, +1896.) 246 illust., with J. G. Millais.</p> + +<p><i>The Art of Wildfowling.</i> Abel Chapman. 8<sup>o</sup>. (Cox, 1896.) 39 +illust. (23 f. p.). With author.</p> + +<p><i>Wild Norway.</i> Abel Chapman. 8<sup>o</sup>. (Arnold, 1897.) 63 +illust. (13 f. p.) With others.</p><p><span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span></p> + +<p><i>Travel and Big Game.</i> Percy Selous and H. A. Bryden. 8<sup>o</sup>. +(Bellairs, 1897.) 6 f. p.</p> + +<p><i>Lost and Vanishing Birds.</i> Charles Dixon. 8<sup>o</sup>. (John Macqueen, +1898.) 10 f. p.</p> + +<p><i>Off to Klondyke.</i> Gordon Stables. 8<sup>o</sup>. (Nisbet, 1898.) 8 +f. p.</p> + +<p><i>The Rabbit.</i> James Edmund Harting. 8<sup>o</sup>. (Longmans, +1898. Fur, Feather and Fin Series.) 10 illust. With others. +2 f. p. by Charles Whymper.</p> + +<p><i>Exploration and Hunting in Central Africa.</i> A. St. H. Gibbons. +8<sup>o</sup>. (Methuen, 1898.) 8 f. p. by Charles Whymper.</p> + +<p><i>The Salmon.</i> Hon. A. E. Gathorne Hardy. 8<sup>o</sup>. (Longmans, +1898. Fur, Feather and Fin Series.) 8 illust. by Charles +Whymper.</p> + +<p><i>Homes and Haunts of the Pilgrim Fathers.</i> Alexander Mackennal. +4<sup>o</sup>. (The Religious Tract Society, 1899.) 94 +illust. from original drawings and photographs. (20 f. p.)</p> + +<p><i>Bird Life in a Southern County.</i> Charles Dixon. (Scott, +1899.) 10 f. p.</p> + +<p><i>The Cruise of the Marchesa to Kamschatka and New Guinea.</i> +F. H. H. Guillemard. 8<sup>o</sup>. (Murray, 1899.) 139 illust. +With others. Engraved by E. Whymper.</p> + +<p><i>Among the Birds in Northern Shires.</i> Charles Dixon. 8<sup>o</sup>. +(Blackie, 1900.) 41 illust. (1 f. p.)</p> + +<p><i>Shooting.</i> Lord Walsingham and Sir Ralph Payne-Gallwey. +8<sup>o</sup>. (Longmans, 1900. The Badminton Library.) 103 +illust. With others. 26 by Charles Whymper.</p></blockquote> + + +<h3><a name="Character_Illustrators" id="Character_Illustrators"></a><span class="smcap">Some Character Illustrators.</span></h3> + +<p><span class="smcap">Edwin A. Abbey.</span></p> + +<blockquote><p><i>Selections from the Poetry of Robert Herrick.</i> 4<sup>o</sup>. (Sampson +Low, 1882.) 59 illust. With Alfred Parsons. (2 f. p.)</p> + +<p><i>The Rivals and the School for Scandal.</i> R. B. Sheridan. +Edited by Brander Matthews. 8<sup>o</sup>. (Chatto and Windus, +1885.) 13 illust. With others. 3 f. p. by E. A. Abbey.</p> + +<p><i>Sketching Rambles in Holland.</i> George H. Boughton. 8<sup>o</sup>. +(Macmillan, 1885.) 89 illust. (25 f. p.) With others. +26 by E. A. Abbey.</p> + +<p><i>Old Songs.</i> 4<sup>o</sup>. (Macmillan, 1889.) 102 illust. (32 f. p.) +With Alfred Parsons. 61 by E. A. Abbey.</p><p><span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span></p> + +<p><i>The Quiet Life.</i> Certain Verses by various hands. Prologue +and Epilogue by Austin Dobson. 4<sup>o</sup>. (Sampson Low, +1890.) 82 illust. (21 f. p.) With Alfred Parsons. 40 by +E. A. Abbey.</p> + +<p><i>The Comedies of Shakespeare.</i> 4 vols. 8<sup>o</sup>. (Harper, 1896.) +131 photogravure plates.</p> + +<p><i>She Stoops to Conquer.</i> Oliver Goldsmith. 8<sup>o</sup>. (Harper, 1901.) +67 illust. (17 f. p.)</p></blockquote> + +<p><span class="smcap"><a name="A_S_Boyd" id="A_S_Boyd"></a>A. S. Boyd.</span></p> + +<blockquote><p><i>Peter Stonnor.</i> Charles Blatherwick. 8<sup>o</sup>. (Chapman, 1884.) +15 illust. With James Guthrie. 6 by A. S. Boyd.</p> + +<p><i>The Birthday Book of Solomon Grundy.</i> Will Roberts. 12<sup>o</sup>. +(Gowan and Gray, 1884.) 371 illust. (6 f. p.)</p> + +<p><i>Novel Notes.</i> J. K. Jerome. 8<sup>o</sup>. (Leadenhall Press, 1893.) +90 illust. With others. 15 by A. S. Boyd.</p> + +<p><i>At the Rising of the Moon.</i> Frank Mathew. 8<sup>o</sup>. (McClure, +1893.) 27 illust. With F. Pegram. 4 by A. S. Boyd.</p> + +<p><i>Ghetto Tragedies.</i> I. Zangwill. 12<sup>o</sup>. (McClure, 1894.) +3 f. p.</p> + +<p><i>A Protègèe of Jack Hamlin's.</i> Bret Harte. 8<sup>o</sup>. (Chatto, +1894.) 26 illust. With others. 18 by A. S. Boyd.</p> + +<p><i>The Bell-Ringer of Angel's.</i> Bret Harte. 8<sup>o</sup>. (Chatto, 1894.) +39 illust. With others. 5 by A. S. Boyd.</p> + +<p><i>John Ingerfield.</i> Jerome K. Jerome. 12<sup>o</sup>. (McClure, 1894.) +9 f. p. with John Gulich.</p> + +<p><i>The Sketch-Book of the North.</i> George Eyre Todd. 8<sup>o</sup>. +(Morrison, 1896.) 16 illust. With others. 5 f. p. by +A. S. Boyd.</p> + +<p><i>Pictures from Punch.</i> Vol. VI. 4<sup>o</sup>. (Bradbury, Agnew, 1896.) +With others. 14 illust. by A. S. Boyd.</p> + +<p><i>Rabbi Saunderson.</i> Ian Maclaren. 12<sup>o</sup>. (Hodder, 1898.) +12 f. p.</p> + +<p><i>A Lowden Sabbath Morn.</i> R. L. Stevenson. 8<sup>o</sup>. (Chatto +and Windus, 1898.) 27 f. p.</p> + +<p><i>The Days of Auld Lang Syne.</i> Ian Maclaren. 8<sup>o</sup>. (Hodder +and Stoughton, 1898.) 10 f. p.</p> + +<p><i>Horace in Homespun.</i> Hugh Haliburton. 8<sup>o</sup>. (Blackwood, +1900.) 26 f. p.</p> + +<p><i>Our Stolen Summer.</i> Mary Stuart Boyd. 8<sup>o</sup>. (Blackwood, +1900.) 170 illust.</p> + +<p><i>A Versailles Christmas-Tide.</i> M. S. Boyd. 8<sup>o</sup>. (Chatto and +Windus, 1901.) 53 illust. (6 f. p.)</p></blockquote><p><span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span></p> + +<p><span class="smcap">Frank Brangwyn.</span></p> + +<blockquote><p><i>Collingwood.</i> W. Clark Russell. 8<sup>o</sup>. (Methuen, 1891.) +12 illust. 10 f. p. by Frank Brangwyn.</p> + +<p><i>The Captured Cruiser.</i> C. J. Hyne. 8<sup>o</sup>. (Blackie, 1893.) +6 f. p.</p> + +<p><i>Tales of our Coast.</i> S. R. Crockett, etc. 8<sup>o</sup>. (Chatto and +Windus, 1896.) 12 f. p.</p> + +<p><i>The Arabian Nights.</i> 8<sup>o</sup>. (Gibbings, 1897.) 36 f. p.</p> + +<p><i>The History of Don Quixote.</i> Translated by Thomas Shelton. +Introduction by J. H. McCarthy. 4 vols. 8<sup>o</sup>. (Gibbings, +1898.) 24 illust.</p> + +<p><i>Tom Cringle's Log.</i> Michael Scott. 8<sup>o</sup>. (Gibbings, 1898.) +2 vols.</p> + +<p><i>The Cruise of the Midge.</i> Michael Scott. 8<sup>o</sup>. (Gibbings, +1898.) 2 vols.</p> + +<p><i>A Spliced Yarn.</i> G. Cupples. 8<sup>o</sup>. (Gibbings, 1899.) 5 +f. p.</p> + +<p><i>Naval Yarns.</i> Collected and edited by W. H. Long. 8<sup>o</sup>. +(Gibbings, 1899.) 1 f. p.</p></blockquote> + +<p><span class="smcap"><a name="Charles_E_Brock" id="Charles_E_Brock"></a>Charles E. Brock.</span></p> + +<blockquote><p><i>The Parachute and other Bad Shots.</i> J. R. Johnson. 4<sup>o</sup>. +(Routledge, 1891.) 44 illust. (4 f. p.)</p> + +<p><i>Hood's Humorous Poems.</i> Preface by Alfred Ainger. 8<sup>o</sup>. +(Macmillan, 1893.) 130 illust. (3 f. p.)</p> + +<p><i>Scenes in Fairyland.</i> Canon Atkinson. 8<sup>o</sup>. (Macmillan, +1893.) 34 illust. (5 f. p.)</p> + +<p><i>The Humour of America.</i> Edited by J. Barr. 8<sup>o</sup>. (Scott, +1893.) 78 illust. (32 f. p.)</p> + +<p><i>The Humour of Germany.</i> Edited by Hans Mueller-Casenov. +8<sup>o</sup>. (Scott, 1893.) 54 illust. (15 f. p.)</p> + +<p><i>English Fairy and Folk Tales.</i> Edited by E. S. Hartland. 8<sup>o</sup>. +(Scott, 1893.) 13 f. p.</p> + +<p><i>Gulliver's Travels.</i> Preface by Henry Craik. 8<sup>o</sup>. (Macmillan, +1894.) 100 illust. (18 f. p.)</p> + +<p><i>History Readers.</i> Book II. 8<sup>o</sup>. (Macmillan, 1894.) 20 illust. +With H. M. Brock. 10 by C. E. Brock.</p> + +<p><i>Nema and other Stories.</i> Hedley Peek. 8<sup>o</sup>. (Chapman and +Hall, 1895.) 35 illust. (26 f. p. 6 photogravure plates.)</p> + +<p><i>Annals of the Parish and The Ayrshire Legatees.</i> John Galt. +8<sup>o</sup>. (Macmillan, 1895.) 40 illust. (32 f. p.)</p> + +<p><i>W. V. Her Book and Various Verses.</i> William Canton. 8<sup>o</sup>. +(Isbister, 1896.) 2 f. p.</p><p><span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span></p> + +<p><i>Westward Ho!</i> Charles Kingsley. 2 vols. 8<sup>o</sup>. (Macmillan, +1896.) 84 illust. (51 f. p.)</p> + +<p><i>The Poetry of Sport.</i> Edited by Hedley Peek. 8<sup>o</sup>. (Longman, +1896.) 32 illust. With others. (19 f. p. by C. E. +Brock.)</p> + +<p><i>Pride and Prejudice.</i> Jane Austen. 8<sup>o</sup>. (Macmillan, 1896. +Illustrated Standard Novels.) 40 illust. (38 f. p.)</p> + +<p><i>Racing and Chasing.</i> See <a href="#Henry_M_Brock"><i>H. M. Brock</i></a>.</p> + +<p><i>Ivanhoe.</i> Sir Walter Scott. 8<sup>o</sup>. (Service and Paton, 1897. +Illustrated English Library.) 16 f. p.</p> + +<p><i>The Invisible Playmate and W. V. Her Book.</i> William Canton. +8<sup>o</sup>. (Isbister, 1897.) 2 f. p.</p> + +<p><i>The Lady of the Lake.</i> Sir Walter Scott. 8<sup>o</sup>. (Service and +Paton, 1898.) 24 f. p.</p> + +<p><i>Robinson Crusoe.</i> Daniel Defoe. 8<sup>o</sup>. (Service and Paton, +1898. Ill. Eng. Lib.) 16 f. p.</p> + +<p><i>Dent's Second French Book.</i> 8<sup>o</sup>. (Dent, 1898.) 3 f. p.</p> + +<p><i>The Novels of Jane Austen.</i> Edited by R. Brimley Johnson. +8<sup>o</sup>. (Dent, 1898.) 10 vols. 6 f. p. in each by C. E. and +H. M. Brock. 30 by C. E. Brock. In colours.</p> + +<p><i>The Vicar of Wakefield.</i> Oliver Goldsmith. 8<sup>o</sup>. (Service and +Paton, 1898. Ill. Eng. Lib.) 16 f. p.</p> + +<p><i>John Gilpin.</i> William Cowper. 4<sup>o</sup>. (Dent, 1898. Illustrated +English Poems.) 25 illust. (11 f. p.)</p> + +<p><i>The Bravest of them All.</i> Mrs. Edwin Hohler. 8<sup>o</sup>. (Macmillan, 1899.) 8 f. p.</p> + +<p><i>M. or N.</i> G. J. Whyte-Melville. 8<sup>o</sup>. (Thacker, 1899.) +14 f. p. Coloured frontispiece.</p> + +<p><i>The Works of Jane Austen.</i> 8<sup>o</sup>. (Dent, 1899. Temple +Library.) 10 vols. 10 f. p. In colours. With H. M. Brock. +5 by C. E. Brock.</p> + +<p><i>Ivanhoe.</i> Sir Walter Scott. 8<sup>o</sup>. (Dent, 1899.) 12 f. p., +in colours.</p> + +<p><i>Une Joyeuse Nichée.</i> 8<sup>o</sup>. (Dent's Modern Language Series, +1900.) 4 f. p.</p> + +<p><i>The Path Finder.</i> <i>The Prairie.</i> Fenimore Cooper. 2 vols. 8<sup>o</sup>. +(Macmillan, 1900. Illustrated Standard Novels.) 25 f. p. each.</p> + +<p><i>Penelope's English Experiences.</i> Kate Douglas Wiggin. 8<sup>o</sup>. +(Gay and Bird, 1900.) 53 illust. (14 f. p.)</p> + +<p><i>Penelope's Experiences in Scotland.</i> Kate Douglas Wiggin. 8<sup>o</sup>. +(Gay and Bird, 1900.) 56 illust. (14 f. p.)</p> +<p><span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span></p> +<p><i>Ivanhoe.</i> Sir W. Scott. 8<sup>o</sup>. (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.</p> + +<p><i>The Essays and Last Essays of Elia.</i> Edited by Augustine +Birrell. 8<sup>o</sup>. (Dent, 1900.) 2 vols. 163 illust. (32 f. p.)</p> + +<p><i>The Holly Tree Inn</i> and <i>The Seven Poor Travellers</i>. Charles +Dickens. 8<sup>o</sup>. (Dent, 1900.) 49 illust. (12 f. p. 2 photogravure +plates.)</p></blockquote> + +<p><span class="smcap"><a name="Henry_M_Brock" id="Henry_M_Brock"></a>Henry M. Brock.</span></p> + +<blockquote><p><i>Macmillan's History Readers.</i> See <a href="#Charles_E_Brock"><i>C. E. Brock</i></a>.</p> + +<p><i>Jacob Faithful.</i> Captain Marryat. Introduction by David +Hannay. 8<sup>o</sup>. (Macmillan, 1895. Illustrated Standard +Novels.) 40 illust. (37 f. p.)</p> + +<p><i>Tales of the Covenanters.</i> Robert Pollok. 8<sup>o</sup>. (Oliphant +Anderson, 1895.) 12 illust. (7 f. p.)</p> + +<p><i>Racing and Chasing.</i> A. G. T. Watson. 8<sup>o</sup>. Longmans, +1867. With others. 10 illust. (8 f. p.) By H. M. +Brock.</p> + +<p><i>Scenes of Child Life.</i> Mrs. J. G. Fraser. 8<sup>o</sup>. (Macmillan, +1898.) 