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diff --git a/38164-8.txt b/38164-8.txt new file mode 100644 index 0000000..3e382fe --- /dev/null +++ b/38164-8.txt @@ -0,0 +1,6880 @@ +The Project Gutenberg EBook of English Book-Illustration of To-day, by +Rose Esther Dorothea Sketchley + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: English Book-Illustration of To-day + Appreciations of the Work of Living English Illustrators + With Lists of Their Books + +Author: Rose Esther Dorothea Sketchley + +Contributor: Alfred W. Pollard + +Release Date: November 29, 2011 [EBook #38164] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK ENGLISH BOOK-ILLUSTRATION *** + + + + +Produced by Chris Curnow, Diane Monico, and the Online +Distributed Proofreading Team at https://www.pgdp.net (This +file was produced from images generously made available +by The Internet Archive) + + + + + + + + + + + +ENGLISH BOOK-ILLUSTRATION OF TO-DAY + + + + +English Book-Illustration +of To-day + +APPRECIATIONS OF THE WORK OF LIVING +ENGLISH ILLUSTRATORS WITH +LISTS OF THEIR BOOKS + +BY R. E. D. SKETCHLEY + +WITH AN INTRODUCTION + +BY ALFRED W. POLLARD + +[Illustration] + +LONDON +KEGAN PAUL, TRENCH, TRÜBNER AND CO., LTD. +PATERNOSTER HOUSE, CHARING CROSS ROAD, W.C. +1903 + + +CHISWICK PRESS: CHARLES WHITTINGHAM AND CO. +TOOKS COURT, CHANCERY LANE, LONDON. + + + + +NOTE. + + +The four articles and bibliographies contained in this volume +originally appeared in "The Library." + +In connection with the bibliographies, I desire to express cordial +thanks to the authorities and attendants of the British Museum, without +whose courtesy and aid, extending over many weeks, it would have been +impossible to bring together the particulars. Most of the artists, too, +have kindly checked and supplemented the entries relating to their +work, but even with the help given me I cannot hope to have produced +exhaustive lists. My thanks are due to the publishers with whom +arrangements have been made for the use of blocks. + +R. E. D. SKETCHLEY. + + + + +CONTENTS. + + + PAGE + +NOTE v + +INTRODUCTION xi + +I. SOME DECORATIVE ILLUSTRATORS 1 + +II. SOME OPEN-AIR ILLUSTRATORS 30 + +III. SOME CHARACTER ILLUSTRATORS 56 + +IV. SOME CHILDREN'S-BOOKS ILLUSTRATORS 94 + + +BIBLIOGRAPHIES. + +I. SOME DECORATIVE ILLUSTRATORS 121 + +II. SOME OPEN-AIR ILLUSTRATORS 132 + +III. SOME CHARACTER ILLUSTRATORS 144 + +IV. SOME CHILDREN'S BOOKS ILLUSTRATORS 158 + +INDEX OF ARTISTS 174 + + + + +LIST OF ILLUSTRATIONS + + + FROM PAGE + +"Les Quinze Joies de Mariage" xii + +The "Dialogus Creaturarum" xiii + +A Venetian Chapbook xvii + +The "Rappresentazione di un Miracolo del Corpo di Gesù" xviii + +The "Rappresentazione di S. Cristina" xix + +"La Nencia da Barberino" xxi + +The "Storia di Ippolito Buondelmonti e Dianora Bardi" xxii + +Ingold's "Guldin Spiel" xxiv + +The Malermi Bible xxv + +A French Book of Hours xxvii + + FROM BY + +"A Farm in Fairyland." _Laurence Housman_ xxx + +Grimm's "Household Stories." _Walter Crane_ 5 + +"Undine." _Heywood Sumner_ 7 + +"Keats' Poems." _R. Anning Bell_ 9 + +"Stories and Fairy Tales." _A. J. Gaskin_ 11 + +"The Field of Clover." _Laurence Housman_ 20 and 21 + +"Cupide and Psyches." _Charles Ricketts_ 22 + +"Daphnis and Chloe." _Charles Ricketts and + C. H. Shannon_ 23 + +"The Centaur." _T. Sturge Moore_ 25 + +"Royal Edinburgh." _Sir George Reid_ facing 35 + +"The Warwickshire Avon." _Alfred Parsons_ 37 + +"The Cinque Ports." _William Hyde_ 42 + +"Italian Journeys." _Joseph Pennell_ facing 45 + +"The Holyhead Road." _C. G. Harper_ 49 + +"The Formal Garden." _F. Inigo Thomas_ 51 + +"The Natural History of Selborne." _E. H. New_ 53 + +"British Deer and their Horns." _J. G. Millais_ 55 + +"Death and the Ploughman's Wife." _William Strang_ 61 + +"The Bride of Lammermoor." _Fred Pegram_ 71 + +"Shirley." _F. H. Townsend_ 73 + +"The Heart of Midlothian." _Claude A. Shepperson_ 75 + +"The School for Scandal." _E. J. Sullivan_ 78 + +"The Ballad of Beau Brocade." _Hugh Thomson_ 82 + +"The Essays of Elia." _C. E. Brock_ 85 + +"The Talk of the Town." _Sir Harry Furniss_ 89 + +"Hermy." _Lewis Baumer_ 100 + +"To tell the King the Sky is falling." _Alice B. Woodward_ 105 + +"Fairy Tales of the Brothers Grimm." _Arthur Rackham_ 109 + +"Indian Fairy Tales." _J. D. Batten_ 111 + +"The Pink Fairy Book." _H. J. Ford_ 113 + +"Fairy Tales by Q." _H. R. Millar_ 115 + + + + +INTRODUCTION. + +SOME PRESENT-DAY LESSONS FROM OLD WOODCUTS. + +BY ALFRED W. POLLARD. + + +SOME explanation seems needed for the intrusion of a talk about the +woodcuts of the fifteenth century into a book dealing with the work of +the illustrators of our own day, and the explanation, though no doubt +discreditable, is simple enough. It was to a mere bibliographer that +the idea occurred that lists of contemporary illustrated books, with +estimates of the work found in them, might form a useful record of the +state of English book-illustration at the end of a century in which for +the first time (if we stretch the century a little so as to include +Bewick) it had competed on equal terms with the work of foreign +artists. Fortunately the bibliographer's scanty leisure was already +heavily mortgaged, and so the idea was transferred to a special student +of the subject, much better equipped for the task. But partly for the +pleasure of keeping a finger in an interesting pie, partly because +there was a fine hobby-horse waiting to be mounted, the bibliographer +bargained that he should be allowed to write an introduction in which +his hobby should have free play, and the reader, who has got a much +better book than he was intended to have, must acquiesce in this +meddling, or resort to his natural rights and skip. + +[Illustration: FROM 'LES QUINZE JOIES DE MARIAGE,' + +PARIS, TREPEREL, C. 1500.] + +It is well to ride a hobby with at least a semblance of moderation, and +the thesis which this introduction is written to maintain does not +assert that the woodcuts of the fifteenth century are better than the +illustrations of the present day, only that our modern artists, if they +will condescend, may learn some useful lessons from them. At the outset +it may frankly be owned that the range of the earliest illustrators was +limited. They had no landscape art, no such out-of-door illustrations +as those which furnish the subject for one of Miss Sketchley's most +interesting chapters. Again, they had little humour, at least of the +voluntary kind, though this was hardly their own fault, for as the +admission is made the thought at once follows it that of all the many +deficiencies of fifteenth-century literature the lack of humour is one +of the most striking. The rough horseplay of the Life of Aesop prefixed +to editions of the Fables can hardly be counted an exception; the wit +combats of Solomon and Marcolphus produced no more than a title-cut +showing king and clown, and outside the 'Dialogus Creaturarum' I can +think of only a single valid exception, itself rather satirical than +funny, this curious picture of a family on the move from a French +treatise on the Joys of Marriage. On the 'Dialogus' itself it seems +fair to lay some stress, for surely the picture here shown of the Lion +and the Hare who applied for the post of his secretary may well +encourage us to believe that in two other departments of illustration +from which also they were shut out, those of Caricature (for which we +must go back to thirteenth-century prayer-books) and Christmas Books +for Children, the fifteenth-century artist would have made no mean +mark. It is, indeed, our Children's Gift-Books that come nearest both +to his feeling and his style. + +[Illustration: FROM THE 'DIALOGUS CREATURARUM.' GOUDA, 1480.] + +What remains for us here to consider is the achievement of the early +designers and woodcutters in the field of Decorative and Character +Illustrations with which Miss Sketchley deals in her first and third +chapters. Here the first point to be made is that by an invention of +the last twenty years they are brought nearer to the possible work of +our own day than to that of any previous time. It has been often enough +pointed out that, not from preference, but from inability to devise any +better plan, the art of woodcut illustration began on wholly wrong +lines. Starting, as was inevitable, from the colour-work of +illuminated manuscripts, the illustrators could think of no other +means of simplification than the reduction of pictures to their +outlines. With a piece of plank cut, not across the grain of the wood, +but with it, as his material, and a sharp knife and, perhaps, a gouge +as his only tools, the woodcutter had to reproduce these outlines as +best he could, and it is little to be wondered at if his lines were +often scratchy and angular, and many a good design was deplorably ill +handled. After a time, soft metal, presumably pewter, was used as an +alternative to wood, and perhaps, though probably slower, was a little +easier to work successfully. But save in some Florentine pictures and a +few designs by Geoffroy Tory, the craftsman's work was not to cut the +lines which the artist had drawn, but to cut away everything else. This +inverted method of work continued after the invention of crosshatching +to represent shading, and was undoubtedly the cause of the rapid +supersession of woodcuts by copper engravings during the sixteenth +century, the more natural method of work compensating for the trouble +caused when the illustrations no longer stood in relief like the type, +but had to be printed as incised plates, either on separate leaves, or +by passing the sheet through a different press. The eighteenth-century +invention of wood-engraving as opposed to woodcutting once again caused +pictures and text to be printed together, and the amazing dexterity of +successive schools of wood-engravers enabled them to produce, though at +the cost of immense labour, work which seemed to compete on equal terms +with engravings on copper. At its best the wood-engraving of the +nineteenth century was almost miraculously good; at its worst, in the +wood-engravings of commerce--the wood-engravings of the weekly papers, +for which the artist's drawing might come in on a Tuesday, to be cut up +into little squares and worked on all night as well as all day, in the +engravers' shops--it was unequivocally and deplorably, but hardly +surprisingly, bad. + +Upon this strange medley of the miraculously good and the excusably +horrid came the invention of the process line-block, and the problem +which had baffled so many fifteenth-century woodcutters, of how to +preserve the beauty of simple outlines was solved at a single stroke. +Have our modern artists made anything like adequate use of this +excellent invention? My own answer would be that they have used it, +skilfully enough, to save themselves trouble, but that its artistic +possibilities have been allowed to remain almost unexplored. As for the +trouble-saving--and trouble-saving is not only legitimate but +commendable--the photographer's camera is the most obliging of +craftsmen. Only leave your work fairly open and you may draw on as +large a scale and with as coarse lines as you please, and the camera +will photograph it down for you to the exact space the illustration has +to fill and will win you undeserved credit for delicacy and fineness of +touch as well. Thus to save trouble is well, but to produce beautiful +work is better, and what use has been made of the fidelity with which +beautiful and gracious line can now be reproduced? The caricaturists, +it is true, have seen their opportunity. Cleverness could hardly be +carried further than it is by Mr. Phil May, and a caricaturist of +another sort, the late Mr. Aubrey Beardsley, degenerate and despicable +as was almost every figure he drew, yet saw and used the possibilities +which artists of happier temperament have neglected. With all the +disadvantages under which they laboured in the reproduction of fine +line the craftsmen of Venice and Florence essayed and achieved more +than this. Witness the fine rendering into pure line of a picture by +Gentile Bellini of a tall preacher preceded by his little crossbearer +in the 'Doctrina' of Lorenzo Giustiniano printed at Venice in 1494, or +again the impressiveness, surviving even its little touch of the +grotesque, of this armed warrior kneeling at the feet of a pope, which +I have unearthed from a favourite volume of Venetian chapbooks at the +British Museum. A Florentine picture of Jacopone da Todi on his knees +before a vision of the Blessed Virgin (from Bonacorsi's edition of his +'Laude,' 1490) gives another instance of what can be done by simple +line in a different style. We have yet other examples in many of the +illustrations to the famous romance, the 'Hypnerotomachia Poliphili,' +printed at Venice in 1499. Of similar cuts on a much smaller scale, a +specimen will be given later. Here, lest anyone should despise these +fifteenth-century efforts, I would once more recall the fact that at +the time they were made the execution of such woodcuts required the +greatest possible dexterity, in cutting away on each side so as to +leave the line as the artist drew it with any semblance of its original +grace. In many illustrated books which have come down to us what must +have been beautiful designs have been completely spoilt, rendered even +grotesque, by the fine curves of the drawing being translated into +scratchy angularities. But draw he never so finely no artist nowadays +need fear that his work will be made scratchy or angular by +photographic process. It is only when he crowds lines together, from +inability to work simply, that the process block aggravates his +defects. + +[Illustration: La Lega Facta Nouamente a Morte e Destructione de li +Franzosi & suoí Seguaci. + +VENICE. C. 1500.] + +[Illustration: FROM THE RAPPRESENTAZIONE DI UN MIRACOLO DEL CORPO DI +GESÙ, 1572. JAC. CHITI.] + +[Illustration: FROM THE RAPPRESENTAZIONE DI S. CRISTINA, 1555.] + +I pass on to another point as to which I think the Florentine +woodcutters have something to teach us. If we put pictures into our +books, why should not the pictures be framed? A hard single line round +the edge of a woodcut is a poor set-off to it, often conflicting with +the lines in the picture itself, and sometimes insufficiently emphatic +as a frame to make us acquiesce in what seems a mere cutting away a +portion from a larger whole. Our Florentine friends knew better. Here +(pp. xiv-xv), for instance, are two scenes, from some unidentified +romance, which in 1572 and 1555 respectively (by which time they must +have been about fifty and sixty years old) appeared in Florentine +religious chapbooks, with which they have nothing to do. The little +borders are simple enough, but they are sufficiently heavy to carry off +the blacks which the artist (according to what is the true method of +woodcutting) has left in his picture, and we are much less inclined to +grumble at the window being cut in two than we should be if the cut +were made by a simple line instead of quite firmly and with +determination by a frame. + +[Illustration: FROM LORENZO DE' MEDICI'S LA NENCIA DA BARBERINO, S.A.] + +I have given these two Florentine cuts, much the worse for wear though +they be, with peculiar pleasure, because I take them to be the exact +equivalents of the pictures in our illustrated novels of the present +day of which Miss Sketchley gives several examples in her third paper. +They are good examples of what may be called the diffused +characterization in which our modern illustrators excel. Every single +figure is good and has its own individuality, but there is no attempt +to illustrate a central character at a decisive moment. Decisive +moments, it may be objected, do not occur (except for epicures) at +polite dinner parties, or during the 'mauvais quart d'heure,' which +might very well be the subject of our first picture. But it seems to me +that modern illustrators often deliberately shun decisive moments, +preferring to illustrate their characters in more ordinary moods, and +perhaps the Florentines did this also. Where the illustrator is not a +great artist the discretion is no doubt a wise one. What for instance +could be more charming, more completely successful than this little +picture of a messenger bringing a lady a flower, no doubt with a +pleasing message with it? In our next cut the artist has been much more +ambitious. Preceded by soldiers with their long spears, followed by the +hideously masked 'Battuti' who ministered to the condemned, Ippolito is +being led to execution. As he passes her door, Dianora flings herself +on him in a last embrace. The lady's attitude is good, but the +woodcutter, alas, has made the lover look merely bored. In +book-illustration, as in life, who would avoid failure must know his +limitations. + +[Illustration: FROM THE STORIA DI IPPOLITO BUONDELMONTI E DIANORA +BARDI, S.A.] + +Whatever shortcomings these Florentine pictures may have in themselves, +or whatever they may lose when examined by eyes only accustomed to +modern work, I hope that it will be conceded that as +character-illustrations they are far from being despicable. +Nevertheless the true home of character-illustration in the fifteenth +century was rather in Germany than in Italy. Inferior to the Italian +craftsmen in delicacy and in producing a general impression of grace +(partly, perhaps, because their work was intended to be printed in +conjunction with far heavier type) the German artists and woodcutters +often showed extraordinary power in rendering facial expression. My +favourite example of this is a little picture from the 'De Claris +Mulieribus' of Boccaccio printed at Ulm in 1473, on one side of which +the Roman general Scipio is shown with uplifted finger bidding the +craven Massinissa put away his Carthaginian wife, while on the other +Sophonisba is watched by a horror-stricken messenger as she drains the +poison her husband sends her. But there is a naïveté about the figure +of Scipio which has frequently provoked laughter from audiences at +lantern-lectures, so my readers must look up this illustration for +themselves at the British Museum, or elsewhere. I fall back on a +picture of a card-party from a 'Guldin Spiel' printed at Augsburg in +1472, in which the hesitation of the woman whose turn it is to play, +the rather supercilious interest of her vis-à-vis, and the calm +confidence of the third hand, not only ready to play his best, but sure +that his best will be good enough, are all shown with absolute +simplicity, but in a really masterly manner. Facial expression such as +this in modern work seems entirely confined to children's books and +caricature, but one would sacrifice a good deal of our modern +prettiness for a few more touches of it. + +[Illustration: FROM INGOLD'S 'GULDIN SPIEL.' AUGSBURG, 1472.] + +The last point to which I would draw attention is that a good deal more +use might be made of quite small illustrations. The full-pagers are, no +doubt, impressive and dignified, but I always seem to see written on +the back of them the artist's contract to supply so many drawings of +such and such size at so many guineas apiece, and to hear him groaning +as he runs through his text trying to pick out the full complement of +subjects. The little sketch is more popular in France than in England, +and there is a suggestion of joyous freedom about it which is very +captivating. Such small pictures did not suit the rather heavy touch of +the German woodcutters; in Italy they were much more popular. At Venice +a whole series of large folio books were illustrated in this way in the +last decade of the fifteenth century, two editions of Malermi's +translation of the Bible, Lives of the Saints, an Italian Livy, the +Decamerone of Boccaccio, the Novels of Masuccio, and other works, all +in the vernacular. At Ferrara, under Venetian influence, an edition of +the Epistles of S. Jerome was printed in 1497, with upwards of one +hundred and eighty such little cuts, many of them illustrating +incidents of monastic life. Both at Venice and Ferrara the cuts are +mainly in outline, and when they are well cut and two or three come +together on a page the effect is delightful. In France the vogue of the +small cut took a very special form. By far the most famous series of +early French illustrated books is that of the Hours of the Blessed +Virgin (with which went other devotions, making fairly complete +prayer-books for lay use), which were at their best for some fifteen +years reckoning from 1488. These Hour-Books usually contained some +fifteen large illustrations, but their most notable features are to be +found in the borders which surround every page. On the outer and lower +margins these borders are as a rule about an inch broad, sometimes +more, so that they can hold four or five little pictures of about an +inch by an inch and a half on the outer margin, and one rather larger +one at the foot of the page. The variety of the pictures designed to +fill these spaces is almost endless. Figures of the Saints and their +emblems and illustrations of the games or occupations suited to each +month fill the margins of the Calendar. To surround the text of the +book there is a long series of pictures of incidents in the life of +Christ, with parallel scenes from the Old Testament, scenes from the +lives of Joseph and Job, representations of the Virtues, the Deadly +Sins being overcome by the contrary graces, the Dance of Death, and for +pleasant relief woodland and pastoral scenes and even grotesques. The +popularity of these prayer-books was enormous, new editions being +printed almost every month, with the result that the illustrations were +soon worn out and had frequently to be replaced. I have often wished, +if only for the sake of small children in sermon time, that our English +prayer-books could be similarly illustrated. An attempt to do this was +made in the middle of the last century, but it was pretentious and +unsuccessful. The great difficulty in the way of a new essay lies in +the popularity of very small prayer-books, with so little margin and +printed on such thin paper as hardly to admit of border cuts. The +difficulty is real, but should not be insuperable, and I hope that some +bold illustrator may soon try his hand afresh. + +[Illustration: FROM THE MALERMI BIBLE. VENICE, GIUNTA, 1490.] + +[Illustration: FROM A FRENCH BOOK OF HOURS. PARIS, KERVER, 1498.] + +I should not be candid if I closed this paper without admitting that my +fifteenth-century friends anticipated modern publishers in one of their +worst faults, the dragging in illustrations where they are not wanted. +In the fifteenth century the same cuts were repeated over and over +again in the same book to serve for different subjects. Modern +publishers are not so simple-hearted as this, but they add to the cost +of their books by unpleasant half-tone reproductions of unnecessary +portraits and views, and I do not think that book-buyers are in the +least grateful to them. Miss Sketchley, I am glad to see, has not +concerned herself with illustrators whose designs require to be +produced by the half-tone process. To condemn this process unreservedly +would be absurd. It gives us illustrations which are really needed for +the understanding of the text when they could hardly be produced in any +other way, and while it does this it must be tolerated. But by +necessitating the use of heavily-loaded paper--unpleasant to the touch, +heavy in the hand, doomed, unless all the chemists are wrong, speedily +to rot--it is the greatest danger to the excellence of our English +book-work which has at present to be faced, while by wearying readers +with endless mechanically produced pictures it is injurious also to the +best interests of artistic illustration. + +[Illustration: FROM MR. HOUSMAN'S "A FARM IN FAIRYLAND." + +BY LEAVE OF MESSRS. KEGAN PAUL.] + + + + +ENGLISH BOOK-ILLUSTRATION OF TO-DAY. + + + + +I. SOME DECORATIVE ILLUSTRATORS. + + +OF the famous 'Poems by Alfred Tennyson,' published in 1857 by Edward +Moxon, Mr. Gleeson White wrote in 1897: 'The whole modern school of +decorative illustrators regard it, rightly enough, as the genesis of +the modern movement.' The statement may need some modification to touch +exact truth, for the 'modern movement' is no single-file, +straightforward movement. 'Kelmscott,' 'Japan,' the 'Yellow Book,' +black-and-white art in Germany, in France, in Spain, in America, the +influence of Blake, the style of artists such as Walter Crane, have +affected the present form of decorative book-illustration. Such perfect +unanimity of opinion as is here ascribed to a large and rather +indefinitely related body of men hardly exists among even the smallest +and most derided body of artists. Still, allowing for the impossibility +of telling the whole truth about any modern and eclectic form of art in +one sentence, there is here a statement of fact. What Rossetti and +Millais and Holman Hunt achieved in the drawings to the 'Tennyson' of +1857, was a vital change in the intention of English illustrative art, +and whatever form decorative illustration may assume, their ideal is +effective while a personal interpretation of the spirit of the text is +the creative impulse. The influence of technical mastery is strong and +enduring enough. It is constantly in sight and constantly in mind. But +it is in discovering and making evident a principle in art that the +influence of spirit on spirit becomes one of the illimitable powers. + +To Rossetti the illustration of literature meant giving beautiful form +to the expression of delight, of penetration, that had kindled his +imagination as he read. He illustrated the 'Palace of Art' in the +spirit that stirred him to rhythmic translation into words of the still +music in Giorgione's 'Pastoral,' or of the unpassing movement of +Mantegna's 'Parnassus.' Not the words of the text, nor those things +precisely affirmed by the writer, but the spell of significance and of +beauty that held his mind to the exclusion of other images, gave him +inspiration for his drawings. As Mr. William Michael Rossetti says: 'He +drew just what he chose, taking from his author's text nothing more +than a hint and an opportunity.' It is said, indeed, that Tennyson +could never see what the St. Cecily drawing had to do with his poem. +And that is strange enough to be true. + +It is clear that such an ideal of illustration is for the attainment of +a few only. The ordinary illustrator, making drawings for cheap +reproduction in the ordinary book, can no more work in this mood than +the journalist can model his style on the prose of Milton. But +journalism is not literature, and pictured matter-of-fact is not +illustration, though it is convenient and customary to call it so. +However, here one need not consider this, for the decorative +illustrator has usually literature to illustrate, and a commission to +be beautiful and imaginative in his work. He has the opportunity of +Rossetti, the opportunity for significant art. + +The 'Classics' and children's books give greatest opportunity to +decorative illustrators. Those who have illustrated children's books +chiefly, or whose best work has been for the playful classics of +literature, it is convenient to consider in a separate chapter, though +there are instances where the division is not maintainable: Walter +Crane, for example, whose influence on a school of decorative design +makes his position at the head of his following imperative. + +Representing the 'architectural' sense in the decoration of books, many +years before the supreme achievements of William Morris added that +ideal to generally recognized motives of book-decoration, Walter Crane +is the precursor of a large and prolific school of decorative +illustrators. Many factors, as he himself tells, have gone to the +shaping of his art. Born in 1846 at Liverpool, he came to London in +1857, and there after two years was 'apprenticed' to Mr. W. J. Linton, +the well-known wood-engraver. His work began with 'the sixties,' in +contact with the enthusiasm and inspiration those years brought into +English art. The illustrated 'Tennyson,' and Ruskin's 'Elements of +Drawing,' were in his thoughts before he entered Mr. Linton's workshop, +and the 'Once a Week' school had a strong influence on his early +contributions to 'Good Words,' 'Once a Week,' and other famous +magazines. In 1865 Messrs. Warne published the first toy-book, and by +1869-70 the 'Walter Crane Toy-book' was a fact in art. The sight of +some Japanese colour-prints during these years suggested a finer +decorative quality to be obtained with tint and outline, and in the use +of black, as well as in a more delicate simplicity of colour, the later +toy-books show the first effect of Japanese art on the decorative art +of England. Italian art in England and Italy, the prints of Dürer, the +Parthenon sculptures, these were influences that affected him strongly. +'The Baby's Opera' (1877) and 'The Baby's Bouquet' (1879) are classics +almost impossible to criticise, classics familiar from cover to cover +before one was aware of any art but the art on their pages. So that if +these delightful designs seem less expressive of the Greece, Germany, +and Italy of the supreme artists than of the 'Crane' countries by whose +coasts ships 'from over the sea' go sailing by with strange cargoes and +strange crews, it is not in their dispraise. As a decorative +draughtsman Mr. Crane is at his best when the use of colour gives +clearness to the composition, but some of his most 'serious' work is in +the black-and-white pages of 'The Sirens Three,' of 'The Shepheardes +Calendar,' and especially of 'The Faerie Queene.' The number of books +he has illustrated--upwards of seventy--makes a detailed account +impossible. Nursery rhyme and fairy books, children's stories, Spenser, +Shakespeare, the myths of Greece, 'pageant books' such as 'Flora's +Feast' or 'Queen Summer,' or the just published 'Masque of Days,' his +own writings, serious or gay, have given him subjects, as the great art +of all times has touched the ideals of his art. + +[Illustration: FROM MR. WALTER CRANE'S 'GRIMM'S HOUSEHOLD STORIES.' + +BY LEAVE OF MESSRS. MACMILLAN.] + +But whatever the subject, how strong soever his artistic admirations, +he is always Walter Crane, unmistakable at a glance. Knights and +ladies, fairies and fairy people, allegorical figures, nursery and +school-room children, fulfil his decorative purpose without swerving, +though not always without injury to their comfort and freedom and the +life in their limbs. An individual apprehension that sees every +situation as a conventional 'arrangement' is occasionally beside the +mark in rendering real life. But when his theme touches imagination, +and is not a supreme expression of it--for then, as in the +illustrations to 'The Faerie Queene,' an unusual sense of subservience +appears to dull his spirit--his humorous fancy knows no weariness nor +sameness of device. + +The work of most of Mr. Crane's followers belongs to 'the nineties,' +when the 'Arts and Crafts' movement, the 'Century Guild,' the +Birmingham and other schools had attracted or produced artists working +according to the canons of Kelmscott. Mr. Heywood Sumner was earlier in +the field. The drawings to 'Sintram' (1883) and to 'Undine' (1888) show +his art as an illustrator. Undine--spirit of wind and water, +flower-like in gladness--seeking to win an immortal soul by submission +to the forms of life, is realized in the gracefully designed figures of +frontispiece and title-page. Where Mr. Sumner illustrates incident he +is 'factual' without being matter-of-fact. The small drawing +reproduced is hardly representative of his art, but most of his work is +adapted to a squarer page than this, and