29 illust. (1 f. p.)</p> + +<p><i>Scenes of Familiar Life.</i> Mrs. J. G. Fraser. 8<sup>o</sup>. (Macmillan, +1898.) 8 f. p.</p> + +<p><i>Uncle John.</i> G. J. Whyte-Melville. 8<sup>o</sup>. (Thacker, 1898.) +14 illust. With E. Caldwell. 10 f. p. by H. M. Brock.</p> + +<p><i>Song and Verses.</i> G. J. Whyte-Melville. 8<sup>o</sup>. (Thacker, +1899.) 13 illust. (1. f. p.)</p> + +<p><i>The Little Browns.</i> Mabel E. Wotton. 4<sup>o</sup>. (Blackie, 1900.) +80 illust. (9 f. p.)</p> + +<p><i>Asinette.</i> Mrs. J. G. Frazer. 8<sup>o</sup>. (Dent, 1900.) 208 illust. +(8 f. p. in colours.)</p> + +<p>By Fenimore Cooper. 8<sup>o</sup>. (Macmillan, 1900. Illustrated +Standard Novels.) <i>The Deerslayer</i>, 40 f. p.; <i>The Last of the +Mohicans</i>, 25 f. p.; <i>The Pioneers</i>, 25 f. p.</p> + +<p><i>Digby Grand.</i> G. J. Whyte-Melville. 8<sup>o</sup>. (Thacker, 1900.) +8 f. p.</p> + +<p><i>The Old Curiosity Shop.</i> Charles Dickens. 8<sup>o</sup>. (Gresham Pub. +Co., 1901.) 8 f. p.</p> + +<p><i>Japhet in Search of a Father.</i> Captain Marryat. 8<sup>o</sup>. (Macmillan, +1895. Ill. Stan. Nov.) 40 illust. (12 f. p.)</p> + +<p><i>Handy Andy.</i> Samuel Lover. 8<sup>o</sup>. (Macmillan, 1896. Ill. +Stan. Nov.) 40 illust. (33 f. p.)</p> + +<p><i>Ballads and Songs.</i> W. M. Thackeray. 8<sup>o</sup>. (Cassell, 1896.) +111 illust. (6 f. p.)</p><p><span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span></p> + +<p><i>Cranford.</i> Mrs. Gaskell. 8<sup>o</sup>. (Service and Paton, 1898. +Ill. Eng. Lib.) 16 f. p.</p> + +<p><i>The Novels of Jane Austen.</i> 1898. See <a href="#Charles_E_Brock"><i>C. E. Brock</i></a>.</p> + +<p><i>Waverley.</i> Sir Walter Scott. 8<sup>o</sup>. (Service and Paton, 1899. +Ill. Eng. Lib.) 16 f. p.</p> + +<p><i>The Works of Jane Austen.</i> 1899. See <a href="#Charles_E_Brock"><i>C. E. Brock</i></a>.</p> + +<p><i>Black but Comely.</i> G. J. Whyte-Melville. 8<sup>o</sup>. (Thacker, +1899.) 10 f. p.</p> + +<p><i>The Drummer's Coat.</i> Hon. J. W. Fortescue. 4<sup>o</sup>. (Macmillan, +1899.) 4 f. p.</p> + +<p><i>King Richard II.</i> Edited by W. J. Abel. 8<sup>o</sup>. (Longmans, +1899. Swan Edition.) 11 f. p.</p> + +<p><i>Ivanhoe.</i> 1900. See <a href="#Charles_E_Brock"><i>C. E. Brock</i></a>.</p> + +<p><i>The Pilgrim's Progress.</i> John Bunyan. 8<sup>o</sup>. (Pearson, 1900.) +8 f. p.</p> + +<p><i>Ben Hur.</i> General Lew Wallace. 8<sup>o</sup>. (Pearson, 1901.) +8 f. p.</p> + +<p><i>Sister Louise</i> and <i>Rosine</i>. <i>Kate Coventry.</i> <i>Cerise.</i> G. J. Whyte-Melville. +8<sup>o</sup>. (Thacker, 1901.) 10 f. p. each. Frontispiece +in colours.</p></blockquote> + +<p><span class="smcap">W. Cubitt Cooke.</span></p> + +<blockquote><p><i>Evelina.</i> Frances Burney. 2 vols. 8<sup>o</sup>. (Dent, 1893.) 6 +photogravure plates and portrait.</p> + +<p><i>Cecilia.</i> 3 vols. Uniform with above. 9 f. p.</p> + +<p><i>The Man of Feeling.</i> Henry Mackenzie. 8<sup>o</sup>. (Dent, 1893.) +3 photogravure plates and portrait.</p> + +<p><i>My Study Fire.</i> H. W. Mabie. 8<sup>o</sup>. (Dent, 1893.) 3 f. p., +photogravure.</p> + +<p><i>The Vicar of Wakefield.</i> O. Goldsmith. 8<sup>o</sup>. (Dent, 1893.) +6 f. p.</p> + +<p><i>Reveries of a Bachelor.</i> D. G. Mitchell. 8<sup>o</sup>. (Dent, 1894.) +Frontispiece.</p> + +<p><i>The Master Beggars.</i> Cope Cornford. 8<sup>o</sup>. (Dent, 1897.) +8 f. p.</p> + +<p><i>The Singer of Marly.</i> Ida Hooper. 8<sup>o</sup>. (Methuen, 1897.) +4 f. p.</p> + +<p>By Charles Dickens. 8<sup>o</sup>. (Dent, 1899. The Temple Dickens.) +<i>Sketches by Boz</i>, 2 vols.; <i>Dombey and Son</i>, 3 vols.; <i>Martin +Chuzzlewit</i>, 3 vols.; <i>A Christmas Carol</i>, 1 vol. 1 f. p. in +each vol.</p> + +<p><i>The Novels of Jane Austen.</i> Edited by R. Brimley Johnson. +<span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span>10 vols. 8<sup>o</sup>. (Dent, 1894.) 3 photogravure plates in each vol.</p> + +<p><i>Popular British Ballads.</i> Chosen by R. Brimley Johnson. +4 vols. 8<sup>o</sup>. (Dent, 1894.) 219 illust. (22 f. p.)</p> + +<p><i>By Stroke of Sword.</i> Andrew Balfour. 8<sup>o</sup>. (Methuen, 1897.) +4 f. p.</p> + +<p><i>John Halifax.</i> Mrs. Craik. 8<sup>o</sup>. (Dent, 1898.) 12 illust. in +colours, with others. 4 f. p. by W. C. Cooke.</p></blockquote> + +<p><span class="smcap">Sir Harry Furniss.</span></p> + +<blockquote><p><i>Tristram Shandy.</i> Laurence Sterne. 8<sup>o</sup>. (Nimmo, 1883.) +8 etchings from drawings by Harry Furniss.</p> + +<p><i>A River Holiday.</i> 8<sup>o</sup>. (Fisher Unwin, 1883.) 15 illust. +(3 f. p.)</p> + +<p><i>The Talk of the Town.</i> James Payn. 2 vols. 8<sup>o</sup>. (Smith, +Elder, 1884.) 14 f. p.</p> + +<p><i>All in a Garden Fair.</i> Walter Besant. 8<sup>o</sup>. (Chatto and +Windus, 1884.) 6 f. p.</p> + +<p><i>Romps at the Sea-side</i> and <i>Romps in Town</i>. Verses by Horace +Leonard. 4<sup>o</sup>. (Routledge, 1885.) 28 pictured pages in +colours.</p> + +<p><i>Parliamentary Views.</i> 4<sup>o</sup>. (Bradbury, Agnew, 1885.) 28 +f. p.</p> + +<p><i>Hugh's Sacrifice.</i> C. M. Norris. 8<sup>o</sup>. (Griffith, Farran, 1886.) +4 f. p.</p> + +<p><i>More Romps.</i> Verses by E. J. Milliken. 4<sup>o</sup>. (Routledge, +1886.) 52 pictured pages in colours.</p> + +<p><i>The Comic Blackstone.</i> Arthur W. A'Beckett. 8<sup>o</sup>. (Bradbury, +Agnew, 1886.) 9 parts. 28 illust. (10 f. p. in colours.)</p> + +<p><i>Travels in the Interior.</i> L. T. Courtenay. 8<sup>o</sup>. (Ward and +Downey, 1887.) 17 illust. (3 f. p.)</p> + +<p><i>The Incompleat Angler.</i> F. C. Burnand. 8<sup>o</sup>. (Bradbury, +Agnew, 1887.) 29 illust. (6 f. p.)</p> + +<p><i>How he did it.</i> Harry Furniss. 8<sup>o</sup>. (Bradbury, Agnew, 1887.) +50 illust. (4 f. p.)</p> + +<p><i>The Moderate Man and other Verses.</i> Edwin Hamilton. 4<sup>o</sup>. +(Ward and Downey, 1888.) 12 f. p.</p> + +<p><i>Pictures at Play.</i> 8<sup>o</sup>. (Bradbury, Agnew, 1888.) 18 illust. +(5 f. p.)</p> + +<p><i>Sylvie and Bruno.</i> Lewis Carroll. 8<sup>o</sup>. (Macmillan, 1889.) +46 illust. (9 f. p.)</p> + +<p><i>Perfervid.</i> John Davidson. 8<sup>o</sup>. (Ward and Downey, 1890.) +23 illust. (5 f. p.)</p> + +<p><i>M.P.s in Session.</i> Obl. 4<sup>o</sup>. (Bradbury, Agnew, 1890.) 500 +illust.</p><p><span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span></p> + +<p><i>Wanted a King.</i> Maggie Browne. 8<sup>o</sup>. (Cassell, 1890.) 76 +illust. (8 f. p.)</p> + +<p><i>Brayhard.</i> F. M. Allen. 8<sup>o</sup>. (Ward and Downey, 1890.) +37 illust. (7 f. p.)</p> + +<p><i>Academy Antics.</i> 8<sup>o</sup>. (Bradbury, Agnew, 1890.) 60 illust.</p> + +<p><i>Flying Visits.</i> H. Furniss. 8<sup>o</sup>. (Simpkin, 1892.) 192 illust. +(6 f. p.)</p> + +<p><i>Olga's Dream.</i> Norley Chester. 8<sup>o</sup>. (Skeffington, 1892.) +24 illust. (4 f. p.) With Irving Montague. 6 by H. Furniss.</p> + +<p><i>A Diary of the Salisbury Parliament.</i> Henry W. Lucy. 8<sup>o</sup>. +(Cassell, 1892.) 89 illust. (1 f. p.)</p> + +<p><i>Sylvie and Bruno concluded.</i> Lewis Carroll. 8<sup>o</sup>. (Macmillan, +1893.) 46 illust. (9 f. p.)</p> + +<p><i>The Grand Old Mystery unravelled.</i> 8<sup>o</sup>. (Simpkin, 1894.) +20 illust. (12 f. p.)</p> + +<p><i>The Wallypug of Why.</i> G. E. Farrow. 8<sup>o</sup>. (Hutchinson, +1895.) 62 illust. With Dorothy Furniss. 20 by H. Furniss. +(17 f. p.)</p> + +<p><i>Golf.</i> Horace G. Hutchinson. 8<sup>o</sup>. (Longmans, 1895. +Badminton Library.) 87 illust. With others. 9 f. p. by H. +Furniss.</p> + +<p><i>The Missing Prince.</i> G. E. Farrow. 8<sup>o</sup>. (Hutchinson, 1896.) +51 illust. With D. Furniss. 13 f. p. by H. Furniss.</p> + +<p><i>Cricket Sketches.</i> E. B. V. Christian. 8<sup>o</sup>. (Simpkin, 1896.) +100 illust.</p> + +<p><i>Pen and Pencil in Parliament.</i> Harry Furniss. 8<sup>o</sup>. (Sampson +Low, 1897.) 173 illust. (50 f. p.)</p> + +<p><i>Miss Secretary Ethel.</i> Elinor D. Adams. 8<sup>o</sup>. (Hurst and +Blackett, 1898.) 6 illust. (5 f. p.)</p> + +<p><i>Australian Sketches.</i> Harry Furniss. 8<sup>o</sup>. (Ward, Lock, 1899.) +86 illust. (1 f. p.)</p></blockquote> + +<p><span class="smcap">William B. Hole.</span></p> + +<blockquote><p><i>The Master of Ballantrae.</i> R. L. Stevenson. 8<sup>o</sup>. (Cassell, +1891.) 10 f. p.</p> + +<p><i>A Window in Thrums.</i> J. M. Barrie. 8<sup>o</sup>. (Hodder and +Stoughton, 1892.) 14 etchings. (13 f. p.)</p> + +<p><i>The Heart of Midlothian.</i> Sir Walter Scott. 8<sup>o</sup>. (Black, +1893. Dryburgh edition.) 10 woodcuts. (9 f. p.)</p> + +<p><i>The Little Minister.</i> J. M. Barrie. 8<sup>o</sup>. (Cassell, 1893.) +9 f. p. woodcuts.</p> + +<p><i>Auld Licht Idylls.</i> J. M. Barrie. 8<sup>o</sup>. (Hodder and Stoughton, +1895.) 13 etchings. (12 f. p.)</p><p><span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span></p> + +<p><i>Catriona.</i> R. L. Stevenson. 8<sup>o</sup>. (Cassell, 1895.) 16 +woodcuts.</p> + +<p><i>Kidnapped.</i> R. L. Stevenson. 8<sup>o</sup>. (Cassell, 1895.) 16 +woodcuts.</p> + +<p><i>Beside the Bonnie Brier Bush.</i> Ian Maclaren. 8<sup>o</sup>. (Hodder +and Stoughton, 1896.) 12 etchings.</p> + +<p><i>The Century Edition of the Poetry of Robert Burns.</i> 4 vols. 4<sup>o</sup>. +(Jack, 1896.) 20 f. p. etchings.</p></blockquote> + +<p><span class="smcap">H. M. Paget.</span></p> + +<blockquote><p><i>Kenilworth.</i> Sir Walter Scott. 8vo. (Black, 1893. Dryburgh +edition.) 10 woodcuts. (9 f. p.)</p> + +<p><i>Quentin Durward.</i> Sir Walter Scott. 8vo. (Black, 1894. +Dryburgh edition.) 10 woodcuts. (9 f. p.)</p> + +<p><i>Pictures from Dickens.</i> 4<sup>o</sup>. (Nister, 1895.) 12 coloured +illust. with others.</p> + +<p><i>Annals of Westminster Abbey.</i> E. T. Bradley. 4<sup>o</sup>. (Cassell, +1895.) 163 illust. With others.</p> + +<p><i>The Vicar of Wakefield.</i> Oliver Goldsmith. 8vo. (Nister, +1898.) 25 illust. (12 f. p. 5 heliogravure plates.)</p> + +<p>Also illustrations to boys' books by G. A. Henty, etc.</p></blockquote> + +<p><span class="smcap">Sidney Paget.</span></p> + +<blockquote><p><i>Adventures of Sherlock Holmes.</i> Conan Doyle. 8<sup>o</sup>. (Newnes, +1892.) 104 illust.</p> + +<p><i>Rodney Stone.</i> Conan Doyle. 8<sup>o</sup>. (Smith Elder, 1896.) +8 f. p.</p> + +<p><i>The Tragedy of the Korosko.</i> Conan Doyle. 8<sup>o</sup>. (Smith Elder, +1898.) 40 f. p.</p> + +<p><i>Old Mortality.</i> Sir Walter Scott. 8<sup>o</sup>. (Service and Paton, +1898. Illustrated English Library.) 16 f. p.</p> + +<p><i>Terence.</i> B. M. Croker. 8<sup>o</sup>. (Chatto and Windus, 1899.) +6 f. p.</p> + +<p><i>The Sanctuary Club.</i> L. T. Meade and Robert Eustace. 8<sup>o</sup>. +(Ward, Lock, 1900.) 6 f. p.</p></blockquote> + +<p><span class="smcap">Walter Paget.</span></p> + +<blockquote><p><i>The Black Dwarf.</i> Sir Walter Scott. 8<sup>o</sup>. (Black, 1893. +Dryburgh edition). 4 f. p.</p> + +<p><i>Castle Dangerous.</i> Sir Walter Scott. 8<sup>o</sup>. (Black, 1894. +Dryburgh edition.) 6 illust. (5 f. p.)</p> + +<p><i>The Talisman.</i> Sir Walter Scott. 8<sup>o</sup>. (Ward, Lock, 1895.) +68 illust. With others.</p> + +<p><i>A Legend of Montrose.</i> Sir Walter Scott. 8<sup>o</sup>. (Ward, +Lock, 1895.) 76 illust. With A. de Parys.</p><p><span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span></p> + +<p><i>Robinson Crusoe.</i> Daniel Defoe. 8<sup>o</sup>. (Cassell, 1896.) 120 +illust. (13 f. p.)</p> + +<p><i>Treasure Island.</i> R. L. Stevenson. 8<sup>o</sup>. (Cassell, 1899.) 46 +illust. (15 f. p.)</p> + +<p><i>Tales from Shakespeare.</i> Charles and Mary Lamb. 4<sup>o</sup>. (Nister, +1901.) 76 illust. (18 f. p. 6 printed in colours.)</p></blockquote> + +<p><span class="smcap">J. Bernard Partridge.</span></p> + +<blockquote><p><i>Stage-land.</i> Jerome K. Jerome. 8<sup>o</sup>. (Chatto and Windus, +1889.) 63 illust. (14 f. p.)</p> + +<p><i>Voces Populi.</i> F. Anstey. 8<sup>o</sup>. (Longmans, 1890.) 20 illust. +(9 f. p.)</p> + +<p><i>Voces Populi.</i> Second Series. 1892. 25 illust. (17 f. p.)</p> + +<p><i>My Flirtations.</i> Margaret Wynman. 8<sup>o</sup>. (Chatto and +Windus, 1892.) 13 illust. (11 f. p.)</p> + +<p><i>The Travelling Companions.</i> F. Anstey. 8<sup>o</sup>. (Longmans, +1892.) 26 illust. (1 f. p.)</p> + +<p><i>Mr. Punch's Pocket Ibsen.</i> F. Anstey. 8<sup>o</sup>. (Heinemann, +1893.) 14 f. p.</p> + +<p><i>The Man from Blankley's.</i> F. Anstey. 4<sup>o</sup>. (Longmans, +1893.) 25 illust. (9 f. p.)</p> + +<p><i>When a Man's Single.</i> <i>A Window in Thrums.</i> <i>The Little +Minister.</i> <i>My Lady Nicotine.</i> J. M. Barrie. 8<sup>o</sup>. Scribner, +1896. 1 f. p. each.</p> + +<p><i>Tommy and Grizel.</i> J. M. Barrie. 8<sup>o</sup>. (Copp, Torontono, +1901.) 11 f. p.</p> + +<p><i>Proverbs in Porcelain.</i> Austin Dobson. 8<sup>o</sup>. (Kegan Paul, +1893.) 25 f. p.</p> + +<p><i>Under the Rose.</i> F. Anstey. 8<sup>o</sup>. (Bradbury, Agnew, 1894.) +15 f. p.</p> + +<p><i>Lyre and Lancet.</i> F. Anstey. 8<sup>o</sup>. (Smith, Elder, 1895.) +24 f. p.</p> + +<p><i>Puppets at Large.</i> F. Anstey. 8<sup>o</sup>. (Bradbury, Agnew, 1897). +16 f. p.</p> + +<p><i>Baboo Jabberjee, B.A.</i> F. Anstey. 8<sup>o</sup>. (Dent, 1897.) +29 f. p.</p> + +<p><i>The Tinted Venus.</i> F. Anstey. 8<sup>o</sup>. (Harper, 1898.) 15 +f. p.</p> + +<p><i>Wee Folk; good Folk.</i> L. Allen Harker. 8<sup>o</sup>. (Duckworth, +1899.) 5 f. p.</p></blockquote> + +<p><span class="smcap">Fred Pegram.</span></p> + +<blockquote><p><i>At the Rising of the Moon.</i> See <a href="#A_S_Boyd"><i>A. S. Boyd</i></a>.</p> +<p><span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span></p> +<p><i>Mr. Midshipman Easy.</i> Captain Marryat. Introduction by +David Hannay. 8<sup>o</sup>. (Macmillan, 1896. Illustrated Standard +Novels.) 38 f. p.</p> + +<p><i>Sybil or the Two Nations.</i> Benjamin Disraeli. Introduction +by H. D. Traill. 8<sup>o</sup>. (Macmillan, 1895. Ill. Stan. +Nov.) 40 illust. (29 f. p.)</p> + +<p><i>The Last of the Barons.</i> Lord Lytton. 8<sup>o</sup>. (Service and +Paton, 1897. Illustrated English Library.) 16 f. p.</p> + +<p><i>Masterman Ready.</i> Captain Marryat. Introduction by David +Hannay. 8<sup>o</sup>. (Macmillan, 1897. Ill. Stan. Nov.) 40 illust. +(39 f. p.)</p> + +<p><i>Poor Jack.</i> Captain Marryat. Introduction by David Hannay. +8<sup>o</sup>. (Macmillan, 1897. Ill. Stan. Nov.) 40 illust. (39 f. p.)</p> + +<p><i>The Arabian Nights Entertainments.</i> 8<sup>o</sup>. (Service and Paton, +1898. Ill. Eng. Lib.) 16 f. p.</p> + +<p><i>The Bride of Lammermoor.</i> Sir Walter Scott. 8<sup>o</sup>. (Service +and Paton, 1898. Ill. Eng. Lib.) 16 f. p.</p> + +<p><i>The Orange Girl.</i> Walter Besant. 8<sup>o</sup>. (Chatto and Windus, +1899.) 8 f. p.</p> + +<p><i>Ormond.</i> Maria Edgeworth. Introduction by Austin H. Johnson. +8<sup>o</sup>. (Gresham Publishing Company, 1900.) 6 f. p.</p> + +<p><i>Concerning Isabel Carnaby.</i> E. Thorneycroft Fowler. 8<sup>o</sup>. +(Hodder and Stoughton, 1900.) 8 f. p.</p> + +<p><i>The Wide Wide World.</i> Miss Wetherell. 8<sup>o</sup>. (Pearson.) 8 f. p.</p> + +<p><i>Martin Chuzzlewit.</i> 8<sup>o</sup>. C. Dickens. (Blackie.) 10 f. p.</p></blockquote> + +<p><span class="smcap">Claude A. Shepperson.</span></p> + +<blockquote><p><i>Shrewsbury.</i> Stanley J. Weyman. 8<sup>o</sup>. (Longmans, 1898.) +24 illust. (14 f. p.)</p> + +<p><i>The Merchant of Venice.</i> Edited by John Bidgood. 8<sup>o</sup>. +(Longmans, 1899. Swan edition.) 10 f. p.</p> + +<p><i>The Heart of Mid-Lothian.</i> Sir Walter Scott. Introduction +by William Keith Leask. 8<sup>o</sup>. (Gresham Publishing Company, +1900.) 6 f. p.</p> + +<p><i>Lavengro.</i> George Borrow. Introduction by Charles E. Beckett. +8<sup>o</sup>. (Gresham Publishing Company, 1900.) 6 f. p.</p> + +<p><i>Coningsby.</i> Benjamin Disraeli. Introduction by William Keith +Leask. 8<sup>o</sup>. (Gresham Publishing Company, 1900.) 6 f. p.</p> + +<p><i>As You Like It.</i> Edited by W. Dyche. 8<sup>o</sup>. (Longmans, +1900. Swan edition.) 10 f. p.</p></blockquote> + +<p><span class="smcap">William Strang.</span></p> + +<blockquote><p><i>The Earth Fiend.</i> William Strang. 4<sup>o</sup>. (Elkin Mathews +and John Lane, 1892.) 11 etchings.</p> +<p><span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span></p> +<p><i>Lucian's True History.</i> Translated by Francis Hickes. 8<sup>o</sup>. +(Privately printed, 1894.) 16 illust. With others. 7 f. p. by +William Strang.</p> + +<p><i>Death and the Ploughman's Wife.</i> A Ballad by William Strang. +Fol. (Lawrence and Bullen, 1894.) 12 etchings.</p> + +<p><i>Nathan the Wise.</i> G. E. Lessing. Translated by William +Jacks. 8<sup>o</sup>. (Maclehose, 1894.) 8 etchings.</p> + +<p><i>The Pilgrim's Progress.</i> John Bunyan. 8<sup>o</sup>. (Nimmo, 1895.) +14 etchings.</p> + +<p><i>The Christ upon the Hill.</i> Cosmo Monkhouse. Fol. (Smith, +Elder, 1895.) 9 etchings.</p> + +<p><i>The Surprising Adventures of Baron Munchausen.</i> Introduction +by Thomas Seccombe. 8<sup>o</sup>. (Lawrence and Bullen, 1895.) +50 illust. (15 f. p.) With J. B. Clark. 25 by William +Strang.</p> + +<p><i>Paradise Lost.</i> John Milton. Fol. (Nimmo, 1896.) 12 +etchings.</p> + +<p><i>Sindbad the Sailor</i>, <i>Ali Baba and the Forty Thieves</i>. 8<sup>o</sup>. (Lawrence +and Bullen, 1896.) 50 illust. (15 f. p.) With J. B. +Clark. 25 by William Strang.</p> + +<p><i>A Book of Ballads.</i> Alice Sargant. 4<sup>o</sup>. (Elkin Mathews, +1898.) 5 etchings.</p> + +<p><i>A Book of Giants.</i> William Strang. 4<sup>o</sup>. (Unicorn Press, +1898. Unicorn Quartos.) 12 f. p. woodcuts in colours.</p> + +<p><i>Western Flanders.</i> Laurence Binyon. Fol. (Unicorn Press, +1899.) 10 etchings.</p> + +<p><i>A Series of Thirty Etchings illustrating subjects from the +Writings of Rudyard Kipling.</i> Fol. (Macmillan, 1901.)</p> + +<p><i>The Praise of Folie.</i> Erasmus. Translated by Sir Thomas +Chaloner. Edited by Janet E. Ashbee. (Arnold, 1901.) +8 woodcuts, drawn by William Strang and cut by Bernard +Sleigh.</p></blockquote> + +<p><span class="smcap">Edmund J. Sullivan.</span></p> + +<blockquote><p><i>The Rivals</i> and <i>The School for Scandal</i>. R. B. Sheridan. Introduction +by Augustine Birrell. 8<sup>o</sup>. (Macmillan, 1896.) +50 f. p.</p> + +<p><i>Lavengro.</i> George Borrow. Introduction by Augustine +Birrell. 8<sup>o</sup>. (Macmillan, 1896. Illustrated Standard +Novels.) 45 illust. (37 f. p.)</p> + +<p><i>The Compleat Angler.</i> Izaak Walton. Edited by Andrew +Lang. 8<sup>o</sup>. (Dent, 1896.) 89 illust. (42 f. p.)</p> + +<p><i>Tom Brown's School-Days.</i> 8<sup>o</sup>. (Macmillan, 1896.) 79 illust. +(20 f. p.)</p><p><span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span></p> + +<p><i>The Pirate</i> and <i>The Three Cutters</i>. Captain Marryat. 8<sup>o</sup>. +(Macmillan, 1897. Ill. Stan. Nov.) 40 f. p.</p> + +<p><i>Newton Forster.</i> Captain Marryat. 8<sup>o</sup>. (Macmillan, 1897. +Ill. Stan. Nov.) 40 f. p.</p> + +<p><i>Sartor Resartus.</i> Thomas Carlyle. 8<sup>o</sup>. (Bell, 1898.) 77 +illust. (12 f. p.)</p> + +<p><i>The Pirate.</i> Sir Walter Scott. 8<sup>o</sup>. (Service and Paton, +1898. Illustrated English Library.) 16 f. p.</p> + +<p><i>The Natural History and Antiquities of Selborne</i> and <i>A Garden +Kalendar</i>. Gilbert White. 8<sup>o</sup>. (Freemantle, 1900.) 2 vols. +176 illust. (20 f. p.) With others. 45 by E. J. Sullivan.</p> + +<p><i>A Dream of Fair Women.</i> Lord Tennyson. 4<sup>o</sup>. (Grant +Richards, 1900.) 40 f. p. 4 photogravure plates.</p></blockquote> + +<p><span class="smcap">Hugh Thomson.</span></p> + +<blockquote><p><i>Days with Sir Roger de Coverley.</i> 4<sup>o</sup>. (Macmillan, 1886.) 51 +illust. (1 f. p.)</p> + +<p><i>Coaching Days and Coaching Ways.</i> W. Outram Tristram. +4<sup>o</sup>. (Macmillan, 1888.) 213 illust. With Herbert Railton. +73 by Hugh Thomson.</p> + +<p><i>Cranford.</i> Mrs. Gaskell. Preface by Anne Thackeray Ritchie. +8<sup>o</sup>. (Macmillan, 1891.) 111 illust.</p> + +<p><i>The Vicar of Wakefield.</i> Oliver Goldsmith. Preface by Austin +Dobson. 8<sup>o</sup>. (Macmillan, 1891.) 182 illust. (1 f. p.)</p> + +<p><i>The Ballad of Beau Brocade.</i> Austin Dobson. 8<sup>o</sup>. (Kegan +Paul, 1892.) 50 illust. (27 f. p.)</p> + +<p><i>Our Village.</i> Mary Russell Mitford. Introduction by Anne +Thackeray Ritchie. 8<sup>o</sup>. (Macmillan, 1893.) 100 illust.</p> + +<p><i>The Piper of Hamelin. A Fantastic Opera.</i> Robert Buchanan. +8<sup>o</sup>. (Heinemann, 1893.) 12 plates.</p> + +<p><i>St. Ronan's Well.</i> Sir Walter Scott. 8<sup>o</sup>. (Black, 1894. +Dryburgh edition.) 10 woodcuts. (9 f. p.)</p> + +<p><i>Pride and Prejudice.</i> Jane Austen. Preface by George +Saintsbury. 8<sup>o</sup>. (Allen, 1894.) 101 illust. (1 f. p.)</p> + +<p><i>Coridon's Song and other Verses.</i> Austin Dobson. 8<sup>o</sup>. (Macmillan, +1894.) 76 f. p.</p> + +<p><i>The Story of Rosina and other Verses.</i> Austin Dobson. 8<sup>o</sup>. +(Kegan Paul, 1895.) 49 illust. (32 f. p.)</p> + +<p><i>Sense and Sensibility.</i> Jane Austen. Introduction by Austin +Dobson. 8<sup>o</sup>. (Macmillan, 1896. Illustrated Standard +Novels.) 40 f. p.</p> + +<p><i>Emma.</i> Jane Austen. Introduction by Austin Dobson. 8<sup>o</sup>. +(Macmillan, 1896. Ill. Stan. Nov.) 40 f. p.</p><p><span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></span></p> + +<p><i>The Chace.</i> William Somerville. 8<sup>o</sup>. (George Redway, 1896.) +9 f. p.</p> + +<p><i>The Poor in Great Cities.</i> Robert A. Woods and others. 8<sup>o</sup>. +(Kegan Paul, 1896.) 105 illust. (8 f. p.) With others. 21 +by Hugh Thomson.</p> + +<p><i>Highways and Byways in Devon and Cornwall.</i> Arthur H. +Norway. 8<sup>o</sup>. (Macmillan, 1897.) 66 illust. With Joseph +Pennell. 8 f. p. by Hugh Thomson.</p> + +<p><i>Mansfield Park.</i> Jane Austen. Introduction by Austin +Dobson. 8<sup>o</sup>. (Macmillan, 1897. Ill. Stan. Nov.) 40 +illust. (38 f. p.)</p> + +<p><i>Northanger Abbey and Persuasion.</i> Jane Austen. Introduction +by Austin Dobson. 8<sup>o</sup>. (Macmillan, 1897. Ill. Stan. +Nov.) 40 illust. (38 f. p.)</p> + +<p><i>Cranford.</i> Mrs. Gaskell. Preface by Anne Thackeray Ritchie. +8<sup>o</sup>. (Macmillan, 1898.) 100 illust. 40 in colours.</p> + +<p><i>Riding Recollections.</i> G. J. Whyte-Melville. (Thacker, 1898.) +12 f. p. Coloured frontispiece.</p> + +<p><i>Highways and Byways in North Wales.</i> Arthur G. Bradley. +8<sup>o</sup>. (Macmillan, 1898.) 66 illust. with Joseph Pennell. +9 f. p. by Hugh Thomson.</p> + +<p><i>Highways and Byways in Donegal and Antrim.</i> Stephen Gwynn. +8<sup>o</sup>. (Macmillan, 1899.) 87 illust. (20 f. p.)</p> + +<p><i>Highways and Byways in Yorkshire.</i> Arthur H. Norway. 8<sup>o</sup>. +(Macmillan, 1899.) 96 illust. With Joseph Pennell. 8 f. p. +by Hugh Thomson.</p> + +<p><i>Peg Woffington.</i> Charles Reade. Introduction by Austin +Dobson. 8<sup>o</sup>. (Allen, 1899.) 75 illust. (30 f. p.)</p> + +<p><i>This and That.</i> Mrs. Molesworth. 8<sup>o</sup>. (Macmillan, 1899.) +8 f. p.</p> + +<p><i>Ray Farley.</i> John Moffat and Ernest Druce. 