has had to be rejected on that +account. Some of the most apt decorations in 'The English Illustrated' +were by Mr. Sumner, and during the time when art was represented in the +magazine Mr. Ryland and Mr. Louis Davis were also frequent +contributors. The graceful figures of Mr. Ryland, uninterested in +activity, a garden-world set with statues around them, and the +carol-like grace of Mr. Davis's designs in that magazine, represent +them better than the one or two books they have illustrated. + +[Illustration: FROM MR. HEYWOOD SUMNER'S 'UNDINE.' + +BY LEAVE OF MESSRS. CHAPMAN AND HALL.] + +Among those associated with the 'Arts and Crafts' who have given more +of their art to book-decoration, Mr. Anning Bell is first. He has +gained the approval even of the most exigent of critics as an artist +who understands drawing for process. Since 1895, when the 'Midsummer +Night's Dream' appeared, his winning art has been praised with +discrimination and without discrimination, but always praised. Trained +in an architect's office, widely known as the recreator of coloured +relief for architectural decoration, Mr. Anning Bell's illustrations +show constructive power no less than that fairy gift of seeming to +improvise without labour and without hesitancy, which is one of its +especial charms. In feeling, and in many of his decorative forms, his +drawings recall the art of Florentine bas-relief, when Agostino di +Duccio, or Rossellino or Mino da Fiesole, created shapes of delicate +sweetness, pure, graceful--so graceful that their power is hardly +realized. The fairy by-play of the 'Midsummer Night's Dream' is exactly +to Mr. Anning Bell's fancy. He knows better than to go about to expound +this dream, and it is not likely that a more delightful edition will +ever be put into the hands of children, or of anyone, than this in the +white and gold cover devised by the artist. + +Of his illustrations to the 'Poems by John Keats' (1897), and to the +'English Lyrics from Spenser to Milton' of the following year--as +illustrations--not quite so much can be said, distinguished and +felicitous as many of them are. The simple profile, the demure type of +beauty that he affects, hardly suit with Isabella when she hears that +Lorenzo has gone from her, with Lamia by the clear pool + + "Wherein she passionëd + To see herself escaped from so sore ills," + +or with Madeline, 'St. Agnes' charmëd maid.' Mr. Anning Bell's +drawings to 'The Pilgrim's Progress' (1898) reveal him in a different +mood, as do those in 'The Christian Year' of three years earlier. His +vision is hardly energetic enough, his energy of belief sufficient, to +make him a strong illustrator of Bunyan, with his many moods, his great +mood. A little these designs suggest Howard Pyle, and Anning Bell is +better in a way of beauty not Gothic. + +[Illustration: FROM MR. ANNING BELL'S 'KEATS.' + +BY LEAVE OF MESSRS. GEORGE BELL.] + +So if Mr. Anning Bell represents the 'Arts and Crafts' movement in the +variety of decorative arts he has practised, and in the architectural +sense underlying all his art, his work does not agree with the form in +which the influence of William Morris on decorative illustration has +chiefly shown itself. That form, of course, is Gothic, as the ideal of +Kelmscott was Gothic. The work of the 'Century Guild' artists as +decorative illustrators is chiefly in the pages of 'The Hobby Horse.' +Mr. Selwyn Image and Mr. Herbert Horne can hardly be included among +book illustrators, so in this connection one may not stop to consider +the decorative strength of their ideal in art. The Birmingham school +represents Gothic ideals with determination and rigidity. Morris +addressed the students of the school and prefaced the edition of 'Good +King Wenceslas,' decorated and engraved and printed by Mr. A. J. Gaskin +'at the press of the Guild of Handicraft in the City of Birmingham,' +with cordial words of appreciation for the pictures. These +illustrations are among the best Mr. Gaskin has done. The commission +for twelve full-page drawings to 'The Shepheardes Calendar' (Kelmscott +Press, 1896) marks Morris's pleasure in Mr. Gaskin's work--especially +in the illustrations to Andersen's 'Stories and Fairy Tales.' If not +quite in tune with Spenser's Elizabethan idyllism, these drawings are +distinctive of the definite convictions of the artist. + +[Illustration: FROM MR. GASKIN'S 'HANS ANDERSEN.' + +BY LEAVE OF MR. GEORGE ALLEN.] + +These convictions represent a splendid tradition. They are expressive, +in their regard for the unity of the page, for harmony between type and +decoration, of the universal truth in all fine bookmaking. Only at +times, Birmingham work seems rather heavy in spirit, rather too rigid +for development. Still, judging by results, a code that would appear to +be against individual expression is inspiring individual artists. Some +of these--as Mr. E. H. New--have turned their attention to +architectural and 'open-air' illustration, in which connection their +work will be considered, and many have illustrated children's books. +Their quaint and naïve fancy has there, at times, produced a portentous +embodiment of the 'old-fashioned' child of fiction. Mr. Gere, though he +has done little book-illustration, is one of the strongest artists of +the school. His original wood engravings show unmistakably his +decorative power and his craftsmanship. With Mr. K. Fairfax Muckley he +was responsible for 'The Quest' (1894-96). Mr. Fairfax Muckley has +illustrated and decorated a three-volume edition of 'The Faerie Queene' +(1897), wherein the forest branches and winding ways of woodland and of +plain are more happily conventionalized than are Spenser's figures. +Some of the headpieces are especially successful. The artist uses the +'mixed convention' of solid black and line with less confusion than +many modern draughtsmen. Once its dangers must have been evident, but +now the puzzle pattern, with solid blacks in the foreground, +background, and mid-distance--only there is no distance in these +drawings--is a common form of black and white. + +Miss Celia Levetus, Mr. Henry Payne, Mr. F. Mason, and Mr. Bernard +Sleigh, are also to the credit of the school. Miss Levetus, in her +later work, shows that an inclination towards a more flexible style is +not incompatible with the training in Gothic convention. Mr. Mason's +illustrations to ancient romances of chivalry give evidence of +conscientious craftsmanship, and of a spirit sympathetic to themes such +as 'Renaud of Montauban.' Mr. Bernard Sleigh's original wood-engravings +are well known and justly appreciated. Strong in tradition and logic +as is the work of these designers, it is, for many, too consistent with +convention to be delightful. Perhaps the best result of the Birmingham +school will hardly be achieved until the formal effect of its training +is less patent. + +The 'sixties' might have been void of art, so far as these designers +are concerned, save that in those days Morris and Burne-Jones and +Walter Crane, as well as Millais and Houghton and Sandys, were about +their work. Far other is the case with artists such as Mr. Byam Shaw, +or with the many draughtsmen, including Messrs. P. V. Woodroffe, Henry +Ospovat, Philip Connard, and Herbert Cole, whose art derives its form +and intention from the sixties. Differing in technical power and +fineness of invention, in all that distinguishes good from less good, +they have this in common--that the form of their art would have been +quite other if the illustrated books of that period were among things +unseen. Mr. Byam Shaw began his work as an illustrator in 1897 with a +volume of 'Browning's Poems,' edited by Dr. Garnett. He proved himself +in these drawings, as in his pictures and later illustrations, an +artist with a definite memory for the forms, and a genuine sympathy +with the aims of pre-Raphaelite art. Evidently, too, he admires the +black-and-white of Mr. Abbey. He has the gift of dramatic conception, +sees a situation at high pitch, and has a pleasant way of giving +side-lights, pictorial asides, by means of decorative head and +tailpieces. His illustrations to the little green and gold volumes of +the 'Chiswick Shakespeare' are more emphatic than his earlier work, and +in the decorations his power of summarizing the chief motive is put to +good use. There is no need of his signature to distinguish the work of +Byam Shaw, though he shows himself under the influence of various +masters. Probably he is only an illustrator of books by the way, but in +the meantime, as the 'Boccaccio,' 'Browning,' and 'Shakespeare' +drawings show, he works in black and white with vigorous intention. + +Mr. Ospovat's illustrations to 'Shakespeare's Sonnets' and to 'Matthew +Arnold's Poems' are interesting, if not very markedly his own. He +illustrates the Sonnets as a celebration of a poet's passion for his +mistress. As in these, so in the Matthew Arnold drawings, he shows some +genuine creative power and an aptitude for illustrative decoration. Mr. +Philip Connard has made spirited and well-realized illustrations in +somewhat the same kind; Miss Amelia Bauerle, and Mr. Bulcock, who began +by illustrating 'The Blessed Damozel' in memory of Rossetti, have made +appearance in the 'Flowers of Parnassus' series, and Mr. Herbert Cole, +with three of these little green volumes, prepared one for more +important work in 'Gulliver's Travels' (1900). + +The work of Mr. Woodroffe was, I think, first seen in the 'Quarto'--the +organ of the Slade School--where also Mr. A. Garth Jones, Mr. Cyril +Goldie, and Mr. Robert Spence, gave unmistakable evidence of +individuality. Mr. Woodroffe's wood-engravings in the 'Quarto' showed +strength, which is apparent, too, in the delicately characterized +figures to 'Songs from Shakespeare's Plays' (1898), with their borders +of lightly-strung field flowers. His drawings to 'The Confessions of +S. Augustine,' engraved by Miss Clemence Housman, are in keeping with +the text, not impertinent. Mr. A. Garth Jones in the 'Quarto' seemed +much influenced by Japanese grotesques; but in illustrations to +Milton's 'Minor Poems' (1898) he has shown development towards the +expression of beauty more austere, classical, controlled to the +presentment of Milton's high thought. His recent 'Essays of Elia' +remind one of the forcible work of Mr. E. J. Sullivan in 'Sartor +Resartus.' Mr. Sullivan's 'Sartor' and 'Dream of Fair Women' must be +mentioned. His mastery over an assertive use of line and solid black, +the unity of his effects, the humour and imagination of his decorative +designs, are not likely to be forgotten, though the balance of his work +in illustrations to Sheridan, Marryat, Sir Walter Scott, obliges one to +class him with "character" illustrators, and so to leave a blank in +this article. + +Mr. Laurence Housman stands alone among modern illustrators, though one +may, if one will, speak of him as representing the succession of the +sixties, or as connected with the group of artists whose noteworthy +development dates from the publication of 'The Dial' by Charles +Ricketts and Charles Shannon in 1889. To look at Mr. Housman's art in +either connection, or to record the effect of Dürer, of Blake, of +Edward Calvert, on his technique, is only to come back to appreciation +of all that is his own. As an illustrator he has hardly surpassed the +spirit of the 'forty-four designs, drawn and written by Laurence +Housman,' that express his idea of George Meredith's 'Jump to Glory +Jane' (1890). These designs were the result of the appreciation which +the editor, Mr. Harry Quilter, felt for Mr. Housman's drawings to 'The +Green Gaffer' in 'The Universal Review.' Jane--the village woman with +'wistful eyes in a touching but bony face,' leaping with countenance +composed, arms and feet 'like those who hang,' leaping in crude +expression of the unity of soul and body, making her converts, failing +to move the bishop, dying at last, though not ingloriously, by the +wayside--this most difficult conception has no 'burlesque outline' in +Mr. Housman's work, inexperienced and unacademic as is the drawing. + +'Weird Tales from Northern Seas,' by Jonas Lie, was the next book +illustrated by Mr. Housman. Christina Rossetti's 'Goblin Market' +(1893), offered greater scope for freakish imagination than did 'Jane.' +The goblins, pale-eyed, mole and rat and weasel-faced; the sisters, +whose simple life they surround with hideous fantasy, are realized in +harmony with the unique effect of the poem--an effect of simplicity, of +naïve imagination, of power, of things stranger than are told in the +cry of the goblin merchants, as at evening time they invade quiet +places to traffic with their evil fruits for the souls of maidens. The +frail-bodied elves of 'The End of Elfin Town,' moving and sleeping +among the white mushrooms and slender stalks of field flowers, are of +another land than that of the goblin merchant-folk. Illustrations to +'The Imitation of Christ,' to 'The Sensitive Plant,' and drawings to +'The Were-Wolf,' by Miss Clemence Housman, complete the list of Mr. +Housman's illustrations to writings not his own, with the exception of +frontispiece drawings to several books. + +[Illustration: MERCURY GOD OF MERCHANDISE LOOK ON WITH FAVOURABLE EYES + +BY LEAVE OF MESSRS. KEGAN PAUL.] + +To explain Mr. Housman's vision of 'The Sensitive Plant' would be as +superfluous as it would be ineffectual. In a note on the illustrations +he has told how the formal beauty, the exquisite ministrations, the +sounds and fragrance and sweet winds of the garden enclosed, seem to +him as 'a form of beauty that springs out of modes and fashions,' too +graceful to endure. In his pictures he has realized the perfect +ensemble of the garden, its sunny lawns and rose-trellises, its +fountains, statues, and flower-sweet ways; realized, too, the spirit of +the Sensitive Plant, the lady of the garden, and Pan, the great god who +never dies, who waits only without the garden, till in a little while +he enters, 'effacing and replacing with his own image and +superscription, the parenthetic grace ... of the garden deity.' + +Of a talent that treats always of enchanted places, where 'reality' is +a long day's journey down a dusty road, it is difficult to speak +without suggesting that it is all just a charming dalliance with pretty +fancies, lacking strength. Of the strength of Mr. Housman's +imagination, however, his work speaks. His illustrations to his own +writings, fairy tales, and poems, cannot with any force be discussed by +themselves. The words belong to the pictures, the pictures to the +words. The drawings to 'The Field of Clover' are seen to full advantage +in the wood-engravings of Miss Housman. Only so, or in reproduction by +photogravure, is the full intention of Mr. Housman's pen-drawings +apparent. + +[Illustration: THE FIELD OF CLOVER By Laurence Housman, Engraved by +Clemence Housman + +BE KINDLY TO THE WEARY DROVER & PIPE THE SHEEP INTO THE CLOVER + +BY LEAVE OF MESSRS. KEGAN PAUL.] + +One may group the names of Charles Ricketts, C. H. Shannon, T. Sturge +Moore, Lucien Pissarro, and Reginald Savage together in memory of 'The +Dial,' where the activity of five original artists first became +evident, though, save in the case of Mr. Ricketts and Mr. Shannon, no +continuance of the classification is possible. The first number of 'The +Dial' (1889) had a cover design cut on wood by Mr. C. H. +Shannon--afterwards replaced by the design of Mr. Ricketts. Twelve +designs by Mr. Ricketts may be said to represent the transitional--or a +transitional--phase of his art, from the earlier work in magazines, +which he disregards, to the reticent expression of 'Vale Press' +illustrations. In 1891 the first book decorated by these artists +appeared, 'The House of Pomegranates,' by Oscar Wilde. There was, +however, nothing in this book to suggest the form their joint talent +was to take. Many delightful designs by Mr. Ricketts, somewhat marred +by heaviness of line, and full-page illustrations by Mr. Shannon, +printed in an almost invisible, nondescript colour, contained no +suggestion of 'Daphnis and Chloe.' + +The second 'Dial'(1892) contained Mr. Ricketts' first work as his own +wood-engraver, and in the following year the result of eleven months' +joint work by Mr. Ricketts and Mr. Shannon was shown in the publication +of 'Daphnis and Chloe,' with thirty-seven woodcuts by the artists. +Fifteen of the pictures were sketched by Mr. Shannon and revised and +drawn on the wood by Mr. Ricketts, who also engraved the initials. It +is a complete achievement of individuality subordinated to an ideal. +Here and there one can affirm that Mr. Shannon drew this figure, +composed this scene, Mr. Ricketts that; but generally the hand is not +to be known. The ideal of their inspiration--the immortal +'Hypnerotomachia'--seems equally theirs, equally potent over their +individuality. Speaking with diffidence, it would seem as though Mr. +Shannon's idea of the idyll were more naïve and humorous. Incidents +beside the main theme of the pastoral loves of young Daphnis and +Chloe--the household animals, other shepherds--are touched with +humorous intent. Mr. Ricketts shows more suavity, and, as in the +charming double-page design of the marriage feast, a more lyrical +realization of delight and shepherd joys. + +The 'Hero and Leander' of 1894 is a less elaborate, and, on the whole, +a finer production. I must speak of the illustrations only, lest +consideration of Vale Press publications should fill the remaining +space at my disposal. Obviously the attenuated type of these figures +shows Mr. Ricketts' ideal of the human form as a decoration for a page +of type. The severe reticence he imposes on himself is in order to +maintain the balance between illustrations and text. One has only to +turn to illustrations to Lord de Tabley's 'Poems,' published in 1893, +to see with what eager imagination he realizes a subject, how strong a +gift he has for dramatic expression. That a more persuasive beauty of +form was once his wont, much of his early and transitional work +attests. But I do not think his power to achieve beauty need be +defended. After the publication of 'Hero and Leander,' Mr. Shannon +practically ceased wood-engraving for the illustration of books, +though, as the series of roundel designs in the recent exhibition of +his work proved, he has not abandoned nor ceased to go forward in the +art. + +[Illustration: FROM MR. RICKETTS' 'CUPIDE AND PSYCHES.' + +REPRODUCED BY HIS PERMISSION.] + +[Illustration: OF THE APPARITION OF THE THREE NYMPHS TO DAPHNIS IN A +DREAM. + +FROM MESSRS. RICKETTS AND SHANNON'S 'DAPHNIS AND CHLOE.' (MATHEWS AND +LANE.) + +REPRODUCED BY THEIR LEAVE AND THE PUBLISHERS'.] + +'The Sphinx,' a poem by Oscar Wilde, 'built, decorated and bound' by +Mr. Ricketts--but without woodcuts--was published in 1894, just after +'Hero and Leander,' and designs for a magnificent edition of 'The +King's Quhair' were begun. Some of these are in 'The Dial,' as are also +designs for William Adlington's translation of 'Cupide and Psyches' in +'The Pageant,' 'The Dial,' and 'The Magazine of Art.' The edition of +the work published by the new Vale Press in 1897, is not that projected +at this time. It contains roundel designs in place of the square +designs first intended. These roundels are, I think, the finest +achievement of Mr. Ricketts as an original wood-engraver. The engraving +reproduced shows of what quality are both line and form, how successful +is the placing of the figure within the circle. On the page they are +what the artist would have them be. With the beginning of the sequence +of later Vale Press books--books printed from founts designed by Mr. +Ricketts--a consecutive account is impossible, but the frontispiece to +the 'Milton' and the borders and initials designed by Mr. Ricketts, +must be mentioned. As a designer of book-covers only one failure is set +down to Mr. Ricketts, and that was ten years ago, in the cover to 'The +House of Pomegranates.' + +Mr. Reginald Savage's illustrations to some tales from Wagner lack the +force of designs in 'The Pageant,' and of woodcuts in Essex House +publications. Of M. Lucien Pissarro, in an article overcrowded with +English illustrators, I cannot speak. His fame is in France as the +forerunner of his art, and we in England know his coloured +wood-engravings, his designs for 'The Book of Ruth and Esther' and for +'The Queen of the Fishes,' printed at his press at Epping, but included +among Vale Press books. + +[Illustration: FROM MR. STURGE MOORE'S 'THE CENTAUR.' + +REPRODUCED BY PERMISSION OF MR. RICKETTS.] + +'The Centaur,' 'The Bacchant,' 'The Metamorphoses of Pan,' +'Siegfried'--young Siegfried, wood-nurtured, untamed, setting his lusty +strength against the strength of the brutes, hearing the bird-call +then, and following the white bird to issues remote from savage +life--these are subjects realized by the imagination of Mr. T. Sturge +Moore. There are few artists illustrating books to-day whose work is +more unified, imaginatively and technically. It is some years since +first Mr. Moore's wood-engravings attracted notice in 'The Dial' and +'The Pageant,' and the latest work from his graver--finer, more +rhythmic in composition though it be--shows no change in ideals, in the +direction of his talent. He has said, I think, that the easiest line +for the artist is the true basis of that artist's work, and it would +seem as though much deliberation in finding that line for himself had +preceded any of the work by which he is known. The wood-engraving of +Mr. Sturge Moore is of some importance. Always the true understanding +of his material, the unhesitating realization of his subject, combine +to produce the effect of inevitable line and form, of an inevitable +setting down of forms in expression of the thought within. Only that +gives the idea of formality, and Mr. Moore's art handles the strong +impulse of the wild creatures of earth, of the solitary creatures, +mighty and terrible, haunting the desert places and fearing the order +men make for safety. Designs to Wordsworth's 'Poems,' not yet +published, represent with innate perception the earth-spirit as +Wordsworth knew it, when the great mood of 'impassioned contemplation' +came upon his careful spirit, when his heart leapt up, or when, +wandering beneath the wind-driven clouds of March, at sight of +daffodils, he lost his loneliness. + +'The Evergreen,' that 'Northern Seasonal,' represented the pictorial +outlook of an interesting group of artists--Robert Burns, Andrew K. +Womrath, John Duncan, and James Cadenhead, for example--and the racial +element, as well as their own individuality, distinguishes the work of +Mr. W. B. Macdougall and Mr. J. J. Guthrie of 'The Elf.' Mr. Macdougall +has been known as a book-illustrator since 1896, when 'The Book of +Ruth,' with decorated borders showing the fertility of his designing +power, and illustrations that were no less representative of a unique +use of material, appeared. The conventionalized landscape backgrounds, +the long, straightly-draped women, seemed strange enough as a reading +of the Hebrew pastoral, with its close kinship to the natural life of +the free children of earth. Their unimpassioned faces, unspontaneous +gestures, the artificiality of the whole impression, were undoubtedly a +new reading of the ancient charm of the story. Two books in 1897, and +'Isabella' and 'The Shadow of Love,' 1898, showed beyond doubt that the +manner was not assumed, that it was the expression of Mr. Macdougall's +sense of beauty. The decorations to 'Isabella' are more elaborate than +to 'Ruth,' and inventive handling of natural forms is as marked. Again, +the faces are de-characterized in accordance with the desire to make +the whole figure the symbol of passion, and that without emphasis. Mr. +J. J. Guthrie is hardly among book-illustrators, since 'Wedding Bells' +of 1895 does not represent Mr. Guthrie, nor does the child's book of +the following year, while the illustrations to Edgar Allan Poe's +'Poems' are still, I think, being issued from the Pear Tree Press in +single numbers. His treatment of landscape is inventive, his rhythmic +arrangements, his effects of white line on black, are based on a real +sense of the beauty of earth, of tall trees and wooded hills, of +mysterious moon-brightness and shade in the leafy depths of the +woodlands. + +Mr. Granville Fell made his name known in 1896 by his illustrations to +'The Book of Job.' In careful detail, drawn with fidelity, never +obtrusive, his art is pre-Raphaelite. He touches Japanese ideals in +the rendering of flower-growth and animals, but the whole effect of his +decorative illustrations is far enough away from the art of Japan. In +the 'Book of Job' he had a subject sufficient to dwarf a very vital +imaginative sense by its grandeur. In the opinion of competent critics +Mr. Granville Fell proved more than the technical distinction of his +work by the manner in which he fulfilled his purpose. The solid black +and white, the definite line of these drawings, were laid aside for the +sympathetic medium of pencil in 'The Song of Solomon' (1897). Again, +his conception is invariably dramatic, and never crudely dramatic, +robust, with no trace of morbid or sentimental thought about it. The +garden, the wealth of vineyard and of royal pleasure ground, is used as +a background to comely and gracious figures. His other work, +illustrative of children's books and of legend, the cover and +title-page to Mr. W. B. Yeats's 'Poems,' shows the same definite yet +restrained imagination. + +Mr. Patten Wilson is somewhat akin to Mr. Granville Fell in the energy +and soundness of his conceptions. Each of these artists is, as we know, +a colourist, delighting in brilliant and iridescent colour-schemes, yet +in black and white they do not seek to suggest colour. Mr. Patten +Wilson's illustrations to Coleridge's 'Poems' have the careful fulness +of drawings well thought out, and worked upon with the whole idea +realised in the imagination. He has observed life carefully for the +purposes of his art. But it is rather in rendering the circumstance of +poems, such as 'The Ancient Mariner,' or, in a Chaucer +illustration--Constance on the lonely ship--that he shows his grasp of +the subject, than by any expression of the spiritual terror or +loneliness of the one living man among the dead, the solitary woman on +strange seas. + +Few decorative artists habitually use 'wash' rather than line. Among +these, however, is Mr. Weguelin, who has illustrated Anacreon in a +manner to earn the appreciation of Greek scholars, and his +illustrations to Hans Andersen have had a wider and not less +appreciative reception. His drawings have movement and atmosphere. Mr. +W. E. F. Britten also uses this medium with fluency, as is shown by his +successful illustrations to Mr. Swinburne's 'Carols of the Year' in the +'Magazine of Art' in 1892-3. Since that time his version of 'Undine,' +and illustrations to Tennyson's 'Early Poems,' have shown the same +power of graceful composition and sympathy with his subject. + + + + +II. SOME OPEN-AIR ILLUSTRATORS. + + +OPEN-AIR illustration is less influenced by the tradition of Rossetti +and of the romanticists of 'the sixties' than any other branch of +illustrative art. The reason is obvious. Of all illustrators, the +illustrator of open-air books has least concern with the interpretation +of literature, and is most concerned with recording facts from +observation. It is true that usually he follows where a writer goes, +and studies garden, village or city, according to another man's +inclination. But the road they take, the cities and wayside places, are +as obvious to the one as to the other. The artist has not to realize +the personal significance of beauty conceived by another mind; he has +to set down in black and white the aspect of indisputable cities and +palaces and churches, of the actual highways and gardens of earth. No +fugitive light, but the light of common day shows him his subject. So, +although Stevenson's words, that reaching romantic art one becomes +conscious of the background, are completely true in application to the +drawings of Rossetti, of Millais, Sandys and Houghton, these +'backgrounds' have had no traceable effect on modern open-air +illustration. Nor are the landscape drawings in works such as 'Wayside +Poesies,' or 'Pictures of English Landscape,' at the beginning of the +style or styles--formal or picturesque--most in vogue at present. +Birket Foster has no followers; the pensive landscape is not suited to +holiday excursion books; and, though Mr. J. W. North is among artists +of to-day, as a book-illustrator he has unfortunately added little to +his fine record of landscape drawings made between 1864 and 1867. One +cannot include his work in a study of contemporary illustration, though +it is a pleasure passed over to leave unconsidered drawings that in +'colour,' in effects of winter-weather, of leaf-thrown light and shade +amid summer woods and over the green lanes of English country, are +delightfully remote from obvious and paragraphic habits of rendering +facts. + +With few exceptions the open-air illustrators of to-day began their +work and took their place in public favour, and in the estimation of +critics, after 1890. Mr. Joseph Pennell, it is true, had been making +sketches in England, in France, and in Italy for some years; Mr. +Railton had made some preliminary illustrations; Mr. Alfred Parsons +illustrated 'Old Songs' with Mr. Abbey in 1889; and Mr. Fulleylove +contributed to 'The Picturesque Mediterranean,' and published his +'Oxford' drawings, in the same year. Still, with a little elasticity, +'the nineties' covers the past activity of these men. The only +important exception is Sir George Reid, President of the Royal Scottish +Academy, much of whose illustrative work belongs to the years prior to +1890. The one subject for regret in connection with Sir George Reid's +landscape illustrations is that the chapter is closed. He makes no more +drawings with pen-and-ink, and the more one is content with those he +has made, the less does the quantity seem sufficient. Those who know +only the portraits on which Sir George Reid's reputation is firmly +based will find in his landscape illustrations a new side to his art. +Here, as in portraiture, he sees distinctly and records without +prejudice the characteristics of his subject. He renders what he sees, +and he knows how to see. His conception being clear to himself, he +avoids vagueness and obscurity, finding, with apparent ease, plain +modes of expression. A straight observer of men and of the +country-side, there is this directness and perspicuity about his work, +whether he paints a portrait, or makes pen-drawings of the village +worthies of 'Pyketillim' parish, or draws Pyketillim Kirk, small and +white and plain, with the sparse trees beside it, or great river or +city of his native land. + +But in these pen-stroke landscapes, while the same clear-headed survey, +the same logical record of facts, is to be observed as in his work as a +portrait painter, there is besides a charm of manner that brings the +indefinable element into one's appreciation of excellent work. Of +course this is not to estimate these drawings above the portraits of +Sir George Reid. That would be absurd. But he draws a country known to +him all his life, and unconsciously, from intimate memory, he suggests +more than actual observation would discover. This identification of +past knowledge with the special scrutiny of a subject to be rendered is +not usually possible in portraiture. The 'portrait in-time' is a +question of occasion as well as of genius. + +The first book in which his inimitable pen-drawing of landscape can be +properly