8<sup>o</sup>. (Fisher +Unwin, 1901.) 6 f. p.</p> + +<p><i>A Kentucky Cardinal</i> and <i>Aftermath</i>. James Lane Allen. 8<sup>o</sup>. +(Macmillan, 1901.) 48 illust. and decorations. (34 f. p.)</p></blockquote> + +<p><span class="smcap">F. H. Townsend.</span></p> + +<blockquote><p><i>A Social Departure.</i> Sara Jeannette Duncan. 8<sup>o</sup>. (Chatto +and Windus, 1890.) 111 illust. (12 f. p.)</p> + +<p><i>An American Girl in London.</i> Sara Jeannette Duncan. 8<sup>o</sup>. +(Chatto and Windus, 1891.) 80 illust. (19 f. p.)</p> + +<p><i>The Simple Adventures of a Memsahib.</i> Sara Jeannette +Duncan. 8<sup>o</sup>. (Chatto and Windus, 1893.) 37 illust. +(12 f. p.)</p> +<p><span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span></p> + +<p>Illustrated Standard Novels. 8<sup>o</sup>. (Macmillan, 1895-7.)</p> + +<blockquote><p>The Novels of Thomas Love Peacock. Edited by George +Saintsbury.</p> + +<p><i>Maid Marian and Crotchet Castle.</i> 40 illust. (37 f. p.)</p> + +<p><i>Gryll Grange.</i> 40 f. p.</p> + +<p><i>Melincourt.</i> 40 illust. (39 f. p.)</p> + +<p><i>The Misfortunes of Elphin and Rhododaphne.</i> 40 illust. +(39 f. p.)</p> + +<p><i>The King's Own.</i> Captain Marryat. Introduction by +David Hannay. 8<sup>o</sup>. 40 illust. (38 f. p.)</p> +</blockquote> + +<p>Illustrated English Library. 8<sup>o</sup>. (Service and Paton, 1897-8.)</p> + +<blockquote><p><i>Jane Eyre.</i> Charlotte Brontë. 16 f. p.</p> + +<p><i>Shirley.</i> Charlotte Brontë. 16 f. p.</p> + +<p><i>Rob Roy.</i> Sir Walter Scott. 16 f. p.</p> +</blockquote> + +<p><i>Bladys of the Stewponey.</i> S. Baring Gould. 8<sup>o</sup>. (Methuen, +1897.) 5 illust. with B. Munns. 3 f. p. by F. H. +Townsend.</p> + +<p>The Works of Nathaniel Hawthorne. Edited by Moncure +D. Conway. 8<sup>o</sup>. (Service and Paton, 1897-9.)</p> + +<blockquote><p><i>The Scarlet Letter.</i> 8 f. p.</p> + +<p><i>The House of the Seven Gables.</i> 8 f. p.</p> + +<p><i>The Blithedale Romance.</i> 8 f. p.</p> +</blockquote> + +<p><i>The Path of a Star.</i> Sara Jeannette Duncan. 8<sup>o</sup>. (Methuen, +1899.) 12 f. p.</p> +</blockquote> + + +<h3><a name="Childrens_Books_Illustrators" id="Childrens_Books_Illustrators"></a><span class="smcap">Some Children's Books Illustrators.</span></h3> + +<p><span class="smcap">John D. Batten.</span></p> + +<blockquote><p><i>Oedipus the Wreck; or, 'To Trace the Knave.'</i> Owen Seaman. +8<sup>o</sup>. (F. Johnson, Cambridge, 1888.) 18 illust. (5 f. p.) +With Lancelot Speed.</p> + +<p><i>English Fairy Tales.</i> Collected by Joseph Jacobs. 8<sup>o</sup>. (Nutt, +1890.) 60 illust. and decorations. 2 by Henry Ryland. +(8 f. p.)</p> + +<p><i>Celtic Fairy Tales.</i> Selected and edited by Joseph Jacobs. 8<sup>o</sup>. +(Nutt, 1892.) 70 illust. and decorations. (8 f. p.)</p> + +<p><i>Indian Fairy Tales.</i> Selected and edited by Joseph Jacobs. 8<sup>o</sup>. +(Nutt, 1892.) 65 illust. and decorations. (9 f. p.)</p> + +<p><i>Fairy Tales from the Arabian Nights.</i> Edited and arranged by +E. Dixon. 8<sup>o</sup>. (Dent, 1893.) 50 illust. and decorations. +(5 f. p. in photogravure.)</p><p><span class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a></span></p> + +<p><i>More English Fairy Tales.</i> Collected and edited by Joseph +Jacobs. 8<sup>o</sup>. (Nutt, 1894.) 50 illust. and decorations. +(8 f. p.)</p> + +<p><i>More Celtic Fairy Tales.</i> Selected and edited by Joseph +Jacobs. 8<sup>o</sup>. (Nutt, 1894.) 67 illust. and decorations. +(8 f. p.)</p> + +<p><i>More Fairy Tales from the Arabian Nights.</i> Edited and arranged +by E. Dixon. 8<sup>o</sup>. (Dent, 1895.) 40 illust. and decorations. +(5 f. p. in photogravure.)</p> + +<p><i>A Masque of Dead Florentines.</i> Maurice Hewlett. Obl. fol. +(Dent, 1895.) 15 illust. (4 f. p.)</p> + +<p><i>The Book of Wonder Voyages.</i> Edited by Joseph Jacobs. 8<sup>o</sup>. +(Nutt, 1896.) 26 illust. (7 f. p. in photogravure.)</p> + +<p><i>The Saga of the Sea-Swallow and Greenfeather the Changeling.</i> +8<sup>o</sup>. (Innes, 1896.) 33 illust. and decorations. (4 f. p.) +With Hilda Fairbairn.</p></blockquote> + +<p><span class="smcap"><a name="Lewis_Baumer" id="Lewis_Baumer"></a>Lewis Baumer.</span></p> + +<blockquote><p><i>Jumbles.</i> Lewis Baumer. 8<sup>o</sup>. (Pearson, 1897.) 50 pictured +pages. (24 f. p., in colours.)</p> + +<p><i>Hoodie.</i> Mrs. Molesworth. 8<sup>o</sup>. (Chambers, 1897.) 17 illust. +(8 f. p.)</p> + +<p><i>Elsie's Magician.</i> Fred Whishaw. 8<sup>o</sup>. (Chambers, 1897) +10 illust. (5 f. p.)</p> + +<p><i>The Baby Philosopher.</i> Ruth Berridge. 8<sup>o</sup>. (Jarrold, 1898.) +13 illust. (4 f. p.)</p> + +<p><i>The Story of the Treasure Seekers.</i> E. Nesbit. 8<sup>o</sup>. (Fisher +Unwin, 1899.) 17 f. p.; 15 by Gordon Browne.</p> + +<p>By Mrs. Molesworth. 8<sup>o</sup>. (Chambers, 1898-1900.) <i>Hermy.</i> <i>The +Boys and I.</i> <i>The Three Witches.</i> 17 illust. (12 f. p.) in each.</p></blockquote> + +<p><span class="smcap">F. D. Bedford.</span></p> + +<blockquote><p><i>Old Country Life.</i> S. Baring-Gould. 4<sup>o</sup>. (Methuen, 1890.) +37 illust. and decorations.</p> + +<p><i>The Deserts of Southern France.</i> S. Baring-Gould. 2 vols. +4<sup>o</sup>. Methuen, 1894. 144 illust. and diagrams; 37 by +F. D. Bedford. (14 f. p.)</p> + +<p><i>The Battle of the Frogs and Mice.</i> Rendered into English by +Jane Barlow. (Methuen, 1894.) 147 pictured pages. +(5 f. p.)</p> + +<p><i>Old English Fairy Tales.</i> S. Baring-Gould. 8<sup>o</sup>. (Methuen, +1895.) 19 illust.</p> + +<p><i>A Book of Nursery Rhymes.</i> 8<sup>o</sup>. (Methuen, 1897.) 66 pictured +pages. (21 f. p. in colours.)</p><p><span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span></p> + +<p><i>The Vicar of Wakefield.</i> O. Goldsmith. 8<sup>o</sup>. (Dent, 1898.) +12 f. p. in colours.</p> + +<p><i>The History of Henry Esmond.</i> W. M. Thackeray. 8<sup>o</sup>. (Dent, +1898.) 12 f. p., in colours.</p> + +<p><i>The Book of Shops.</i> E. V. Lucas. Obl. 4<sup>o</sup>. (Grant Richards, +1899.) 28 illust. and decorations. (26 f. p. in colours.)</p> + +<p><i>Four and Twenty Toilers.</i> E. V. Lucas. Obl. 4<sup>o</sup>. (Grant +Richards, 1900.) 28 illust. and decorations. (26 f. p. in +colours.)</p> + +<p><i>Westminster Abbey.</i> G. E. Troutbeck. 8<sup>o</sup>. Methuen, 1900. +28 illust. (13 f. p.)</p></blockquote> + +<p><span class="smcap">Percy J. Billinghurst.</span></p> + +<blockquote><p><i>A Hundred Fables of Æsop.</i> From the English Version of Sir +Roger L'Estrange. Introduction by Kenneth Grahame. +8<sup>o</sup>. (Lane, 1899.) 101 f. p.</p> + +<p><i>A Hundred Fables of La Fontaine.</i> 8<sup>o</sup>. (Lane, 1900.) 101 f. p.</p> + +<p><i>A Hundred Anecdotes of Animals.</i> 8<sup>o</sup>. (Lane, 1901.) 101 f. p.</p></blockquote> + +<p><span class="smcap">Gertrude M. Bradley.</span></p> + +<blockquote><p><i>Songs for Somebody.</i> Dollie Radford. 8<sup>o</sup>. (Nutt, 1893.) 33 +pictured pages. (7 f. p.)</p> + +<p><i>The Red Hen and other Fairy Tales.</i> Agatha F. 8<sup>o</sup>. (Wilson, +Dublin, 1893.) 4 f. p.</p> + +<p><i>New Pictures in Old Frames.</i> Gertrude M. Bradley and Amy +Mark. 4<sup>o</sup>. (Mark and Moody, Stourbridge, 1894.) 37 +pictured pages. (6 f. p.)</p> + +<p><i>Just Forty Winks.</i> Hamish Hendry. 8<sup>o</sup>. (Blackie, 1897.) +80 illust. and decorations. (11 f. p.)</p> + +<p><i>Tom, Unlimited.</i> M. L. Warborough. 8<sup>o</sup>. (Grant Richards, +1897.) 56 illust. (1 f. p.)</p> + +<p><i>Nursery Rhymes.</i> 8<sup>o</sup>. (Review of Reviews, 1899.) 95 pictured +pages. With Brinsley Le Fanu. (1 f. p. in colours.)</p> + +<p><i>Puff-Puff.</i> Gertrude Bradley. Obl. fol. (Sands, 1899.) 18 f. p. +in colours.</p> + +<p><i>Pillow Stories.</i> S. L. Howard and Gertrude M. Bradley. +(Grant-Richards, 1901). 41 illust.</p></blockquote> + +<p><span class="smcap">L. Leslie Brooke.</span></p> + +<blockquote><p><i>Miriam's Ambition.</i> Evelyn Everett-Green. 8<sup>o</sup>. (Blackie, +1889.) 4 f. p.</p> + +<p><i>Thorndyke Manor.</i> Mary C. Rowsell. 8<sup>o</sup>. (Blackie, 1890.) +6 f. p.</p> + +<p><i>The Secret of the Old House.</i> Evelyn Everett-Green. 8<sup>o</sup>. +(Blackie, 1890.) 6 f. p.</p><p><span class="pagenum"><a name="Page_161" id="Page_161">[Pg 161]</a></span></p> + +<p><i>The Light Princess.</i> George Macdonald. 8<sup>o</sup>. (Blackie, 1890.) +3 f. p.</p> + +<p><i>Brownies and Rose Leaves.</i> Roma White. 8<sup>o</sup>. (Innes, 1892.) +19 illust. (9 f. p.)</p> + +<p><i>Bab.</i> Ismay Thorn. 8<sup>o</sup>. (Blackie, 1892.) 3 f. p.</p> + +<p><i>Marian.</i> Annie E. Armstrong. 8<sup>o</sup>. (Blackie, 1892.) 4 f. p.</p> + +<p><i>A Hit and a Miss.</i> Hon. Eva Knatchbull-Hugessen. 8<sup>o</sup>. +(Innes, 1893. Dainty Books.) 10 illust. (5 f. p.)</p> + +<p><i>Moonbeams and Brownies.</i> Roma White. 8<sup>o</sup>. (Innes, 1894. +Dainty Books.) 12 illust. (5 f. p.)</p> + +<p><i>Penelope and the Others.</i> Amy Walton. 8<sup>o</sup>. (Blackie, 1896.) +2 f. p.</p> + +<p><i>School in Fairy Land.</i> E. H. Strain. 8<sup>o</sup>. (Fisher Unwin, +1896.) 7 f. p.</p> + +<p><i>The Nursery Rhyme Book.</i> Edited by Andrew Lang. 8<sup>o</sup>. +(Warne, 1897.) 109 illust. and decorations. (9 f. p.)</p> + +<p><i>A Spring Song.</i> T. Nash. 8<sup>o</sup>. (Dent, 1898.) 16 pictured +pages, in colours.</p> + +<p><i>Pippa Passes.</i> Robert Browning. 8<sup>o</sup>. (Duckworth, 1898.) +7 f. p. Lemerciergravures.</p> + +<p><i>The Pelican Chorus and other Nonsense Verses.</i> Edward Lear. +4<sup>o</sup>. (Warne, 1900.) 38 illust. and decorations. (8 f. p., in +colours.)</p> + +<p><i>The Jumblies and other Nonsense Verses.</i> Edward Lear. 4<sup>o</sup>. +(Warne, 1900.) 36 illust. and decorations. (14 f. p., in +colours.)</p> + +<p>By Mrs. Molesworth. 8<sup>o</sup>. (Macmillan, 1891-7.) <i>Nurse +Heatherdale's Story.</i> <i>The Girls and I.</i> <i>Mary.</i> <i>My New Home.</i> +<i>Sheila's Mystery.</i> <i>The Carved Lions.</i> <i>The Oriel Window.</i> +<i>Miss Mouse and her Boys.</i> 8 illust. (7 f. p.) in each.</p></blockquote> + +<p><span class="smcap">Gordon Browne.</span></p> + +<blockquote><p><i>Stories of Old Renown.</i> Ascott R. Hope. 8<sup>o</sup>. (Blackie, 1883.) +96 illust. (8 f. p.)</p> + +<p><i>A Waif of the Sea.</i> Kate Wood. 8<sup>o</sup>. (Blackie, 1884.) +4 f. p.</p> + +<p><i>Miss Fenwick's Failures.</i> Esme Stuart. 8<sup>o</sup>. (Blackie, 1885.) +4 f. p.</p> + +<p><i>Thrown on the World.</i> Edwin Hodder. 8<sup>o</sup>. (Hodder, 1885.) +8 f. p.</p> + +<p><i>Winnie's Secret.</i> Kate Wood. 8<sup>o</sup>. (Blackie, 1885.) 4 f. p.</p> + +<p><i>Robinson Crusoe.</i> Daniel Defoe. 8<sup>o</sup>. (Blackie, 1885.) 103 +illust. (8 f. p.)</p><p><span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span></p> + +<p><i>Kirke's Mill.</i> Mrs. Robert O'Reilly. 8<sup>o</sup>. (Hatchards, 1885.) +3 f. p.</p> + +<p><i>The Champion of Odin.</i> J. F. Hodgetts. 8<sup>o</sup>. (Cassell, 1885.) +8 f. p.</p> + +<p><i>'That Child.'</i> By the author of 'L'Atelier du Lys.' 8<sup>o</sup>. +(Hatchards, 1885.) 2 f. p.</p> + +<p><i>Christmas Angel.</i> B. L. Farjeon. 8<sup>o</sup>. (Ward, 1885.) 22 +illust.</p> + +<p><i>The Legend of Sir Juvenis.</i> George Halse. Obl. 8<sup>o</sup>. (Hamilton, +1886.) 6 f. p.</p> + +<p><i>Mary's Meadow.</i> Juliana Horatia Ewing. 8<sup>o</sup>. (S.P.C.K., +1886.) 23 illust.</p> + +<p><i>Fritz and Eric.</i> John C. Hutcheson. 8<sup>o</sup>. (Hodder, 1886.) +8 f. p.</p> + +<p><i>Melchior's Dream.</i> Juliana Horatia Ewing. 8<sup>o</sup>. (Bell, 1886.) +8 f. p.