studied is the illustrated edition of 'Johnny Gibb of +Gushetneuk, in the Parish of Pyketillim,' published in 1880. Here the +illustrations are facsimile reproductions by Amand-Durand's +heliogravure process, and their delicacy is perfectly seen. These +drawings are of the Aberdeenshire country-folk and country, the native +land of the artist; though, as a lad in Aberdeen, practising +lithography by day, and seizing opportunities for independent art when +work was over, the affairs and doings of Gushetneuk, of Smiddyward, of +Pyketillim, or the quiet of Benachie when the snow lies untrodden on +its slopes, were things outside the city of work. + +It is as difficult to praise these drawings intelligibly to those who +have not seen them, as it is unnecessary to enforce their charm on +those who have. Unfortunately, a reproduction of one of them is not +possible, and admirable as is the drawing from 'Royal Edinburgh,' it is +in subject and in treatment distinct from the 'Gushetneuk' and 'North +of Scotland' illustrations. The 'Twelve Sketches of Scenery and +Antiquities on the Great North of Scotland Railway,' issued in 1883, +were made in 1881, and have the same characteristics as the +'Gushetneuk' landscapes. The original drawings for the engraved +illustrations in 'The Life of a Scotch Naturalist,' belonging to +1876--drawings made because the artist was 'greatly interested' in the +story of Thomas Edward--must have been of the same delicate force, and +the splendid volumes of plates illustrating the 'River Clyde,' and the +'River Tweed,' issued by the Royal Association for the Promotion of the +Fine Arts in Scotland, contain more of his fine work. It was this +society, that, in the difficult days following the artist's abandonment +of Aberdeen and lithography for Edinburgh and painting, gave him the +opportunity, by the purchase of two of his early landscapes, for study +in Holland and in Paris. There is something of Bosboom in a rendering +of a church interior such as 'The West Kirk,' but of Israels, who was +his master at the Hague, there is nothing to be seen in Sir George +Reid's illustrations. They are never merely picturesque, and when too +many men are 'freakish' in their rendering of architecture, the +drawings of North of Scotland castles--well founded to endure weather +and rough times of war--seem as real and true to Scottish romance as +the "pleasant seat," the martlet-haunted masonry of Macbeth's castle +set among the brooding wildness of Inverness by the fine words of +Duncan and Banquo. + +The print-black of naked boughs against pale sky, a snow-covered +country where roofs are white, and the shelter of the woods is thin +after the passing of the autumn winds--this black and white is the +black and white of most of Sir George Reid's studies of northern +landscape. To call it black and white is to stretch the octave and omit +all the notes of the scale. Pure white of plastered masonry, or of +snow-covered roof or field in the bleak winter light, pure black in +some deep-set window, in the figure of a passer-by, or in the bare +trees, are used with the finesse of a colourist. Look at the +'Pyketillim Kirk' drawing in 'Johnny Gibb.' Between the white of the +long church wall, and the black of the little groups of village folk in +the churchyard, how quiet and easy is the transition, and how true to +colour is the result. Of the Edinburgh drawings the same may be said; +but, except in facsimile reproduction, one has to know the scale of +tone used by Sir George Reid in order to see the original effect where +the printed page shows unmodified black and white. In 'Holyrood Castle' +the values are fairly well kept, and the rendering of the ancient +building in the deep snow, without false emphasis, yet losing nothing +of emphatic effect, shows the dominant intellectual quality of the +artist's work. + +[Illustration: HOLYROOD CASTLE. BY SIR GEORGE REID. FROM MRS. +OLIPHANT'S "ROYAL EDINBURGH." + +BY LEAVE OF MESSRS. MACMILLAN.] + +It does not seem as though Sir George Reid as an illustrator had any +followers. He could hardly have imitators. If a man had delicacy and +patience of observation and hand to produce drawings in this 'style,' +his style would be his own and not an imitation. The number of artists +in black and white who cannot plausibly be imitated is a small number. +Sir George Reid is one, Mr. Alfred Parsons is another. Inevitably there +are points of similarity in the work of artists, the foundation of +whose black and white is colour, and who render the country-side with +the understanding of the native, the understanding that is beyond +knowledge. The difference between them only proves the essential +similarity in the elements of their art; but that, like most +paradoxes, is a truism. Mr. Parsons is, of course, thoroughly English +in his art. He has the particularity of English nature-poets. Pastoral +country is dear to him, and homesteads and flowering orchards, or +villages with church tower half hidden by the elms, are part of his +home country, the country he draws best. It is interesting to compare +his drawings for 'The Warwickshire Avon' with the Scottish artist's +drawings of the northern rivers. The drawings of Shakespeare's river +show spring trees in a mist of green, leafy summer trees, meadowsweet +and hayfields, green earth and blue sky, and a river of pleasure +watering a pleasant country. If a man can draw English summer-time in +colour with black and white, he must rank high as a landscape +pen-draughtsman. Mr. Alfred Parsons has illustrated about a dozen +books, and his work is to be found in 'Harper's Magazine,' and 'The +English Illustrated' in early days. Two books, the 'Old Songs' and 'The +Quiet Life,' published in 1887 and 1890, were illustrated by E. A. +Abbey and Alfred Parsons. The drawings of landscape, of fruit and +flowers, by Mr. Parsons, the Chippendale people and rooms of Mr. Abbey, +fill two charming volumes with pictures whose pleasantness and happy +art accord with the dainty verses of eighteenth-century sentiment. 'The +Warwickshire Avon,' and another river book, 'The Danube from the Black +Forest to the Sea,' illustrated in collaboration with the author, Mr. +F. D. Millet, belong to 1892. The slight sketches--passing-by +sketches--in these books, are among fortunate examples of a briefness +that few men find compatible with grace and significance. Sketches, +mostly in wash, of a farther and more decorated country--'Japan, the +Far East, the Land of Flowers and of the Rising Sun, the country which +for years it had been my dream to see and paint'--illustrate the +artist's 'Notes in Japan,' 1895. In the written notes are memoranda of +actual colour, of the green harmony of the Japanese summer--harmony +culminating in the vivid tint of the rice fields--of sunset and +butterflies, of delicate masses of azalea and drifts of cherry-blossom +and wisteria, while in the drawings are all the flowers, the green +hills and gray hamlets, and the temples, shrines and bridges, that make +unspoilt Japan one of the perpetual motives of decorative art. +Illustrations to Wordsworth--to a selected Wordsworth--gave the artist +fortunate opportunities to render the England of English descriptive +verse. + +[Illustration: ELMS BY BIDFORD GRANGE. BY ALFRED PARSONS. REPRODUCED +FROM QUILLER COUCH'S 'THE WARWICKSHIRE AVON.' + +BY LEAVE OF OSGOOD, McILVAINE AND CO.] + +It is convenient to speak first of these painter-illustrators, because, +in a sense, they stand alone among illustrative artists. Obviously, +that is not to say that their work is worth more than the work of +illustrators, who, conforming to the laws of 'process,' make their +drawings with brain and hand that know how to win profit by concession. +But popularisers of an effective topographical or architectural style +are indirectly responsible for a large amount of work besides their +own. In one sense a leader does not stand alone, and cannot be +considered alone. Before, then, passing on to a draughtsman such as Mr. +Joseph Pennell, again, to Mr. Railton, or to Mr. New, whose successful +and unforgettable works have inspired many drawings in the books +whereby authors pay for their holiday journeys, other artists, whose +style is no convenience to the industrious imitator, may be considered. +Another painter, known for his work in black and white, is Mr. John +Fulleylove, whose 'Pictures of Classic Greek Landscape,' and drawings +of 'Oxford,' show him to be one of the few men who see architecture +steadily and whole, and who draw beautiful buildings as part of the +earth which they help to beautify. Compare the Greek drawings with +ordinary archæological renderings of pillared temples, and the +difference in beauty and interest is apparent. In Mr. Fulleylove's +drawings, the relation between landscape and architecture is never +forgotten, and he draws both with the structural knowledge of a +landscape painter, who is also by training an architect. In aim, his +work is in accord with classical traditions; he discerns the classical +spirit that built temples and carved statues in the beautiful places of +the open-air, a spirit which has nothing of the museum setting about +it. The 'Oxford' drawings show that Mr. Fulleylove can draw Gothic. + +Though not a painter, Mr. William Hyde works 'to colour' in his +illustrations, and is generally successful in rendering both colour and +atmosphere. He has done little with the pen, and it is in wash +drawings, reproduced by photogravure, that he is best to be studied. Of +his early training as an engraver there is little to be seen in his +work, though his appreciation of the range of tone existing between +black and white may have developed from working within restrictions of +monotone, when the colour sense was growing strong in him. At all +events he can gradate from black to white with remarkable minuteness +and ease. His earliest work of any importance after giving up +engraving, was in illustration of 'L'Allegro' and 'Il Penseroso,' 1895, +and shows his talent already well controlled. There are thirteen +illustrations, and the opportunities for rendering aspects of light, +from the moment of the lark's morning flight against the dappled skies +of dawn, to the passing of whispering night-winds over the darkened +country, given in the verse of a poet sensitive as none before him to +the gradations of lightness and dark, are realized. So are the +hawthorns in the dale, and the towered cities. But it is as an +illustrator of another towered city than that imagined by Milton, that +some of Mr. Hyde's most individual work has been produced. In the +etchings and pictures in photogravure published with Mrs. Meynell's +'London Impressions,' London beneath the strange great sky that smoke +and weather make over the gray roofs, London when the dawn is low in +the sky, or when the glow of lamps and lamp-lit windows turns the +street darkness to golden haze, is drawn by a man who has seen for +himself how beautiful the great city is in 'between lights.' His other +work is superficially in contrast with these studies of city light and +darkness; but the same love for 'big' skies, for the larger aspects of +changing lights and cloud movements, are expressed in the drawings of +the wide country that is around and beyond the Cinque Ports, and in the +illustrations to Mr. George Meredith's 'Nature Poems.' The reproduction +is from a pen drawing in Mr. Hueffer's book, 'The Cinque Ports.' There +is no pettiness about it, and the 'phrasing' of castle, trees and sky +shows the artist. + +[Illustration: SALTWOOD CASTLE. BY WILLIAM HYDE. + +FROM F. M. HUEFFER'S 'THE CINQUE PORTS.' + +BY LEAVE OF MESSRS. BLACKWOOD.] + +Mr. D. Y. Cameron has illustrated a book or two with etchings--notably +White's 'Selborne' 1902,--but to consider him as a book-illustrator +would be to stretch a point. A few of his etchings are to be seen in +books, and one would like to make them the text for the consideration +of other etchings by him, but it would be a digression. He is not among +painter-illustrators, but among painters who have illustrated, and that +would bring more names into this chapter than it could hold except in +catalogue arrangement. + +Coming to artists who are illustrators, not on occasion but always, +there is no question with whom to begin. It is true that Mr. Pennell is +American, but he is such an important figure in English illustration +that to leave him out would be impossible. He has been illustrating +Europe for more than fifteen years, and the forcible fashion of his +work, and all that he represents, have influenced black-and-white +artists in this country, as his master Rico influenced him. In range +and facility, and in getting to the point and keeping there, there is +no open-air illustrator to put beside Mr. Pennell. Always interested +and always interesting, he is apparently never bewildered, always ready +and able to draw. Surely there was never a mind with a greater faculty +for quick study; and he can apply this power to the realization of an +architectural detail, or of a cathedral, of miles of country with +river curves and castles, trees, and hills and fields, and a stretch of +sky over all; or of a great city-street crowded with traffic, of new or +old buildings, of Tuscany or of the Stock Exchange, with equal ease. To +attempt a record of Mr. Pennell's work would leave no room for +appreciation of it. As far as the English public is concerned, it began +in 1885 with the publication of 'A Canterbury Pilgrimage,' and since +then each year has added to Mr. Pennell's notes of the world at the +rate of two or three volumes. The highways and byways of England--east, +west, south and north--France from Normandy to Provence, the cities and +spaces of Italy, the Saone and the Thames, the 'real' Alps and the New +Zealand Alps, London and Paris, the Cathedrals of Europe, the gipsy +encampment and the Ghetto, Chelsea and the Alhambra--Mr. Pennell has +been everywhere and seen most things as he went, and one can see it in +his drawings. + +He draws architecture without missing anything tangible, and his +buildings belong to cities that have life--and an individual life--in +their streets. But where he is unapproachable, or at all events +unapproached among pen-draughtsmen, is in drawing a great scheme of +country from a height. If one could reproduce a drawing such as that of +the country of Le Puy in Mr. Wickham Flower's 'Aquitaine,' or, better +still, the etching of the same amazing country, one need say no more +about Mr. Pennell's art in this kind. Unluckily the page is too small. +This strange and lovely landscape, where curving road and river and +tree-bordered fields are dominated by two image-crowned rocks, built +about with close-set houses, looks like a design from a dream fantasy +worked out by a master of definite imagination. One knows it is not. +Mr. Pennell is concerned to give facts in picturesque order, and here +he has a theme that affects us poetically, however it may have affected +Mr. Pennell. His eye measures a landscape that seems outside the +measure of observation, and his ability to grasp and render the +characteristics of actuality serves him as ever. It is an unforgettable +drawing, though the skill displayed in the simplification and relation +of facts is no greater than in other drawings by the artist. That power +hardly ever fails him. The 'Devils of Notre Dame' again stands out in +memory, when one thinks generally of Mr. Pennell's drawings. And again, +though it seems as if he were working above his usual pitch of +conception, it is only that he is using his keenness of sight, his +logical grasp of form and power of expression, on matter that is +expressive of mental passion. The man who carved the devils, like those +who crowned the rocks of Le Puy with the haloed figures, created facts. +The outrageous passion that made these evil things made them in stone. +You can measure them. They are matter-of-fact. Mr. Pennell has drawn +them as they are, with so much trenchancy, such assertion of their +hideous decorativeness, their isolation over modern Paris, that no +drawings could be better, and any others would be superfluous. It is +impossible to enumerate all that Mr. Pennell has done and can do in +black-and-white. He is a master of so many methods. From the sheer +black ink and white paper of the 'Devils,' to the light broken line +that suggests Moorish fantastic architecture under a hot sun in the +'Alhambra' drawings, there is nothing he cannot do with a pen. Nor is +it only with a pen that he can do what he likes and what we must +admire. He covers the whole field of black-and-white drawing. + +[Illustration: THE HARBOUR, SORRENTO. BY JOSEPH PENNELL. FROM HOWELL'S +"ITALIAN JOURNEYS." + +BY LEAVE OF MR. HEINEMANN.] + +After Mr. Pennell comes Mr. Herbert Railton. No architectural drawings +are more popular than his, and no style is better known or more +generally 'adopted' by the illustrators of little guide-books or of +magazine articles. An architect's training and knowledge of structure +underlies the picturesque dilapidation prevalent in his version of +Anglo-gothic architecture. His first traceable book-illustrations +belong to 1888, though in 'The English Illustrated,' in 'The +Portfolio,' and elsewhere, he had begun before then to formulate the +style that has served him so admirably in later work with the pen. The +illustrations to Mr. Loftie's 'Westminster Abbey' (1890) show his +manner much as it is in his latest pen drawings. There is a lack of +repose. One would like to undecorate some of the masonry, to reveal the +austere lines under the prevalence of pattern. At the same time one +realizes that here is the style needed in illustration of picturesquely +written books about picturesque places, and that the stone tracery of +Westminster, or the old brick and tiles of the Inns of Court, are more +interesting to many people in drawings such as these than in actuality. +But Rico's 'broken line' is responsible for much, and not every +draughtsman who adopts it direct, or through a mixed tradition, has +the architectural knowledge of Mr. Railton to support his deviations +from stability. Mr. Railton is the artist of the Cathedral Guide; he +has drawn Westminster, St. Paul's, Winchester, Gloucester, +Peterborough, and many more cathedrals, inside and out, within the last +ten years. In illustrations to books where a thread of story runs +through historical fact, books such as those written by Miss Manning +concerning Mary Powell, and the household of Sir Thomas More, the +artist has collaborated with Mr. Jellicoe, who has put figures in the +streets and country lanes. + +There are so many names in the list of those who, in the beginning, +profited by the initiative of Mr. Pennell or of Mr. Railton that +generally they may be set aside. Of artists who have made some position +for themselves, there are enough to fill this chapter. Mr. Holland +Tringham and Mr. Hedley Fitton were at one time unmistakable in their +Railtonism. Mr. Fitton has illustrated cathedral books, and in later +drawings by Mr. Tringham exaggeration of his copy has given place to a +more direct record of beautiful buildings. Miss Nelly Erichsen and Miss +Helen James[1] are two artists whose work is much in request for +illustrated series, such as Dent's 'Mediæval Towns.' Miss James' +drawings to 'Rambles in Dickens' Land' (1899) showed study of Mr. +Railton, which is also observable in other books, such as 'The Story of +Rouen.' At the same time, she carries out her work from individual +observation, and gets an effect that belongs to study of the subject, +whether from actuality or from photographs. Miss James and Miss +Erichsen have collaborated in certain books on Italian towns, but +architectural drawing is only part of Miss Erichsen's illustrative +work, though an important part, as the illustrations to the +recently-published 'Florentine Villas' of Mrs. Ross show. Illustrating +stories, she works with graceful distinctness, and many of the drawings +in the 'Story of Rome'--though one remembers that Rome is in Mr. +Pennell's province--show what she can do. + +Mr. C. G. Harper and Mr. C. R. B. Barrett are the most prominent among +those writers of travel-books who are also their own illustrators. They +belong, though with all the difference of time and development, to the +succession of Mr. Augustus Hare. Mr. Hissey also has made many books +out of his driving tours through England, and may be said to have first +specialized the subject that Mr. Harper and Mr. Barrett have made their +own. It is plain that the kind of book has nothing to do with the kind +of art that is used in its making. Mr. Hare's famous 'Walks' may be the +prototypes of later books, but each man makes what he can out of an +idea that has obvious possibilities in it. Mr. Harper has taken to the +ancient high-roads of England, and has studied their historical and +legendary, past, present, and imagined aspects. Of these he has +written; while his illustrations rank him rather among illustrators who +write than among writers who illustrate. Since 1889 he has published a +dozen books and more. In 'Royal Winchester'--the first of these--he is +illustrator only. 'The Brighton Road' of 1892 is the first of the +road-books, and the illustrations of the road as it was and is, of town +and of country, have colour and open air in their black-and-white. +Since then Mr. Harper has been from Paddington to Penzance, has +followed Dick Turpin along the Exeter road, and bygone fashion from +London to Bath, while accounts of the Dover road from Southwark Bridge +to Dover Castle, by way of Dickens' country and hop-gardens, and of the +Great North Road of which Stevenson longed to write, are written and +drawn with spirited observation. His drawing is not so picturesque as +his writing. It has reticence and justness of expression that would not +serve in relating tales of the road, but which, together with a sense +of colour and of what is pictorial, combine to form an effective and +frequently distinctive style of illustration. The drawing reproduced, +chosen by the artist, is from Mr. Harper's recent book on the Holyhead +road. + +[Illustration: DUNCHURCH. BY C. G. HARPER. + +FROM 'THE HOLYHEAD ROAD.' + +BY HIS PERMISSION.] + +Mr. Barrett has described and illustrated the 'highways and byways and +waterways' of various English counties, as well as published a volume +on the battlefields of England, and studies of ancient buildings such +as the Tower of London. He is always well informed, and illustrates his +subject fully from pen-and-ink drawings. Mr. F. G. Kitton also writes +and illustrates, though he has written more than he has drawn. St. +Albans is his special town, and the old inns and quaint streets of the +little red city with its long cathedral, are truthfully and dexterously +given in his pen drawings and etchings. Mr. Alexander Ansted, too, as +a draughtsman of English cathedrals and of city churches, has made a +steady reputation since 1894, when his etchings and drawings of Riviera +scenery showed ambition to render tone, and as much as possible of +colour and atmosphere, with pen and ink. Since then he has simplified +his style for general purposes, though in books such as 'London +Riverside Churches' (1897), or 'The Romance of our Ancient Churches' of +two years later, many of the drawings are more elaborate than is common +in modern illustration. The names of Mr. C. E. Mallows and of Mr. +Raffles Davison must be mentioned among architectural draughtsmen, +though they are outside the scope of a study of book-illustration. Some +of Mr. Raffles Davison's work has been reprinted from the 'British +Architect,' but I do not think either of them illustrates books. An +extension of architectural art lies in the consideration of the garden +in relation to the house it surrounds, and Mr. Reginald Blomfield's +'Formal Garden' treats of the first principles of garden design as +distinct from horticulture. The drawings by Mr. Inigo Thomas, whether +one considers them as illustrating principles or gardens, are worth +looking at, as 'The Yew Walk' sufficiently shows. + +[Illustration: THE YEW WALK; MELBOURNE DERBYSHIRE + +BY F. INIGO THOMAS. + +FROM BLOMFIELD'S 'THE FORMAL GARDEN.' + +BY LEAVE OF MESSRS. MACMILLAN.] + +The sobriety and decorum of Mr. New's architectural and landscape +drawings are the antithesis of the flagrantly picturesque. I do not +know whether Mr. Gere or Mr. New invented this order of landscape and +house drawing, but Mr. New is the chief exponent of it, and has placed +it among popular styles of to-day. It has the effect of sincerity, and +of respectful treatment of ancient buildings. Mr. New does not lapse +from the perpendicular, his hand does not tremble or break off when +house-walls or the ridge of a roof are to be drawn. His is a convention +that is frankly conventional, that confines nature within decorous +bounds, and makes formality a function of art. But though a great deal +of Mr. New's work is mechanical and done to pattern, so that sometimes +little perpendicular strokes to represent grass fill half the pictured +space, while little horizontal strokes to represent brick-work, +together with 'touches' that represent foliage, fill up the rest except +for a corner left blank for the sky; yet, at his best, he achieves an +effective and dignified way of treating landscape for the decoration of +books. Sensational skies that repeat one sensation to monotony, +scattered blacks and emphasized trivialities, are set aside by those +who follow Mr. New. When they are trivial and undiscriminating, they +are unaffectedly tedious, and that is almost pleasant after the +hackneyed sparkle of the inferior picturesque. + +Mr. New's reputation as a book-illustrator was first made in 1896, when +an edition of 'The Compleat Angler' with many drawings by him appeared. +The homely architecture of Essex villages and small towns, the low +meadows and quiet streams, gave him opportunity for drawings that are +pleasant on the page. Two garden books, or strictly speaking, one--for +'In the Garden of Peace' was succeeded by 'Outside the Garden'--contain +natural history drawings similar to those of fish in 'The Compleat +Angler' and of birds in White's 'Selborne.' The illustrations to +'Oxford and its Colleges,' and 'Cambridge and its Colleges,' are less +representative of the best Mr. New can do than books where village +architecture, or the irregular house-frontage of country high-streets +are his subject. Illustrating Shakespeare's country, 'Sussex,' and +'The Wessex of Thomas Hardy,' brought him into regions of the +country-town; but the most important of his recent drawings are those +in 'The Natural History of Selborne,' published in 1900. The drawing of +'Selborne Street' is from that volume. + +[Illustration: Selborne Street + +BY E. H. NEW. + +FROM WHITE'S 'SELBORNE.' + +BY LEAVE OF MR. LANE.] + +With Mr. New, Mr. R. J. Williams and Mr. H. P. Clifford illustrated Mr. +Aymer Vallance's two books on William Morris. Their illustrations are +fit records of the homes and working-places of the great man who +approved their art. Mr. Frederick Griggs, who since 1900 has +illustrated three or four garden books, also follows the principles of +Mr. New, but with more variety in detail, less formality in +tree-drawing and in the rendering of paths and roads and streams and +sunshine, in short, with more of art outside the school, than Mr. New +permits himself. + +The open-air covers so much that I have little room to give to another +aspect of open-air illustration--drawings of bird and animal-life. The +work of Mr. Harrison Weir, begun so many years ago, is chiefly in +children's books; but Mr. Charles Whymper, who has an old reputation +among modern reputations, has illustrated the birds and beasts and fish +of Great Britain in books well known to sportsmen and to natural +historians, as also books of travel and sport in tropical and ice-bound +lands. The work of Mr. John Guille Millais is no less well known. No +one else draws animals in action, whether British deer or African wild +beast, from more intelligent and thorough observation, and of his art +the graceful rendering of the play of deer in Cawdor Forest gives proof +that does not need words. Birds in flight, beasts in action--Mr. +Millais is undisputably master of his subject. Many drawings show the +humour which is one of the charms of his work. + +[Illustration: FIGURE-OF-EIGHT RING IN CAWDOR FOREST. BY J. G. MILLAIS. + +FROM HIS 'BRITISH DEER AND THEIR HORNS.' + +BY LEAVE OF MESSRS. SOTHERAN.] + +FOOTNOTES: + +[Footnote 1: Since this book was in type, I have learned with regret of +the death of Miss Helen James.] + + + + +III. SOME CHARACTER ILLUSTRATORS. + + +SO far, in writing of decorative illustrators and of open-air +illustrators, the difference in scheme between a study of +book-illustration and of 'black-and-white' art has not greatly affected +the scale and order of facts. The intellectual idea of illustration, as +a personal interpretation of the spirit of the text, finds expression, +formally at least, in the drawings of most decorative black-and-white +artists. The deliberate and inventive character of their art, the fact +that such qualities are non-journalistic, and ineffective in the +treatment of 'day by day' matters, keeps the interpretative ideal, +brought into English illustration by Rossetti, and the artists whose +spirits he kindled, among working ideals for these illustrators. For +that reason, with the exception of page-decorations such as those of +Mr. Edgar Wilson, the subject of decorative illustration is almost +co-extensive with the subject of decorative black-and-white. The +open-air illustrator represents another aspect of illustration. To +interpret the spirit of the text would, frequently, allow his art no +exercise. Much of his text is itinerary. His subject is before his +eyes in actuality, or in photographs, and not in some phrase of words, +magical with suggested forms, creating by its gift of delight desire to +celebrate its beauty. Still, if the artist be independent of the +intellectual and imaginative qualities of the book, his is no +independent form of black and white. It is illustration; the author's +subject is the subject of the artist. Open-air facts, those that are +beautiful and pleasurable, are too uneventful to make 'news +illustration.' Unless as background for some event, they have, for most +people, no immediate interest. So it happens that open-air drawings are +usually illustrations of text, text of a practical guide-book +character, or of archæological interest, or of the gossiping, intimate +kind that tells of possessions, of journeys and pleasurings, or, again, +illustrations of the open-air classics in prose and verse. + +But in turning to the work of those draughtsmen whose subject is the +presentment of character, of every man in his own humour, the +illustration of literature is a part only of what is noteworthy. These +artists have a subject that makes the opportunities of the +book-illustrator seem formal; a subject, charming, poignant, splendid +or atrocious, containing all the 'situations' of comedy, tragedy or +farce; the only subject at once realized by everyone, yet whose +opportunities none has ever comprehended. The writings of novelists and +dramatists--life narrowed to the perception of an individual--are +limitary notions of the matter, compared with the illimitable variety +of character and incident to be found in the world that changes from +day to day. And 'real' life, purged of monotony by the wit, +discrimination or extravagance of the artist, or--on a lower plane--by +the combination only of approved comical or sentimental or melodramatic +elements, is the most popular and marketable of all subjects. The +completeness of a work of art is to some a refuge from the +incompleteness of actuality; to others this completeness is more +incomplete than any incident of their own experience. The first bent of +mind--supposing an artist who illustrates to 'express himself'--makes +an illustrator of a draughtsman, the second makes literature seem no +more than _la reste_ to the artist as an opportunity for pictorial +characterization. + +Character illustration is then a subject within a subject, and if it be +impossible to consider it without overseeing the limitations, yet a +different point of view gives a different order of impressions. +Caricaturists, political cartoonists, news-illustrators and graphic +humorists, the artists who pictorialize society, the stage, the slums +or some other kind of life interesting to the spectator, are outside +the scheme of this article--unless they be illustrators also. For +instance, the illustrations of Sir Harry Furniss are only part of his +lively activities, and Mr. Bernard Partridge is the illustrator of Mr. +Austin Dobson's eighteenth-century muse as well as the 'J. B. P.' of +'socials' in 'Punch.' + +An illustrator of many books, and one whose illustrations have unusual +importance, both as interpretations of literature and for their +artistic force, Mr. William Strang is yet so incongruous with +contemporary black-and-white artists of to-day that he must be +considered first and separately. For the traditions of art and of race +that find a focus in the illustrative etchings of this artist, the +creative traditions, and instinctive modes of thought that are +represented in the forms and formation of his art, are forces of +intellect and passion and insight not previously, nor now, by more than +the one artist, associated with the practice of illustration. To +consider his work in connection with modern illustration is to speak of +contrasts. It represents nothing that the gift-book picture represents, +either in technical dexterities, founded on the requirements of process +reproduction, or in its decorative ideals, or as expressive of the +pleasures of literature. One phase of Mr. Strang's illustrative art is, +indeed, distinct from the mass of his work, with which the etched +illustrations are congruous, and the line-drawings to three +masterpieces of imaginary adventure--to Lucian, to Baron Munchausen and +to Sindbad--show, perhaps, some infusion of Aubrey Beardsley's spirit +of fantasy into the convictions of which Mr. Strang's art is +compounded. But these drawings represent an excursion from the serious +purpose of the artist's work. The element in literature expressed by +that epithet 'weird'--exiled from power to common service--is lacking +in the extravagances of these _voyages imaginaires_, and, lacking the +shadows cast by the unspeakable, the intellectual _chiaroscuro_ of Mr. +Strang's imagination, loses its force. These travellers are too glib +for the artist, though his comprehension of the grotesque and +extravagant, and his humour, make the drawings expressive of the text, +if not of the complete personality of the draughtsman. The 'types, +shadows and metaphors' of 'The Pilgrim's Progress,' with its +poignancies of mental experience and conflict, its transcendent +passages, its theological and naïve moods, gave the artist an +opportunity for more realized imagination. The etchings in this volume, +published in 1894, represent little of the allegorical actualities of +the text. Not the encounters by the way, the clash of blows, the +'romancing,' but the 'man cloathed with rags and a great Burden on his +back,' or Christiana his wife, when 'her thoughts began to work in her +mind,' are the realities to the artist. The pilgrims are real and +credible, poor folk to the outward sight, worn with toil, limited, +abused in the circumstances of their lives; and these peasant figures +are to Mr. Strang, as to his master in etching, Professor Legros, +symbols of endurance, significant protagonists in the drama of man's +will and the forces that strive to subdue its strength. To both artists +the peasant confronting death is the climax of the drama. In the +etchings of Professor Legros death fells the woodman, death meets the +wayfarer on the high-road. There is no outfacing the menace of death. +But to Mr. Strang, the sublimity of Bunyan's 'poor man,' who overcomes +all influences of mortality by the strength of his faith, is a possible +fact. His ballad illustrations deal finely with various aspects of the +theme. In 'The Earth Fiend,' a ballad written and illustrated with +etchings by Mr. Strang in 1892, the peasant subdues and compels to his +service the spirit of destruction. He maintains his projects of +cultivation, conquers the adverse wildness of nature, makes its force +productive of prosperity and order; then, on a midday of harvest, +sleeps, and the 'earth fiend,' finding his tyrant defenceless, steals +on him and kills him as he lies. 'Death and the Ploughman's Wife' +(1894) has a braver ending. It interprets in an impressive series of +etchings how 'Death that conquers a'' is vanquished by the mother whose +child he has snatched from its play. The title-page etching shows a +little naked child kicking a skull into the air, while the +peasant-mother, patient, vigilant, keeps watch near by. In 'The Christ +upon the Hill' of the succeeding year, a ballad by Cosmo Monkhouse with +etchings by Mr. Strang, the artist follows, of course, the conception +of the writer; but here, too, his work is expressive of the visionary +faith that discerns death as one of those 'base things' that 'usher in +things Divine.' + +[Illustration: FROM WILLIAM STRANG'S BALLAD, 'DEATH AND THE PLOUGHMAN'S +WIFE' (REDUCED FROM THE ORIGINAL ETCHING). + +BY LEAVE OF MR. A. H. BULLEN.] + +The twelve etchings to 'Paradise Lost' (1896) do not, as I think, +represent Mr. Strang's imagination at its finest. It is in the +representation of rude forms of life, subjected to the immeasurable +influences of passion, love, sorrow, that the images of Mr. Strang's +art, at once vague and of intense reality, primitive and complex, have +most force. Adam and Eve driven from Paradise by the angel with the +flaming sword, are not directly created by the artist. They recall +Masaccio, and are undone by the recollection. Eve, uprising in the +darkness of the garden where Adam sleeps, the speech of the serpent +with the woman, the gathering of the fruit, are traditionary in their +pictorial forms, and the tradition is too great, it imposes itself +between the version of Mr. Strang and our admiration. But in the thirty +etchings illustrative of Mr. Kipling's works, as in the ballad +etchings, the imagination of the artist is unfettered by tradition. The +stories he pictures deal, for all their cleverness and definition, with +themes that, translated out of Mr. Kipling's words into the large +imagination of Mr. Strang, have powerful purpose. As usual, the artist +makes his picture not of matter-of-fact--and the etching called 'A +Matter of Fact' is specially remote from any such matter--but of more +purposeful, more overpowering realities than any particular instance of +life would show. He attempts to realize the value, not of an instance +of emotion or of endeavour, but of the quality itself. He sets his +mind, for example, to realize the force of western militarism in the +east, or the attitude of the impulses of life towards contemplation, +and his soldiers, his 'Purun Bhagat,' express his observations or +imaginations of these themes. Certainly 'a country's love' never went +out to this kind of Tommy Atkins, and the India of Mr. Strang is not +the India that holds the Gadsbys, or of which plain tales can be told. +But he has imagined a country that binds the contrasts of life together +in active operation on each other, and in thirty instances of these +schemed-out realities, or of dramatic events resulting from the clash +of racial and national and chronological characteristics, he has +achieved perhaps his most complete expression of insight into +essentials. Mr. Strang's etchings in the recently published edition of +'The Compleat Angler,' illustrated by him and by Mr. D. Y. Cameron, +are less successful. The charm of his subject seems not to have entered +into his imagination, whereas forms of art seem to have oppressed him. +The result is oppressive, and that is fatal to the value of his +etchings as illustrations of the book that 'it would sweeten a man's +temper at any time to read.' Intensity and large statement of dark and +light; fine dramatizations of line; an unremitting conflict with the +superfluous and inexpressive in form and in thought; an art based on +the realities of life, and without finalities of expression, inelegant, +as though grace were an affectation, an insincerity in dealing with +matters of moment: these are qualities that detach the illustrations of +Mr. Strang from the generality of illustrations. Save that Mr. Robert +Bryden, in his 'Woodcuts of men of letters' and in the portrait +illustrations to 'Poets of the younger generation,' shows traces of +studying the portrait-frontispieces of Mr. Strang, there is no relation +between his art and the traditions it represents and any other +book-illustrations of to-day. + +Turning now to illustrators who are representative of the tendencies +and characteristics of modern book-illustration, and so are less +conspicuous in a general view of the subject than Mr. Strang, there is +little question with whom to begin. Mr. Abbey represents at their best +the qualities that belong to gift-book illustration. It would, perhaps, +be more correct to say that gift-book illustration represents the +qualities of Mr. Abbey's black and white with more or less fidelity, so +effective is the example of his technique on the forms of picturesque +character-illustration. It is nearly a quarter of a century since the +artist, then a young man fresh from Harper's drawing-office in New +York, came to England. That first visit, spent in studying the reality +of English pastoral life in preparation for his 'Herrick' +illustrations, lasted for two years, and after a few months' interval +in the States he returned to England. Resident here for nearly all the +years of his work, a member of the Royal Academy, his art expressive of +traditions of English literature and of the English country to which he +came as to the actuality of his imaginings, one may include Mr. Abbey +among English book-illustrators with more than a show of reason. In +1882, when the 'Selections from the Poetry of Robert Herrick' was +published, few of the men whose work is considered in this chapter had +been heard of. Chronologically, Mr. Abbey is first of contemporary +character-illustrators, and nowhere but first would he be in his proper +place, for there is no one to put beside him in his special fashion of +art, and in the effect of his illustrative work on his contemporaries. +There is inevitable ease and elegance in the pen-drawings of Mr. Abbey, +and for that reason it is easy to underestimate their intellectual +quality. He is inventive. The spirit of Herrick's muse, or of 'She +Stoops to Conquer,' or of the comedies of Shakespeare, is not a quality +for which he accepts any formula. He finds shapes for his fancies, +rejecting as alien to his purpose all that is not the clear result of +his own understanding of the poet. Accordingly there is, in all his +work, the expression of an intellectual conception. He sees, too, with +patience. If he isolates a figure, one feels that figure has stepped +forward into a clear place of his imagination as he followed its way +through the crowd. If he sets a pageant on the page, or some piece of +turbulent action, or moment of decision, the actors have their +individual value. He thinks his way through processes of gradual +realization to the final picture of the characters in the play or poem. +One writes now with special reference to the illustrations of the +comedies of Shakespeare--so far, the illustrative work most exigent to +the intellectual powers of the artist. Herrick's verse, full of sweet +sounds and suggestive of happy sights, 'She Stoops to Conquer,' where +all the mistakes are but for a night, to be laughed over in the +morning, the lilt and measure of 'Old Songs,' and of the charming +verses in 'The Quiet Life,' called for sensitive appreciation of moods, +lyrical, whimsical, humorous, idyllic, but--intellectually--for no more +than this. As to Mr. Abbey's technique, curious as he is in the uses of +antiquity as part of the pleasure of a fresh realization, clothing his +characters in textiles of the great weaving times, or of a dainty +simplicity, a student of architecture and of landscape, of household +fittings, of armoury, of every beautiful accessory to the business of +living, his clever pen rarely fails to render within the convention of +black and white the added point of interest and of charm that these +things bring into actuality. Truth of texture, of atmosphere, and of +tone, an alertness of vision most daintily expressed--these qualities +belong to all Mr. Abbey's work, and in the Shakespearean drawings he +shows with greater force than ever his 'stage-managing' power, and the +correctness and beauty of his 'mounting.' The drawings are dramatic: +the women have beauty and individuality, while the men match them, or +contrast with them as in the plays; the rogues are vagabonds in spirit, +and the wise men have weight; the world of Shakespeare has been entered +by the artist. But there are gestures in the text, moments of glad +grace, of passion, of sudden amazement before the realities of personal +experience, that make these active, dignified figures of Mr. Abbey +'merely players,' his Isabella in the extremity of the scene with +Claudio no more than an image of cloistered virtue, his Hermione +incapable of her undaunted eloquence and silence, his Perdita and +Miranda and Rosalind less than themselves. + +As illustrations, the drawings of Mr. Abbey represent traditions +brought into English illustrative art by the Pre-Raphaelites, and +developed by the freer school of the sixties. But, as drawings, they +represent ideas not effective before in the practice of English +pen-draughtsmen; ideas derived from the study of the black and white of +Spain, of France, and of Munich, by American art students in days when +English illustrators were not given to look abroad. Technically he has +suggested many things, especially to costume illustrators, and many +names might follow his in representation of the place he fills in +relation to contemporary art. But to work out the effect of a man's +technique on those who are gaining power of expression is to labour in +vain. It adds nothing to the intrinsic value of an artist's work, nor +does it represent the true relationship between him and those whom he +has influenced. For if they are mere imitators they have no relation +with any form of art, while to insist upon derived qualities in work +that has the superscription of individuality is no true way of +apprehension. What a man owes to himself is the substantial fact, the +fact that relates him to other men. The value of his work, its +existence, is in the little more, or the much more, that himself adds +to the sum of his directed industries, his guided achievements. And to +estimate that, to attempt to express something of it, must be the chief +aim of a study, not of one artist and his 'times,' but of many artists +practising a popular art. + +So that if, in consideration of their 'starting-point,' one may group +most character-illustrators, especially of wig-and-powder subjects, as +adherents either of Mr. Abbey and the 'American school,' or of Mr. Hugh +Thomson and the Caldecott-Greenaway tradition, such grouping is also no +more than a starting-point, and everything concerning the achievements +of the individual artist has still to be said. + +Considering the intention of their technique, one may permissibly group +the names of Mr. Fred Pegram, Mr. F. H. Townsend, Mr. Shepperson, Mr. +Sydney Paget, and Mr. Stephen Reid as representing in different degrees +the effect of American black and white on English technique, though, +in the case of Mr. Paget, one alludes only to pen-drawings such as +those in 'Old Mortality,' and not to his Sherlock Holmes and Martin +Hewitt performances. The art of Mr. Pegram and of Mr. Townsend is akin. +Mr. Pegram has, perhaps, more sense of beauty, and his work suggests a +more complete vision of his subject than is realized in the drawings of +Mr. Townsend, while Mr. Townsend is at times more successful with the +activities of the story; but the differences between them seem hardly +more than the work of one hand would show. They really collaborate in +illustration, though, except in Cassell's survey of 'Living London,' +they have never, I think, made drawings for the same book. + +Mr. Pegram served the usual apprenticeship to book-illustration. He was +a news-illustrator before he turned to the illustration of literature; +but he is an artist to whom the reality acquired by a subject after +study of it is more attractive than the reality of actual impressions. +Neither sensational nor society events appeal to him. The necessity to +compose some sort of an impression from the bare facts of a fact, +without time to make the best of it, was not an inspiring necessity. +That Mr. Pegram is a book-illustrator by the inclination of his art as +well as by profession, the illustrations to 'Sybil,' published in 1895, +prove. In these drawings he showed himself not only observant of facial +expression and of gesture, but also able to interpret the glances and +gestures of Disraeli's society. From the completeness of the +draughtsman's realization of his subject, illustrable situations +develop themselves with credibility, and his graceful women and +thoughtful men represent the events of the novel with distinction. With +'Sybil' may be mentioned the illustrations to 'Ormond,' wherein, five +years later, the same understanding of the ways and activities of a +bygone, yet not remote society, found equally satisfactory expression, +while the technique of the artist had gained in completeness. In 'The +Last of the Barons' (1897), Mr. Pegram had a picturesque subject with +much strange humanity in it, despite Lord Lytton's conventional +travesty of events and character. The names of Richard and Warwick, of +Hastings and Margaret of Anjou, are names that break through +conventional romance, but the illustrator has to keep up the fiction of +the author, and, except that the sham-mediævalism of the novel did not +prevent a right study of costumes and accessories in the pictures, the +artist had to be content to 'Bulwerize.' Illustrations to 'The Arabian +Nights' gave him opportunity for rendering textures and atmosphere, and +movements charming or grave, and the 'Bride of Lammermoor' drawings +show a sweet-faced Lucy Ashton, and a Ravenswood who is more than +melancholy and picturesque. Mr. Pegram's drawings are justly dramatic +within the limits prescribed by a somewhat composed ideal of bearing. A +catastrophe is outside these limits, and the discovery of Lucy after +the bridal lacks real illustration in the artist's version, skilful, +nevertheless, as are all his drawings, and expressed without +hesitation. Averse to caricature, and keeping within ideas of life that +allow of unbroken expression, the novels of Marryat, where action so +bustling that only caricatures of humanity can endure its exigencies, +and sentimental episodes of flagrant insincerity, swamp the +character-drawing, are hardly suited to the art of Mr. Pegram. Still, +he selects, and his selection is true to the time and circumstance of +Marryat's work. In itself it is always an expression of a coherent and +definite conception of the story. + +[Illustration: FROM MR. PEGRAM'S 'THE BRIDE OF LAMMERMOOR.' + +BY LEAVE OF MESSRS. NISBET.] + +Mr. Townsend has illustrated Hawthorne and Peacock, as well as +Charlotte Brontë and Scott. Hawthorne's men and women--embodiments +always of some essential quality, rather than of the combination of +qualities that make 'character'--lend themselves to fine illustration +as regards gesture, and Mr. Townsend's drawings represent, not +insensitively, the movement and suggestion of 'The Blithedale Romance' +and 'The House of the Seven Gables.' In the Peacock illustrations the +artist had to keep pace with an essentially un-English humour, an +imagination full of shapes that are opinions and theories and sarcasms +masquerading under fantastic human semblances. Mr. Townsend kept to +humanity, and found occasions for representing the eccentrics engaged +in cheerful open-air and society pursuits in the pauses of paradoxical +discussion. One realizes in the drawings the pleasant aspect of life at +Gryll Grange and at Crotchet Castle, the courtesies and amusements out +of doors and within, while the subjects of 'Maid Marian,' of 'The +Misfortunes of Elphin' and of 'Rhododaphne' declare themselves in +excellent terms of romance and adventure. Mr. Townsend has humour, and +he is in sympathy with the vigorous spirit in life; whether the vigour +is intellectual as in Jane Eyre and in Shirley Keeldar, or muscular as +in 'Rob Roy,' in drawings to a manual of fencing, and in Marryat's 'The +King's Own,' or eccentric as in the fantasies of Peacock. His work is +never languid and never formal; and if in technique he is sometimes +experimental, and frequently content with ineffectual accessories to +his figures, his conception of the situation, and of the characters +that fulfil the situation, is direct and effective enough. + +[Illustration: FROM MR. TOWNSEND'S 'SHIRLEY.' + +BY LEAVE OF MESSRS. NISBET.] + +As an illustrator of current fiction, Mr. Townsend has also a +considerable amount of dexterous work to his name, but a record of +drawings contributed to the illustrated journals cannot even be +attempted within present limits of space. + +Mr. Shepperson in his book-illustrations generally represents affairs +with picturesqueness, and with a nervous energy that takes the least +mechanical way of expressing forms and substances. Illustrating the +modern novel of adventure, he is happy in his intrigues and +conspiracies, while in books of more weight, such as 'The Heart of +Midlothian' or 'Lavengro,' he expresses graver issues of life with +un-elaborate and suggestive effect. The energy of his line, the +dramatic quality of his imagination, render him in his element as an +illustrator of events, but the vigour that projects itself into +subjects such as the murder of Sir George Staunton, or the fight with +the Flaming Tinman, or the alarms and stratagems of Mr. Stanley Weyman, +informs also his representation of moments when there is no action. +Technically Mr. Shepperson represents very little that is traditional +in English black and white, though the tradition seems likely to be +there for future generations of English illustrators. + +[Illustration: "Ye are ill, Effie," were the first words Jeanie could +utter; "ye are very ill." + +FROM MR. SHEPPERSON'S 'THE HEART OF MIDLOTHIAN.' + +BY LEAVE OF THE GRESHAM PUBLISHING COMPANY.] + +In a recent work, illustrations to Leigh Hunt's 'Old Court Suburb,' Mr. +Shepperson collaborates with Mr. E. J. Sullivan and Mr. Herbert +Railton, to realize the associations, literary, historical and +gossiping, that have Kensington Palace and Holland House as their +principal centres. On the whole, of the three artists, the subject +seems least suggestive to Mr. Shepperson. Mr. Sullivan contributes +many portraits, and some subject drawings that show him in his +lightest and most dexterous vein. These drawings of _beaux_ and +_belles_ are as distinct in their happy flattery of fact from the rigid +assertion of the artist's 'Fair Women,' as they are from the +undelightful reporting style that in the beginning injured Mr. +Sullivan's illustrations. One may describe it as the 'Daily Graphic' +style, though that is to recognize only the basis of convenience on +which the training of the 'Daily Graphic' school was necessarily +founded. Mr. Sullivan's early work, the news-illustration and +illustrations to current fiction of Mr. Reginald Cleaver and of his +brother Mr. Ralph Cleaver, the black and white of Mr. A. S. Boyd and of +Mr. Crowther, show this journalistic training, and show, too, that such +a training in reporting facts directly is no hindrance to the later +achievement of an individual way of art. Mr. A. S. Hartrick must also +be mentioned as an artist whose distinctive black and white developed +from the basis of pictorial reporting, and how distinctive and +well-observed that art is, readers of the 'Pall Mall Magazine' know. As +a book-illustrator, however, his landscape drawings to Borrow's 'Wild +Wales' represent another art than that of the character-illustrator. +Nor can one pass over the drawings of Mr. Maurice Greiffenhagen, also a +contributor to the 'Pall Mall Magazine,' if better known in +illustrations to fiction in 'The Ladies' Pictorial,' though in an +article on book-illustration he has nothing like his right place. As an +admirable and original technician and draughtsman of society, swift in +sight, excellent in expression, he ranks high among black-and-white +artists, while as a painter, his reputation, if based on different +qualities, is not doubtful. + +[Illustration: FROM MR. E. J. SULLIVAN'S 'SCHOOL FOR SCANDAL.' + +BY LEAVE OF MESSRS. MACMILLAN.] + +Mr. Sullivan's drawings to 'Tom Brown's Schooldays' (1896) are +mechanical and mostly without charm of handling, having an appearance +of timidity that is inexplicable when one thinks of the vigorous +news-drawings that preceded them. The wiry line of the drawings appears +in the 'Compleat Angler,' and in other books, including 'The Rivals' +and 'The School for Scandal,' 'Lavengro' and 'Newton Forster,' +illustrated by the artist in '96 and '97; but the decorative purpose of +Mr. Sullivan's later work is, in all these books, effective in +modifying its perversity. Increasing elaboration of manner within the +limits of that purpose marks the transition between the starved reality +of 'Tom Brown' and the illustrations to 'Sartor Resartus' (1898). These +emphatic decorations, and those illustrative of Tennyson's 'Dream of +Fair Women and other Poems,' published two years later, are the +drawings most representative of Mr. Sullivan's intellectual ideals. +They show him, if somewhat indifferent to charm, and capable of +out-facing beauty suggested in the words with statements of the extreme +definiteness of his own fact-conception, yet strongly appreciative of +the substance and purpose of the text. Carlyle gives him brave +opportunities, and the dogmatism of the artist's line and form, his +speculative humour, working down to a definite certainty in things, +make these drawings unusually interesting. Tennyson's 'Dream,' and his +poems to women's names, are not so fit for the exercise of Mr. +Sullivan's talent. He imposes himself with too much force on the forms +that the poet suggests. There is no delicacy about the drawings and no +mystery. They do not accord with the inspiration of Tennyson, an +inspiration that substitutes the exquisite realities of memory and of +dream for the realities of experience. Mr. Sullivan's share of the +illustrations to White's 'Selborne' and to the 'Garden Calendar,' are +technically more akin to the Carlyle and Tennyson drawings than to +other examples by him. In these volumes he makes fortunate use of the +basis of exactitude on which his work is founded, exactitude that +includes portraiture among the functions of the illustrator. No +portrait is extant of Gilbert White, but the presentment of him is +undertaken in a constructive spirit, and, as in 'The Compleat Angler' +and 'The Old Court Suburb,' portraits of those whose names and +personalities are connected with the books are redrawn by Mr. Sullivan. + +Except Mr. Abbey, no character-illustrator of the modern school has so +long a record of work, and so visible an influence on English +contemporary illustration, as Mr. Hugh Thomson. In popularity he is +foremost. The slight and apparently playful fashion of his art, +deriving its intention from the irresistible gaieties of Caldecott, is +a fashion to please both those who like pretty things and those who can +appreciate the more serious qualities that are beneath. For Mr. Thomson +is a student of literature. He pauses on his subject, and though his +invention has always responded to the suggestions of the text, the +lightness of his later work is the outcome of a selecting judgment that +has learned what to omit by studying the details and facts of things. +In rendering facial expression Mr. Thomson is perhaps too much the +follower of Caldecott, but he goes much farther than his original +master in realization of the forms and manners of bygone times. Some +fashions of life, as they pass from use, are laid by in lavender. The +fashions of the eighteenth century have been so laid by, and Mr. Abbey +and Mr. Thomson are alike successful in giving a version of fact that +has the farther charm of lavender-scented antiquity. + +When 'Days with Sir Roger de Coverley,' illustrated by Hugh Thomson, +was published in 1886, the young artist was already known by his +drawings in the 'English Illustrated,' and recognized as a serious +student of history and literature, and a delightful illustrator of the +times he studied. His powers of realizing character, time, and place, +were shown in this earliest work. Sir Roger is a dignified figure; Mr. +Spectator, in the guise of Steele, has a semblance of observation; and +if Will Wimble lacks his own unique quality, he is represented as +properly engaged about his 'gentleman-like manufactures and obliging +little humours.' Mr. Thomson can draw animals, if not with the +possessive understanding of Caldecott, yet with truth to the kind, +knowledge of movement. The country-side around Sir Roger's house--as, +in a later book, that where the vicarage of Wakefield stands--is often +delightfully drawn, while the leisurely and courteous spirit of the +essays is represented, with an appreciation of its beauty. 'Coaching +Days and Coaching Ways' (1888) is a picturesque book, where types and +bustling action picturesquely treated were the subjects of the artist. +The peopling of high-road and county studies with lively figures is one +of Mr. Thomson's successful achievements, as he has shown in drawings +of the cavalier exploits of west-country history, illustrative of +'Highways and Byways of Devon and Cornwall,' and in episodes of romance +and warfare and humour in similar volumes on Donegal, North Wales, and +Yorkshire. Here the presentment of types and action, rather than of +character, is the aim, but in the drawings to 'Cranford' (1891), to +'Our Village,' and to Jane Austen's novels, behaviour rather than +action, the gentilities and proprieties of life and millinery, have to +be expressed as a part of the artistic sense of the books. That is, +perhaps, why Jane Austen is so difficult to illustrate. The illustrator +must be neither formal nor picturesque. He must understand the +'parlour' as a setting for delicate human comedy. Mr. Thomson is better +in 'Cranford,' where he has the village as the background for the two +old ladies, or in 'Our Village,' where the graceful pleasures of Miss +Mitford's prose have suggested delightful figures to the illustrator's +fancy, than in illustrating Miss Austen, whose disregard of local +colouring robs the artist of background material such as interests him. +Three books of verses by Mr. Austin Dobson, 'The Ballad of Beau +Brocade' (1892), 'The Story of Rosina,' and 'Coridon's Song' of the +following years, together with the illustrations to 'Peg Woffington,' +show, in combination, the picturesque and the intellectual interests +that Mr. Thomson finds in life. The eight pieces that form the first of +these volumes were, indeed, chosen to be reprinted because of their +congruity in time and sentiment with Mr. Thomson's art. And certainly +he works in accord with the measure of Mr. Austin Dobson's verses. Both +author and artist carry their eighteenth-century learning in as easy a +way as though experience of life had given it them without any labour +in libraries. + +[Illustration: FROM MR. HUGH THOMSON'S 'BALLAD OF BEAU BROCADE.' + +BY LEAVE OF MESSRS. KEGAN PAUL.] + +Mr. C. E. Brock and Mr. H. M. Brock are two artists who to some extent +may be considered as followers of Mr. Thomson's methods, though Mr. C. +E. Brock's work in 'Punch,' and humorous characterizations by Mr. H. M. +Brock in 'Living London,' show how distinct from the elegant fancy of +Mr. Thomson's art are the latest developments of their artistic +individuality. Mr. C. E. Brock's illustrations to Hood's 'Humorous +Poems' (1893) proved his indebtedness to Mr. Thomson, and his ability +to carry out Caldecott-Thomson ideas with spirit and with invention. An +active sense of fun, and facility in arranging and expressing his +subject, made him an addition to the school he represented, and, as in +later work, his own qualities and the qualities he has adopted combined +to produce spirited and graceful art. But in work preceding the +pen-drawing of 1893, and in many books illustrated since then, Mr. +Brock at times has shown himself an illustrator to whom matter rather +than a particular charm of manner seems of paramount interest. In the +illustrated Gulliver of 1894 there is little trace of the daintiness +and sprightliness of Caldecott's illustrative art. He gives many +particulars, and is never at a loss for forms and details, representing +with equal matter-of-factness the crowds, cities and fleets of +Lilliput, the large details of Brobdingnagian existence, and the +ceremonies and spectacles of Laputa. In books of more actual adventure, +such as 'Robinson Crusoe' or 'Westward Ho,' or of quiet particularity, +such as Galt's 'Annals of the Parish,' the same directness and +unmannered expression are used, a directness which has more of the +journalistic than of the playful-inventive quality. The Jane Austen +drawings, those to 'The Vicar of Wakefield,' and to a recent edition of +the 'Essays of Elia,' show the graceful eighteenth-centuryist, while, +whether he reports or adorns, whether action or behaviour, adventure or +sentiment, is his theme, Mr. Brock is always an illustrator who +realizes opportunities in the text, and works from a ready and +observant intelligence. + +[Illustration: FROM MR. C. E. BROCK'S 'THE ESSAYS OF ELIA.' + +BY LEAVE OF MESSRS. DENT.] + +Mr. Henry M. Brock is also an effective illustrator, and his work +increases in individuality and in freedom of arrangement. 'Jacob +Faithful' (1895) was followed by 'Handy Andy' and Thackeray's 'Songs +and Ballads' in 1896. Less influenced by Mr. Thomson than his brother, +the lively Thackeray drawings, with their versatility and easy +invention, have nevertheless much in common with the work of Mr. +Charles Brock. On the whole, time has developed the differences rather +than the similarities in the work of these artists. In the 'Waverley' +drawings and in those of 'The Pilgrim's Progress,' Mr. H. M. Brock +represents action in a more picturesque mood than Mr. Charles Brock +usually maintains, emphasizing with more dramatic effect the action and +necessity for action. + +The illustrations of Mr. William C. Cooke, especially those to 'Popular +British Ballads' (1894), and, with less value, those to 'John Halifax, +Gentleman,' may be mentioned in relation to the Caldecott tradition, +though it is rather of the art of Kate Greenaway that one is reminded +in these tinted illustrations. Mr. Cooke's wash-drawings to Jane +Austen's novels, to 'Evelina' and 'The Man of Feeling,' as well as the +pen-drawings to 'British Ballads,' have more force, and represent with +some distinction the stir of ballad romance, the finely arranged +situations of Miss Austen, and the sentiments of life, as Evelina and +Harley understood it. + +In a study of English black-and-white art, not limited to +book-illustration, 'Punch' is an almost inevitable and invaluable +centre for facts. Few draughtsmen of notability are outside the scheme +of art connected with 'Punch,' and in this connection artists differing +as widely as Sir John Tenniel and Mr. Phil May, or Mr. Linley Sambourne +and Mr. Raven Hill, form a coherent group. But, in this volume, 'Punch' +itself is outside the limits of subject, and, with the exception of Mr. +Bernard Partridge in the present, and Sir Harry Furniss in the past, +the wits of the pencil who gather round the 'mahogany tree' are not +among character-illustrators of literature. Mr. Partridge has drawn for +'Punch' since 1891, and has been on the staff for nearly all that time. +His drawings of theatrical types in Mr. Jerome's 'Stage-land' +(1889)--which, according to some critics, made, by deduction, the +author's reputation as a humorist--and to a first series of Mr. +Anstey's 'Voces Populi,' as well as work in many of the illustrated +papers, were a substantial reason for 'Punch's' invitation to the +artist. From the 'Bishop and Shoeblack' cut of 1891, to the 'socials' +and cartoons of to-day, Mr. Partridge's drawings, together with those +of Mr. Phil May and of Mr. Raven Hill, have brilliantly maintained the +reputation of 'Punch' as an exponent of the forms and humours of modern +life. His actual and intimate knowledge of the stage, and his actor's +observation of significant attitudes and expressions, vivify his +interpretation of the middle-class, and of bank-holiday makers, of the +'artiste,' and of such a special type as the 'Baboo Jabberjee' of Mr. +Anstey's fluent conception. If his 'socials' have not the prestige of +Mr. Du Maurier's art, if his women lack charm and his children +delightfulness, he is, in shrewdness and range of observation, a +pictorial humorist of unusual ability. As a book-illustrator, his most +'literary' work is in the pages of Mr. Austin Dobson's 'Proverbs in +Porcelain.' Studied from the model, the draughtsmanship as able and +searching as though these figures were sketches for an 'important' +work, there is in every drawing the completeness and fortunate effect +of imagination. The ease of an actual society is in the pose and +grouping of the costumed figures, while, in the representation of their +graces and gallantries, the artist realizes _ce superflu si nécessaire_ +that distinguishes dramatic action from the observed action of the +model. Problems of atmosphere, of tone, of textures, as well as the +presentment of life in character, action, and attitude, occupy Mr. +Partridge's consideration. He, like Mr. Abbey, has the colourist's +vision, and though the charm of people, of circumstance, of accessories +and of association is often less his interest than characteristic +facts, in non-conventional technique, in style that is as +un-selfconscious as it is individual, Mr. Abbey and Mr. Partridge have +many points in common. + +Sir Harry Furniss, alone of caricaturists, has, in the many-sided +activity of his career, applied his powers of characterization to +characters of fiction, though he has illustrated more nonsense-books +and wonder-books than books of serious narrative. Sir John Tenniel and +Mr. Linley Sambourne among cartoonists, Sir Harry Furniss, Mr. E. T. +Reed, and Mr. Carruthers Gould among caricaturists, mark the strong +connection between politics and political individualities, and the +irresponsible developments and creatures of nonsense-adventures, as a +theme for art. To summarize Sir Harry Furniss' career would be to give +little space to his work as a character-illustrator, but his +character-illustration is so representative of the other directions of +his skill, that it merits consideration in the case of a draughtsman as +effective and ubiquitous in popular art as is 'Lika Joko.' The +pen-drawings to Mr. James Payn's 'Talk of the Town,' illustrated by Sir +Harry Furniss in 1885, have, in restrained measure, the qualities of +flexibility, of imagination so lively as to be contortionistic, of +emphasis and pugnacity of expression, of pantomimic fun and drama, that +had been signalized in his Parliamentary antics in 'Punch' for the +preceding five years. His connection with 'Punch' lasted from 1880 to +1894, and the 'Parliamentary Views,' two series of 'M.P.s in +Session,' and the 'Salisbury Parliament,' represent experience gained +as the illustrator of 'Toby M.P.' His high spirits and energy of sight +also found scope in caricaturing academic art, 'Pictures at Play' +(1888), being followed by 'Academy Antics' of no less satirical and +brilliant purpose. As caricaturist, illustrator, lecturer, journalist, +traveller, the style and idiosyncrasies of Sir Harry Furniss are so +public and familiar, and so impossible to emphasize, that a brief +mention of his insatiable energies is perhaps as adequate as would be a +more detailed account. + +[Illustration: FROM SIR HARRY FURNISS' 'THE TALK OF THE TOWN.' + +BY LEAVE OF MESSRS. SMITH, ELDER.] + +Other book-illustrators whose connection with 'Punch' is a fact in the +record of their work are Mr. A. S. Boyd and Mr. Arthur Hopkins. Mr. +Jalland, too, in drawings to Whyte-Melville used his sporting knowledge +on a congenial subject. Mr. A. S. Boyd's 'Daily Graphic' sketches +prepared the way for 'canny' drawings of Scottish types in Stevenson's +'Lowden Sabbath Morn,' in 'Days of Auld Lang Syne,' and in 'Horace in +Homespun,' and for other observant illustrations to books of pleasant +experiences written by Mrs. Boyd. Mr. Arthur Hopkins, and his brother +Mr. Everard Hopkins, are careful draughtsmen of some distinction. +Without much spontaneity or charm of manner, the pretty girls of Mr. +Arthur Hopkins, and his well-mannered men, fill a place in the pages of +'Punch,' while illustrations to James Payn's 'By Proxy,' as far back as +1878, show that the unelaborate style of his recent work is founded on +past practice that has the earlier and truer Du Maurier technique as +its standard of thoroughness. Mr. E. J. Wheeler, a regular contributor +to 'Punch' since 1880, has illustrated editions of Sterne and of +'Masterman Ready,' other books also containing characteristic examples +of his rather precise, but not uninteresting, work. + +Save by stringing names of artists together on the thread of their +connection with some one of the illustrated papers or magazines, it +would be impossible to include in this chapter mention of the enormous +amount of capable black-and-white art produced in illustration of +'serial' fiction. Such name-stringing, on the connection--say--of 'The +Illustrated London News,' 'The Graphic,' or 'The Pall Mall Magazine,' +would fill a page or two, and represent nothing of the quality of the +work, the attainment of the artist. Neither is it practicable to +summarize the illustration of current fiction. One can only attempt to +give some account of illustrated literature, except where the current +illustrations of an artist come into the subject 'by the way.' Mr. +Frank Brangwyn may be isolated from the group of notable painters, +including Mr. Jacomb Hood, Mr. Seymour Lucas and Mr. R. W. Macbeth, who +illustrate for 'The Graphic,' by reason of his illustrations to +classics of fiction such as 'Don Quixote' and 'The Arabian Nights,' as +well as to Michael Scott's two famous sea-stories. To some extent his +illustrations are representative of the large-phrased construction of +Mr. Brangwyn's painting, especially in the drawings of the opulent +orientalism of 'The Arabian Nights,' with its thousand and one +opportunities for vivid art. Mr. Brangwyn's east is not the vague east +of the stay-at-home artist, nor of the conventional traveller; his +imagination works on facts of memory, and both memory and imagination +have strong colour and concentration in a mind bent towards adventure. +One should not, however, narrow the scope of Mr. Brangwyn's art within +the limits of his work in black and white, and what is no more than an +aside in the expression of his individuality, cannot, with justice to +the artist, be considered by itself. Other 'Graphic' illustrators--Mr. +Frank Dadd, Mr. John Charlton, Mr. William Small, and Mr. H. M. Paget, +to name a few only--represent the various qualities of their art in +black-and-white drawings of events and of fiction, and the +'Illustrated,' with artists including Mr. Caton Woodville, Mr. Seppings +Wright, Mr. S. Begg, M. Amedée Forestier and Mr. Ralph Cleaver, fills a +place in current art to which few of the more recently established +journals can pretend. Mr. Frank Dadd and Mr. H. M. Paget made drawings +for the 'Dryburgh' edition of the Waverleys. In this edition, too, is +the work of well-known artists such as Mr. William Hole, whose Scott +and Stevenson illustrations show his inbred understanding of northern +romance, and together with the character etchings to Barrie, shrewd and +valuable, represent with some justice the vigour of his art; of Mr. +Walter Paget, an excellent illustrator of 'Robinson Crusoe,' and of +many boys' books and books of adventure, of Mr. Lockhart Bogle, and of +Mr. Gordon Browne. In the same edition Mr. Paul Hardy, Mr. John +Williamson and Mr. Overend, showed the more serious purpose of black +and white that has earned the appreciation of a public critical of any +failure in vigour and in realization--the public that follows the +tremendous activity of Mr. Henty's pen, and for whom Dr. Gordon +Stables, Mr. Manville Fenn and Mr. Sydney Pickering write. Of M. Amedée +Forestier, whose illustrations are as popular with readers of the +'Illustrated' and with the larger public of novel-readers as they are +with students of technique, one cannot justly speak as an English +illustrator. He, and Mr. Robert Sauber, contributed to Ward Lock's +edition of Scott illustrated by French artists. Their work, M. +Forestier's so admirable in realization of episode and romance, Mr. +Sauber's, vivacious up to the pitch of 'The Impudent Comedian'--as his +illustrations to Mr. Frankfort Moore's version of Nell Gwynn's +fascinations showed--needs no introduction to an English public. The +black and white of Mr. Sauber and of Mr. Dudley Hardy--when Mr. Hardy +is in the vein that culminated in his theatrical posters--has many +imitators, but it is not a style that is likely to influence +illustrators of literature. Mr. Hal Hurst shows something of it, though +he, and in greater measure Mr. Max Cowper, also suggest the +unforgettable technique of Charles Dana Gibson. + + + + +IV. SOME CHILDREN'S-BOOKS ILLUSTRATORS. + + +LEIGH Hunt is one of many authors gratefully to praise the best-praised +publisher of any day, Mr. Newbery, who, at "The Bible and Sun" in St. +Paul's Churchyard, dispensed to long-ago children 'Goody Two Shoes,' +'Beauty and the Beast,' and other less famous little books, bound in +gilt paper and rich with many pictures. Charming memories prompt Leigh +Hunt's mention of the little penny books 'radiant with gold,' that +'never looked so well as in adorning literature,' and if the radiance +of his estimate of these nursery volumes is from an actual memory of +gilt-paper binding, his words exemplify the spirit that makes right +appreciation of the newest picture-books so difficult. + +In no other part of the subject of book-illustration are the books of +yesterday fraught with charm so inimical to delight in the books of +to-day. The modern child's book--except, let us hope, to the +child-owner--is merely a book as other books are. Its qualities are as +patent as its size, or number of illustrations. The pictures are to the +credit or discredit of a known and realized artist; they are, +moreover, generally plain to see as a development of the ideas of some +'school' or 'movement.' One knows about them as examples of English +book-illustration of to-day. But the pictures between the worn-out +covers of the other child's books were known with another kind of +knowledge, discovered in a long intimacy, and related, not to any +artist, or fashion of art, but to all manner of unreasonable and +delightful things. + +So it is well, perhaps, that the break between a subject of enthralling +associations and a subject whose associations are unsentimental, +should, by the ordering of facts, occur before the proper beginning of +a study of contemporary illustration in children's books. For one +reason or another, little work by artists whose reputation is of +earlier date than to-day comes within present subject-limits. Some, +like Randolph Caldecott and Kate Greenaway, are dead, some have ceased +to draw, or draw no longer for children. Happily, the witching drawings +of Arthur Hughes are still among nursery pictures, in reprints of 'At +the Back of the North Wind,' and its companions--though the illustrator +of these books, of 'The Boy in Grey,' and of 'Tom Brown's Schooldays,' +has long ceased to weave his fortunate dreams into pictures to content +a child. The drawings of Robert Barnes, of Mrs. Allingham and of Miss +M. E. Edwards--illustrators of a sound tradition--are known to the +present nursery generation; and so are the outline and tinted drawings +of 'T. Pym,' who devised, so far back as the seventies, the naïve and +sympathetic style of illustration that is pleasantly unchanged in +recent child-books, such as 'The Gentle Heritage' (1893), and 'Master +Barthemy' (1896). The later work of Walter Crane is so bent to +decorative and allegorical purpose, that the creator of the best +nursery-rhyme pictures ever printed in colours--Randolph Caldecott's +are rather ballad than nursery-rhyme pictures--is in his place among +decorative illustrators rather than in this connection. Sir John +Tenniel's neat, immortal little Alice, with her ankle-strap shoes and +pocketed apron, is still followed to Wonderland by as many children as +in 1866, when she and the splendid prototypes of the degenerate +jargon-beasts of to-day first captivated attention. The drawings of +these artists, and perhaps also of 'E. V. B.'--for 'Child's Play,' +though published in 1858, is familiar to present children in a +reprint--are mentioned because of the place they still take on nursery +book-shelves. But from such brief record of some among the books +'radiant with gold' that 'never looked so well as in adorning +literature,' one must turn to work that has no such radiance of +sentiment and association over its merits and defects. + +Since the eighties Mr. Gordon Browne has been in the forefront of +illustrators popular with story-book publishers and with readers of +story-books. He is the son of Hablot Browne, but no trace of the +'caricaturizations' of 'Phiz' is in Mr. Gordon Browne's work. Probably +his earliest published work appeared in 'Aunt Judy's Magazine' some +time in the seventies. These unenlivening drawings suggest nothing of +the picturesque and unhesitating invention that has shaped his style +to its present serviceableness in the rapid production of effective +illustrations. The range and quantity of his work is best realized in +the bibliographical list, which records his illustrations to +Shakespeare and Henty, to fairy-tales and boys' stories, girls' stories +and toy-books, Gulliver, Cervantes, and Sunday-school books, at the +rate of six or seven volumes a year. In addition, one must remember +unnumbered illustrations in domestic magazines. And, on the whole, the +stories illustrated by Gordon Browne are adequately illustrated. It is +true that as a general rule he illustrates stories whose plan is within +limits of familiarity, such as those by Mrs. Ewing, Mrs. L. T. Meade, +or, in a different vein, the boys' stories of Henty, Manville Fenn, or +Ascott Hope. Romance and the clash of swords engaged the artist in the +pages of 'Sintram,' of Froissart, of Sir Walter Scott, +and--pre-eminently--in the illustrations to the 'Henry Irving +Shakespeare,' numbering nearly six hundred, and representing the work +of five years. Illustrating these subjects, though in varying degree, +the vitality and importance of an artist's conception of life and of +art is put to the test. So far as prompt and definite representation of +persons, places, and encounters, and unflagging facility in devising +effective forms of composition constitute interpretation, the artist +maintained the level of the undertaking. The illustration of stories +such as those collected by the brothers Grimm, or those Andersen +discovered in his exile of dreams among the facts of life, demands a +quality of thought differing from, yet hardly less rare than, the +thought needed to interpret Shakespeare. A fine aptitude for +discerning and rendering 'the mysterious face of common things,' a +fancy full of shapes, perception of the _rationale_ of magic, are +essential to the writer or artist who elects to send his fancy after +the elusive forms of fairyland. The recent drawings to Andersen, a +volume of tales from Grimm, published in 1894, and illustrations to +modern inventions, such as 'Down the Snow Stairs' (1886), and Mr. +Andrew Lang's 'Prince Prigio,' show that Mr. Gordon Browne's ideas of +fairyland, ancient and modern, are no less brisk and picturesque than +are his ideas of everyday and of romance. His technique is so familiar +that it is surely unnecessary to make even a brief disquisition on its +merits in expressing facts as they exist in a popular scheme of reality +and imagination. It is a healthy style, the ideals of beauty and of +strength are never coarse, wanton or listless, the humour is friendly, +and if the pathos occasionally verges on sentimentality, the writer, +perhaps, rather than the artist is responsible. + +Mr. Gordon Browne draws the average child, and represents fun, fancy +and adventure as the average child understands them. His art is +unsophisticated. To him, the child is no _motif_ in a decorative +fantasy, nor a quaint diagram figuring in nursery-Gothic elements of +design, nor a bold invention among picture-book monsters. The artists +whose basis of art is the unadapted child, may, perhaps, be classed as +the 'realists' among children's illustrators. Among these realists are +the illustrators of Mrs. Molesworth--with the exception of Walter +Crane, first and chief of them. + +Mr. Leslie Brooke succeeded Mr. Crane in 1891 as the illustrator of +Mrs. Molesworth's stories, and the careful un-selfconscious fashion of +his drawing, his understanding of child-life and home-life as known to +children such as those of whom and for whom Mrs. Molesworth writes, +make these pen-drawings true illustrations of the text. His drawings +are the result of individual observation and of a sense of what is fit +and pleasant, though neither in his filling of a page, nor in the +conception of beauty, is there anything definitely inventive to be +marked. On the whole, his children and young people are rather +representative of a class that maintains a standard of good looks among +other desirable things, than of a type of beauty; and if they are not +artistic types, neither are they strongly individualized. In his +'everyday' illustrations Mr. Leslie Brooke does not idealize, but that +his talent has a range of fancy is proved in illustrations to 'A School +in Fairyland' (1896), and to some imaginings by Roma White. Graceful, +regardful of an unspoilt ideal in the fairies, elves and +flower-spirits, there are also frequent hints in these drawings of the +humour that finds more complete expression in 'The Nursery Rhyme Book' +of 1897, and in the happy extravagance of 'The Jumblies' and 'The +Pelican Chorus' (1900). Outside the scope of picture-book drawings are +the dainty tinted designs to Nash's 'Spring Song,' and the skilful +pen-drawings to 'Pippa Passes.' + +Mr. Lewis Baumer's drawings of children, whether in 'The Boys and I' +and other stories by Mrs. Molesworth, or in less known child-stories, +have distinction that is partly a development of an admiration for Du +Maurier, though Mr. Baumer is too quick-sighted and appreciative of +charm to remain faithful to any model in art with the model in life +before his eyes. The children of Mr. Baumer are of to-day. The effect +of the earlier 'Punch' artist on the work of the younger man is hardly +more than suggested in certain felicities of pose and expression added +to those that a delightful kind of child discovers to an observer +unusually sensitive to the vivid and engaging qualities of his subject. +These children are swift of movement and of spirit, and the _verve_ of +the artist's style is rarely forced, and still more rarely inadequate +to the occasion. + +[Illustration: FROM MR. LEWIS BAUMER'S 'HERMY.' + +BY LEAVE OF MESSRS. CHAMBERS.] + +The acceptance of a formula, rather than the expression of a hitherto +unexpressed order of form, is the basis of page-decoration by members +of the Birmingham School, whose work in its wider aspect has already +been considered. Originality finds exercise in modifying details, but, +pre-eminent over differences in style, is the similarity of style that +suggests 'Birmingham' before the variations in detail suggest the work +of an individual artist. The influence of Kate Greenaway is strongly +marked in the work of many of these designers for children's books. +Indeed, Miss Winifred Green's drawings to Charles and Mary Lamb's +'Poetry for Children,' and to 'Mrs. Leicester's School,' contain +figures that, if one allows for some assertion necessary to justify +their reappearance, might have come direct from 'Under the Window.' + +The typical illustrative art of Birmingham is, however, of another +kind. The quaint propriety of 'old-fashioned' childhood, which Kate +Greenaway's delicate pencil first represented at its artistic value, is +akin to the conception of the child that prevails on the pages +decorated by Mrs. Arthur Gaskin, but the work of Mrs. Gaskin shows +nothing of the Stothard-like ideal that seems to have been the +suggesting cause of 'Greenaway' play-pictures. In the arabesques of +flowers and leaves which decorate many pages designed by Mrs. Gaskin +one sees a freedom and fluency of line that are checked to quaintness +and naïve angularity when the child is the subject. Her conception of a +pictorial child is very definite, and in her later work, one must +confess, it is a conception hardly corroborated by observation of fact. +'Horn Book Jingles' and 'The Travellers' of 1897 and 1898 show the +culmination of a style that had more sympathetic charm in the tinted +pages of the 'A. B. C.' (1895), or the 'Divine and Moral Songs' of the +following year. Book-illustration is with Mrs. Gaskin, as with many +members of the school, only a part of craftsmanship. + +Miss Calvert's winsome drawings in 'Baby Lays' and 'More Baby Lays' are +obviously related to the drawings of Mrs. Gaskin, though observation of +real babies seems to have come between a rigid adherence to the model. +The decorative illustrations by the Miss Holdens to 'Jack and the +Beanstalk' (1895), and to 'The Real Princess,' show evidence of fancy +that finds expression while nothing of Mr. Gaskin's teaching is +forgotten. + +As different in spirit from the drawings of the Birmingham designers as +is the Lambs' 'Poetry for Children' from 'A Child's Garden of Verses,' +the captivating illustrations of Mr. Charles Robinson seem a direct +pictorial evocation of the mood of Stevenson's child's rhymes, or of +Eugene Field's lullabies. Familiar now, and exaggerated in imitations +and in some of the artist's later work, the children and +child-fantasies of Mr. Robinson, as they were realized in the first +unspoilt freshness of improvisation, are among the delightful surprises +of modern book-illustration. In the pages of 'A Child's Garden of +Verses' (1896), of 'The Child World,' and of Field's 'Lullaby Land,' +the frolic babes of his fancy play hide and seek wherever the text +leaves space for them, rioting, or attitudinizing with spritely +ceremony, from cover to cover. The mood of imaginative play, of +daylight make-believe with its realistic and romantic excesses, and of +the make-believe enforced by flickering fire-light, and by the shadows +in the darkened house, is expressed in Mr. Robinson's drawings. Not +children, but child's-play, and the unexplored shadows and mysteries +that lie 'up the mountain side of dreams' are the motives of the +fantasies he sets on the page beside Stevenson's rhymes of old +delights, and the rhymes of the land of counterpane, where Wynken +Blynken and Nod, the Rockaby lady from Hushaby Street, and all kind +drowsy fancies close round and shut away the crooked shadows into the +night outside the nursery. + +The three books mentioned represent, as I think, the artist's work at +its truest value. There is variety of touch and of method, and the +heavier fact-enforcing line of 'Child Voices,' of 'Lilliput Lyrics,' or +of the coloured pictures to 'Jack of all Trades' is used, as well as +the fanciful line of the by-the-way drawings, and the arabesques and +delicate detail of the fantasy and dream pictures. A scheme of solid +black and white, connected and rendered fully valuable by interweaving +with line, white lines telling against black masses, and black lines +relieved against white, with pattern as a resource to fill spaces when +plain black or plain white seem uninteresting, is, of course, the +scheme of the majority of decorative illustrators. But of this scheme +Mr. Charles Robinson has made individual use. Whether his lines trace a +fairy's transparent wing on a background of night-sky, of drifting +cloud or of dream mountain-side, or make the child visible among +dream-buildings, or seated on the world of fancy in the immensity of +night, or passing in a sleep-ship through faëry seas, they have the +quality of imagination, imagination in their disposition to form a +decorative effect, and in the forms they express. The full-page +drawings to 'King Longbeard' have this quality, and hardly a drawing to +any theme of fancy, whether in old or in new fairy tales, or in verses, +but is the result of a vision of charm and distinction. + +It would seem that the imagination of Mr. Charles Robinson realizes a +subject with more delight when the text is suggestive, rather than +impressive with definite conceptions. The mighty forms of 'The +Odyssey,' the chivalric symbolism of 'Sintram and Aslaugas Knight,' +even the magical particularity of Hans Andersen, are not, apparently, +supreme in his imagination, as is his vision of fairy-seeing childhood. +One is unenlightened by the graceful drawings to 'The Adventures of +Odyseus,' or the romances of De la Motte Fouqué. + +That Miss Alice Woodward has, on occasion, made one of the many +illustrators who have profited by the example of Mr. Charles Robinson, +various drawings seem to show, but few of these illustrators have the +originality and purpose that allow Miss Woodward to enlarge her range +of expression without nullifying the spontaneity of her work. She has +illustrated over a dozen books, beginning with 'Banbury Cross' in 1895, +and mostly she treats her subject with humour and variety and with a +consistent idea of the pictorial aspect of things. She has quick +appreciation of unconscious humour in attitude and in expression, +though she seems at times to rely too much on memory, thereby +diminishing vividness. When most successful she can draw a pleasing +child with lines almost as few as those used by any modern artist. +Miss Gertrude Bradley is another pleasant illustrator. Her later +drawings of children are modified from the print-pinafore freshness of +those in 'Songs for Somebody' (1893), to a type that has evident +affinities with the Charles Robinson child, though in 'Just Forty +Winks' (1897) Miss Bradley proves her individual sense of humour. The +taking simplicity of Miss Marion Wallace-Dunlop's illustrations of +elf-babies in 'Fairies, Elves and Flower Babies,' and of the human +twins who adventure in 'The Magic Fruit Garden' also suggests the +influence of the fortunate inventor of an admirable child. + +[Illustration: FROM MISS WOODWARD'S 'TO TELL THE KING THE SKY IS +FALLING.' + +BY LEAVE OF MESSRS. BLACKIE.] + +The greater amount of Mr. Bedford's work for children consists of +coloured illustrations to nursery-books, and, when the humour of +half-penny paper journalism is supposed to be entertainment for babies, +one may be thankful for the pleasant and peaceful drawings of this +artist. Little Miss Muffet, Wee Willie Winkie, and the activities of +town and country, are a relief from the _jeunesse dorée_, and the +lethargy of the War Office as toy-book subjects, while 'The Battle of +the Frogs and Mice'--though Miss Barlow's version of Aristophanes, with +Mr. Bedford's effective decorations, is hardly a nursery-book--is a +better child's subject than the punishable pretensions of other +nations. + +In work hitherto noticed, the child may be regarded as the central +figure of the design, whether fact or fancy be set about his little +personality. Besides the illustrators whose subject is childhood in +some aspect or another, and those children's illustrators who +pictorialize the wide imaginings of the national fairy tales, there +are others in whose work the child figures incidentally, but not as the +central fact. In this connection one may consider those draughtsmen who +illustrate modern wonder-books with Zankiwanks, Krabs and Wallypugs. + +Mr. Archie Macgregor should be classed, perhaps, among artists of the +child in wonderland, but the personalities of Tomakin and his sisters, +though Judge Parry sets them forth in prose and in verse with his usual +high spirits, are not the illustrator's first care. 