</p> + +<p><i>The Hermit's Apprentice.</i> Ascott R. Hope. 8<sup>o</sup>. (Nimmo, +1886.) 4 illust. (3 f. p.)</p> + +<p><i>Gulliver's Travels.</i> Jonathan Swift. 8<sup>o</sup>. (Blackie, 1886.) +101 illust. (8 f. p.)</p> + +<p><i>Rip van Winkle.</i> Washington Irving. 8<sup>o</sup>. (Blackie, 1887.) +46 illust. (42 f. p.)</p> + +<p><i>Devon Boys.</i> Geo. Manville Fenn. 8<sup>o</sup>. (Blackie, 1887.) 12 f. p.</p> + +<p><i>The Log of the 'Flying Fish.'</i> Harry Collingwood. 8<sup>o</sup>. +(Blackie, 1887.) 12 f. p.</p> + +<p><i>Down the Snow-stairs.</i> Alice Corkran. 8<sup>o</sup>. (Blackie, 1887.) +60 illust. (5 f. p.)</p> + +<p><i>Dandelion Clocks.</i> Juliana Horatia Ewing. 4<sup>o</sup>. (S.P.C.K., +1887.) 13 illust. by Gordon Browne, etc. (4 f. p.)</p> + +<p><i>The Peace-Egg.</i> Juliana Horatia Ewing. 4<sup>o</sup>. (S.P.C.K., +1887.) 13 illust. (4 f. p.)</p> + +<p><i>The Seven Wise Scholars.</i> Ascott R. Hope. 8<sup>o</sup>. (Blackie, +1887.) 93 illust. (4 f. p.)</p> + +<p><i>Chirp and Chatter.</i> Alice Banks. 8<sup>o</sup>. (Blackie, 1888.) 54 +illust. (4 f. p.)</p> + +<p><i>The Henry Irving Shakespeare. The Works of William Shakespeare.</i> +Edited by Henry Irving and Frank A. Marshall. +4<sup>o</sup>. (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.)</p> + +<p><i>Snap-dragons.</i> Juliana Horatia Ewing. 8<sup>o</sup>. (S.P.C.K., 1888.) +14 illust. (4 f. p.)</p><p><span class="pagenum"><a name="Page_163" id="Page_163">[Pg 163]</a></span></p> + +<p><i>A Golden Age.</i> Ismay Thorn. 8<sup>o</sup>. (Hatchards, 1888.) 6 f. p.</p> + +<p><i>Fairy Tales by the Countess d'Aulnoy.</i> Translated by J. R. +Planché. 8<sup>o</sup>. (Routledge, 1888.) 60 illust. (11 f. p.)</p> + +<p><i>Harold the Boy-Earl.</i> J. F. Hodgetts. 8<sup>o</sup>. (Religious Tract +Society, 1888.) 11 f. p. With Alfred Pearse.</p> + +<p><i>Bunty and the Boys.</i> Helen Atteridge. 8<sup>o</sup>. (Cassell, 1888.) +4 f. p.</p> + +<p><i>Tom's Nugget.</i> J. F. Hodgetts. 8<sup>o</sup>. (Sunday School Union, +1888.) 13 illust. (6 f. p.)</p> + +<p><i>Claimed at Last.</i> Sibella B. Edgcumb. 8<sup>o</sup>. (Cassell, 1888.) +4 f. p.</p> + +<p><i>Great-Uncle Hoot-Toot.</i> Mrs. Molesworth. 4<sup>o</sup>. (S.P.C.K., +1889.) 24 illust. (4 f. p.)</p> + +<p><i>My Friend Smith.</i> Talbot Baines Reed. 8<sup>o</sup>. (Religious Tract +Society, 1889.) 16 illust. (6 f. p.)</p> + +<p><i>The Origin of Plum Pudding.</i> Frank Hudson. 8<sup>o</sup>. (Ward, +1889.) 9 illust. (4 f. p., in colours.)</p> + +<p><i>Prince Prigio.</i> Andrew Lang. 8<sup>o</sup>. (Arrowsmith, Bristol, +1889.) 24 illust. (9 f. p.)</p> + +<p><i>A Flock of Four.</i> Ismay Thorn. 8<sup>o</sup>. (Wells, Gardner, 1889.) +7 f. p.</p> + +<p><i>A Apple Pie.</i> 8<sup>o</sup>. (Evans, 1890.) 12 pictured pages.</p> + +<p><i>Syd Belton.</i> G. Manville Fenn. 8<sup>o</sup>. (Methuen, 1891.) +6 f. p.</p> + +<p><i>Great-Grandmamma.</i> Georgina M. Synge. 8<sup>o</sup>. (Cassell, +1891.) 19 illust. (3 f. p.)</p> + +<p><i>Master Rockafellar's Voyage.</i> W. Clarke Russell. 8<sup>o</sup>. (Methuen, +1891.) 27 illust. (6 f. p.)</p> + +<p><i>The Red Grange.</i> Mrs. Molesworth. 8<sup>o</sup>. (Methuen, 1891.) +6 f. p.</p> + +<p><i>A Pinch of Experience.</i> L. B. Walford. 8<sup>o</sup>. (Methuen, 1892.) +6 f. p.</p> + +<p><i>The Doctor of the 'Juliet.'</i> H. Collingwood. 8<sup>o</sup>. (Methuen, +1892.) 6 f. p.</p> + +<p><i>A Young Mutineer.</i> L. T. Meade. 8<sup>o</sup>. (Wells, Gardner, +1893.) 3 f. p.</p> + +<p><i>Graeme and Cyril.</i> Barry Pain. 8<sup>o</sup>. (Hodder, 1893.) 19 f. p.</p> + +<p><i>The Two Dorothys.</i> Mrs. Herbert Martin. 8<sup>o</sup>. (Blackie, +1893.) 4 f. p.</p> + +<p><i>One in Charity.</i> Silas K. Hocking. 8<sup>o</sup>. (Warne, 1893.) +4 f. p.</p> + +<p><i>The Book of Good Counsels.</i> Hitopadesa. Translated by Sir +Edwin Arnold. 8<sup>o</sup>. (W. H. Allen, 1893.) 20 illust. and +decorations. (7 f. p.)</p> +<p><span class="pagenum"><a name="Page_164" id="Page_164">[Pg 164]</a></span></p> +<p><i>Beryl.</i> Georgina M. Synge. 8<sup>o</sup>. (Skeffington, 1894.) 3 f. p.</p> + +<p><i>Fairy Tales from Grimm.</i> With introduction by S. Baring +Gould. 8<sup>o</sup>. (Wells, Gardner, 1895.) 169 illust. and decorations. +(16 f. p.)</p> + +<p><i>Prince Boohoo and Little Smuts.</i> Harry Jones. 8<sup>o</sup>. (Gardner, +Darton, 1896.) 93 illust. and decorations. (27 f. p.)</p> + +<p><i>Sintram and his Companions</i> and <i>Undine</i>. Baron de la Motte +Fouqué. 8<sup>o</sup>. (Gardner, Darton, 1896.) 80 illust. (12 f. p.)</p> + +<p><i>The Surprising Adventures of Sir Toady Lion.</i> S. R. Crockett. +8<sup>o</sup>. (Gardner, Darton, 1897.) 127 illust. and decorations. +(18 f. p.)</p> + +<p><i>An African Millionaire.</i> Grant Allen. 8<sup>o</sup>. (Grant Richards, +1897.) 66 illust.</p> + +<p><i>Butterfly Ballads and Stories in Rhyme.</i> Helen Atteridge. 8<sup>o</sup>. +(Milne, 1898.) 63 illust. (4 f. p.) With Louis Wain and +others. 32 by Gordon Browne.</p> + +<p><i>Paleface and Redskin and other Stories.</i> F. Anstey. 8<sup>o</sup>. +(Grant Richards, 1898.) 73 illust. and decorations. (10 f. p.)</p> + +<p><i>Dr. Jollyboy's A. B. C.</i> 4<sup>o</sup>. (Wells, Gardner, 1898.) 43 +pictured pages. (21 f. p.)</p> + +<p><i>Paul Carah Cornishman.</i> Charles Lee. 8<sup>o</sup>. (Bowden, 1898.) +4 f. p.</p> + +<p><i>Macbeth.</i> Wm. Shakespeare. 8<sup>o</sup>. (Longmans, 1899. Swan +edition.) 10 f. p.</p> + +<p><i>Miss Cayley's Adventures.</i> Grant Allen. 8<sup>o</sup>. (Grant Richards, +1899.) 79 illus. (2 f. p.)</p> + +<p><i>The Story of the Treasure Seekers.</i> (See <a href="#Lewis_Baumer"><i>Baumer</i></a>.)</p> + +<p><i>Stories from Froissart.</i> Henry Newbolt. 8<sup>o</sup>. (Wells, Gardner, +1899.) 32 illust. (17 f. p.)</p> + +<p><i>Eric, or Little by Little.</i> F. W. Farrar. 8<sup>o</sup>. (Black, 1899.) +78 illust.</p> + +<p><i>Hilda Wade.</i> Grant Allen. 8<sup>o</sup>. (Grant Richards, 1900.) +98 illust. (1 f. p.)</p> + +<p><i>St. Winifred's.</i> F. W. Farrar. 8<sup>o</sup>. (Black, 1900.) 152 illust.</p> + +<p><i>Daddy's Girl.</i> L. T. Meade. 8<sup>o</sup>. (Newnes, 1901.) 37 illust. +(2 f. p.)</p> + +<p><i>Gordon Browne's Series of Old Fairy Tales.</i> 4<sup>o</sup>. (Blackie, 1886-7.)</p> + +<blockquote> +<p> +<i>Hop o' my Thumb.</i> 28 pictured pages. (4 f. p.)</p> + +<p><i>Beauty and the Beast.</i> 34 pictured pages. (4 f. p.)</p> +</blockquote> + +<p><i>Ivanhoe.</i> <i>Guy Mannering.</i> <i>Count Robert of Paris.</i> Walter +Scott. 8<sup>o</sup>. (Black. Dryburgh Edition.) 10 Woodcuts from +drawings by Gordon Browne.</p> +<p><span class="pagenum"><a name="Page_165" id="Page_165">[Pg 165]</a></span></p> + +<p>By G. A. Henty. 8<sup>o</sup>. (Blackie, 1887, etc.)</p> + +<blockquote><p><i>Bonnie Prince Charlie.</i> <i>With Wolfe in Canada.</i> <i>True to +the Old Flag.</i> <i>In Freedom's Cause.</i> <i>With Clive in India.</i> +<i>Under Drake's Flag.</i> 12 f. p. in each vol.</p> + +<p><i>With Lee in Virginia.</i> <i>The Lion of St. Mark.</i> 10 f. p. +in each vol.</p> + +<p><i>Orange and Green.</i> <i>For Home and Fame.</i> <i>St. George for +England.</i> <i>Hold fast for England.</i> <i>Facing Death.</i> 8 f. p. +in each vol.</p></blockquote> +</blockquote> + +<p><span class="smcap">Edith Calvert.</span></p> + +<blockquote><p><i>Baby Lays.</i> A. Stow. 8<sup>o</sup>. (Elkin Matthews, 1897.) 16 +illust. (15 f. p.)</p> + +<p><i>More Baby Lays.</i> A Stow. 8<sup>o</sup>. (Elkin Matthews, 1898.) +14 illust. (13 f. p.)</p></blockquote> + +<p><span class="smcap">Marion Wallace-Dunlop.</span></p> + +<blockquote><p><i>Fairies, Elves and Flower Babies.</i> M. Rivett-Carnac. Obl. 8<sup>o</sup>. +(Duckworth, 1899.) 55 pictured pages. (4 f. p.)</p> + +<p><i>The Magic Fruit Garden.</i> Marion Wallace-Dunlop. 8<sup>o</sup>. +(Nister, 1899.) 48 illust. (5 f. p.)</p></blockquote> + +<p><span class="smcap">H. J. Ford.</span></p> + +<blockquote><p><i>Æsop's Fables.</i> Arthur Brookfield. 4<sup>o</sup>. (Fisher Unwin, +1888.) 29 illust.</p> + +<p><i>The Blue Fairy Book.</i> Edited by Andrew Lang. 8<sup>o</sup>. (Longmans, +1899.) 137 illust. (8 f. p.) With G. P. Jacomb +Hood.</p> + +<p><i>The Red Fairy Book.</i> Edited by Andrew Lang. 8<sup>o</sup>. (Longmans, +1890.) 99 illust. (4 f. p.) With Lancelot Speed.</p> + +<p><i>When Mother was little.</i> S. P. Yorke. 8<sup>o</sup>. (Fisher Unwin, +1890.) 13 f. p.</p> + +<p><i>A Lost God.</i> Francis W. Bourdillon. 8<sup>o</sup>. (Elkin Matthews, +1891.) 3 Photogravures.</p> + +<p><i>The Blue Poetry Book.</i> Edited by Andrew Lang. 8<sup>o</sup>. +(Longmans, 1891.) 98 illust. (12 f. p.) With Lancelot +Speed.</p> + +<p><i>The Green Fairy Book.</i> Edited by Andrew Lang. 8<sup>o</sup>. (Longmans, +1892.) 101 illust. (12 f. p.)</p> + +<p><i>The True Story Book.</i> Edited by Andrew Lang. 8<sup>o</sup>. (Longmans, +1893.) 64 illust. (8 f. p.) With L. Bogle, etc.</p> + +<p><i>The Yellow Fairy Book.</i> Edited by Andrew Lang. 8<sup>o</sup>. (Longmans, +1894.) 104 illust. (22 f. p.)</p><p><span class="pagenum"><a name="Page_166" id="Page_166">[Pg 166]</a></span></p> + +<p><i>The Animal Story Book.</i> Edited by Andrew Lang. 8<sup>o</sup>. (Longmans, +1896.) 66 illust. (29 f. p.)</p> + +<p><i>The Blue True Story Book.</i> Edited by Andrew Lang. 8<sup>o</sup>. +(Longmans, 1896.) 22 illust. (8 f. p.) With Lucien +Davis, etc. Some from <i>The True Story Book</i>.</p> + +<p><i>The Red True Story Book.</i> Edited by Andrew Lang. 8<sup>o</sup>. +(Longmans, 1897.) 41 illust. (10 f. p.)</p> + +<p><i>The Pink Fairy Book.</i> Edited by Andrew Lang. 8<sup>o</sup>. (Longmans, +1897.) 68 illust. (33 f. p.)</p> + +<p><i>The Arabian Nights' Entertainment.</i> Selected and Edited by +Andrew Lang. 8<sup>o</sup>. (Longmans, 1898.) 66 illust. (33 f. p.)</p> + +<p><i>Early Italian Love Stories.</i> Taken from the original by Una +Taylor. 4<sup>o</sup>. (Longmans, 1899.) 12 illust. and photogravure +frontispiece.</p> + +<p><i>The Red Book of Animal Stories.</i> Selected and edited by Andrew +Lang. 8<sup>o</sup>. (Longmans, 1899.) 67 illust. (32 f. p.)</p> + +<p><i>The Grey Fairy Book.</i> Edited by Andrew Lang. 8<sup>o</sup>. (Longmans, +1900.) 59 illust. (32 f. p.)</p> + +<p><i>The Violet Fairy Book.</i> Edited by Andrew Lang. 8<sup>o</sup>. (Longmans, +1901.) 66 illust. (33 f. p., 8 in colours.)</p></blockquote> + +<p><span class="smcap">Mrs. Arthur Gaskin.</span></p> + +<blockquote><p><i>A. B. C.</i> Mrs. Arthur Gaskin. 8<sup>o</sup>. (Elkin Matthews, 1896.) +56 pictured pages.</p> + +<p><i>Divine and Moral Songs for Children.</i> Isaac Watts. 8<sup>o</sup>. (Elkin +Matthews, 1896.) 14 illust. (13 f. p.) In colours.</p> + +<p><i>Horn-book Jingles.</i> Mrs. Arthur Gaskin. 8<sup>o</sup>. (Leadenhall +Press, 1896-7.) 70 pictured pages.</p> + +<p><i>Little Girls and Little Boys.</i> Mrs. Arthur Gaskin. 12<sup>o</sup>. +(Dent, 1898.) 27 pictured pages, in colours.</p> + +<p><i>The Travellers and other Stories.</i> Mrs. Arthur Gaskin. 8<sup>o</sup>. +(Bowden, 1898.) 61 pictured pages, in colours.</p></blockquote> + +<p><span class="smcap">Winifred Green.</span></p> + +<blockquote><p><i>Poetry for Children.</i> Charles and Mary Lamb. Prefatory note +by Israel Gollancz. 8<sup>o</sup>. (Dent, 1898.) 56 illust. and +decorations. (30 f. p., in colours.)</p> + +<p><i>Mrs. Leicester's School.</i> Charles and Mary Lamb. Obl. 8<sup>o</sup>. +(Dent, 1899.) 41 illust. and decorations. (13 f. p., in colours.)</p></blockquote> + +<p><span class="smcap">Emily J. Harding.</span></p> + +<blockquote><p><i>An Affair of Honour.</i> Alice Weber. 4<sup>o</sup>. (Farran, 1892.) +19 illust. (6 f. p.)</p> + +<p><i>The Disagreeable Duke.</i> Ellinor Davenport Adams. 8<sup>o</sup>. (Geo. +Allen, 1894.) 8 f. p.</p><p><span class="pagenum"><a name="Page_167" id="Page_167">[Pg 167]</a></span></p> + +<p><i>Fairy Tales of the Slav Peasants and Herdsmen.</i> From the +French of Alex. Chodsko. Translated by Emily J. Harding. +(Allen, 1896.) 56 illust. (33 f. p.)</p> + +<p><i>Hymn on the Morning of Christ's Nativity.</i> (See <a href="#T_H_Robinson"><i>T. H. Robinson</i></a>.)</p></blockquote> + +<p><span class="smcap">Violet M. and E. Holden.</span></p> + +<blockquote><p><i>The Real Princess.</i> Blanche Atkinson. 8<sup>o</sup>. (Innes, 1894.) +19 illust. (5 f. p.)</p> + +<p><i>The House that Jack Built.</i> 32<sup>o</sup>. (Dent, 1895. Banbury +Cross Series.) 39 illust. and decorations. (14 f. p.)</p></blockquote> + +<p><span class="smcap">Archie Macgregor.</span></p> + +<blockquote><p><i>Katawampus: Its Treatment and Cure.</i> Judge Parry. 8<sup>o</sup>. +(Nutt, 1895.) 31 illust. and decorations. (7 f. p.)</p> + +<p><i>Butterscotia, or A Cheap Trip to Fairyland.</i> Judge Parry. 8<sup>o</sup>. +(Nutt, 1896.) 35 illust. (5 f. p.)</p> + +<p><i>The First Book of Krab.</i> Judge Parry. 8<sup>o</sup>. (Nutt, 1897.) +25 illust. and decorations. (3 f. p.)</p> + +<p><i>The World Wonderful.</i> Charles Squire. 8<sup>o</sup>. (Nutt, 1898.) +35 illust. and decorations. (10 f. p.)</p></blockquote> + +<p><span class="smcap">H. R. Millar.</span></p> + +<blockquote><p><i>The Humour of Spain.</i> Selected with an introduction and +notes by Susan M. Taylor. 8<sup>o</sup>. (Scott, 1894.) 52 illust. +(39 f. p.)</p> + +<p><i>The Golden Fairy Book.</i> George Sand, etc. (Hutchinson, +1894.) 110 illust. (11 f. p.)</p> + +<p><i>Fairy Tales Far and Near.</i> 8<sup>o</sup>. (Cassell, 1895.) 28 illust. +(7 f. p.)</p> + +<p><i>The Adventures of Hajji Baba of Ispahan.</i> James Morier. 8<sup>o</sup>. +(Macmillan, 1895.) 40 illust. (25 f. p.)</p> + +<p><i>The Silver Fairy Book.</i> Sarah Bernhardt, etc. 8<sup>o</sup>. (Hutchinson, +1895.) 84 illust. (7 f. p.)</p> + +<p><i>The Phantom Ship.</i> Captain Marryat. 8<sup>o</sup>. (Macmillan, +1896. Illustrated Standard Novels.) 40 f. p.</p> + +<p><i>Headlong Hall, and Nightmare Abbey.</i> T. Love Peacock. +With introduction by George Saintsbury. 8<sup>o</sup>. (Macmillan, +1896.) 40 f. p.</p> + +<p><i>Frank Mildmay.</i> Captain Marryat. Introduction by David +Hannay. 8<sup>o</sup>. (Macmillan, 1897. Illustrated Standard +Novels.) 40 illust. (27 f. p.)</p> + +<p><i>Snarleyyow.</i> Captain Marryat. Introduction by David Hannay. +8<sup>o</sup>. (Macmillan, 1897. Illustrated Standard Novels.) +40 illust. (33 f. p.)</p><p><span class="pagenum"><a name="Page_168" id="Page_168">[Pg 168]</a></span></p> + +<p><i>The Diamond Fairy Book.</i> Isabel Bellerby, etc. 8<sup>o</sup>. (Hutchinson, +1897.) 83 illust. (12 f. p.)</p> + +<p><i>Untold Tales of the Past.</i> Beatrice Harraden. 8<sup>o</sup>. (Blackwood, +1897.) 39 illust. (31 f. p.)</p> + +<p><i>Eothen.</i> A. W. Kinglake. 8<sup>o</sup>. (Newnes, 1898.) 40 illust. +(17 f. p.)</p> + +<p><i>Phroso.</i> Anthony Hope. 8<sup>o</sup>. (Methuen, 1897.) 8 f. p.</p> + +<p><i>The Book of Dragons.</i> E. Nesbit. 8<sup>o</sup>. (Harper, 1900.) 15 +f. p. Decorations by H. Granville Fell.</p> + +<p><i>Nine Unlikely Tales for Children.</i> E. Nesbit. 8<sup>o</sup>. (Fisher +Unwin, 1901.) 27 f. p.</p> + +<p><i>Booklets by Count Tolstoi.</i> 8<sup>o</sup>. (Walter Scott, 1895-7.) 2 f. p. +in each vol.</p> + +<blockquote><p><i>Master and Man.</i> <i>Ivan the Fool.</i> <i>What Men Live By.</i> +<i>Where Love is there God is also.</i> <i>The Two Pilgrims.</i></p></blockquote> +</blockquote> + +<p><span class="smcap">Carton Moore Park.</span></p> + +<blockquote><p><i>An Alphabet of Animals.</i> Carton Moore Park. 4<sup>o</sup>. (Blackie, +1899.) 52 pictured pages. (26 f. p.)</p> + +<p><i>A Book of Birds.</i> Carton Moore Park. Fol. (Blackie, 1900.) +27 f. p.</p> + +<p><i>A Child's London.</i> Hamish Hendry. 4<sup>o</sup>. (Sands, 1900.) 46 +illust. and decorations. (14 f. p.)</p> + +<p><i>The Confessions of Harry Lorrequer.</i> Charles Lever. With introduction +by W. K. Leask. 8<sup>o</sup>. (Gresham Publishing Co., +1900.) 6 f. p.</p> + +<p><i>A Book of Elfin Rhymes.</i> Norman. 4<sup>o</sup>. (Gay and Bird, 1900.) +40 illust., in colours.</p> + +<p><i>The Child's Pictorial Natural History.</i> 4<sup>o</sup>. (S.P.C.K., 1901.) +12 illust. (9 f. p.)</p></blockquote> + +<p><span class="smcap">Rosie M. M. Pitman.</span></p> + +<blockquote><p><i>Maurice, or the Red Jar.</i> The Countess of Jersey. 8<sup>o</sup>. +(Macmillan, 1894.) 9 f. p.</p> + +<p><i>Undine.</i> Baron de la Motte Fouqué. 8<sup>o</sup>. (Macmillan, 1897.) +63 illust. and decorations. (32 f. p.)</p> + +<p><i>The Magic Nuts.</i> Mrs. Molesworth. 8<sup>o</sup>. (Macmillan, 1898.) +8 illust. (7 f. p.)</p></blockquote> + +<p><span class="smcap">Arthur Rackham.</span></p> + +<blockquote><p><i>The Dolly Dialogues.</i> Anthony Hope. 8<sup>o</sup>. ('Westminster +Gazette,' 1894.) 4 f. p.</p> + +<p><i>Sunrise-Land.</i> Mrs. Alfred Berlyn. 8<sup>o</sup>. (Jarrold, 1894.) +136 illust. (2 f. p.)</p> + +<p><i>Tales of a Traveller.</i> Washington Irving. 2 vols. 4<sup>o</sup>. (Putman, +1895. Buckthorne edition.) 25 illust., with borders +and initials. 5 photogravures by Arthur Rackham.</p> +<p><span class="pagenum"><a name="Page_169" id="Page_169">[Pg 169]</a></span></p> +<p><i>The Sketch Book.</i> Washington Irving. 2 vols. 4<sup>o</sup>. (Putman, +1895. Van Tassel edition.) 32 illust., with others. +Borders. 4 photogravures by Arthur Rackham.</p> + +<p><i>The Money Spinner and other Character Notes.</i> Henry Seton +Merriman and S. G. Tallintyre. 8<sup>o</sup>. (Smith, Elder, 1896.) +12 f. p.</p> + +<p><i>The Zankiwank and the Bletherwitch.</i> S. J. Adair Fitzgerald. +8<sup>o</sup>. (Dent, 1896.) 41 illust. (17 f. p.)</p> + +<p><i>Two Old Ladies, Two Foolish Fairies and a Tom Cat.</i> Maggie +Browne. 8<sup>o</sup>. (Cassell, 1897.) 23 illust. (14 f. p., 4 in colours.)</p> + +<p><i>Charles O'Malley.</i> Charles Lever. 8<sup>o</sup>. (Service and Paton, +1897.) 16 f. p.</p> + +<p><i>The Grey Lady.</i> Henry Seton Merriman. 8<sup>o</sup>. (Smith, Elder, +1897.) 12 f. p.</p> + +<p><i>Evelina.</i> Frances Burney. 8<sup>o</sup>. (Newnes, 1898.) 16 f. p.</p> + +<p><i>The Ingoldsby Legends.</i> H. R. Barham. 8<sup>o</sup>. (Dent, 1898.) +102 illust. (40 f. p.) 12 printed in colours.</p> + +<p><i>Feats on the Fjords.</i> Harriet Martineau. 8<sup>o</sup>. (Dent, 1899. +Temple Classics for Young People.) 12 f. p.</p> + +<p><i>Tales from Shakespeare.</i> Charles and Mary Lamb. 8<sup>o</sup>. (Dent, +1899. Temple Classics for Young People.) 12 f. p.</p> + +<p><i>Fairy Tales of the Brothers Grimm.</i> Translated by Mrs. Edgar +Lucas. 8<sup>o</sup>. (Freemantle, 1900.) 102 illust. (32 f. p., in +colours.)</p></blockquote> + +<p><span class="smcap"><a name="Charles_Robinson" id="Charles_Robinson"></a>Charles Robinson.</span></p> + +<blockquote><p><i>Æsop's Fables.</i> 32<sup>o</sup>. (Dent, 1895. Banbury Cross Series.) +45 illust. and decorations. (15 f. p.)</p> + +<p><i>Animals in the Wrong Places.</i> Edith Carrington. 16<sup>o</sup>. (Bell, +1896.) 14 illust. (11 f. p.)</p> + +<p><i>The Child World.</i> Gabriel Setoun. 8<sup>o</sup>. (Lane, 1896.) 104 +illust. and decorations. (11 f. p.)</p> + +<p><i>Make-believe.</i> H. D. Lowry. 8<sup>o</sup>. (Lane, 1896.) 53 illust. +and decorations. (4 f. p.)</p> + +<p><i>A Child's Garden of Verses.</i> Robert Louis Stevenson. 8<sup>o</sup>. +(Lane, 1896.) 173 illust. and decorations. (14 f. p.)</p> + +<p><i>Dobbie's Little Master.</i> Mrs. Arthur Bell. (Bell, 1897.) 8 +illust. (3 f. p.)</p> + +<p><i>King Longbeard, or Annals of the Golden Dreamland.</i> Barrington +MacGregor. 8<sup>o</sup>. (Lane, 1898.) 116 illust. and decorations. +(12 f. p.)</p><p><span class="pagenum"><a name="Page_170" id="Page_170">[Pg 170]</a></span></p> + +<p><i>Lullaby Land.</i> Eugene Field. Selected by Kenneth Grahame. +8<sup>o</sup>. (Lane, 1898.) 204 illust. and decorations. (14 f. p.)</p> + +<p><i>Lilliput Lyrics.</i> W. B. Rand. Edited by R. Brimley Johnson. +8<sup>o</sup>. (Lane, 1899.) 113 illust. and decorations. (9 f. p., 1 +in colours.)</p> + +<p><i>Fairy Tales from Hans Christian Andersen.</i> Translated by +Mrs. E. Lucas. 8<sup>o</sup>. (Dent, 1899.) 107 illust. and decorations. +(40 f. p., 1 in colours.) With Messrs. T. H. and +W. H. Robinson.</p> + +<p><i>Pierrette.</i> Henry de Vere Stacpoole. 8<sup>o</sup>. (Lane, 1900.) +21 illust. and decorations. (14 f. p.)</p> + +<p><i>Child Voices.</i> W. E. Cule. 8<sup>o</sup>. (Melrose, 1900.) 17 illust. +and decorations. (13 f. p.)</p> + +<p><i>The Little Lives of the Saints.</i> Rev. Percy Dearmer. 8<sup>o</sup>. +(Wells, Gardner, 1900.) 64 illust. and decorations. (13 f. p.)</p> + +<p><i>The Adventures of Odysseus.</i> Retold in English by F. S. Marion, +R. J. G. Mayor, and F. M. Stawell. 8<sup>o</sup>. (Dent, 1900.) +28 illust. and decorations. (14 f. p., 1 in colours.)</p> + +<p><i>The True Annals of Fairy Land. The Reign of King Herla.</i> +Edited by William Canton. 8<sup>o</sup>. (Dent, 1900.) 185 illust. +and decorations. (22 f. p., 1 in colours.)</p> + +<p><i>Sintram and his Companions</i> and <i>Aslauga's Knight</i>. Baron de +la Motte Fouqué. 8<sup>o</sup>. (Dent, 1900. Temple Classics for +Young People.) 12 f. p., 1 in colours.</p> + +<p><i>The Master Mosaic-Workers.</i> George Sand. Translated by +Charlotte C. Johnston. 8<sup>o</sup>. (Dent, 1900. Temp. Class. +for Young People.) 12 f. p., 1 in colours.</p> + +<p><i>The Suitors of Aprille.</i> Norman Garstin. 8<sup>o</sup>. (Lane, 1900.) +18 illust. and decorations. (15 f. p.)</p> + +<p><i>Jack of all Trades.</i> J. J. Bell. 4<sup>o</sup>. (Lane, 1900.) 32 f. p., +in colours.</p></blockquote> + +<p><span class="smcap"><a name="T_H_Robinson" id="T_H_Robinson"></a>T. H. Robinson.</span></p> + +<blockquote><p><i>Old World Japan.</i> Frank Rinder. 8<sup>o</sup>. (Allen, 1895.) 34 +illust. (14 f. p.)</p> + +<p><i>Cranford.</i> Mrs. Gaskell. 8<sup>o</sup>. (Bliss, Sands, 1896.) 17 +illust. (16 f. p.)</p> + +<p><i>Legends from River and Mountain.</i> Carmen Sylva and Alma +Strettell. 8<sup>o</sup>. (Allen, 1896.) 41 illust. (10 f. p.)</p> + +<p><i>The History of Henry Esmond.</i> W. M. Thackeray. 8<sup>o</sup>. +(Allen, 1896.) 72 illust. and decorations, (1 f. p.)</p> + +<p><i>The Scarlet Letter.</i> Nathaniel Hawthorne. 8<sup>o</sup>. (Bliss, +Sands, 1897.) 8 f. p.</p><p><span class="pagenum"><a name="Page_171" id="Page_171">[Pg 171]</a></span></p> + +<p><i>A Sentimental Journey through France and Italy.</i> Laurence +Sterne. 8<sup>o</sup>. (Bliss, Sands, 1897.) 89 illust. and decorations. +(13 f. p.)</p> + +<p><i>Hymn on the Morning of Christ's Nativity.</i> John Milton. 8<sup>o</sup>. +(Allen, 1897.) 15 f. p. With Emily J. Harding.</p> + +<p><i>A Child's Book of Saints.</i> W. Canton. 8<sup>o</sup>. (Dent, 1898.) +19 f. p. (1 in colours.)</p> + +<p><i>The Heroes, or Greek Fairy Tales for my Children.</i> Chas. +Kingsley. 8<sup>o</sup>. (Dent, 1899. Temple Classics for Young +People.) 12 f. p., 1 in colours.</p> + +<p><i>Fairy Tales from the Arabian Nights.</i> 11 f. p., 1 in colours.</p> + +<p><i>Fairy Tales from Hans Christian Andersen.</i> 8<sup>o</sup>. (Dent, +1899.) (See <a href="#Charles_Robinson"><i>C. H. Robinson</i></a>.)