'Katawampus,' 'The +First Book of Krab,' and 'Butterscotia,' have made Mr. Macgregor's +robust and strongly-defined drawings familiar, and, within the limits +of the author's hearty imagination, his droll and unflagging +representations of adventures, ceremonies and humours, are extremely +apt. Children, goblins, animals and queer monsters are drawn with +unhesitating spirit and humour, and with decorative invention that +would be even more successful if it were less fertile in devising +detail. More fortunate in rendering action than facial expression, +without the mystery that is the atmosphere of the magical fairy-land, +the fact and fancy of Mr. Macgregor are so admirably illustrative of +Judge Parry's text that one is almost inclined to attribute the absence +of glamour to the artist's strong conception of the function of an +illustrator. + +Mr. Alan Wright's work, again, is inevitably associated with the +invention of an author, though Mr. Farrow's 'Wallypug' books have not +all been illustrated by one artist. Mr. Wright's drawings are proof of +an energetic and serviceable conception of all sorts of out-of-the-way +things. His humour is unelaborate, he goes straight to the fact, and, +having expressed its extraordinary and fantastic characteristics, he +does not linger to develop his drawing into a decorative scheme. +Apparently he draws 'out of his head,' whether his subject is fact or +extravagance. The three small humans who figure in 'The Little +Panjandrum's Dodo,' and the ambassador's son of 'The Mandarin's Kite,' +are as briefly sketched as the whimsicalities with whom they consort. + +Mr. Arthur Rackham's illustrations to 'Two Old Ladies, Two Foolish +Fairies, and a Tom-Cat' (1897), and to 'The Zankiwank and the +Bletherwitch' show inspiriting talent for nursery extravaganza. The +children, whirled from reality into a phantasmagoria of adventure, are +deftly and happily drawn, the fairies have fairy grace, and the rout of +hobgoblins and grotesques fill their parts. Drawing real animals, Mr. +Rackham is equally quick to note what is characteristic, and his +facility in realizing fact and magic finds expression in the +illustrations to 'Grimm's Fairy Tales' (1900). This is the most +important work of Mr. Rackham as a child's illustrator, and if the +drawings are somewhat calculated to impress the horrid horror of +witches and forest enchantments on uneasy minds, the charm of +princesses and peasant maids, the sagacious humour of talking animals +and the grotesque enlivenment of cobolds and gnomes are no less vividly +represented. That Mr. Rackham admires Mr. E. J. Sullivan's scheme of +decorative black-and-white is evident in these drawings, but not to +the detriment of their inventive worth. + +[Illustration: FROM MR. ARTHUR RACKHAM'S 'GRIMM'S FAIRY TALES.' + +BY LEAVE OF MESSRS. FREEMANTLE.] + +Mr. J. D. Batten, Mr. H. J. Ford, and Mr. H. R. Millar represent, in +various ways, the modern art of fairy-tale illustration at its best. +Mr. Batten's connection with Mr. Joseph Jacob's treasuries of +fairy-lore, Mr. Ford's long record of work in the multicoloured fairy +and true story books edited by Mr. Lang, and the drawings of Mr. Millar +in various collections of fairy tales, entitle them to a foremost place +among contemporary illustrators of the world's immortal +wonder-stories. + +Mr. Batten knows the rules of chivalry, of sentiment, humour, and +horridness, as they exist in the magical convention of the real +fairy-tales, and whether their purpose be merry or sad, heroic or +grotesque, he illustrates the old tales of Celt and Saxon, of India, +Arabia and Greece with appreciation of the largeness and splendour of +their conception. One might wish for more vitality in his women, and +think that a representation of the mournful beauty of Deirdre, the +passion of Circe or of Medea, should differ from the untroubled +sweetness of the King's daughter of faery. Still one appreciates the +dignity of these smooth-browed women, and, after all, the passionate +figures of Greek and Celtic epics need translation before they can +figure in fairy-tale books. Mr. Batten's ideas are never trite and +never morbid. His giants are gigantic, his monsters of true devastating +breed, and his drawings--especially the later ones--are as able +technically as they are apt to the occasion. + +[Illustration: FROM MR. BATTEN'S 'INDIAN FAIRY TALES.' + +BY LEAVE OF DAVID NUTT.] + +There can hardly be an existent fairy-story among the hundreds told +before the making of books that Mr. Ford has not illustrated in one +version or another. The telling-house of every nation has yielded +stories for Mr. Lang's annual volumes; and since the appearance of 'The +Blue Fairy Book' in 1888, Mr. Ford, alone or in collaboration with Mr. +Jacomb Hood, Mr. Lancelot Speed and other well-known artists, has +illustrated the stories Mr. Lang has gathered. Moreover, in addition to +seven volumes of fairy tales, and many true story and animal story +books, Mr. Ford has made drawings for Æsop, for the 'Arabian Nights,' +and for 'Early Italian Love Stories.' His decorative and illustrative +ideal has never lacked distinction, and his recent work is the coherent +development of that of fourteen years ago, though he has gained in +freedom and variety of conception and in quality of expression. Mr. +Ford's art is obviously founded on that of Walter Crane, but he looks +at a subject with greater interest in its dramatic possibilities, and +in the facts of place and time than the later 'Crane' convention +admits. An abundant fancy, familiarity with the facts of legendary, +romantic and animal life, over a wide tract of country and through long +ages of time, fill the decorative pages of the artist with a plentitude +of graceful, vigorous and persuasive forms. The well-devised pages of +Miss Emily J. Harding's 'Fairy Tales of the Slav Peasants and +Herdsmen,' are akin in form to the drawings of Mr. Batten and of Mr. +Ford, though regard for the national tone of the stories gives these +illustrations individuality and interest. + +[Illustration: FROM MR. FORD'S 'PINK FAIRY BOOK.' + +BY LEAVE OF MESSRS. LONGMANS.] + +The principles of art represented by the drawings of Mr. Ford have +little in common with those which determine the scheme of Mr. Millar's +many illustrations. Vierge, and Gigoux, the master of Vierge, are the +indubitable suggesters of his style, and the antitheses of sheer black +and white, the audacities, evasions and accentuations of these jugglers +with line and form, are dexterously handled by Mr. Millar. He has not +invented his convention, he has accepted it, and begun original work +within accepted limits. A less original artist would thereby have +doomed himself to extinction, but Mr. Millar has a lively apprehension +of romance, especially in an oriental setting, and interest in +subject is incompatible with merely imitative work. Illustrations to +'Hajji Baba' (1895), and to 'Eothen,' show how dramatic and true to +picturesque notions of the East are the conceptions, and the same +vigour projects itself into themes of western adventure in 'Frank +Mildmay' and 'Snarleyow.' But his right to be considered here is +determined by the rapid visions of fairy romance realized in the pages +of 'Fairy Tales by Q.' (1895), of 'The Golden Fairy Book' with its +companions, and on the more concrete but not less sufficient drawings +to 'The Book of Dragons,' and 'Nine Unlikely Tales for Children.' + +[Illustration: FROM MR. MILLAR'S 'FAIRY TALES BY Q.' + +BY LEAVE OF MESSRS. CASSELLS.] + +The pen-drawings of Mr. T. H. Robinson in the "Andersen" illustrated by +the brother artists, show ability to realize not only the incidents and +ideas of the stories, but also something of the national inspiration +that is an element in all _märchen_. At times determinedly decorative, +his work is generally in closer alliance with actuality than is the +typical work of Mr. Charles or of Mr. W. H. Robinson. Character, +action, costume, picturesque facts of life and scenery are suggested, +and suggested with interest in the actual geographical and +chronological circumstances of the stories, whether a poet's Denmark, +the Arabia of Scheherazade, the Greece of Kingsley's 'The Heroes,' or +the rivers and mountains of Carmen Sylva's stories determine the +fact-scheme for his decorative invention. In addition to these vigorous +and generally harmonious illustrations, the artist's drawings to +'Cranford,' 'The Scarlet Letter,' 'Lichtenstein,' 'The Sentimental +Journey,' and 'Esmond,' prove his interest and inventive sense to be +effective in realizing actual historical and local conditions. If Mr. +W. H. Robinson is also an apt illustrator of legends and of folk-tales, +whose setting demands attention to the facts of life as they were to +story-tellers in far countries of once-upon-a-time, the more individual +side of his talent is discovered in work of wilder and more intense +fancy. Andersen's 'Marsh King's Daughter,' the Snow Queen with her +frozen eyes, the picaresque mood of Little Claus, or the doom of proud +Inger, are to his mind, and in illustrations to 'Don Quixote' (1897), +to 'The Pilgrim's Progress,' and especially in the fully decorated +volume of Poe's 'Poems,' the forcible conceptions of the text find +pictorial expression. + +Mr. A. G. Walker, though a sculptor by profession, claims notice as an +illustrator of various children's books, notably 'The Lost Princess' +(1895), 'Stories from the Faerie Queene' (1897), and 'The Book of King +Arthur.' His pen-drawings are expressive of a thoughtful realization of +the subject in its actual and moral beauty. The nobility of Spenser's +conceptions, the remote beauty of the Arthurian legend, appeal to him, +and the careful rendering of costume, landscape and the aspect of +things, is only part of a scheme of execution that has as its complete +intention the rendering of the 'mood' of the narrative. These drawings +are realizations rather than illuminations of the text, and one +appreciates their thoroughness, clearness, and dignity. + +Miss Helen Stratton published some pleasant but not very vigorous +drawings of children in 'Songs for Little People' (1896), and +illustrations to a selection from Andersen suggested the later +direction of her ability. This, as the copiously illustrated 'Fairy +Tales from Hans Christian Andersen' (1899), and the large number of +drawings contributed to Messrs. Newnes' edition of 'The Arabian +Nights,' show, is in realizing themes less actual than those of Nursery +Lyrics. A sense of drama in the pose and grouping of the multitudes of +figures on the pages of the Danish and Arabian stories, and a +sufficient care for the background, as the poet's eyes might have seen +it behind the dream-figures that passed between him and reality, are +qualities that give Miss Stratton's competent work imaginative value. + +The work of Miss R. M. M. Pitman comes within the subject in her +illustrations to Lady Jersey's fairy tale, 'Maurice and the Red Jar,' +and to 'The Magic Nuts' of Mrs. Molesworth. But though their decorative +intention and technique represent the forms of the artist's work, the +spirit of fantasy that informs her illustrations to 'Undine' finds only +modified expression. The symbolism of 'Undine' is wrought into +decorations of inventive elaborateness. The technical ideal of Miss +Pitman suggests study of Dürer's pen-drawing, and though at times there +is too much sweetness and luxury in her representation of beauty, at +her best she expresses free fancy with distinction not common in modern +book-illustration. + +Brief allusion only--where drawings of more definitely illustrative +purpose over-crowd the available space--can be made to the numerous +animal books, serious and comic. Mr. Percy J. Billinghurst's full-page +designs to 'A Hundred Fables of Æsop,' 'A Hundred Fables of La +Fontaine,' and 'A Hundred Anecdotes of Animals' deserve more than +passing mention for their decorative and observant qualities and their +enlivening humour. Another decorative draughtsman of animals for +children's books is Mr. Carton Moore Park, who, since 1899, when the +'Alphabet of Animals' and 'The Book of Birds' appeared, has published +seven or eight volumes of his strongly devised designs. One can hardly +conclude without reference to Mr. Louis Wain, the cats' artist of +twenty years' standing, and to Mr. J. A. Shepherd, chief caricaturist +of animals; but while toy-book artists such as Mrs. Percy Dearmer, Mrs. +Farmiloe, Miss Rosamond Praeger, Mr. Aldin, and Mr. Hassall (whose +subject--the child--takes precedence of Zoological subjects) must be +left unconsidered, the humourists of the Zoo can hardly be included. + + + + +BIBLIOGRAPHY. + + + + +BIBLIOGRAPHY. + +(_To September, 1901._) + + +SOME DECORATIVE ILLUSTRATORS. + +AMELIA BAUERLE. + + _Happy-go-Lucky._ Ismay Thorn. 8º. (Innes, 1894.) 3 f. p. + + _A Mere Pug._ Nemo. 8º. (Long, 1897.) 6 f. p. + + _Allegories._ Frederic W. Farrar. 8º. (Longmans, 1898.) 20 f. p. + + _Sir Constant._ W. E. Cule. 8º. (Melrose, 1899.) 6 f. p. + + _Glimpses from Wonderland._ 8º. J. Ingold. (Long, 1900.) 6 f. p. + + _The Day-Dream._ Alfred Tennyson. 8º. (Lane, 1901. 'Flowers of + Parnassus.') 7 illust. (5 f. p.) + +R. ANNING BELL. + + _Jack the Giant-Killer_ and _Beauty and the Beast_. Edited + by Grace Rhys. 32º. (Dent, 1894. Banbury Cross Series.) 35 + illust. (13 f. p.) + + _The Sleeping Beauty_ and _Dick Whittington and his Cat_. Edited + by Grace Rhys. 32º. (Dent, 1894. Banbury Cross Series.) 35 + illust. (13 f. p.) + + _The Christian Year._ 8º. (Methuen, 1895.) 5 f. p. + + _A Midsummer Night's Dream._ 4º. (Dent, 1895.) 59 illust. and + decorations. (15 f. p.) + + _The Riddle._ Walter Raleigh. 4º. (Privately printed, 1895.) + 2 illust. (1 f. p.) + + _An Altar Book._ Fol. (Merrymount Press, U.S.A., 1896.) 7 f. p. + + _Keats' Poems._ Edited by Walter Raleigh. 8º. (Bell, 1897. + Endymion Series.) 65 illust. and decorations. (23 f. p.) + + _The Milan._ Walter Raleigh. 4º. (Privately printed, 1898.) + 1 f. p. + + _English Lyrics from Spenser to Milton._ 8º. (Bell, 1898. + Endymion Series.) 57 illust. and decorations. (20 f. p.) + + _Pilgrim's Progress._ 8º. (Methuen, 1898.) 39 illust. (26 f. p.) + + _Lamb's Tales from Shakespeare._ 8º. (Fremantle, 1899.) 15 f. p. + +W. E. F. BRITTEN. + + _The Elf-Errant._ Moira O'Neill. 8º. (Lawrence and Bullen, + 1895.) 7 f. p. + + _Undine._ Translated from the German of Baron de la Motte Fouqué + by Edmund Gosse. 4º. (Lawrence and Bullen, 1896.) 10 f. p., + photogravure. + + _The Early Poems of Alfred Lord Tennyson._ Edited by John + Churton-Collins. 8º. (Methuen, 1901.) 10 f. p., photogravure. + +PERCY BULCOCK. + + _The Blessed Damozel._ Dante Gabriel Rossetti. 8º. (Lane, + 1900. 'Flowers of Parnassus.') 8 illust. (6 f. p.) + +HERBERT COLE. + + _Gulliver's Travels._ J. Swift. 8º. (Lane, 1900.) 114 illust. + (20 f. p.) + + _The Rubaiyat._ 8º. (Lane, 1901. 'Flowers of Parnassus.') 9 + illust. (6 f. p.) + + _The Nut-Brown Maid._ A new version by F. B. Money-Coutts. 8º. + (Lane, 1901. 'F. of P.') 9 illust. (6 f. p.) + + _A Ballade upon a Wedding._ Sir John Suckling. 8º. (Lane, 1901. + 'F. of P.') 9 illust. (6 f. p.) + + _The Rime of the Ancient Mariner._ S. T. Coleridge. 8º. (Gay and + Bird, 1900.) 6 f. p. + +PHILIP CONNARD. + + _The Statue and the Bust._ Robert Browning. 8º. (Lane, 1900. + 'Flowers of Parnassus.') 9 illust. (6 f. p.) + + _Marpessa._ Stephen Phillips. 8º. (Lane, 1900. 'F. of P.') + 7 illust. (5 f. p.) + +WALTER CRANE. + + _The New Forest._ J. R. Wise. 4º. (Smith, Elder, 1863.) 63 + illust. engraved by W. J. Linton. (A new edition, published + by Henry Sotheran, 1883, with the original illust. and 12 + etchings by Heywood Sumner.) + + _Stories from Memel._ Mrs. De Haviland. 12º. (William Hunt, + 1864.) 6 f. p. + + _Walter Crane's Toy-Books._ Issued in single numbers, from + 1865-1876. + + ---- _Collected Editions_, all published in 4º, by George + Routledge, and printed throughout in colours. + + _Walter Crane's Picture Book._ (1874.) 64 pp. + + _The Marquis of Carabas' Picture Book._ (1874.) 64 pp. + + _The Blue Beard Picture Book._ (1876.) 32 pp. + + _Song of Sixpence Toy-Book._ (1876.) 32 pp. + + _Chattering Jack's Picture Book._ (1876.) 32 pp. + + _The Three Bears Picture Book._ (1876.) 32 pp. + + _Aladdin's Picture Book._ (1876.) 24 pp. + + _The Magic of Kindness._ H. and A. Mayhew. 8º. (Cassell, + Petter and Galpin, 1869.) 8 f. p. + + _Sunny Days, or a Month at the Great Stowe._ Author of 'Our White + Violet.' 8º. (Griffith and Farran, 1871.) 4 f. p., in colours. + + _Our Old Uncle's Home._ 'Mother Carey.' 8º. (Griffith and Farran, + 1871.) 4 f. p. + + _The Head of the Family._ Mrs. Craik. 8º. (Macmillan, 1875.) + 6 f. p. + + _Agatha's Husband._ Mrs. Craik. 8º. (Macmillan, 1875.) 6 f. p. + + _Tell me a Story._ Mrs. Molesworth. 8º. (Macmillan, 1875.) + 8 illust. (7 f. p.) + + _The Quiver of Love._ A Collection of Valentines, Ancient and + Modern. 4º. (Marcus Ward, 1876.) With Kate Greenaway. 8 f. p. in + colours. + + _Carrots._ Mrs. Molesworth. 8º. (Macmillan, 1876.) 8 illust. + (7 f. p.) + + _Songs of Many Seasons._ Jemmett Browne. 4º. (Simpkin, Marshall, + 1876.) With others. 1 f. p. by Walter Crane. + + _The Baby's Opera._ 4º. (Routledge, 1877.) 55 pictured pages in + colours. (11 f. p.) + + _The Cuckoo Clock._ Mrs. Molesworth. 8º. (Macmillan, 1877.) + 8 illust. (7 f. p.) + + _Grandmother Dear._ Mrs. Molesworth. 8º. (Macmillan, 1878.) + 8 illust. (7 f. p.) + + _The Tapestry Room._ Mrs. Molesworth. 8º. (Macmillan, 1879.) + 8 illust. (7 f. p.) + + _The Baby's Bouquet._ 4º. (Routledge, 1879.) 53 pictured pages, + in colours. (11 f. p.) + + _A Christmas Child._ Mrs. Molesworth. 8º. (Macmillan, 1880.) + 8 illust. (7 f. p.) + + _The Necklace of Princess Fiorimonde._ Mrs. De Morgan. 8º. + (Macmillan, 1880.) 25 illust. + + _Herr Baby._ Mrs. Molesworth. 8º. (Macmillan, 1881.) 8 illust. + (7 f. p.) + + _The First of May._ A Fairy Masque. J. R. Wise. Fol. (Henry + Sotheran, 1881.) 56 decorated pages. (1 f. p.) + + _Household Stories._ Translated from the German of the Brothers + Grimm by Lucy Crane. 8º. (Macmillan, 1882.) 120 illust. (11 f. p.) + + _Rosy._ Mrs. Molesworth. 8º. (Macmillan, 1882.) 8 illust. + (7 f. p.) + + _Pan-Pipes._ A Book of Old Songs. Theo. Marzials. Oblong folio. + (Routledge, 1883.) 52 pictured pages, in colours. + + _Christmas Tree Land._ Mrs. Molesworth. 8º. (Macmillan, 1884.) + 8 illust. (7 f. p.) + + _Walter Crane's New Series of Picture Books._ 4º. (Marcus Ward, + 1885-6.) + + _Slate and Pencilvania._--_Little Queen Anne._--_Pothooks + and Perseverance._ 24 pages each, in colours. + + _The Golden Primer._ J. M. D. Meiklejohn. 8º. (Blackwood, 1885.) + Part I. and Part II. 14 decorated pages in colours in each part. + + _Folk and Fairy Tales._ C. C. Harrison. 8º. (Ward and Downey, + 1885.) 24 f. p. + + _"Us."_ Mrs. Molesworth. 8º. (Macmillan, 1885.) 8 illust. + (7 f. p.) + + _The Sirens Three._ Walter Crane. 4º. (Macmillan, 1886.) 41 + pictured pages. + + _The Baby's Own Æsop._ 4º. (Routledge, 1886.) 56 pictured pages, + in colours. + + _Echoes of Hellas._ The Tale of Troy and the Story of Orestes + from Homer and Aeschylus. With introductory essay and sonnets + by Prof. George C. Warr. Fol. (Marcus Ward, 1887.) 82 decorated + pages. + + _Four Winds Farm._ Mrs. Molesworth. 8º. (Macmillan, 1887.) + 8 illust. (7 f. p.) + + _Legends for Lionel._ 4º. (Cassell, 1887.) 40 pictured pages, + in colours. + + _A Christmas Posy._ Mrs. Molesworth. 8º. (Macmillan, 1888.) + 8 illust. (7 f. p.) + + _The Happy Prince, and other tales._ Oscar Wilde. 4º. (Nutt, + 1888.) 14 illust. and decorations with G. P. Jacomb-Hood. 3 f. p. + by Walter Crane. + + _The Book of Wedding Days._ Quotations for every day in the + year, compiled by K. E. J. Reid, etc. 4º. (Longmans, 1889.) + 100 pictured pages. + + _The Rectory Children._ Mrs. Molesworth. 8º. (Macmillan, 1889.) + 8 illust. (7 f. p.) + + _Flora's Feast._ A Masque of Flowers. Walter Crane. 4º. (Cassell, + 1889.) 40 pictured pages, in colours. + + _The Turtle Dove's Nest._ 8º. (Routledge, 1890.) 87 illust. + (8 f. p.) With others. + + _Chambers Twain._ Ernest Radford. 4º. (Elkin Matthews, 1890.) + 1 f. p. + + _A Sicilian Idyll._ Dr. Todhunter. 4º. (Elkin Matthews, 1890.) + 1 f. p. + + _Renascence._ A Book of Verse. Walter Crane. Including 'The + Sirens Three' and 'Flora's Feast.' 4º. (Elkin Mathews, 1891.) + 39 illust. and decorations, some engraved on wood by Arthur + Leverett. + + _A Wonder Book for Girls and Boys._ Nathaniel Hawthorne. (Osgood, + 1892.) 60 illust. and decorations in colours. (19 f. p.) + + _Queen Summer, or the Tourney of the Lily and the Rose._ Walter + Crane. 4º. (Cassell, 1892.) 40 pictured pages in colours. + + _The Tempest._ 8 illust. to Shakespeare's 'Tempest.' Engraved + and printed by Duncan C. Dallas. (Dent, 1893.) + + _Under the Hawthorn._ Augusta de Gruchy. 8º. (Mathews and Lane, + 1803.) 1 f. p. + + _The Old Garden._ Margaret Deland. 8º. (Osgood, 1893.) 96 + decorated pages. + + _The Two Gentlemen of Verona._ 8 illust. to Shakespeare's + 'Two Gentlemen of Verona.' Engraved and printed by Duncan C. + Dallas. (Dent, 1894.) + + _The Story of the Glittering Plain._ William Morris. 4º. + (Kelmscott Press. 1894.) 23 illust. Borders, titles and initials + by William Morris. + + _The History of Reynard the Fox._ English Verse by F. S. Ellis. + 4º. (David Nutt, 1894.) 53 illust. and decorations. (1 f. p.) + + _The Merry Wives of Windsor._ 8 illust. to Shakespeare's 'Merry + Wives of Windsor.' Engraved and printed by Duncan C. Dallas. 4º. + (George Allen, 1894.) + + _The Vision of Dante._ Miss Harrison. 8º. 1894. 4 f. p. + + _The Faerie Queene._ Edited by Thomas J. Wise. 3 vols. 4º. + (George Allen, 1895.) 231 illust. and decorations. (98 f. p.) + + _A Book of Christmas Verse._ Selected by H. C. Beeching. 8º. + (Methuen, 1895.) 10 illust. (5 f. p.) + + _The Shepheard's Calendar._ Edmund Spenser. 4º. (Harper, 1898.) + 16 illust. and decorations. (12 f. p.) + + _The Walter Crane Readers._ Nelle Dale. 3 vols. 8º. (Dent, 1898.) + 109 pictured pages, in colours. (8 f. p.) + + _A Floral Fantasy in an Old English Garden._ Walter Crane. 8º. + (Harper, 1899.) 40 pictured pages, in colours. + +H. GRANVILLE FELL. + + _Our Lady's Tumbler._ A Twelfth Century legend transcribed + for Lady Day, 1894. 4º. (Dent, 1894.) 4 f. p. + + _Wagner's Heroes._ Constance Maud. 8º. (Arnold, 1895.) 8 f. p. + + _Cinderella_ and _Jack and the Beanstalk_. 32º. (Dent, 1895. + Banbury Cross Series.) 38 illust. (14 f. p.) + + _Ali Baba_ and _The Forty Thieves_. 32º. (Dent, 1895. Banbury + Cross Series.) 38 illust. (11 f. p.) + + _The Fairy Gifts_ and _Tom Hickathrift_. 32º. (Dent, 1895. + Banbury Cross Series.) 38 illust. (16 f. p.) + + _The Book of Job._ 4º. (Dent, 1896.) 43 illust. and decorations. + (24 f. p., 3 double pages.) + + _The Song of Solomon._ 4º. (Chapman and Hall, 1897.) 29 illust. + and decorations. (12 f. p.) + + _Wonder Stories from Herodotus._ Re-told by C. H. Boden and + W. Barrington D'Almeida. 8º. (Harper, 1900.) 19 illust. in + colours. (12 f. p.) + +A. J. GASKIN. + + _A Book of Pictured Carols._ Designed by members of the + Birmingham Art School under the direction of A. J. Gaskin. 4º. + (George Allen, 1893.) 13 illust. and decorations with C. M. Gere, + Henry Payne, Bernard Sleigh, Fred. Mason, and others. (1 f. p. by + A. J. Gaskin.) + + _Stories and Fairy Tales._ Hans Andersen. 8º. (George Allen. + 1893.) 100 illust. (11 f. p.) + + _A Book of Fairy Tales._ Re-told by S. Baring Gould. 8º. + (Methuen, 1894.) 20 illust. (5 f. p.) + + _Good King Wenceslas._ Dr. Neale. 4º. (Cornish Brothers, + Birmingham, 1895.) 6 f. p. + + _The Shepheard's Calendar._ E. Spenser. 8º. (Kelmscott Press, + 1896.) 12 f. p. + +C. M. GERE. + + _Russian Fairy Tales._ R. Nisbet Bain. 8º. (Lawrence and + Bullen, 1893.) 6 f. p. + + _News from Nowhere._ William Morris. 8º. (Kelmscott Press, + 1893.) 1 f. p. + + _The Imitation of Christ._ Thomas à Kempis. Introduction by + F. W. Farrar. 8º. (Methuen, 1894.) 5 f. p. + + _A Book of Pictured Carols._ See _A. J. Gaskin_. + +J. J. GUTHRIE. + + _Wedding Bells._ A new old Nursery Rhyme by A. F. S. and E. + de Passemore. 4º. (Simpkin, Marshall, 1895.) 7 decorated pages. + + _The Little Men in Scarlet._ Frances H. Low. (Jarrold, 1896.) + 42 illust. (8 f. p.) + + _The Garden of Time._ Mrs. Davidson. 8º. (Jarrold, 1896.) + 40 illust. (8 f. p.) + + _An Album of Drawings._ Fol. (The White Cottage, Shorne, Kent, + 1900.) 24 f. p. from various magazines. + +LAURENCE HOUSMAN. + + _Jump-to-Glory Jane._ George Meredith. 8º. (Swan, Sonnenschein, + 1892.) 44 illust. (8 f. p.) + + _Goblin Market._ Christina Rossetti. 8º. (Macmillan, 1893.) + 42 illust. and decorations. (12 f. p.) + + _Weird Tales from Northern Seas._ From the Danish of Jonas + Lie. 8º. (Kegan Paul, 1893.) 12 f. p. + + _The End of Elfin-town._ Jane Barlow. 8º. (Macmillan, 1894.) + 15 illust. and decorations. (8 f. p.) + + _A Farm in Fairyland._ Laurence Housman. 8º. (Kegan Paul, 1894.) + 14 f. p. + + _The House of Joy._ Laurence Housman. 8º. (Kegan Paul, 1895.) + 10 f. p. + + _Poems._ Francis Thompson. 8º. (Mathews and Lane, 1895.) 1 f. p. + + _Sister Songs._ Francis Thompson. 8º. (Lane, 1895.) 1 f. p. + + _Green Arras._ Laurence Housman. 8º. (Lane, 1896.) 6 f. p. + + _All-Fellows._ Laurence Housman. 8º. (Kegan Paul, 1896.) 7 f. p. + + _The Were-Wolf._ Clemence Housman. 8º. (Lane, 1896.) 6 f. p. + + _The Sensitive Plant._ P. B. Shelley. 4º. (Aldine House, 1898.) + 12 f. p. photogravure. + + _The Field of Clover._ Laurence Housman. 8º. (Kegan Paul, 1898.) + 12 f. p., engraved by Clemence Housman. + + _The Little Flowers of Saint Francis._ Translated by T. W. + Arnold. 12º. (Dent, 1898, Temple Classics.) 1 f. p. + + _Of the Imitation of Christ._ Thomas à Kempis. 8º. (Kegan Paul, + 1898.) 5 f. p. + + _The Little Land._ Laurence Housman. 8º. (Grant Richards, 1899.) + 4 f. p. + + _At the Back of the North Wind._ G. Macdonald. 8º. (Blackie, + 1900.) 1 f. p. + + _The Princess and the Goblin._ G. Macdonald. 8º. (Blackie, 1900.) + 1 f. p. + +A. GARTH JONES. + + _The Tournament of Love._ W. T. Peters. 8º. (Brentano, 1894.) + 3 illust. (2 f. p.) + + _The Minor Poems of John Milton._ 8º. (Bell, 1898. Endymion + Series.) 46 illust., and decorations. (28 f. p.) + + _Contes de Haute-Lisse._ Jérome Doucet. (Bernoux and Cumin, + 1899.) 56 illust. and decorations. + + _Contes de la Fileuse._ Jérome Doucet. (Tallandier, 1900.) + 163 illust. and decorations. + +CELIA LEVETUS. + + _Turkish Fairy Tales._ Trans. by R. Nisbet Bain. 8º. + (Lawrence and Bullen, 1896.) 10 illust. (9 f. p.) + + _Verse Fancies._ Edward L. Levetus. 8º. (Chapman and Hall, + 1898.) 8 illust. (7 f. p.) + + _Songs of Innocence._ William Blake. 32º. (Wells, Gardner, + and Darton, 1899.) 25 illust. (14 f. p.) + +W. B. MACDOUGALL + + _Chronicles of Strathearn._ 8º. (David Philips, 1896.) 15 f. p. + + _The Fall of the Nibelungs._ In Two Books. Translated by + Margaret Armour. 8º. (Dent, 1897.) 8 f. p. in each book. + + _Thames Sonnets and Semblances._ Margaret Armour. 8º. + (Elkin Mathews, 1897.) 12 f. p. + + _The Book of Ruth._ Introduction by Ernest Rhys. 4º. (Dent, + 1896.) 8 f. p. + + _Isabella, or the Pot of Basil._ John Keats. 4º. (Kegan Paul, + 1898.) 8 f. p. + + _The Shadow of Love and other Poems._ Margaret Armour. 8º. + (Duckworth, 1898.) 2 f. p. + +FRED. MASON. + + _A Book of Pictured Carols._ See _A. J. Gaskin_. + + _The Story of Alexander._ Robert Steele. 4º. (David Nutt, 1894.) + 27 illust. (5 f. p.) + + _Huon of Bordeaux._ Robert Steele. 8º. (George Allen, 1895.) + 22 illust. (6 f. p.) + + _Renaud of Montauban._ Robert Steele. 8º. (George Allen, 1897.) + 12 f. p. + +T. STURGE MOORE. + + _The Centaur._ _The Bacchant._ Translated from the French of + Maurice de Guérin by T. Sturge Moore. (Vale Press, 1899.) 4º. + 5 wood engravings. + + _Some Fruits of Solitude._ William Penn. 8º. (Essex House + Press, 1901.) Wood engraving on title-page. + +L. FAIRFAX MUCKLEY. + + _The Faerie Queene._ E. Spenser. Introduction by Prof. Hales. + 3 vols. 4º. (Dent, 1897.) 42 illust. and decorations. (24 f. p., + 10 double page.) + + _Fringilla._ R. D. Blackmore. 8º. (Elkin Mathews, 1895.) 21 + illust. and decorations. (11 f. p.) 3 by James Linton. + +HENRY OSPOVAT. + + _Shakespeare's Sonnets._ 8º. (Lane, 1899.) 14 illust. (10 f. p.) + + _Poems._ Matthew Arnold. 8º. Edited by A. C. Benson. (Lane, + 1900.) 65 illust. and decorations. (16 f. p.) + +CHARLES RICKETTS. + + _A House of Pomegranates._ Oscar Wilde. 4º. (Osgood, 1891.) + 17 illust. with C. H. Shannon. 13 by C. Ricketts. + + _Poems, Dramatic and Lyrical._ Lord de Tabley. 8º. (Mathews + and Lane, 1893.) 5 f. p., photogravure. + + _Daphnis and Chloe._ Longus. Translated by Geo. Thornley. + 4º. (Mathews and Lane, 1893.) 37 illust. drawn on the wood + by Charles Ricketts from the designs of Charles Ricketts and + Charles Shannon. Engraved by both artists. + + _The Sphinx._ Oscar Wilde. 4º. (Ballantyne Press, 1894.) 10 + illust. (9 f. p.) + + _Hero and Leander._ Christopher Marlowe and George Chapman. + 8º. (Vale Press, 1894.) 7 illust., border and initials, + drawn on the wood, engraved by Charles Ricketts and Charles + Shannon. + + _Nymphidia and the Muses Elizium._ Michael Drayton. 8º. (Vale + Press, 1896.) Frontispiece, border and initials, engraved on + wood. + + _Spiritual Poems._ T. Gray. 8º. (Vale Press, 1896.) Frontispiece + and border, engraved on wood. + + _Milton's Early Poems._ 8º. (Vale Press, 1896.) Frontispiece, + border and initials, engraved on wood. + + _Songs of Innocence._ W. Blake. 8º. (Vale Press, 1897.) + Frontispiece, border and initials, engraved on wood. + + _Sacred Poems of Henry Vaughan._ 8º. (Vale Press, 1897.) + Frontispiece and border, engraved on wood. + + _The Excellent Narration of the Marriage of Cupide and Psyches._ + Translated from the Latin of Lucius Apuleius, by William + Adlington. 