</p> + +<p><i>A Book of French Songs for the Young.</i> Bernard Minssen. 8<sup>o</sup>. +(Dent, 1899.) 55 illust. and decorations. (9 f. p.)</p> + +<p><i>Lichtenstein.</i> Adapted from the German of Wilhelm Hauff by +L. L. Weedon. 8<sup>o</sup>. (Nister, 1900.) 20 illust. and decorations. +(8 f. p.)</p> + +<p><i>The Scottish Chiefs.</i> Jane Porter. 8<sup>o</sup>. (Dent, 1900.) 65 +illust. (19 f. p.)</p></blockquote> + +<p><span class="smcap"><a name="W_H_Robinson" id="W_H_Robinson"></a>W. H. Robinson.</span></p> + +<blockquote><p><i>Don Quixote.</i> Translated by Charles Jarvis. 8<sup>o</sup>. (Bliss, +Sands, 1897.) 16 f. p.</p> + +<p><i>The Pilgrim's Progress.</i> John Bunyan. Edited by George +Offer. 8<sup>o</sup>. (Bliss, Sands, 1897.) 24 f. p.</p> + +<p><i>The Giant Crab and Other Tales from Old India.</i> Retold by +W. H. D. Rouse. 8<sup>o</sup>. (Nutt, 1897.) 52 illust. and decorations. +(7 f. p.)</p> + +<p><i>Danish Fairy Tales and Legends.</i> Hans Christian Andersen. +8<sup>o</sup>. (Bliss, Sands, 1897.) 16 f. p.</p> + +<p><i>The Arabian Nights' Entertainments.</i> 4<sup>o</sup>. (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.)</p> + +<p><i>The Talking Thrush and other Tales from India.</i> Collected by +W. Cooke. Retold by W. H. D. Rouse. 8<sup>o</sup>. (Dent, +1899.) 84 illust. and decorations. (8 f. p.)</p> + +<p><i>Fairy Tales from Hans Christian Andersen.</i> (See <a href="#Charles_Robinson"><i>Charles Robinson</i></a>.)</p> + +<p><i>The Poems of Edgar Allan Poe.</i> Introduction by H. Noel +Williams. 8<sup>o</sup>. (Bell, 1900. The Endymion Series.) 103 +illust. and decorations. (2 double-page, 26 f. p.)</p><p><span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span></p> + +<p><i>Tales for Toby.</i> Ascott R. Hope. 8<sup>o</sup>. (Dent, 1900.) 29 +illust. and decorations. (5 f. p.) With S. Jacobs.</p></blockquote> + +<p><span class="smcap">Helen Stratton.</span></p> + +<blockquote><p><i>Songs for Little People.</i> Norman Gale. 8<sup>o</sup>. (Constable, 1896.) +119 illust. and decorations. (8 f. p.)</p> + +<p><i>Tales from Hans Andersen.</i> 8<sup>o</sup>. (Constable, 1896.) 58 illust. +and decorations. (6 f. p.)</p> + +<p><i>Beyond the Border.</i> Walter Douglas Campbell. 8<sup>o</sup>. (Constable, +1898.) 167 illust. (40 f. p.)</p> + +<p><i>The Fairy Tales of Hans Christian Andersen.</i> 4<sup>o</sup>. (Newnes, +by arrangement with Messrs. Constable, 1899.) 424 illust. +Some reprinted from <i>Tales from Hans Andersen</i>.</p> + +<p><i>The Arabian Nights' Entertainments.</i> (See <a href="#W_H_Robinson"><i>W. H. Robinson</i></a>.)</p></blockquote> + +<p><span class="smcap">A. G. Walker.</span></p> + +<blockquote><p><i>The Lost Princess, or the Wise Woman.</i> George Macdonald. +8<sup>o</sup>. (Wells, Gardner, 1895.) 22 illus. (6 f. p.)</p> + +<p><i>Stories from the Faerie Queene.</i> Mary Macleod. With introduction +by J. W. Hales. 8<sup>o</sup>. (Gardner, Darton, 1897.) +86 illust. (40 f. p.)</p> + +<p><i>The Book of King Arthur and his Noble Knights.</i> Stories from +Sir Thomas Malory's <i>Morte D'Arthur</i>. Mary Macleod. +8<sup>o</sup>. (Wells, Gardner, 1900.) 72 illust. (35 f. p.)</p></blockquote> + +<p><span class="smcap">Alice B. Woodward.</span></p> + +<blockquote><p><i>Eric, Prince of Lorlonia.</i> Countess of Jersey. 8<sup>o</sup>. (Macmillan, +1895.) 8 f. p.</p> + +<p><i>Banbury Cross and other Nursery Rhymes.</i> 32<sup>o</sup>. (Dent, 1895. +Banbury Cross Series.) 62 pictured pages. (23 f. p.)</p> + +<p><i>To Tell the King the Sky is Falling.</i> Sheila E. Braine. 8<sup>o</sup>. +(Blackie, 1896.) 85 illust. and decorations. (8 f. p.)</p> + +<p><i>Bon-Mots of the Eighteenth Century.</i> 16<sup>o</sup>. (Dent, 1897.) 64 +grotesques. (7 f. p.)</p> + +<p><i>Bon-Mots of the Nineteenth Century.</i> 16<sup>o</sup>. (Dent, 1897.) 64 +grotesques. (9 f. p.)</p> + +<p><i>Brownie.</i> Alice Sargant. Music by Lilian Mackenzie. Obl. +folio. (Dent, 1897.) 44 pictured pages, in colours.</p> + +<p><i>Red Apple and Silver Bells.</i> Hamish Hendry. 8<sup>o</sup>. (Blackie, +1897.) 152 pictured pages. (21 f. p., in colours.)</p> + +<p><i>Adventures in Toyland.</i> Edith Hall King. 4<sup>o</sup>. (Blackie, 1897.) +78 illust. and decorations. (8 f. p., in colours.)</p> + +<p><i>The Troubles of Tatters and other Stories.</i> Alice Talwin +Morris. 8<sup>o</sup>. (Blackie, 1898.) 62 illust. and decorations. +(8 f. p.)</p><p><span class="pagenum"><a name="Page_173" id="Page_173">[Pg 173]</a></span></p> + +<p><i>The Princess of Hearts.</i> Sheila E. Braine. 4<sup>o</sup>. (Blackie, +1899.) 69 illust. and decorations. (4 f. p., in colours.)</p> + +<p><i>The Cat and the Mouse.</i> Obl. 4<sup>o</sup>. (Blackie, 1899.) 24 pictured +pages. (6 f. p., in colours.)</p> + +<p><i>The Elephant's Apology.</i> Alice Talwin Morris. 8<sup>o</sup>. (Blackie, +1899.) 35 illust.</p> + +<p><i>The Golden Ship and other Tales.</i> Translated from the Swahili. +8<sup>o</sup>. (Universities' Mission, 1900.) 36 illust. and decorations, +with Lilian Bell. (19 f. p., 4 by A. B. Woodward.)</p> + +<p><i>The House that Grew.</i> Mrs. Molesworth. 8<sup>o</sup>. (Macmillan, +1900.) 8 illust. (7 f. p.)</p></blockquote> + +<p><span class="smcap">Alan Wright.</span></p> + +<blockquote><p><i>Queen Victoria's Dolls.</i> Frances H. Low. 4<sup>o</sup>. (Newnes, +1894.) 73 illust. and decorations. (36 f. p., 34 in colours.)</p> + +<p><i>The Wallypug in London.</i> G. E. Farrow. 8<sup>o</sup>. (Methuen, +1898.) 56 illust. (13 f. p.)</p> + +<p><i>Adventures in Wallypug Land.</i> G. E. Farrow. 8<sup>o</sup>. (Methuen, +1898.) 55 illust. (18 f. p.)</p> + +<p><i>The Little Panjandrum's Dodo.</i> G. E. Farrow. 8<sup>o</sup>. (Skeffington, +1899.) 72 illust. (4 f. p.)</p> + +<p><i>The Mandarin's Kite.</i> G. E. Farrow. 8<sup>o</sup>. (Skeffington, 1900.) +57 illust.</p></blockquote> +<hr class="chap" /> + + +<p><span class="pagenum"><a name="Page_174" id="Page_174">[Pg 174]</a></span></p> +<h2><a name="INDEX_OF_ARTISTS" id="INDEX_OF_ARTISTS"></a>INDEX OF ARTISTS.</h2> + + +<p> +Abbey, E. A., <a href="#Page_36"><b>36</b></a>, <a href="#Page_64"><b>64</b></a>, <a href="#Page_87"><b>87</b></a>, <a href="#Page_144"><b>144</b></a>.<br /> +<br /> +Allingham, Mrs., <a href="#Page_95"><b>95</b></a>.<br /> +<br /> +Ansted, Alexander, <a href="#Page_50"><b>50</b></a>, <a href="#Page_132"><b>132</b></a>.<br /> +<br /> +<br /> +Barnes, Robert, <a href="#Page_95"><b>95</b></a>.<br /> +<br /> +Barrett, C. R. B., <a href="#Page_47"><b>47</b></a>, <a href="#Page_48"><b>48</b></a>, <a href="#Page_132"><b>132</b></a>.<br /> +<br /> +Batten, J. D., <a href="#Page_109"><b>109</b></a>, <a href="#Page_110"><b>110</b></a>, <a href="#Page_158"><b>158</b></a>.<br /> +<br /> +Bauerle, Amelia, <a href="#Page_14"><b>14</b></a>, <a href="#Page_121"><b>121</b></a>.<br /> +<br /> +Baumer, Lewis, <a href="#Page_99"><b>99</b></a>, <a href="#Page_159"><b>159</b></a>.<br /> +<br /> +Bedford, F. D., <a href="#Page_106"><b>106</b></a>, <a href="#Page_159"><b>159</b></a>.<br /> +<br /> +Bell, R. Anning, <a href="#Page_7"><b>7</b></a>, <a href="#Page_121"><b>121</b></a>.<br /> +<br /> +Billinghurst, P. J., <a href="#Page_117"><b>117</b></a>, <a href="#Page_160"><b>160</b></a>.<br /> +<br /> +Boyd, A. S., <a href="#Page_76"><b>76</b></a>, <a href="#Page_90"><b>90</b></a>, <a href="#Page_145"><b>145</b></a>.<br /> +<br /> +Bradley, Gertrude M., <a href="#Page_106"><b>106</b></a>, <a href="#Page_160"><b>160</b></a>.<br /> +<br /> +Brangwyn, Frank, <a href="#Page_91"><b>91</b></a>, <a href="#Page_146"><b>146</b></a>.<br /> +<br /> +Britten, W. E. F., <a href="#Page_29"><b>29</b></a>, <a href="#Page_122"><b>122</b></a>.<br /> +<br /> +Brock, C. E., <a href="#Page_83"><b>83</b></a>, <a href="#Page_146"><b>146</b></a>.<br /> +<br /> +Brock, H. M., <a href="#Page_83"><b>83</b></a>, <a href="#Page_84"><b>84</b></a>, <a href="#Page_148"><b>148</b></a>.<br /> +<br /> +Brooke, L. Leslie, <a href="#Page_99"><b>99</b></a>, <a href="#Page_160"><b>160</b></a>.<br /> +<br /> +Browne, Gordon, <a href="#Page_96"><b>96</b></a>, <a href="#Page_161"><b>161</b></a>.<br /> +<br /> +Bryden, Robert, <a href="#Page_64"><b>64</b></a>.<br /> +<br /> +Bulcock, Percy, <a href="#Page_14"><b>14</b></a>, <a href="#Page_122"><b>122</b></a>.<br /> +<br /> +Burns, Robert, <a href="#Page_26"><b>26</b></a>.<br /> +<br /> +<br /> +Cadenhead, James, <a href="#Page_26"><b>26</b></a>.<br /> +<br /> +Calvert, Edith, <a href="#Page_102"><b>102</b></a>, <a href="#Page_165"><b>165</b></a>.<br /> +<br /> +Cameron, D. Y., <a href="#Page_41"><b>41</b></a>, <a href="#Page_64"><b>64</b></a>, <a href="#Page_133"><b>133</b></a>.<br /> +<br /> +Cleaver, Ralph, <a href="#Page_76"><b>76</b></a>.<br /> +<br /> +Cleaver, Reginald, <a href="#Page_76"><b>76</b></a>.<br /> +<br /> +Clifford, H. P., <a href="#Page_53"><b>53</b></a>.<br /> +<br /> +Cole, Herbert, <a href="#Page_13"><b>13</b></a>, <a href="#Page_14"><b>14</b></a>, <a href="#Page_122"><b>122</b></a>.<br /> +<br /> +Connard, Philip, <a href="#Page_13"><b>13</b></a>, <a href="#Page_14"><b>14</b></a>, <a href="#Page_122"><b>122</b></a>.<br /> +<br /> +Cooke, W. Cubitt, <a href="#Page_84"><b>84</b></a>, <a href="#Page_149"><b>149</b></a>.<br /> +<br /> +Cowper, Max, <a href="#Page_93"><b>93</b></a>.<br /> +<br /> +Crane, Walter, <a href="#Page_3"><b>3</b></a>, <a href="#Page_96"><b>96</b></a>, <a href="#Page_98"><b>98</b></a>, <a href="#Page_122"><b>122</b></a>.<br /> +<br /> +<br /> +Dadd, Frank, <a href="#Page_92"><b>92</b></a>.<br /> +<br /> +Davis, Louis, <a href="#Page_7"><b>7</b></a>.<br /> +<br /> +Davison, Raffles, <a href="#Page_50"><b>50</b></a>.<br /> +<br /> +Duncan, John, <a href="#Page_26"><b>26</b></a>.<br /> +<br /> +Dunlop, Marion Wallace, <a href="#Page_106"><b>106</b></a>, <a href="#Page_165"><b>165</b></a>.<br /> +<br /> +<br /> +Edwards, M. E., <a href="#Page_95"><b>95</b></a>.<br /> +<br /> +Erichsen, Nelly, <a href="#Page_46"><b>46</b></a>, <a href="#Page_133"><b>133</b></a>.<br /> +<br /> +<br /> +Fell, H. Granville, <a href="#Page_27"><b>27</b></a>, <a href="#Page_126"><b>126</b></a>.<br /> +<br /> +Fitton, Hedley, <a href="#Page_46"><b>46</b></a>, <a href="#Page_133"><b>133</b></a>.<br /> +<br /> +Ford, H. J., <a href="#Page_109"><b>109</b></a>, <a href="#Page_110"><b>110</b></a>, <a href="#Page_165"><b>165</b></a>.<br /> +<br /> +Forestier, Amedée, <a href="#Page_92"><b>92</b></a>, <a href="#Page_93"><b>93</b></a>.<br /> +<br /> +Fulleylove, J., <a href="#Page_31"><b>31</b></a>, <a href="#Page_39"><b>39</b></a>, <a href="#Page_134"><b>134</b></a>.<br /> +<br /> +Furniss, Sir Harry, <a href="#Page_58"><b>58</b></a>, <a href="#Page_86"><b>86</b></a>, <a href="#Page_88"><b>88</b></a>, <a href="#Page_150"><b>150</b></a>.<br /> +<br /> +<br /> +Gaskin, A. J., <a href="#Page_10"><b>10</b></a>, <a href="#Page_126"><b>126</b></a>.<br /> +<br /> +Gaskin, Mrs. Arthur, <a href="#Page_101"><b>101</b></a>, <a href="#Page_166"><b>166</b></a>.<br /> +<br /> +Gere, C. M., <a href="#Page_12"><b>12</b></a>, <a href="#Page_50"><b>50</b></a>, <a href="#Page_126"><b>126</b></a>.<br /> +<br /> +Goldie, Cyril, <a href="#Page_14"><b>14</b></a>.<br /> +<br /> +Gould, F. Carruthers, <a href="#Page_88"><b>88</b></a>.<br /> +<br /> +Green, Winifred, <a href="#Page_101"><b>101</b></a>, <a href="#Page_166"><b>166</b></a>.<br /> +<br /> +Greiffenhagen, Maurice, <a href="#Page_76"><b>76</b></a>.<br /> +<br /> +Griggs, F. L., <a href="#Page_54"><b>54</b></a>, <a href="#Page_134"><b>134</b></a>.