8º. (Vale Press, 1897.) 5 illust. engraved on wood. + + _The Book of Thel_, _Songs of Innocence_ and _Songs of + Experience_. William Blake. 4º. (Vale Press, 1897.) Frontispiece, + initials and border, engraved on wood. + + _Blake's Poetical Sketches._ 4º. (Vale Press, 1899.) Frontispiece + and initials, engraved on wood. + +REGINALD SAVAGE. + + _Der Ring des Nibelungen._ Described by R. Farquharson Sharp. 4º. + (Marshall, Russell, 1898.) 5 f. p. + + ESSEX HOUSE PRESS. _The Pilgrim's Progress._ _Venus and Adonis._ + _The Eve of St. Agnes._ _The Journal of John Woolman._ + _Epithalamium._ (1900-1.) Frontispiece engraved on wood to each + volume. + +CHARLES SHANNON. + + See _Charles Ricketts_. + + 'House of Pomegranates,' 'Hero and Leander,' 'Daphnis and Chloe.' + +BYAM SHAW. + + _Poems by Robert Browning._ 8º. (Bell, 1897. Endymion Series.) + 67 illust. (22 f. p.) + + _Tales from Boccaccio._ Joseph Jacobs. 4º. (George Allen, 1899.) + 20 f. p. + + _The Chiswick Shakespeare._ 8º. (Bell, 1899, etc.) 11 illust. and + decorations (6 f. p.), in each volume. + +BERNARD SLEIGH. + + _The Sea-King's Daughter, and other Poems._ Amy Mark. Printed + at the Press of the Birmingham Guild of Handicraft. (G. Napier, + Birmingham, 1895.) 39 decorated pages (4 f. p.), engraved with + L. A. Talbot. + + _A Book of Pictured Carols._ See _A. J. Gaskin_. 2 f. p., by + Bernard Sleigh. + +HEYWOOD SUMNER. + + _The Itchen Valley._ Fol. (Seeley, Jackson and Halliday, 1881.) + + _The Avon from Naxby to Tewkesbury._ Fol. (Seeley, Jackson and + Halliday, 1882.) 21 etchings. + + _Cinderella:_ A Fairy Opera. John Farmer and Henry Leigh. 4º. + (Novello, Ewer, 1882.) 17 illust. + + _Epping Forest._ E. M. Buxton. 8º. (Stamford, 1884.) 36 illust. + (5 f. p.) + + _Sintram and his Companions._ Translated from the German of + De la Motte Fouqué. 4º. (Seeley, Jackson and Halliday, 1883.) + 22 illust. (1 f. p.) + + _The New Forest._ J. R. Wise. See _Walter Crane_. + + _Undine._ 4º. (Chapman and Hall, 1888.) 16 illust. (2 f. p.) + + _The Besom Maker, and other country Folk Songs._ Collected by + Heywood Sumner. 4º. (Longmans, 1888.) 26 decorated pages. 1 f. p. + + _Jacob and the Raven._ Frances M. Peard. 8º. (George Allen, + 1896.) 40 illust. and decorations. (9 f. p.) + +J. R. WEGUELIN. + + _Lays of Ancient Rome._ Lord Macaulay. 8º. (Longmans, 1881.) + 41 illust. (7 f. p.) + + _The Cat of Bubastes._ G. A. Henty. 8º. (Blackie, 1889.) 8 f. p. + + _Anacreon: with Thomas Stanley's translation._ Edited by A. H. + Bullen. 8º. (Lawrence and Bullen, 1892.) 11 f. p. + + _The Little Mermaid and other Stories._ Hans Andersen. Translated + by R. Nisbet Bain. 4º. (Lawrence and Bullen, 1893.) 61 illus. + (36 f. p.) + + _Catullus: with the Pervigilium Veneris._ Edited by S. G. Owen. + 8º. (Lawrence and Bullen, 1893.) 8 f. p. + + _The Wooing of Malkatoon_; _Commodus_. Lewis Wallace. 8º. + (Harper, 1898.) 12 f. p. with Du Mond. 6 by J. R. Weguelin. + +PATTEN WILSON. + + _Miracle Plays. Our Lord's Coming and Childhood._ Katherine + Tynan Hinkson. 8º. (Lane, 1895.) 6 f. p. + + _A Houseful of Rebels._ Walter C. Rhoades. 8º. (Archibald + Constable, 1897.) 10 f. p. + + _Selections from Coleridge._ Andrew Lang. 8º. (Longmans, 1898.) + 18 f. p. + + _King John._ Edited by J. W. Young. 8º. (Longmans, 1899. + Swan Shakespeare.) 9 f. p. + +PAUL WOODROFFE. + + _Shakespeare's Songs._ Edited by E. Rhys. 4º. (Dent, 1898.) + 12 f. p. + + _The Little Flowers of St. Francis._ 8º. (Kegan Paul, 1899.) + 8 f. p. + + _The Confessions of St. Augustine._ 8º. (Kegan Paul, 1900.) + 4 f. p. Title-page by Laurence Housman. + + _The Little Flowers of St. Benet._ 8º. (Kegan Paul, 1901.) + 8 f. p. + + +SOME OPEN-AIR ILLUSTRATORS. + +ALEXANDER ANSTED. + + _The Rivers of Devon._ J. L. Warden-Page. 8º. (Seeley, 1893.) + 17 illust. (4 etched plates.) + + _The Riviera._ Notes by the artist. Fol. (Seeley, 1894.) 64 + illust. (20 etched plates.) + + _The Coasts of Devon._ J. L. Warden-Page. 8º. (H. Cox, 1895.) + 21 illust. + + _Episcopal Palaces of England._ Canon Venables and others. 4º. + (Isbister, 1895.) Etched frontispiece and 104 illust. (7 f. p.) + + _The Master of the Musicians._ Emma Marshall. 8º. (Seeley, 1896.) + 8 f. p. + + _London Riverside Churches._ A. E. Daniell. 8º. (Constable, + 1897.) 84 illust. (27 f. p.) + + ENGLISH CATHEDRAL SERIES. 8º. (Isbister, 1897-8.) + + _Salisbury Cathedral._ The Very Rev. Dean Boyle. 15 illust. + (10 f. p.) + + _York Minster._ The Very Rev. Dean Purey-Cust. 14 illust. + (11 f. p.) + + _Norwich Cathedral._ The Very Rev. Dean Lefroy. 9 f. p. + + _Ely Cathedral._ The Rev. Canon Dickson. 10 f. p. + + _Carlisle Cathedral._ Chancellor R. S. Ferguson. 11 f. p. + + _The Romance of our Ancient Churches._ Sarah Wilson. 8º. + (Constable, 1899.) 180 illust. (15 f. p.) + + _Boswell's Life of Johnson._ Edited by Augustine Birrell. + (Constable, 1899.) 6 vols. Frontispiece to each vol. + +C. R. B. BARRETT. + + _The Tower._ C. R. B. Barrett. Fol. (Catty and Dobson, 1889.) + 26 illust. (13 etched plates.) + + _Essex: Highways, Byways and Waterways._ C. R. B. Barrett. + 8º. (Lawrence and Bullen, 1892-3.) Series I. 99 illust. (13 + etched plates.) Series II. 128 illust. (13 etched plates.) + + _The Trinity House of Deptford Strond._ C. R. B. Barrett. + 4º. (Lawrence and Bullen, 1893.) 18 illust. (1 etched plate.) + + _Barrett's Illustrated Guides._ 8º. (Lawrence and Bullen, + 1892-3.) 9 numbers. + + _Somersetshire: Highways, Byways and Waterways._ C. R. B. + Barrett. 4º. (Bliss, Sands and Foster, 1894.) 167 illust. + (6 etched plates.) + + _Shelley's Visit to France._ Charles J. Elton. 8º. (Bliss, + Sands, 1894.) 16 illus. (2 etched plates.) + + _Charterhouse, in Pen and Ink._ By C. R. B. Barrett. Preface + by George E. Smythe. 4º. (Bliss, Sands and Foster, 1895.) + 43 illust. (1 f. p.) + + _Surrey: Highways, Byways and Waterways._ C. R. B. Barrett. 4º. + (Bliss, Sands and Foster, 1895.) 140 illust. (5 etched plates.) + + _Battles and Battlefields of England._ C. R. B. Barrett. 8º. + (Innes, 1896.) 102 illust. (2 f. p.) + +D. Y. CAMERON. + + _Charterhouse, Old and New._ E. P. Eardley-Wilmot and E. C. + Streatfield. 4º. (Nimmo, 1895.) 4 etchings. + + _Scholar Gipsies._ John Buchan. 8º. (Lane, 1896. The Arcady + Library.) 7 etchings. + +NELLY ERICHSEN. + + _The Novels of Susan Edmonstone Ferrier._ Introduction by R. + Brimley Johnson. 8º. (Dent, 1894.) 6 vols. 17 f. p. + + _The Promised Land._ Translated from the Danish of Henrik + Pontoppidan by Mrs. Edgar Lucas. 8º. (Dent, 1896.) 29 illust. + (14 f. p.) + + _Emanuel, or Children of the Soil._ Translated from the Danish + of Henrik Pontoppidan by Mrs. Edgar Lucas. 8º. (Dent, 1896.) + 29 illust. (17 f. p.) + + Mediæval Towns. 8º. (Dent, 1898-1901.) + + _The Story of Assisi._ Lina Duff Gordon. 50 illust., with + others. 25 (3 f. p.) by Nelly Erichsen. + + _The Story of Rome._ Norwood Young. 48 illust., with others. + (10 f. p.) by Nelly Erichsen. + + _The Story of Florence._ Edmund G. Gardner. 45 illust., with + others. 20 f. p. by Nelly Erichsen. + +HEDLEY FITTON. + + English Cathedral Series. 8º. (Isbister, 1899-1901.) + + _Worcester Cathedral._ The Rev. Canon Teignmouth Shore. + 9 f. p. + + _Rochester Cathedral._ The Rev. Canon Benham. 11 illust. + (10 f. p.) + + _Hereford Cathedral._ The Very Rev. Dean Leigh. 11 illust. + (10 f. p.) + + _Æschylos._ Translated by G. H. Plumtre. 2 vols. 8º. (Isbister, + 1901.) 1 f. p. + +JOHN FULLEYLOVE. + + _Henry Irving._ Austin Brereton. 8º. (Bogue, 1883.) 17 f. p. + With others. + + _The Picturesque Mediterranean._ 4º. (Cassell, 1899.) With + others. 68 illust. by John Fulleylove. + + _Oxford._ With notes by T. Humphry Ward. Fol. (Fine Art Society, + 1889.) 40 illust. (30 plates.) + + _In the Footprints of Charles Lamb._ See _Herbert Railton_. + + _Pictures of Classic Greek Landscape and Architecture._ With text + in explanation by Henry W. Nevinson. 4º. (Dent, 1897.) 40 plates. + + _The Stones of Paris._ B. E. and C. M. Martin. 2 vols. 8º. + (Smith, Elder, 1900.) 62 illust. 40 (16 f. p.) by J. Fulleylove. + +FREDERICK L. GRIGGS. + + _Seven Gardens and a Palace._ E. V. B. 8º. (Lane, 1900.) 9 + illust. with Arthur Gordon. 5 by Frederick L. Griggs. + + _Stray Leaves from a Border Garden._ Mary Pamela Milne-Home. + 8º. (Lane, 1901.) 8 f. p. + + _The Chronicle of a Cornish Garden._ Harry Roberts. 8º. (Lane, + 1901.) 7 f. p. + +CHARLES G. HARPER. + + _Royal Winchester._ Rev. A. G. L'Estrange. 8º. (Spencer, 1889.) + 37 illust. (22 f. p.) + + _The Brighton Road._ C. G. Harper. 8º. (Chatto and Windus, + 1892.) 90 illust. 60 (29 f. p.) by C. G. Harper. + + _From Paddington to Penzance._ C. G. Harper. 8º. (Chatto and + Windus, 1893.) 104 illust. (34 f. p.) + + _The Marches of Wales._ C. G. Harper. 8º. (Chapman and Hall, + 1894.) 114 illust. 95 (24 f. p.) by C. G. Harper. + + _The Dover Road._ C. G. Harper. 8º. (Chapman and Hall, 1895.) + 57 illust. 48 (12 f. p.) by C. G. Harper. + + _The Portsmouth Road._ C. G. Harper. 8º. (Chapman and Hall, + 1895.) 77 illust. 44 (12 f. p.) by C. G. Harper. + + _Some English Sketching Grounds._ C. G. Harper. 8º. + (Reeves, 1897.) 44 illust. (18 f. p.) + + _Stories of the Streets of London._ H. Barton Baker. 8º. (Chapman + and Hall, 1899.) 38 illust. 30 (15 f. p.) by C. G. Harper. + + _The Exeter Road._ C. G. Harper. 8º. (Chapman and Hall, 1899.) + 69 illust. 51 (20 f. p.) by C. G. Harper. + + _The Bath Road._ C. G. Harper. 8º. (Chapman and Hall, 1899.) + 75 illust. 64 (19 f. p.) by C. G. Harper. + + _The Great North Road._ C. G. Harper. 2 vols. 8º. (Chapman and + Hall, 1900.) 132 illust. 100 (30 f. p.) by C. G. Harper. + +WILLIAM HYDE. + + _An Imaged World._ Edward Garnett. 8º. (Dent, 1894.) 5 f. p. + + _Milton's L'Allegro and Il Penseroso._ 8º. (Dent, 1896.) 13 f. p. + + _London Impressions._ Alice Meynell. Fol. (Constable, 1898.) + 3 etchings, 23 photogravures. (13 f. p.) + + _The Nature Poems of George Meredith._ 4º. (Constable, 1898.) + Etched frontispiece and 20 photogravures. + + _The Cinque Ports._ Ford Madox Hueffer. 4º. (Blackwood, 1900.) + 33 illust. (20 f. p., 14 in photogravure.) + + _The Victoria History of the Counties of England. Hampshire; + Norfolk._ 8º. (Constable, 1901.) 1 f. p. + +FREDERIC G. KITTON. + + _Charles Dickens and the Stage._ T. Edgar Pemberton. 8º. + (Redway, 1888.) 3 f. p., photogravure. + + _Charles Dickens by Pen and Pencil._ F. G. Kitton. 4º. (Sabini + and Dexter, 1889-90.) With others. 15 by F. G. Kitton. + + _In Tennyson Land._ J. Cuming Walters. 8º. (Redway, 1890.) + 12 f. p. + + _A Week's Tramp in Dickens' Land._ Wm. R. Hughes. 8º. (Chapman + and Hall, 1891.) 100 illust., chiefly by F. G. Kitton. (12 f. p.) + + _Hertfordshire County Homes._ (Published by subscription, 1892.) + 40 f. p. + + _St. Albans, Historical and Picturesque._ C. H. Ashdown. 4º. + (Elliot Stock, 1893.) 70 illust., chiefly by F. G. Kitton (15 + f. p.) + + _St. Albans Abbey._ The Rev. Canon Liddell. 8º. (Isbister, + 1897. English Cathedral Series.) 9 illust. (7 f. p.) + + _The Romany Rye._ George Borrow. (Murray, 1900.) 8 f. p. + +JOHN GUILLE MILLAIS. + + _A Fauna of Sutherland, Caithness and West Cromarty._ J. Harvie + Brown and T. E. Buckley. 8º. (Douglas, 1887.) 12 illust., with + others. 2 (1 f. p.) by J. G. Millais. + + _Shooting._ Lord Walsingham and Sir R. Payne Gallwey. (Badminton + Library.) 8º. (Longmans, 1887.) With others. 3 illust. (1 f. p.) + by J. G. Millais. + + _A Monograph of the Charadriidae._ Henry Seebohm. 4º. (Sotheran, + 1888.) 28 illust. + + _A Fauna of the Outer Hebrides._ J. Harvie Brown and T. E. + Buckley. 8º. (Douglas, 1888.) 12 illust., with others. 1 by + J. G. Millais. + + _A Fauna of the Orkney Islands._ J. Harvie Brown and T. E. + Buckley. 8º. (Douglas, 1891.) 13 illust., with others. 3 f. p. + photogravures by J. G. Millais. + + _A Fauna of Argyll and the Inner Hebrides._ J. Harvie Brown and + T. E. Buckley. 8º. (Douglas, 1892.) 9 illust., with others. 1 + photogravure by J. G. Millais. + + _Game-Birds and Shooting Sketches._ J. G. Millais. 4º. + (Sotheran, 1892.) 64 illust., 33 plates. + + _A Breath from the Veldt._ J. G. Millais. 4º. (Sotheran, + 1895.) 149 illust. (24 plates.) + + _Letters to Young Shooters._ 3rd series. Sir R. Payne Gallwey. + (Longmans, 1896.) 46 illust. + + _Elephant Hunting in East Equatorial Africa._ Arthur Newmann. + 8º. (Ward, 1897.) 3 f. p. + + _British Deer and their Horns._ J. G. Millais. 4º. (Sotheran, + 1897.) 185 illust., mostly by the author. (20 plates.) + + _Pheasants._ W. B. Tegetmeier. 8º. (Cox, 1897.) 16 illust. + (1 f. p. by J. G. Millais.) With others. + + _Encyclopaedia of Sport._ Edited by the Earl of Berkshire. + (Lawrence and Bullen, 1898.) 31 illust. (2 f. p. in photogravure.) + + _The Wildfowler in Scotland._ J. G. Millais. 4º. (Longmans, 1901.) + 60 illust., 10 plates. (13 f. p.) + +EDMUND H. NEW. + + _The Compleat Angler._ Izaak Walton and Charles Cotton. Edited + by Richard Le Gallienne. 4º. (Lane, 1896.) 200 illust. (47 f. p.) + + _In the Garden of Peace._ Helen Milman. 8º. (Lane, 1896. The + Arcady Library.) 24 illust. + + _Oxford and its Colleges._ J. Wells. 8º. (Methuen, 1897.) 27 + drawings from photographs. + + _Cambridge and its Colleges._ A. Hamilton Thompson. 8º. (Methuen, + 1898.) 23 drawings from photographs. + + _The Life of William Morris._ J. W. Mackail. 2 vols. 8º. + (Longmans, 1899.) 15 illus. (14 f. p.) + + _Shakespeare's Country._ Bertram C. A. Windle. 8º. (Methuen, + 1899.) 14 f. p. Drawings from photographs. + + _The Natural History of Selborne._ Gilbert White. Edited by + Grant Allen. 4º. (Lane, 1900.) 178 illust. (43 f. p.) + + _Outside the Garden._ Helen Milman. 8º. (Lane, 1900.) 30 illust. + and decorations. + + _Sussex._ F. G. Brabant. 8º. (Methuen, 1900.) 12 f. p. Drawings + from photographs. + + _The Malvern Country._ Bertram C. A. Windle. 8º. (Methuen, + 1901.) 11 f. p. Drawings from photographs. + +ALFRED PARSONS. + + _God's Acre Beautiful._ W. Robinson. 8º. ("Garden" Office, 1880.) + 8 f. p. + + _Selections from the Poetry of Robert Herrick._ 4º. (Sampson + Low, 1882.) 59 illust. (2 f. p.) With E. A. Abbey. + + _Springhaven._ R. D. Blackmore. 8º. (Sampson Low, 1888.) 64 + illust. (35 f. p.) With F. Barnard. + + _Old Songs._ 4º. (Macmillan, 1889.) 102 illust. With E. A. Abbey. + + _The Quiet Life._ Certain Verses by various hands: Prologue and + Epilogue by Austin Dobson. 4º. (Sampson Low, 1890.) 82 illust. + With E. A. Abbey. 42 by Alfred Parsons. (9 f. p.) + + _A Selection from the Sonnets of William Wordsworth._ 8º. + (Osgood, 1891.) 55 illust. and decorations. (24 f. p.) + + _The Warwickshire Avon._ Notes by A. T. Quiller-Couch. 8º. + (Osgood, 1892.) 96 illust. (25 f. p.) + + _The Danube from the Black Forest to the Sea._ F. D. Millet. 8º. + (Osgood, 1892.) 133 illust. With F. D. Millet. 61 by Alfred + Parsons. (41 f. p.) + + _The Wild Garden._ W. Robinson. 8º. (Murray, 1895.) 90 + wood-engravings. (14 f. p.) + + _The Bamboo Garden._ A. B. Freeman-Mitford. 8º. (Macmillan, + 1896.) 11 illust. and decorations. (7 f. p.) + + _Notes in Japan._ Alfred Parsons. 8º. (Osgood, 1896.) 119 + illust. (36 f. p.) + + _Wordsworth._ Andrew Lang. 8º. (Longmans, 1897. Selections from + the Poets.) 17 illust., and initials to each poem. (9 f. p.) + +JOSEPH PENNELL. + + _A Canterbury Pilgrimage._ Elizabeth Robins Pennell. 8º. + (Seeley, 1885.) 30 illust. (7 f. p.) + + _Tuscan Cities._ W. D. Howells. 4º. (Ticknor, Boston, 1886.) + 67 illust., chiefly by Joseph Pennell. (11 f. p.) + + _The Saone._ P. G. Hamerton. 4º. (Seeley, 1887.) 148 illust. + With the author. 102 by Joseph Pennell; 24 by J. Pennell after + pencil drawings by P. G. Hamerton. (16 f. p.) + + _An Italian Pilgrimage._ Elizabeth Robins Pennell. 8º. (Seeley, + 1887.) 30 f. p. + + _Our Sentimental Journey through France and Italy._ Elizabeth + Robins Pennell. 8º. (Longmans, 1888.) 122 illust. (21 f. p.) + + _Old Chelsea._ Benjamin Ellis Martin. 8º. (Fisher Unwin, 1889.) + 23 illust. (20 f. p.) + + _Our Journey to the Hebrides._ Elizabeth Robins Pennell. 8º. + (Fisher Unwin, 1889.) 43 illust. (29 f. p.) + + _Personally Conducted._ F. R. Stockton. 4º. (Sampson Low, + 1889.) 48 illust. With others. + + _Charing Cross to St. Paul's._ Justin McCarthy. Fol. (Seeley, + 1891.) 36 illust. (12 f. p.) + + _The Stream of Pleasure._ Joseph and Elizabeth Robins Pennell. + With a practical chapter by J. G. Legge. 4º. (Fisher Unwin, + 1891.) 90 illust. (16 f. p.) + + _Play in Provence._ Joseph and Elizabeth Robins Pennell. 8º. + (Fisher Unwin, 1892.) 92 illust. (29 f. p.) + + _The Jew at Home._ Joseph Pennell. 8º. (Heinemann, 1892.) + 27 illust. (15 f. p.) + + _English Cathedrals._ Mrs. Schuyler Van Rensselaer. 8º. + (Fisher Unwin, 1892.) 154 illust. (18 f. p.) With others. + + _To Gipsyland._ Elizabeth Robins Pennell. 8º. (Fisher Unwin, + 1893.) 82 illust. (35 f. p.) + + _The Devils of Notre Dame._ 18 illust., with descriptive + text by R. A. M. Stevenson. Fol. ('Pall Mall Gazette,' 1894.) + + _Cycling._ The Earl of Albemarle and G. Lacy Hillier. 4º. + (Longmans, 1894. The Badminton Library.) 49 illust. With the + Earl of Albemarle, and George Moore. 21 by Joseph Pennell. + (12 f. p.) + + _Tantallon Castle._ Elizabeth Robins Pennell. 8º. (Constable, + 1895.) 33 illust. (7 f. p.) With others. 24 by Joseph Pennell. + + _The Makers of Modern Rome._ Mrs. Oliphant. 8º. (Macmillan, + 1895.) 71 illust. With Henry P. Riviere, and from old engravings. + 53 by Joseph Pennell. (7 f. p.) + + _The Alhambra._ Washington Irving. Introduction by Elizabeth + Robins Pennell. 8º. (Macmillan, 1896.) 288 illust. (24 f. p.) + + _On the Broads._ Anna Bowman Dodd. 8º. (Macmillan, 1896.) + 29 illust. (24 f. p.) + + _Climbs in the New Zealand Alps._ E. A. Fitzgerald. 8º. (Fisher + Unwin, 1896.) 25 illust. With others. (8 f. p. by Joseph Pennell + from paintings). + + _Highways and Byways in Devon and Cornwall._ Arthur H. Norway. + 8º. (Macmillan, 1897.) 66 illust. (18 f. p.) With Hugh Thomson. + 58 by Joseph Pennell. + + _Aquitaine, a Traveller's Tales._ Wickham Flower. 4º. (Chapman + and Hall, 1897.) 24 illust. (22 f. p.) + + _Over the Alps on a Bicycle._ Elizabeth Robins Pennell. 8º. + (Fisher Unwin, 1898.) 34 illust. (18 f. p.) + + _Highways and Byways in North Wales._ A. G. Bradley. 8º. + (Macmillan, 1898.) 96 illust. (13 f. p.) With Hugh Thomson. + 87 by Joseph Pennell. + + _Highways and Byways in Yorkshire._ Arthur H. Norway. 8º. + (Macmillan, 1899.) 110 illust. (14 f. p.) With Hugh Thomson. + 102 by Joseph Pennell. + + _Highways and Byways in Normandy._ Percy Dearmer. 8º. (Macmillan, + 1900.) 153 illust. (17 f. p.) + + _A little Tour in France._ Henry James. 8º. (Heinemann, 1900.) + 94 illust. (44 f. p.) + + _The Stock Exchange in 1900._ W. Eden Hooper. 4º. (Spottiswoode, + 1900.) With Dudley Hardy. 7 illust. by Joseph Pennell. 3 proof + plates. + + _Highways and Byways in the Lake District._ A. G. Bradley. 8º. + (Macmillan, 1901.) 86 illust. + + _East London._ Walter Besant. 8º. (Chatto, 1901.) 54 illust. + (17 f. p.) With others. 36 by Joseph Pennell. + + _Highways and Byways in East Anglia._ William A. Dutt. 8º. + (Macmillan, 1901.) 150 illust. (15 f. p.) + + _Italian Journeys._ W. D. Howells. 8º. (Heinemann, 1901.) + 103 illust. (39 f. p.) + +HERBERT RAILTON. + + _Coaching Days and Coaching Ways._ 4º. (Macmillan, 1888.) + 213 illust. With Hugh Thomson. 140 by Herbert Railton. + + _The Essays of Elia._ Charles Lamb. Edited by Augustine + Birrell. 8º. (Dent, 1888. The Temple Library.) 3 etchings. + + _Select Essays of Dr. Johnson._ Edited by George Birkbeck + Hill. 8º. (Dent, 1889. The Temple Library.) 2 vols. 6 etchings. + Figures by John Jellicoe. + + _The Poems and Plays of Oliver Goldsmith._ Edited by Austin + Dobson. 8º. (Dent, 1889. The Temple Library.) 2 vols. 6 etchings + with John Jellicoe. 3 by Herbert Railton. + + _Pericles and Aspasia._ W. S. Landor. 8º. (Dent, 1890. The Temple + Library.) 2 vols. 2 etchings. + + _Westminster Abbey._ W. J. Loftie. Fol. (Seeley, 1890.) 75 illust. + + _The Citizen of the World._ Oliver Goldsmith. Edited by Austin + Dobson. 8º. (Dent, 1891. The Temple Library.) 2 vols. 6 etchings. + + _The Poetical Works of Thomas Lovell Beddoes._ Edited, with a + memoir, by Edmund Gosse. 8º. (Dent, 1891. The Temple Library.) + 2 vols. 2 etchings. + + _In the Footsteps of Charles Lamb._ Benjamin Ellis Martin. 8º. + (Bentley, 1891.) 11 f. p. With John Fulleylove. 6 by Herbert + Railton. + + _The Collected Works of Thomas Love Peacock._ Edited by Richard + Garnett. 8º. (Dent, 1891.) 10 vols. 4 etchings. + + _Essays and Poems of Leigh Hunt._ Selected and edited by R. + Brimley Johnson. 8º. (Dent, 1891.) 2 vols. 5 etchings. + + _Dreamland in History._ The Very Rev. Dean Spence. 8º. + (Isbister, 1891.) 59 illust. (7 f. p.) Engraved by L. + Chefdeville. + + _The Peak of Derbyshire._ John Leyland. 8º. (Seeley, 1891.) + 20 illust. (8 f. p.) With Alfred Dawson. 16 by Herbert Railton. + + _Ripon Millenary._ 4º. (W. Harrison, Ripon, 1892.) 140 illust. + With others, also from old prints. 32 by Herbert Railton. + (10 f. p.) + + _The Inns of Court and Chancery._ W. J. Loftie. Fol. (Seeley, + 1893.) 57 illust. (10 f. p.) 42 by Herbert Railton. + + _The Household of Sir Thomas More._ Anne Manning. 8º. (Nimmo, + 1896.) 26 illust. (9 f. p.) With John Jellicoe. 12 by Herbert + Railton, figures by John Jellicoe. + + _The Haunted House._ Thomas Hood. Introduction by Austin Dobson. + (Lawrence and Bullen, 1896.) 63 illust. (21 f. p.) + + _Cherry and Violet._ Anne Manning. 8º. (Nimmo, 1897.) 26 illust. + With John Jellicoe. + + _Hampton Court._ William Holden Hutton. 8º. (Nimmo, 1897.) + 43 illust. (32 f. p.) + + ENGLISH CATHEDRAL SERIES. 8º. (Isbister, 1897-9.) + + _Westminster Abbey._ The Very Rev. Dean Farrar. 12 f. p. + + _St. Paul's Cathedral._ The Rev. Canon Newbolt. 12 f. p. + + _Winchester Cathedral._ The Rev. Canon Benham. 7 f. p. + + _Wells Cathedral._ The Rev. Canon Church. 15 illust. + (14 f. p.) + + _Gloucester Cathedral._ The Very Rev. Dean Spence. 13 f. p. + + _Peterborough Cathedral._ The Very Rev. Dean Ingram. 9 f. p. + + _Lincoln Cathedral._ The Rev. Canon Venables. 9 f. p. + + _Durham Cathedral._ The Rev. Canon Fowler. 9 f. p. + + _Chester Cathedral._ The Very Rev. Dean Darby. 9 f. p. + + _Ripon Cathedral._ The Ven. Archdeacon Danks. 16 illust. + (14 f. p.) + + _The Maiden and Married Life of Mary Powell and Deborah's Diary._ + Anne Manning. 8º. (Nimmo, 1898.) 26 illust. With John Jellicoe. + + _The Old Chelsea Bun Shop._ Anne Manning. 8º. (Nimmo, 1899.) + 10 illust. With John Jellicoe. + + _Travels in England._ Richard Le Gallienne. 8º. (Grant Richards, + 1900.) 6 f. p. + + _The Natural History and Antiquities of Selborne_ and _A + Garden Kalendar_. Gilbert White. 8º. (Freemantle, 1900.) 2 + vols. 176 illust. (23 f. p.) With others. 59 by Herbert Railton. + + _The Story of Bruges._ Ernest Gilliat Smith. 8º. (Dent, 1901. + Mediæval Towns.) 57 illust. (9 f. p.) With others. 23 by Herbert + Railton. + + _Boswell's Life of Johnson._ Edited by A. Glover. Introduction + by Austin Dobson. 8º. (Dent, 1901.) 100 illust. and portraits. + +SIR GEORGE REID. + + _The Selected Writings of John Ramsay._ Alexander Walker. 8º. + (Blackwood, 1871.) Portrait and 9 illust. + + _Life of a Scotch Naturalist._ Samuel Smiles. 8º. (Murray, + 1876.) Portrait and 25 illust. (18 f. p.) + + _George Paul Chalmers._ A. Gibson. 4º. (David Douglas, 1879.) + 5 heliogravure plates. + + _Johnny Gibb of Gushetneuk in the Parish of Pyketillim._ W. + Alexander. 8º. (David Douglas, 1880.) Portrait, title-page + and 18 heliogravure plates. + + _Twelve Sketches of Scenery and Antiquities on the line of the + Great North of Scotland Railway._ 12 heliogravure plates with + illustrative Letterpress by W. Ferguson of Kinmundy. 8º. (David + Douglas, 1882.) + + _Natural History and Sport in Norway._ Charles St. John. 8º. + (Douglas, 1882.) 10 f. p., heliogravure. + + _The River Tweed from Its Source to the Sea._ Fol. (Royal + Association for the Promotion of Fine Arts in Scotland, 1884.) + 16 f. p., heliogravure. + + _George Jamesone, the Scottish Van Dyck._ John Bulloch. 4º. + (David Douglas, 1885.) 2 heliogravure plates. + + _The River Clyde._ Fol. (Royal Association for the Promotion + of Fine Arts in Scotland, 1886.) 12 f. p., heliogravure. + + _Salmon Fishing on the Ristigouche._ Dean Sage. 4º. (Douglas, + 1888.) 2 illust. (1 f. p. photogravure). + + _Lacunar Basilicae Sancti Macarii Aberdonensis._ 4º. (New + Spalding Club, Aberdeen, 1888). 2 f. p., photogravure. + + _Cartularium Ecclesiae Sancti Nicholai Aberdonensis._ 2 vols. 4º. + (New Spalding Club, Aberdeen, 1888-92.) 2 f. p., photogravure. + + _St. Giles', Edinburgh, Church, College and Cathedral._ J. + Cameron Lees. 4º (Chambers, 1889.) 3 f. p., heliogravure. + + _Royal Edinburgh._ Mrs. Oliphant. 8º. (Macmillan, 1890.) 60 + illust. (22 f. p.) + + _Familiar Letters of Sir Walter Scott._ Edited by D. Douglas. + 2 vols. 8º. (Douglas, 1894.) 2 vignettes, photogravure. + +F. INIGO THOMAS. + + _The Formal Garden in England._ Reginald Blomfield and F. + Inigo Thomas. 8º. (Macmillan, 1892.) 74 illust. (19 f. p.) + 46 by F. Inigo Thomas. + +CHARLES WHYMPER. + + _Wild Sport in the Highlands._ Charles St. John. 8º. (Murray, + 1878.) 30 illust. + + _The Game-Keeper at Home._ Richard Jefferies. 8º. (Smith, + Elder, 1880.) 41 illust. + + _Siberia in Europe._ Henry Seebohm. 8º. (Murray, 1880.) 47 illust. + + _Matabele Land and Victoria Falls._ Frank Oates. 8º. (Kegan Paul, + 1881.) 50 illust. (13 f. p.) With others. + + _Siberia in Asia._ Henry Seebohm. 8º. (Murray, 1882). 67 illust. + + _The Fowler in Ireland._ Sir R. Payne Gallwey. 8º. (Van Voorst, + 1882.) 88 illust. (17 f. p.) + + _A Highland Gathering._ E. Lennox Peel. 8º. (Longmans, 1885.) + 35 illust. + + _A Highland Gathering._ E. Lennox Peel. 8º. (Longmans, 1885.) + 31 illust, engraved on wood by E. Whymper. (6 f. p.) + + _Our Rarer Birds._ Charles Dixon. 8º. (Bentley, 1888.) 20 + illust. (1 f. p.) + + _Story of the Rear-Guard of Emin Relief Expedition._ J. S. + Jameson. 8º. (Porter, 1890.) 97 illust. + + _Travel and Adventure in South Africa._ F. C. Selous. 8º. (Ward, + 1893.) 37 illust. (23 f. p.) With others. 3 by Charles Whymper. + + _Birds of the Wave and Moorland._ P. Robinson. 8º. (Isbister, + 1894.) 44 illust. (18 f. p.) With others. + + _Sporting Days in Southern India._ Lieut.-Colonel Pollock. 8º. + (Cox, 1894.) 27 illust. (19 f. p.) + + _Big Game Shooting._ Clive Phillipps-Wolley and other writers. + 8º. (Longmans, 1895. The Badminton Library.) 2 vols. 150 illust. + With others. (22 f. p.) 67 by Charles Whymper. + + _The Pilgrim Fathers of New England and their Puritan Successors._ + John Brown. 8º. (Religious Tract Society, 1895.) 15 illust. + (9 f. p.) + + _Icebound on Kolguev._ A. Trevor-Battye. 8º. (Constable, 1895.) + 70 illust. With others. 5 f. p. by Charles Whymper. + + _The Hare._ The Rev. H. A. Macpherson and others. 8º. (Longmans, + 1896. Fur, Feather and Fin Series.) 9 illust. With others. + 2 f. p. by Charles Whymper. + + _On the World's Roof._ J. Macdonald Oxley. 8º. (Nisbet, 1896.) + 4 f. p. + + _In Haunts of Wild Game._ Frederick Vaughan Kirby. 8º. + (Blackwood, 1896.) 39 illust. (15 f. p.) + + _In and Beyond the Himalayas._ S. J. Stone. 8º. (Arnold, 1896.) + 16 f. p. + + _Sunshine and Storm in Rhodesia._ F. C. Selous. 8º. (Ward, 1896.) + 18 illust. (6 f. p.) With others. 3 by Charles Whymper. + + _Letters to Young Shooters._ Sir R. Payne Gallwey. (Longmans, + 1896.) 246 illust., with J. G. Millais. + + _The Art of Wildfowling._ Abel Chapman. 8º. (Cox, 1896.) 39 + illust. (23 f. p.). With author. + + _Wild Norway._ Abel Chapman. 8º. (Arnold, 1897.) 63 illust. + (13 f. p.) With others. + + _Travel and Big Game._ Percy Selous and H. A. Bryden. 8º. + (Bellairs, 1897.) 6 f. p. + + _Lost and Vanishing Birds._ Charles Dixon. 8º. (John Macqueen, + 1898.) 10 f. p. + + _Off to Klondyke._ Gordon Stables. 8º. (Nisbet, 1898.) 8 f. p. + + _The Rabbit._ James Edmund Harting. 8º. (Longmans, 1898. Fur, + Feather and Fin Series.) 10 illust. With others. 2 f. p. by + Charles Whymper. + + _Exploration and Hunting in Central Africa._ A. St. H. Gibbons. + 8º. (Methuen, 1898.) 8 f. p. by Charles Whymper. + + _The Salmon._ Hon. A. E. Gathorne Hardy. 8º. (Longmans, 1898. + Fur, Feather and Fin Series.) 8 illust. by Charles Whymper. + + _Homes and Haunts of the Pilgrim Fathers._ Alexander Mackennal. + 4º. (The Religious Tract Society, 1899.) 94 illust. from original + drawings and photographs. (20 f. p.) + + _Bird Life in a Southern County._ Charles Dixon. (Scott, 1899.) + 10 f. p. + + _The Cruise of the Marchesa to Kamschatka and New Guinea._ + F. H. H. Guillemard. 8º. (Murray, 1899.) 139 illust. With others. + Engraved by E. Whymper. + + _Among the Birds in Northern Shires._ Charles Dixon. 8º. + (Blackie, 1900.) 41 illust. (1 f. p.) + + _Shooting._ Lord Walsingham and Sir Ralph Payne-Gallwey. 8º. + (Longmans, 1900. The Badminton Library.) 103 illust. With others. + 26 by Charles Whymper. + + +SOME CHARACTER ILLUSTRATORS. + +EDWIN A. ABBEY. + + _Selections from the Poetry of Robert Herrick._ 4º. (Sampson + Low, 1882.) 59 illust. With Alfred Parsons. (2 f. p.) + + _The Rivals and the School for Scandal._ R. B. Sheridan. + Edited by Brander Matthews. 8º. (Chatto and Windus, 1885.) + 13 illust. With others. 3 f. p. by E. A. Abbey. + + _Sketching Rambles in Holland._ George H. Boughton. 8º. + (Macmillan, 1885.) 89 illust. (25 f. p.) With others. 26 by + E. A. Abbey. + + _Old Songs._ 4º. (Macmillan, 1889.) 102 illust. (32 f. p.) + With Alfred Parsons. 61 by E. A. Abbey. + + _The Quiet Life._ Certain Verses by various hands. Prologue + and Epilogue by Austin Dobson. 4º. (Sampson Low, 1890.) 82 + illust. (21 f. p.) With Alfred Parsons. 40 by E. A. Abbey. + + _The Comedies of Shakespeare._ 4 vols. 8º. (Harper, 1896.) + 131 photogravure plates. + + _She Stoops to Conquer._ Oliver Goldsmith. 8º. (Harper, 1901.) + 67 illust. (17 f. p.) + +A. S. BOYD. + + _Peter Stonnor._ Charles Blatherwick. 8º. (Chapman, 1884.) + 15 illust. With James Guthrie. 6 by A. S. Boyd. + + _The Birthday Book of Solomon Grundy._ Will Roberts. 12º. + (Gowan and Gray, 1884.) 371 illust. (6 f. p.) + + _Novel Notes._ J. K. Jerome. 8º. (Leadenhall Press, 1893.) + 90 illust. With others. 15 by A. S. Boyd. + + _At the Rising of the Moon._ Frank Mathew. 8º. (McClure, + 1893.) 27 illust. With F. Pegram. 4 by A. S. Boyd. + + _Ghetto Tragedies._ I. Zangwill. 12º. (McClure, 1894.) 3 f. p. + + _A Protègèe of Jack Hamlin's._ Bret Harte. 8º. (Chatto, 1894.) + 26 illust. With others. 18 by A. S. Boyd. + + _The Bell-Ringer of Angel's._ Bret Harte. 8º. (Chatto, 1894.) + 39 illust. With others. 5 by A. S. Boyd. + + _John Ingerfield._ Jerome K. Jerome. 12º. (McClure, 1894.) + 9 f. p. with John Gulich. + + _The Sketch-Book of the North._ George Eyre Todd. 8º. (Morrison, + 1896.) 16 illust. With others. 5 f. p. by A. S. Boyd. + + _Pictures from Punch._ Vol. VI. 4º. (Bradbury, Agnew, 1896.) + With others. 14 illust. by A. S. Boyd. + + _Rabbi Saunderson._ Ian Maclaren. 12º. (Hodder, 1898.) 12 f. p. + + _A Lowden Sabbath Morn._ R. L. Stevenson. 8º. (Chatto and + Windus, 1898.) 27 f. p. + + _The Days of Auld Lang Syne._ Ian Maclaren. 8º. (Hodder and + Stoughton, 1898.) 10 f. p. + + _Horace in Homespun._ Hugh Haliburton. 8º. (Blackwood, 1900.) + 26 f. p. + + _Our Stolen Summer._ Mary Stuart Boyd. 8º. (Blackwood, 1900.) + 170 illust. + + _A Versailles Christmas-Tide._ M. S. Boyd. 8º. (Chatto and + Windus, 1901.) 53 illust. (6 f. p.) + +FRANK BRANGWYN. + + _Collingwood._ W. Clark Russell. 8º. (Methuen, 1891.) 12 illust. + 10 f. p. by Frank Brangwyn. + + _The Captured Cruiser._ C. J. Hyne. 8º. (Blackie, 1893.) 6 f. p. + + _Tales of our Coast._ S. R. Crockett, etc. 8º. (Chatto and + Windus, 1896.) 12 f. p. + + _The Arabian Nights._ 8º. (Gibbings, 1897.) 