<br /> +<br /> +Guthrie, J. J., <a href="#Page_26"><b>26</b></a>, <a href="#Page_27"><b>27</b></a>, <a href="#Page_127"><b>127</b></a>.<br /> +<br /> +<br /> +Harding, Emily J., <a href="#Page_112"><b>112</b></a>, <a href="#Page_166"><b>166</b></a>.<br /> +<br /> +Hardy, Dudley, <a href="#Page_93"><b>93</b></a>.<br /> +<br /> +Hardy, Paul, <a href="#Page_92"><b>92</b></a>.<br /> +<br /> +Hare, Augustus, <a href="#Page_47"><b>47</b></a>.<br /> +<br /> +Hartrick, A. S., <a href="#Page_76"><b>76</b></a>.<br /> +<br /> +Harper, C. G., <a href="#Page_47"><b>47</b></a>, <a href="#Page_134"><b>134</b></a>.<br /> +<br /> +Hill, L. Raven, <a href="#Page_86"><b>86</b></a>, <a href="#Page_87"><b>87</b></a>.<br /> +<br /> +Holden, Violet M. and E., <a href="#Page_102"><b>102</b></a>, <a href="#Page_167"><b>167</b></a>.<br /> +<br /> +Hole, William B., <a href="#Page_92"><b>92</b></a>, <a href="#Page_151"><b>151</b></a>.<br /> +<br /> +Hood, G. P. Jacomb, <a href="#Page_91"><b>91</b></a>.<br /> +<span class="pagenum"><a name="Page_175" id="Page_175">[Pg 175]</a></span><br /> +Hopkins, Arthur, <a href="#Page_90"><b>90</b></a>.<br /> +<br /> +Hopkins, Edward, <a href="#Page_90"><b>90</b></a>.<br /> +<br /> +Horne, Herbert, <a href="#Page_10"><b>10</b></a>.<br /> +<br /> +Housman, Laurence, <a href="#Page_15"><b>15</b></a>, <a href="#Page_127"><b>127</b></a>.<br /> +<br /> +Hughes, Arthur, <a href="#Page_95"><b>95</b></a>.<br /> +<br /> +Hurst, Hal, <a href="#Page_93"><b>93</b></a>.<br /> +<br /> +Hyde, William, <a href="#Page_39"><b>39</b></a>, <a href="#Page_135"><b>135</b></a>.<br /> +<br /> +<br /> +Image, Selwyn, <a href="#Page_10"><b>10</b></a>.<br /> +<br /> +<br /> +Jalland, G. P., <a href="#Page_90"><b>90</b></a>.<br /> +<br /> +James, Helen, <a href="#Page_46"><b>46</b></a>.<br /> +<br /> +Jones, A. Garth, <a href="#Page_14"><b>14</b></a>, <a href="#Page_15"><b>15</b></a>, <a href="#Page_128"><b>128</b></a>.<br /> +<br /> +<br /> +Kitton, F. G., <a href="#Page_48"><b>48</b></a>, <a href="#Page_135"><b>135</b></a>.<br /> +<br /> +<br /> +Levetus, Celia, <a href="#Page_12"><b>12</b></a>, <a href="#Page_128"><b>128</b></a>.<br /> +<br /> +<br /> +Macdougall, W. B., <a href="#Page_26"><b>26</b></a>, <a href="#Page_128"><b>128</b></a>.<br /> +<br /> +MacGregor, Archie, <a href="#Page_107"><b>107</b></a>, <a href="#Page_167"><b>167</b></a>.<br /> +<br /> +Mallows, C. E., <a href="#Page_50"><b>50</b></a>.<br /> +<br /> +Mason, Fred, <a href="#Page_12"><b>12</b></a>, <a href="#Page_128"><b>128</b></a>.<br /> +<br /> +May, Phil, <a href="#Page_86"><b>86</b></a>, <a href="#Page_87"><b>87</b></a>.<br /> +<br /> +Millais, J. G., <a href="#Page_54"><b>54</b></a>, <a href="#Page_135"><b>135</b></a>.<br /> +<br /> +Millar, H. R., <a href="#Page_109"><b>109</b></a>, <a href="#Page_112"><b>112</b></a>, <a href="#Page_167"><b>167</b></a>.<br /> +<br /> +Millet, F. D., <a href="#Page_36"><b>36</b></a>.<br /> +<br /> +Moore, T. Sturge, <a href="#Page_18"><b>18</b></a>, <a href="#Page_24"><b>24</b></a>, <a href="#Page_129"><b>129</b></a>.<br /> +<br /> +Muckley, L. Fairfax, <a href="#Page_12"><b>12</b></a>, <a href="#Page_129"><b>129</b></a>.<br /> +<br /> +<br /> +New, E. H., <a href="#Page_10"><b>10</b></a>, <a href="#Page_38"><b>38</b></a>, <a href="#Page_50"><b>50</b></a>, <a href="#Page_136"><b>136</b></a>.<br /> +<br /> +North, J. W., <a href="#Page_31"><b>31</b></a>.<br /> +<br /> +<br /> +Ospovat, Henry, <a href="#Page_13"><b>13</b></a>, <a href="#Page_14"><b>14</b></a>, <a href="#Page_129"><b>129</b></a>.<br /> +<br /> +<br /> +Paget, H. M., <a href="#Page_92"><b>92</b></a>, <a href="#Page_152"><b>152</b></a>.<br /> +<br /> +Paget, Sidney, <a href="#Page_68"><b>68</b></a>, <a href="#Page_152"><b>152</b></a>.<br /> +<br /> +Paget, Walter, <a href="#Page_92"><b>92</b></a>, <a href="#Page_152"><b>152</b></a>.<br /> +<br /> +Park, Carton Moore, <a href="#Page_118"><b>118</b></a>, <a href="#Page_168"><b>168</b></a>.<br /> +<br /> +Parsons, Alfred, <a href="#Page_31"><b>31</b></a>, <a href="#Page_35"><b>35</b></a>, <a href="#Page_137"><b>137</b></a>.<br /> +<br /> +Partridge, J. Bernard, <a href="#Page_58"><b>58</b></a>, <a href="#Page_86"><b>86</b></a>, <a href="#Page_153"><b>153</b></a>.<br /> +<br /> +Payne, Henry, <a href="#Page_12"><b>12</b></a>.<br /> +<br /> +Pegram, Fred, <a href="#Page_68"><b>68</b></a>, <a href="#Page_69"><b>69</b></a>, <a href="#Page_153"><b>153</b></a>.<br /> +<br /> +Pennell, Joseph, <a href="#Page_31"><b>31</b></a>, <a href="#Page_38"><b>38</b></a>, <a href="#Page_41"><b>41</b></a>, <a href="#Page_137"><b>137</b></a>.<br /> +<br /> +Pissarro, Lucien, <a href="#Page_18"><b>18</b></a>, <a href="#Page_24"><b>24</b></a>.<br /> +<br /> +Pitman, Rosie M. M., <a href="#Page_117"><b>117</b></a>, <a href="#Page_168"><b>168</b></a>.<br /> +<br /> +"Pym, T.," <a href="#Page_95"><b>95</b></a>.<br /> +<br /> +<br /> +Rackham, Arthur, <a href="#Page_108"><b>108</b></a>, <a href="#Page_168"><b>168</b></a>.<br /> +<br /> +Railton, Herbert, <a href="#Page_31"><b>31</b></a>, <a href="#Page_38"><b>38</b></a>, <a href="#Page_45"><b>45</b></a>, <a href="#Page_74"><b>74</b></a>, <a href="#Page_139"><b>139</b></a><br /> +<br /> +Reed, E. T., <a href="#Page_88"><b>88</b></a>.<br /> +<br /> +Reid, Sir George, <a href="#Page_31"><b>31</b></a>, <a href="#Page_141"><b>141</b></a>.<br /> +<br /> +Reid, Stephen, <a href="#Page_68"><b>68</b></a>.<br /> +<br /> +Ricketts, Charles, <a href="#Page_18"><b>18</b></a>, <a href="#Page_129"><b>129</b></a>.<br /> +<br /> +Robinson, Charles, <a href="#Page_102"><b>102</b></a>, <a href="#Page_114"><b>114</b></a>, <a href="#Page_169"><b>169</b></a>.<br /> +<br /> +Robinson, T. H., <a href="#Page_114"><b>114</b></a>, <a href="#Page_170"><b>170</b></a>.<br /> +<br /> +Robinson, W. H., <a href="#Page_114"><b>114</b></a>, <a href="#Page_116"><b>116</b></a>, <a href="#Page_171"><b>171</b></a>.<br /> +<br /> +Ryland, Henry, <a href="#Page_7"><b>7</b></a>.<br /> +<br /> +<br /> +Sambourne, Linley, <a href="#Page_86"><b>86</b></a>, <a href="#Page_88"><b>88</b></a>.<br /> +<br /> +Sauber, Robert, <a href="#Page_93"><b>93</b></a>.<br /> +<br /> +Savage, Reginald, <a href="#Page_18"><b>18</b></a>, <a href="#Page_24"><b>24</b></a>, <a href="#Page_130"><b>130</b></a>.<br /> +<br /> +Shannon, C. H., <a href="#Page_18"><b>18</b></a>, <a href="#Page_130"><b>130</b></a>.<br /> +<br /> +Shaw, Byam, <a href="#Page_13"><b>13</b></a>, <a href="#Page_130"><b>130</b></a>.<br /> +<br /> +Shepherd, J. A., <a href="#Page_118"><b>118</b></a>.<br /> +<br /> +Shepperson, C. A., <a href="#Page_68"><b>68</b></a>, <a href="#Page_74"><b>74</b></a>, <a href="#Page_154"><b>154</b></a>.<br /> +<br /> +Sleigh, Bernard, <a href="#Page_12"><b>12</b></a>, <a href="#Page_130"><b>130</b></a>.<br /> +<br /> +Speed, Lancelot, <a href="#Page_110"><b>110</b></a>.<br /> +<br /> +Spence, Robert, <a href="#Page_14"><b>14</b></a>.<br /> +<br /> +Strang, William, <a href="#Page_58"><b>58</b></a>, <a href="#Page_154"><b>154</b></a>.<br /> +<br /> +Stratton, Helen, <a href="#Page_116"><b>116</b></a>, <a href="#Page_172"><b>172</b></a>.<br /> +<br /> +Sullivan, E. J., <a href="#Page_15"><b>15</b></a>, <a href="#Page_74"><b>74</b></a>, <a href="#Page_77"><b>77</b></a>, <a href="#Page_155"><b>155</b></a>.<br /> +<br /> +Sumner, Heywood, <a href="#Page_6"><b>6</b></a>, <a href="#Page_130"><b>130</b></a>.<br /> +<br /> +<br /> +Tenniel, Sir John, <a href="#Page_86"><b>86</b></a>, <a href="#Page_88"><b>88</b></a>, <a href="#Page_96"><b>96</b></a>.<br /> +<br /> +Thomas, F. Inigo, <a href="#Page_50"><b>50</b></a>, <a href="#Page_142"><b>142</b></a>.<br /> +<br /> +Thomson, Hugh, <a href="#Page_68"><b>68</b></a>, <a href="#Page_79"><b>79</b></a>, <a href="#Page_156"><b>156</b></a>.<br /> +<br /> +Townsend, F. H., <a href="#Page_68"><b>68</b></a>, <a href="#Page_69"><b>69</b></a>, <a href="#Page_72"><b>72</b></a>, <a href="#Page_157"><b>157</b></a>.<br /> +<br /> +Tringham, Holland, <a href="#Page_46"><b>46</b></a>.<br /> +<br /> +<br /> +Wain, Louis, <a href="#Page_118"><b>118</b></a>.<br /> +<br /> +Walker, A. G., <a href="#Page_116"><b>116</b></a>, <a href="#Page_172"><b>172</b></a>.<br /> +<br /> +Weguelin, J. R., <a href="#Page_29"><b>29</b></a>, <a href="#Page_131"><b>131</b></a>.<br /> +<br /> +Weir, Harrison, <a href="#Page_54"><b>54</b></a>.<br /> +<br /> +Wheeler, E. J., <a href="#Page_91"><b>91</b></a>.<br /> +<br /> +Whymper, Charles, <a href="#Page_54"><b>54</b></a>, <a href="#Page_142"><b>142</b></a>.<br /> +<br /> +Williams, R. J., <a href="#Page_53"><b>53</b></a>.<br /> +<br /> +Wilson, Edgar, <a href="#Page_56"><b>56</b></a>.<br /> +<br /> +Wilson, Patten, <a href="#Page_28"><b>28</b></a>, <a href="#Page_131"><b>131</b></a>.<br /> +<br /> +Woodroffe, P. V., <a href="#Page_13"><b>13</b></a>, <a href="#Page_14"><b>14</b></a>, <a href="#Page_131"><b>131</b></a>.<br /> +<br /> +Woodward, Alice B., <a href="#Page_104"><b>104</b></a>, <a href="#Page_172"><b>172</b></a>.<br /> +<br /> +Wright, Alan, <a href="#Page_107"><b>107</b></a>, <a href="#Page_173"><b>173</b></a>.<br /> +</p><p><span class="pagenum"><a name="Page_176" id="Page_176">[Pg 176]</a></span></p> +<hr class="chap" /> + +<div class="figcenter" style="width: 74px;"> +<img src="images/i_211.png" width="74" height="100" alt=""/> +</div> + +<p class="center"> +<small>CHISWICK PRESS: CHARLES WHITTINGHAM AND CO.<br /> +TOOKS COURT, CHANCERY LANE, LONDON.</small><br /> +</p> + +<hr class="chap" /> + + +<p class="transnote">Transcriber's Notes<br /><br /> + + +Quarto, (normally 4to), is shown as 4<sup>o</sup>, and octavo, +(normally 8vo), is shown as 8<sup>o</sup>.<br /><br /> + +Illustrations were moved outside of paragraphs and closer to their +pertinent paragraphs.<br /> +Although the List of Illustrations displays the +original page numbers, they are linked to the illustrations.<br /><br /> + +Made minor punctuation corrections and the following changes:<br /><br /> + + +Page <a href="#Page_vii">vii</a>: Contents, Bibliographies: Changed "Book" to "Books" and +"Illustrations" to "Illustrators".<br /> +<span style="margin-left: 1em;">Orig.: Some Children's-Book Illustrations.</span><br /> +<br /> +Page <a href="#Page_55">55</a>: Illustration: Changed "HOMES" to "HORNS".<br /> +<span style="margin-left: 1em;">Orig.: FROM HIS 'BRITISH DEER AND THEIR HOMES.'</span><br /> +<br /> +Page <a href="#Page_130">130</a>: Indented Essex House Press under author Reginald Savage.<br /> +Changed "Woolam" to "Woolman".<br /> +<span style="margin-left: 1em;">Orig.: Essex House Press ... The Journal of John Woolam.</span><br /> +<br /> +Page <a href="#Page_141">141</a>: Changed "Tho" to "The".<br /> +<span style="margin-left: 1em;">Orig.: Ripon Cathedral. Tho Ven. Archdeacon Danks.</span><br /> +<br /> +Page <a href="#Page_170">170</a>: Changed "Ohe" to "The", and "Hesla" to "Herla".<br /> +<span style="margin-left: 1em;">Orig.: The True Annals of Fairy Land. Ohe Reign of King Hesla.</span><br /> +<br /> +Note: The remainder of this text matches the original publication, +which might contain additional title, author, or spelling errors.<br /> +</p> + + + + + + + + + + + +<pre> + + + + + +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 *** + +***** This file should be named 38164-h.htm or 38164-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/8/1/6/38164/ + +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) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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