36 f. p. + + _The History of Don Quixote._ Translated by Thomas Shelton. + Introduction by J. H. McCarthy. 4 vols. 8º. (Gibbings, 1898.) + 24 illust. + + _Tom Cringle's Log._ Michael Scott. 8º. (Gibbings, 1898.) 2 vols. + + _The Cruise of the Midge._ Michael Scott. 8º. (Gibbings, 1898.) + 2 vols. + + _A Spliced Yarn._ G. Cupples. 8º. (Gibbings, 1899.) 5 f. p. + + _Naval Yarns._ Collected and edited by W. H. Long. 8º. + (Gibbings, 1899.) 1 f. p. + +CHARLES E. BROCK. + + _The Parachute and other Bad Shots._ J. R. Johnson. 4º. + (Routledge, 1891.) 44 illust. (4 f. p.) + + _Hood's Humorous Poems._ Preface by Alfred Ainger. 8º. + (Macmillan, 1893.) 130 illust. (3 f. p.) + + _Scenes in Fairyland._ Canon Atkinson. 8º. (Macmillan, + 1893.) 34 illust. (5 f. p.) + + _The Humour of America._ Edited by J. Barr. 8º. (Scott, + 1893.) 78 illust. (32 f. p.) + + _The Humour of Germany._ Edited by Hans Mueller-Casenov. + 8º. (Scott, 1893.) 54 illust. (15 f. p.) + + _English Fairy and Folk Tales._ Edited by E. S. Hartland. + 8º. (Scott, 1893.) 13 f. p. + + _Gulliver's Travels._ Preface by Henry Craik. 8º. (Macmillan, + 1894.) 100 illust. (18 f. p.) + + _History Readers._ Book II. 8º. (Macmillan, 1894.) 20 illust. + With H. M. Brock. 10 by C. E. Brock. + + _Nema and other Stories._ Hedley Peek. 8º. (Chapman and Hall, + 1895.) 35 illust. (26 f. p. 6 photogravure plates.) + + _Annals of the Parish and The Ayrshire Legatees._ John Galt. + 8º. (Macmillan, 1895.) 40 illust. (32 f. p.) + + _W. V. Her Book and Various Verses._ William Canton. 8º. + (Isbister, 1896.) 2 f. p. + + _Westward Ho!_ Charles Kingsley. 2 vols. 8º. (Macmillan, 1896.) + 84 illust. (51 f. p.) + + _The Poetry of Sport._ Edited by Hedley Peek. 8º. (Longman, + 1896.) 32 illust. With others. (19 f. p. by C. E. Brock.) + + _Pride and Prejudice._ Jane Austen. 8º. (Macmillan, 1896. + Illustrated Standard Novels.) 40 illust. (38 f. p.) + + _Racing and Chasing._ See _H. M. Brock_. + + _Ivanhoe._ Sir Walter Scott. 8º. (Service and Paton, 1897. + Illustrated English Library.) 16 f. p. + + _The Invisible Playmate and W. V. Her Book._ William Canton. + 8º. (Isbister, 1897.) 2 f. p. + + _The Lady of the Lake._ Sir Walter Scott. 8º. (Service and + Paton, 1898.) 24 f. p. + + _Robinson Crusoe._ Daniel Defoe. 8º. (Service and Paton, + 1898. Ill. Eng. Lib.) 16 f. p. + + _Dent's Second French Book._ 8º. (Dent, 1898.) 3 f. p. + + _The Novels of Jane Austen._ Edited by R. Brimley Johnson. + 8º. (Dent, 1898.) 10 vols. 6 f. p. in each by C. E. and H. + M. Brock. 30 by C. E. Brock. In colours. + + _The Vicar of Wakefield._ Oliver Goldsmith. 8º. (Service + and Paton, 1898. Ill. Eng. Lib.) 16 f. p. + + _John Gilpin._ William Cowper. 4º. (Dent, 1898. Illustrated + English Poems.) 25 illust. (11 f. p.) + + _The Bravest of them All._ Mrs. Edwin Hohler. 8º. (Macmillan, + 1899.) 8 f. p. + + _M. or N._ G. J. Whyte-Melville. 8º. (Thacker, 1899.) 14 f. p. + Coloured frontispiece. + + _The Works of Jane Austen._ 8º. (Dent, 1899. Temple Library.) + 10 vols. 10 f. p. In colours. With H. M. Brock. 5 by C. E. Brock. + + _Ivanhoe._ Sir Walter Scott. 8º. (Dent, 1899.) 12 f. p., in + colours. + + _Une Joyeuse Nichée._ 8º. (Dent's Modern Language Series, + 1900.) 4 f. p. + + _The Path Finder._ _The Prairie._ Fenimore Cooper. 2 vols. 8º. + (Macmillan, 1900. Illustrated Standard Novels.) 25 f. p. each. + + _Penelope's English Experiences._ Kate Douglas Wiggin. 8º. + (Gay and Bird, 1900.) 53 illust. (14 f. p.) + + _Penelope's Experiences in Scotland._ Kate Douglas Wiggin. + 8º. (Gay and Bird, 1900.) 56 illust. (14 f. p.) + + _Ivanhoe._ Sir W. Scott. 8º. (Dent, 1900. Temple Classics + for Young People.) 2 vols. 24 f. p. With H. M. Brock. 12 by + C. E. Brock reproduced from 1899 edition. + + _The Essays and Last Essays of Elia._ Edited by Augustine + Birrell. 8º. (Dent, 1900.) 2 vols. 163 illust. (32 f. p.) + + _The Holly Tree Inn_ and _The Seven Poor Travellers_. + Charles Dickens. 8º. (Dent, 1900.) 49 illust. (12 f. p. 2 + photogravure plates.) + +HENRY M. BROCK. + + _Macmillan's History Readers._ See _C. E. Brock_. + + _Jacob Faithful._ Captain Marryat. Introduction by David + Hannay. 8º. (Macmillan, 1895. Illustrated Standard Novels.) + 40 illust. (37 f. p.) + + _Tales of the Covenanters._ Robert Pollok. 8º. (Oliphant + Anderson, 1895.) 12 illust. (7 f. p.) + + _Racing and Chasing._ A. G. T. Watson. 8º. Longmans, 1867. + With others. 10 illust. (8 f. p.) By H. M. Brock. + + _Scenes of Child Life._ Mrs. J. G. Fraser. 8º. (Macmillan, + 1898.) 29 illust. (1 f. p.) + + _Scenes of Familiar Life._ Mrs. J. G. Fraser. 8º. (Macmillan, + 1898.) 8 f. p. + + _Uncle John._ G. J. Whyte-Melville. 8º. (Thacker, 1898.) 14 + illust. With E. Caldwell. 10 f. p. by H. M. Brock. + + _Song and Verses._ G. J. Whyte-Melville. 8º. (Thacker, 1899.) + 13 illust. (1. f. p.) + + _The Little Browns._ Mabel E. Wotton. 4º. (Blackie, 1900.) + 80 illust. (9 f. p.) + + _Asinette._ Mrs. J. G. Frazer. 8º. (Dent, 1900.) 208 illust. + (8 f. p. in colours.) + + By Fenimore Cooper. 8º. (Macmillan, 1900. Illustrated Standard + Novels.) _The Deerslayer_, 40 f. p.; _The Last of the Mohicans_, + 25 f. p.; _The Pioneers_, 25 f. p. + + _Digby Grand._ G. J. Whyte-Melville. 8º. (Thacker, 1900.) 8 f. p. + + _The Old Curiosity Shop._ Charles Dickens. 8º. (Gresham Pub. Co., + 1901.) 8 f. p. + + _Japhet in Search of a Father._ Captain Marryat. 8º. (Macmillan, + 1895. Ill. Stan. Nov.) 40 illust. (12 f. p.) + + _Handy Andy._ Samuel Lover. 8º. (Macmillan, 1896. Ill. Stan. + Nov.) 40 illust. (33 f. p.) + + _Ballads and Songs._ W. M. Thackeray. 8º. (Cassell, 1896.) + 111 illust. (6 f. p.) + + _Cranford._ Mrs. Gaskell. 8º. (Service and Paton, 1898. + Ill. Eng. Lib.) 16 f. p. + + _The Novels of Jane Austen._ 1898. See _C. E. Brock_. + + _Waverley._ Sir Walter Scott. 8º. (Service and Paton, 1899. + Ill. Eng. Lib.) 16 f. p. + + _The Works of Jane Austen._ 1899. See _C. E. Brock_. + + _Black but Comely._ G. J. Whyte-Melville. 8º. (Thacker, + 1899.) 10 f. p. + + _The Drummer's Coat._ Hon. J. W. Fortescue. 4º. (Macmillan, + 1899.) 4 f. p. + + _King Richard II._ Edited by W. J. Abel. 8º. (Longmans, 1899. + Swan Edition.) 11 f. p. + + _Ivanhoe._ 1900. See _C. E. Brock_. + + _The Pilgrim's Progress._ John Bunyan. 8º. (Pearson, 1900.) + 8 f. p. + + _Ben Hur._ General Lew Wallace. 8º. (Pearson, 1901.) 8 f. p. + + _Sister Louise_ and _Rosine_. _Kate Coventry._ _Cerise._ G. J. + Whyte-Melville. 8º. (Thacker, 1901.) 10 f. p. each. Frontispiece + in colours. + +W. CUBITT COOKE. + + _Evelina._ Frances Burney. 2 vols. 8º. (Dent, 1893.) 6 + photogravure plates and portrait. + + _Cecilia._ 3 vols. Uniform with above. 9 f. p. + + _The Man of Feeling._ Henry Mackenzie. 8º. (Dent, 1893.) 3 + photogravure plates and portrait. + + _My Study Fire._ H. W. Mabie. 8º. (Dent, 1893.) 3 f. p., + photogravure. + + _The Vicar of Wakefield._ O. Goldsmith. 8º. (Dent, 1893.) 6 f. p. + + _Reveries of a Bachelor._ D. G. Mitchell. 8º. (Dent, 1894.) + Frontispiece. + + _The Master Beggars._ Cope Cornford. 8º. (Dent, 1897.) 8 f. p. + + _The Singer of Marly._ Ida Hooper. 8º. (Methuen, 1897.) 4 f. p. + + By Charles Dickens. 8º. (Dent, 1899. The Temple Dickens.) + _Sketches by Boz_, 2 vols.; _Dombey and Son_, 3 vols.; _Martin + Chuzzlewit_, 3 vols.; _A Christmas Carol_, 1 vol. 1 f. p. in each + vol. + + _The Novels of Jane Austen._ Edited by R. Brimley Johnson. + 10 vols. 8º. (Dent, 1894.) 3 photogravure plates in each vol. + + _Popular British Ballads._ Chosen by R. Brimley Johnson. 4 vols. + 8º. (Dent, 1894.) 219 illust. (22 f. p.) + + _By Stroke of Sword._ Andrew Balfour. 8º. (Methuen, 1897.) 4 f. p. + + _John Halifax._ Mrs. Craik. 8º. (Dent, 1898.) 12 illust. in + colours, with others. 4 f. p. by W. C. Cooke. + +SIR HARRY FURNISS. + + _Tristram Shandy._ Laurence Sterne. 8º. (Nimmo, 1883.) 8 + etchings from drawings by Harry Furniss. + + _A River Holiday._ 8º. (Fisher Unwin, 1883.) 15 illust. (3 f. p.) + + _The Talk of the Town._ James Payn. 2 vols. 8º. (Smith, Elder, + 1884.) 14 f. p. + + _All in a Garden Fair._ Walter Besant. 8º. (Chatto and Windus, + 1884.) 6 f. p. + + _Romps at the Sea-side_ and _Romps in Town_. Verses by Horace + Leonard. 4º. (Routledge, 1885.) 28 pictured pages in colours. + + _Parliamentary Views._ 4º. (Bradbury, Agnew, 1885.) 28 f. p. + + _Hugh's Sacrifice._ C. M. Norris. 8º. (Griffith, Farran, 1886.) + 4 f. p. + + _More Romps._ Verses by E. J. Milliken. 4º. (Routledge, 1886.) + 52 pictured pages in colours. + + _The Comic Blackstone._ Arthur W. A'Beckett. 8º. (Bradbury, + Agnew, 1886.) 9 parts. 28 illust. (10 f. p. in colours.) + + _Travels in the Interior._ L. T. Courtenay. 8º. (Ward and + Downey, 1887.) 17 illust. (3 f. p.) + + _The Incompleat Angler._ F. C. Burnand. 8º. (Bradbury, Agnew, + 1887.) 29 illust. (6 f. p.) + + _How he did it._ Harry Furniss. 8º. (Bradbury, Agnew, 1887.) + 50 illust. (4 f. p.) + + _The Moderate Man and other Verses._ Edwin Hamilton. 4º. + (Ward and Downey, 1888.) 12 f. p. + + _Pictures at Play._ 8º. (Bradbury, Agnew, 1888.) 18 illust. + (5 f. p.) + + _Sylvie and Bruno._ Lewis Carroll. 8º. (Macmillan, 1889.) + 46 illust. (9 f. p.) + + _Perfervid._ John Davidson. 8º. (Ward and Downey, 1890.) 23 + illust. (5 f. p.) + + _M.P.s in Session._ Obl. 4º. (Bradbury, Agnew, 1890.) 500 illust. + + _Wanted a King._ Maggie Browne. 8º. (Cassell, 1890.) 76 illust. + (8 f. p.) + + _Brayhard._ F. M. Allen. 8º. (Ward and Downey, 1890.) 37 illust. + (7 f. p.) + + _Academy Antics._ 8º. (Bradbury, Agnew, 1890.) 60 illust. + + _Flying Visits._ H. Furniss. 8º. (Simpkin, 1892.) 192 illust. + (6 f. p.) + + _Olga's Dream._ Norley Chester. 8º. (Skeffington, 1892.) 24 + illust. (4 f. p.) With Irving Montague. 6 by H. Furniss. + + _A Diary of the Salisbury Parliament._ Henry W. Lucy. 8º. + (Cassell, 1892.) 89 illust. (1 f. p.) + + _Sylvie and Bruno concluded._ Lewis Carroll. 8º. (Macmillan, + 1893.) 46 illust. (9 f. p.) + + _The Grand Old Mystery unravelled._ 8º. (Simpkin, 1894.) 20 + illust. (12 f. p.) + + _The Wallypug of Why._ G. E. Farrow. 8º. (Hutchinson, 1895.) + 62 illust. With Dorothy Furniss. 20 by H. Furniss. (17 f. p.) + + _Golf._ Horace G. Hutchinson. 8º. (Longmans, 1895. Badminton + Library.) 87 illust. With others. 9 f. p. by H. Furniss. + + _The Missing Prince._ G. E. Farrow. 8º. (Hutchinson, 1896.) + 51 illust. With D. Furniss. 13 f. p. by H. Furniss. + + _Cricket Sketches._ E. B. V. Christian. 8º. (Simpkin, 1896.) + 100 illust. + + _Pen and Pencil in Parliament._ Harry Furniss. 8º. (Sampson + Low, 1897.) 173 illust. (50 f. p.) + + _Miss Secretary Ethel._ Elinor D. Adams. 8º. (Hurst and Blackett, + 1898.) 6 illust. (5 f. p.) + + _Australian Sketches._ Harry Furniss. 8º. (Ward, Lock, 1899.) + 86 illust. (1 f. p.) + +WILLIAM B. HOLE. + + _The Master of Ballantrae._ R. L. Stevenson. 8º. (Cassell, + 1891.) 10 f. p. + + _A Window in Thrums._ J. M. Barrie. 8º. (Hodder and Stoughton, + 1892.) 14 etchings. (13 f. p.) + + _The Heart of Midlothian._ Sir Walter Scott. 8º. (Black, 1893. + Dryburgh edition.) 10 woodcuts. (9 f. p.) + + _The Little Minister._ J. M. Barrie. 8º. (Cassell, 1893.) 9 f. p. + woodcuts. + + _Auld Licht Idylls._ J. M. Barrie. 8º. (Hodder and Stoughton, + 1895.) 13 etchings. (12 f. p.) + + _Catriona._ R. L. Stevenson. 8º. (Cassell, 1895.) 16 woodcuts. + + _Kidnapped._ R. L. Stevenson. 8º. (Cassell, 1895.) 16 woodcuts. + + _Beside the Bonnie Brier Bush._ Ian Maclaren. 8º. (Hodder and + Stoughton, 1896.) 12 etchings. + + _The Century Edition of the Poetry of Robert Burns._ 4 vols. + 4º. (Jack, 1896.) 20 f. p. etchings. + +H. M. PAGET. + + _Kenilworth._ Sir Walter Scott. 8º. (Black, 1893. Dryburgh + edition.) 10 woodcuts. (9 f. p.) + + _Quentin Durward._ Sir Walter Scott. 8º. (Black, 1894. + Dryburgh edition.) 10 woodcuts. (9 f. p.) + + _Pictures from Dickens._ 4º. (Nister, 1895.) 12 coloured + illust. with others. + + _Annals of Westminster Abbey._ E. T. Bradley. 4º. (Cassell, + 1895.) 163 illust. With others. + + _The Vicar of Wakefield._ Oliver Goldsmith. 8º. (Nister, + 1898.) 25 illust. (12 f. p. 5 heliogravure plates.) + + Also illustrations to boys' books by G. A. Henty, etc. + +SIDNEY PAGET. + + _Adventures of Sherlock Holmes._ Conan Doyle. 8º. (Newnes, + 1892.) 104 illust. + + _Rodney Stone._ Conan Doyle. 8º. (Smith Elder, 1896.) 8 f. p. + + _The Tragedy of the Korosko._ Conan Doyle. 8º. (Smith Elder, + 1898.) 40 f. p. + + _Old Mortality._ Sir Walter Scott. 8º. (Service and Paton, + 1898. Illustrated English Library.) 16 f. p. + + _Terence._ B. M. Croker. 8º. (Chatto and Windus, 1899.) 6 f. p. + + _The Sanctuary Club._ L. T. Meade and Robert Eustace. 8º. + (Ward, Lock, 1900.) 6 f. p. + +WALTER PAGET. + + _The Black Dwarf._ Sir Walter Scott. 8º. (Black, 1893. + Dryburgh edition). 4 f. p. + + _Castle Dangerous._ Sir Walter Scott. 8º. (Black, 1894. + Dryburgh edition.) 6 illust. (5 f. p.) + + _The Talisman._ Sir Walter Scott. 8º. (Ward, Lock, 1895.) + 68 illust. With others. + + _A Legend of Montrose._ Sir Walter Scott. 8º. (Ward, Lock, + 1895.) 76 illust. With A. de Parys. + + _Robinson Crusoe._ Daniel Defoe. 8º. (Cassell, 1896.) 120 + illust. (13 f. p.) + + _Treasure Island._ R. L. Stevenson. 8º. (Cassell, 1899.) 46 + illust. (15 f. p.) + + _Tales from Shakespeare._ Charles and Mary Lamb. 4º. + (Nister, 1901.) 76 illust. (18 f. p. 6 printed in colours.) + +J. BERNARD PARTRIDGE. + + _Stage-land._ Jerome K. Jerome. 8º. (Chatto and Windus, + 1889.) 63 illust. (14 f. p.) + + _Voces Populi._ F. Anstey. 8º. (Longmans, 1890.) 20 illust. + (9 f. p.) + + _Voces Populi._ Second Series. 1892. 25 illust. (17 f. p.) + + _My Flirtations._ Margaret Wynman. 8º. (Chatto and Windus, + 1892.) 13 illust. (11 f. p.) + + _The Travelling Companions._ F. Anstey. 8º. (Longmans, 1892.) + 26 illust. (1 f. p.) + + _Mr. Punch's Pocket Ibsen._ F. Anstey. 8º. (Heinemann, 1893.) + 14 f. p. + + _The Man from Blankley's._ F. Anstey. 4º. (Longmans, 1893.) + 25 illust. (9 f. p.) + + _When a Man's Single._ _A Window in Thrums._ _The Little + Minister._ _My Lady Nicotine._ J. M. Barrie. 8º. Scribner, + 1896. 1 f. p. each. + + _Tommy and Grizel._ J. M. Barrie. 8º. (Copp, Torontono, 1901.) + 11 f. p. + + _Proverbs in Porcelain._ Austin Dobson. 8º. (Kegan Paul, 1893.) + 25 f. p. + + _Under the Rose._ F. Anstey. 8º. (Bradbury, Agnew, 1894.) 15 f. p. + + _Lyre and Lancet._ F. Anstey. 8º. (Smith, Elder, 1895.) 24 f. p. + + _Puppets at Large._ F. Anstey. 8º. (Bradbury, Agnew, 1897). + 16 f. p. + + _Baboo Jabberjee, B.A._ F. Anstey. 8º. (Dent, 1897.) 29 f. p. + + _The Tinted Venus._ F. Anstey. 8º. (Harper, 1898.) 15 f. p. + + _Wee Folk; good Folk._ L. Allen Harker. 8º. (Duckworth, 1899.) + 5 f. p. + +FRED PEGRAM. + + _At the Rising of the Moon._ See _A. S. Boyd_. + + _Mr. Midshipman Easy._ Captain Marryat. Introduction by David + Hannay. 8º. (Macmillan, 1896. Illustrated Standard Novels.) + 38 f. p. + + _Sybil or the Two Nations._ Benjamin Disraeli. Introduction by + H. D. Traill. 8º. (Macmillan, 1895. Ill. Stan. Nov.) 40 illust. + (29 f. p.) + + _The Last of the Barons._ Lord Lytton. 8º. (Service and Paton, + 1897. Illustrated English Library.) 16 f. p. + + _Masterman Ready._ Captain Marryat. Introduction by David + Hannay. 8º. (Macmillan, 1897. Ill. Stan. Nov.) 40 illust. + (39 f. p.) + + _Poor Jack._ Captain Marryat. Introduction by David Hannay. + 8º. (Macmillan, 1897. Ill. Stan. Nov.) 40 illust. (39 f. p.) + + _The Arabian Nights Entertainments._ 8º. (Service and Paton, + 1898. Ill. Eng. Lib.) 16 f. p. + + _The Bride of Lammermoor._ Sir Walter Scott. 8º. (Service + and Paton, 1898. Ill. Eng. Lib.) 16 f. p. + + _The Orange Girl._ Walter Besant. 8º. (Chatto and Windus, + 1899.) 8 f. p. + + _Ormond._ Maria Edgeworth. Introduction by Austin H. Johnson. + 8º. (Gresham Publishing Company, 1900.) 6 f. p. + + _Concerning Isabel Carnaby._ E. Thorneycroft Fowler. 8º. + (Hodder and Stoughton, 1900.) 8 f. p. + + _The Wide Wide World._ Miss Wetherell. 8º. (Pearson.) 8 f. p. + + _Martin Chuzzlewit._ 8º. C. Dickens. (Blackie.) 10 f. p. + +CLAUDE A. SHEPPERSON. + + _Shrewsbury._ Stanley J. Weyman. 8º. (Longmans, 1898.) 24 illust. + (14 f. p.) + + _The Merchant of Venice._ Edited by John Bidgood. 8º. (Longmans, + 1899. Swan edition.) 10 f. p. + + _The Heart of Mid-Lothian._ Sir Walter Scott. Introduction by + William Keith Leask. 8º. (Gresham Publishing Company, 1900.) + 6 f. p. + + _Lavengro._ George Borrow. Introduction by Charles E. Beckett. + 8º. (Gresham Publishing Company, 1900.) 6 f. p. + + _Coningsby._ Benjamin Disraeli. Introduction by William Keith + Leask. 8º. (Gresham Publishing Company, 1900.) 6 f. p. + + _As You Like It._ Edited by W. Dyche. 8º. (Longmans, 1900. + Swan edition.) 10 f. p. + +WILLIAM STRANG. + + _The Earth Fiend._ William Strang. 4º. (Elkin Mathews and + John Lane, 1892.) 11 etchings. + + _Lucian's True History._ Translated by Francis Hickes. 8º. + (Privately printed, 1894.) 16 illust. With others. 7 f. p. + by William Strang. + + _Death and the Ploughman's Wife._ A Ballad by William + Strang. Fol. (Lawrence and Bullen, 1894.) 12 etchings. + + _Nathan the Wise._ G. E. Lessing. Translated by William + Jacks. 8º. (Maclehose, 1894.) 8 etchings. + + _The Pilgrim's Progress._ John Bunyan. 8º. (Nimmo, 1895.) + 14 etchings. + + _The Christ upon the Hill._ Cosmo Monkhouse. Fol. (Smith, + Elder, 1895.) 9 etchings. + + _The Surprising Adventures of Baron Munchausen._ Introduction by + Thomas Seccombe. 8º. (Lawrence and Bullen, 1895.) 50 illust. + (15 f. p.) With J. B. Clark. 25 by William Strang. + + _Paradise Lost._ John Milton. Fol. (Nimmo, 1896.) 12 etchings. + + _Sindbad the Sailor_, _Ali Baba and the Forty Thieves_. 8º. + (Lawrence and Bullen, 1896.) 50 illust. (15 f. p.) With J. B. + Clark. 25 by William Strang. + + _A Book of Ballads._ Alice Sargant. 4º. (Elkin Mathews, 1898.) + 5 etchings. + + _A Book of Giants._ William Strang. 4º. (Unicorn Press, 1898. + Unicorn Quartos.) 12 f. p. woodcuts in colours. + + _Western Flanders._ Laurence Binyon. Fol. (Unicorn Press, 1899.) + 10 etchings. + + _A Series of Thirty Etchings illustrating subjects from the + Writings of Rudyard Kipling._ Fol. (Macmillan, 1901.) + + _The Praise of Folie._ Erasmus. Translated by Sir Thomas + Chaloner. Edited by Janet E. Ashbee. (Arnold, 1901.) 8 woodcuts, + drawn by William Strang and cut by Bernard Sleigh. + +EDMUND J. SULLIVAN. + + _The Rivals_ and _The School for Scandal_. R. B. Sheridan. + Introduction by Augustine Birrell. 8º. (Macmillan, 1896.) + 50 f. p. + + _Lavengro._ George Borrow. Introduction by Augustine Birrell. + 8º. (Macmillan, 1896. Illustrated Standard Novels.) 45 illust. + (37 f. p.) + + _The Compleat Angler._ Izaak Walton. Edited by Andrew Lang. + 8º. (Dent, 1896.) 89 illust. (42 f. p.) + + _Tom Brown's School-Days._ 8º. (Macmillan, 1896.) 79 illust. + (20 f. p.) + + _The Pirate_ and _The Three Cutters_. Captain Marryat. 8º. + (Macmillan, 1897. Ill. Stan. Nov.) 40 f. p. + + _Newton Forster._ Captain Marryat. 8º. (Macmillan, 1897. + Ill. Stan. Nov.) 40 f. p. + + _Sartor Resartus._ Thomas Carlyle. 8º. (Bell, 1898.) 77 illust. + (12 f. p.) + + _The Pirate._ Sir Walter Scott. 8º. (Service and Paton, 1898. + Illustrated English Library.) 16 f. p. + + _The Natural History and Antiquities of Selborne_ and _A Garden + Kalendar_. Gilbert White. 8º. (Freemantle, 1900.) 2 vols. 176 + illust. (20 f. p.) With others. 45 by E. J. Sullivan. + + _A Dream of Fair Women._ Lord Tennyson. 4º. (Grant Richards, + 1900.) 40 f. p. 4 photogravure plates. + +HUGH THOMSON. + + _Days with Sir Roger de Coverley._ 4º. (Macmillan, 1886.) + 51 illust. (1 f. p.) + + _Coaching Days and Coaching Ways._ W. Outram Tristram. 4º. + (Macmillan, 1888.) 213 illust. With Herbert Railton. 73 by + Hugh Thomson. + + _Cranford._ Mrs. Gaskell. Preface by Anne Thackeray Ritchie. + 8º. (Macmillan, 1891.) 111 illust. + + _The Vicar of Wakefield._ Oliver Goldsmith. Preface by Austin + Dobson. 8º. (Macmillan, 1891.) 182 illust. (1 f. p.) + + _The Ballad of Beau Brocade._ Austin Dobson. 8º. (Kegan Paul, + 1892.) 50 illust. (27 f. p.) + + _Our Village._ Mary Russell Mitford. Introduction by Anne + Thackeray Ritchie. 8º. (Macmillan, 1893.) 100 illust. + + _The Piper of Hamelin. A Fantastic Opera._ Robert Buchanan. + 8º. (Heinemann, 1893.) 12 plates. + + _St. Ronan's Well._ Sir Walter Scott. 8º. (Black, 1894. + Dryburgh edition.) 10 woodcuts. (9 f. p.) + + _Pride and Prejudice._ Jane Austen. Preface by George + Saintsbury. 8º. (Allen, 1894.) 101 illust. (1 f. p.) + + _Coridon's Song and other Verses._ Austin Dobson. 8º. (Macmillan, + 1894.) 76 f. p. + + _The Story of Rosina and other Verses._ Austin Dobson. 8º. + (Kegan Paul, 1895.) 49 illust. (32 f. p.) + + _Sense and Sensibility._ Jane Austen. Introduction by Austin + Dobson. 8º. (Macmillan, 1896. Illustrated Standard Novels.) + 40 f. p. + + _Emma._ Jane Austen. Introduction by Austin Dobson. 8º. + (Macmillan, 1896. Ill. Stan. Nov.) 40 f. p. + + _The Chace._ William Somerville. 8º. (George Redway, 1896.) + 9 f. p. + + _The Poor in Great Cities._ Robert A. Woods and others. 8º. + (Kegan Paul, 1896.) 105 illust. (8 f. p.) With others. 21 by + Hugh Thomson. + + _Highways and Byways in Devon and Cornwall._ Arthur H. Norway. + 8º. (Macmillan, 1897.) 66 illust. With Joseph Pennell. 8 f. p. + by Hugh Thomson. + + _Mansfield Park._ Jane Austen. Introduction by Austin Dobson. 8º. + (Macmillan, 1897. Ill. Stan. Nov.) 40 illust. (38 f. p.) + + _Northanger Abbey and Persuasion._ Jane Austen. Introduction by + Austin Dobson. 8º. (Macmillan, 1897. Ill. Stan. Nov.) 40 illust. + (38 f. p.) + + _Cranford._ Mrs. Gaskell. Preface by Anne Thackeray Ritchie. + 8º. (Macmillan, 1898.) 100 illust. 40 in colours. + + _Riding Recollections._ G. J. Whyte-Melville. (Thacker, 1898.) + 12 f. p. Coloured frontispiece. + + _Highways and Byways in North Wales._ Arthur G. Bradley. 8º. + (Macmillan, 1898.) 66 illust. with Joseph Pennell. 9 f. p. by + Hugh Thomson. + + _Highways and Byways in Donegal and Antrim._ Stephen Gwynn. + 8º. (Macmillan, 1899.) 87 illust. (20 f. p.) + + _Highways and Byways in Yorkshire._ Arthur H. Norway. 8º. + (Macmillan, 1899.) 96 illust. With Joseph Pennell. 8 f. p. + by Hugh Thomson. + + _Peg Woffington._ Charles Reade. Introduction by Austin Dobson. + 8º. (Allen, 1899.) 75 illust. (30 f. p.) + + _This and That._ Mrs. Molesworth. 8º. (Macmillan, 1899.) 8 f. p. + + _Ray Farley._ John Moffat and Ernest Druce. 8º. (Fisher Unwin, + 1901.) 6 f. p. + + _A Kentucky Cardinal_ and _Aftermath_. James Lane Allen. 8º. + (Macmillan, 1901.) 48 illust. and decorations. (34 f. p.) + +F. H. TOWNSEND. + + _A Social Departure._ Sara Jeannette Duncan. 8º. (Chatto and + Windus, 1890.) 111 illust. (12 f. p.) + + _An American Girl in London._ Sara Jeannette Duncan. 8º. + (Chatto and Windus, 1891.) 80 illust. (19 f. p.) + + _The Simple Adventures of a Memsahib._ Sara Jeannette Duncan. + 8º. (Chatto and Windus, 1893.) 37 illust. (12 f. p.) + + Illustrated Standard Novels. 8º. (Macmillan, 1895-7.) + + The Novels of Thomas Love Peacock. Edited by George + Saintsbury. + + _Maid Marian and Crotchet Castle._ 40 illust. (37 f. p.) + + _Gryll Grange._ 40 f. p. + + _Melincourt._ 40 illust. (39 f. p.) + + _The Misfortunes of Elphin and Rhododaphne._ 40 illust. + (39 f. p.) + + _The King's Own._ Captain Marryat. Introduction by David + Hannay. 8º. 40 illust. (38 f. p.) + + Illustrated English Library. 8º. (Service and Paton, 1897-8.) + + _Jane Eyre._ Charlotte Brontë. 16 f. p. + + _Shirley._ Charlotte Brontë. 16 f. p. + + _Rob Roy._ Sir Walter Scott. 16 f. p. + + _Bladys of the Stewponey._ S. Baring Gould. 8º. (Methuen, 1897.) + 5 illust. with B. Munns. 3 f. p. by F. H. Townsend. + + The Works of Nathaniel Hawthorne. Edited by Moncure D. Conway. + 8º. (Service and Paton, 1897-9.) + + _The Scarlet Letter._ 8 f. p. + + _The House of the Seven Gables._ 8 f. p. + + _The Blithedale Romance._ 8 f. p. + + _The Path of a Star._ Sara Jeannette Duncan. 8º. (Methuen, 1899.) + 12 f. p. + + +SOME CHILDREN'S BOOKS ILLUSTRATORS. + +JOHN D. BATTEN. + + _Oedipus the Wreck; or, 'To Trace the Knave.'_ Owen Seaman. + 8º. (F. Johnson, Cambridge, 1888.) 18 illust. (5 f. p.) With + Lancelot Speed. + + _English Fairy Tales._ Collected by Joseph Jacobs. 8º. (Nutt, + 1890.) 60 illust. and decorations. 2 by Henry Ryland. (8 f. p.) + + _Celtic Fairy Tales._ Selected and edited by Joseph Jacobs. + 8º. (Nutt, 1892.) 70 illust. and decorations. (8 f. p.) + + _Indian Fairy Tales._ Selected and edited by Joseph Jacobs. + 8º. (Nutt, 1892.) 65 illust. and decorations. (9 f. p.) + + _Fairy Tales from the Arabian Nights._ Edited and arranged + by E. Dixon. 8º. (Dent, 1893.) 50 illust. and decorations. + (5 f. p. in photogravure.) + + _More English Fairy Tales._ Collected and edited by Joseph + Jacobs. 8º. (Nutt, 1894.) 50 illust. and decorations. (8 f. p.) + + _More Celtic Fairy Tales._ Selected and edited by Joseph + Jacobs. 8º. (Nutt, 1894.) 67 illust. and decorations. (8 f. p.) + + _More Fairy Tales from the Arabian Nights._ Edited and arranged + by E. Dixon. 8º. (Dent, 1895.) 40 illust. and decorations. + (5 f. p. in photogravure.) + + _A Masque of Dead Florentines._ Maurice Hewlett. Obl. fol. + (Dent, 1895.) 15 illust. (4 f. p.) + + _The Book of Wonder Voyages._ Edited by Joseph Jacobs. 8º. + (Nutt, 1896.) 26 illust. (7 f. p. in photogravure.) + + _The Saga of the Sea-Swallow and Greenfeather the Changeling._ + 8º. (Innes, 1896.) 33 illust. and decorations. (4 f. p.) With + Hilda Fairbairn. + +LEWIS BAUMER. + + _Jumbles._ Lewis Baumer. 8º. (Pearson, 1897.) 50 pictured pages. + (24 f. p., in colours.) + + _Hoodie._ Mrs. Molesworth. 8º. (Chambers, 1897.) 17 illust. + (8 f. p.) + + _Elsie's Magician._ Fred Whishaw. 8º. (Chambers, 1897) 10 illust. + (5 f. p.) + + _The Baby Philosopher._ Ruth Berridge. 8º. (Jarrold, 1898.) + 13 illust. (4 f. p.) + + _The Story of the Treasure Seekers._ E. Nesbit. 8º. (Fisher + Unwin, 1899.) 17 f. p.; 15 by Gordon Browne. + + By Mrs. Molesworth. 8º. (Chambers, 1898-1900.) _Hermy._ _The + Boys and I._ _The Three Witches._ 17 illust. (12 f. p.) in each. + +F. D. BEDFORD. + + _Old Country Life._ S. Baring-Gould. 4º. (Methuen, 1890.) + 37 illust. and decorations. + + _The Deserts of Southern France._ S. Baring-Gould. 2 vols. + 4º. Methuen, 1894. 144 illust. and diagrams; 37 by F. D. Bedford. + (14 f. p.) + + _The Battle of the Frogs and Mice._ Rendered into English by + Jane Barlow. (Methuen, 1894.) 147 pictured pages. (5 f. p.) + + _Old English Fairy Tales._ S. Baring-Gould. 8º. (Methuen, 1895.) + 19 illust. + + _A Book of Nursery Rhymes._ 8º. (Methuen, 1897.) 66 pictured + pages. (21 f. p. in colours.) + + _The Vicar of Wakefield._ O. Goldsmith. 8º. (Dent, 1898.) + 12 f. p. in colours. + + _The History of Henry Esmond._ W. M. Thackeray. 8º. (Dent, + 1898.) 12 f. p., in colours. + + _The Book of Shops._ E. V. Lucas. Obl. 4º. (Grant Richards, + 1899.) 28 illust. and decorations. (26 f. p. in colours.) + + _Four and Twenty Toilers._ E. V. Lucas. Obl. 4º. (Grant Richards, + 1900.) 28 illust. and decorations. (26 f. p. in colours.) + + _Westminster Abbey._ G. E. Troutbeck. 8º. Methuen, 1900. 28 + illust. (13 f. p.) + +PERCY J. BILLINGHURST. + + _A Hundred Fables of Æsop._ From the English Version of Sir + Roger L'Estrange. Introduction by Kenneth Grahame. 8º. + (Lane, 1899.) 101 f. p. + + _A Hundred Fables of La Fontaine._ 8º. (Lane, 1900.) 101 f. p. + + _A Hundred Anecdotes of Animals._ 8º. (Lane, 1901.) 101 f. p. + +GERTRUDE M. BRADLEY. + + _Songs for Somebody._ Dollie Radford. 8º. (Nutt, 1893.) 33 + pictured pages. (7 f. p.) + + _The Red Hen and other Fairy Tales._ Agatha F. 8º. (Wilson, + Dublin, 1893.) 4 f. p. + + _New Pictures in Old Frames._ Gertrude M. Bradley and Amy Mark. + 4º. (Mark and Moody, Stourbridge, 1894.) 37 pictured pages. + (6 f. p.) + + _Just Forty Winks._ Hamish Hendry. 8º. (Blackie, 1897.) 80 + illust. and decorations. (11 f. p.) + + _Tom, Unlimited._ M. L. Warborough. 8º. (Grant Richards, 1897.) + 56 illust. (1 f. p.) + + _Nursery Rhymes._ 8º. (Review of Reviews, 1899.) 95 pictured + pages. With Brinsley Le Fanu. (1 f. p. in colours.) + + _Puff-Puff._ Gertrude Bradley. Obl. fol. (Sands, 1899.) 18 f. p. + in colours. + + _Pillow Stories._ S. L. Howard and Gertrude M. Bradley. + (Grant-Richards, 1901). 41 illust. + +L. LESLIE BROOKE. + + _Miriam's Ambition._ Evelyn Everett-Green. 8º. (Blackie, 1889.) + 4 f. p. + + _Thorndyke Manor._ Mary C. Rowsell. 8º. (Blackie, 1890.) 6 f. p. + + _The Secret of the Old House._ Evelyn Everett-Green. 8º. + (Blackie, 1890.) 6 f. p. + + _The Light Princess._ George Macdonald. 8º. (Blackie, 1890.) + 3 f. p. + + _Brownies and Rose Leaves._ Roma White. 8º. (Innes, 1892.) + 19 illust. (9 f. p.) + + _Bab._ Ismay Thorn. 8º. (Blackie, 1892.) 3 f. p. + + _Marian._ Annie E. Armstrong. 8º. (Blackie, 1892.) 4 f. p. + + _A Hit and a Miss._ Hon. Eva Knatchbull-Hugessen. 8º. (Innes, + 1893. Dainty Books.) 10 illust. (5 f. p.) + + _Moonbeams and Brownies._ Roma White. 8º. (Innes, 1894. + Dainty Books.) 12 illust. (5 f. p.) + + _Penelope and the Others._ Amy Walton. 8º. (Blackie, 1896.) + 2 f. p. + + _School in Fairy Land._ E. H. Strain. 8º. (Fisher Unwin, 1896.) + 7 f. p. + + _The Nursery Rhyme Book._ Edited by Andrew Lang. 8º. (Warne, + 1897.) 109 illust. and decorations. (9 f. p.) + + _A Spring Song._ T. Nash. 8º. (Dent, 1898.) 16 pictured pages, + in colours. + + _Pippa Passes._ Robert Browning. 8º. (Duckworth, 1898.) 7 f. p. + Lemerciergravures. + + _The Pelican Chorus and other Nonsense Verses._ Edward Lear. 4º. + (Warne, 1900.) 38 illust. and decorations. (8 f. p., in colours.) + + _The Jumblies and other Nonsense Verses._ Edward Lear. 4º. + (Warne, 1900.) 36 illust. and decorations. (14 f. p., in colours.) + + By Mrs. Molesworth. 8º. (Macmillan, 1891-7.) _Nurse Heatherdale's + Story._ _The Girls and I._ _Mary._ _My New Home._ _Sheila's + Mystery._ _The Carved Lions._ _The Oriel Window._ _Miss Mouse and + her Boys._ 8 illust. (7 f. p.) in each. + +GORDON BROWNE. + + _Stories of Old Renown._ Ascott R. Hope. 8º. (Blackie, 1883.) + 96 illust. (8 f. p.) + + _A Waif of the Sea._ Kate Wood. 8º. (Blackie, 1884.) 4 f. p. + + _Miss Fenwick's Failures._ Esme Stuart. 8º. (Blackie, 1885.) + 4 f. p. + + _Thrown on the World._ Edwin Hodder. 8º. (Hodder, 1885.) 8 f. p. + + _Winnie's Secret._ Kate Wood. 8º. (Blackie, 1885.) 4 f. p. + + _Robinson Crusoe._ Daniel Defoe. 8º. (Blackie, 1885.) 103 + illust. (8 f. p.) + + _Kirke's Mill._ Mrs. Robert O'Reilly. 8º. (Hatchards, 1885.) + 3 f. p. + + _The Champion of Odin._ J. F. Hodgetts. 8º. (Cassell, 1885.) + 8 f. p. + + _'That Child.'_ By the author of 'L'Atelier du Lys.' 8º. + (Hatchards, 1885.) 2 f. p. + + _Christmas Angel._ B. L. Farjeon. 8º. (Ward, 1885.) 22 illust. + + _The Legend of Sir Juvenis._ George Halse. Obl. 8º. (Hamilton, + 1886.) 6 f. p. + + _Mary's Meadow._ Juliana Horatia Ewing. 8º. (S.P.C.K., 1886.) + 23 illust. + + _Fritz and Eric._ John C. Hutcheson. 8º. (Hodder, 1886.) 8 f. p. + + _Melchior's Dream._ Juliana Horatia Ewing. 8º. (Bell, 1886.) + 8 f. p. + + _The Hermit's Apprentice._ Ascott R. Hope. 8º. (Nimmo, 1886.) + 4 illust. (3 f. p.) + + _Gulliver's Travels._ Jonathan Swift. 8º. (Blackie, 1886.) + 101 illust. (8 f. p.) + + _Rip van Winkle._ Washington Irving. 8º. (Blackie, 1887.) + 46 illust. (42 f. p.) + + _Devon Boys._ Geo. Manville Fenn. 8º. (Blackie, 1887.) 12 f. p. + + _The Log of the 'Flying Fish.'_ Harry Collingwood. 8º. (Blackie, + 1887.) 12 f. p. + + _Down the Snow-stairs._ Alice Corkran. 8º. (Blackie, 1887.) + 60 illust. (5 f. p.) + + _Dandelion Clocks._ Juliana Horatia Ewing. 4º. (S.P.C.K., 1887.) + 13 illust. by Gordon Browne, etc. (4 f. p.) + + _The Peace-Egg._ Juliana Horatia Ewing. 4º. (S.P.C.K., 1887.) + 13 illust. (4 f. p.) + + _The Seven Wise Scholars._ Ascott R. Hope. 8º. (Blackie, 1887.) + 93 illust. (4 f. p.) + + _Chirp and Chatter._ Alice Banks. 8º. (Blackie, 1888.) 54 illust. + (4 f. p.) + + _The Henry Irving Shakespeare. The Works of William Shakespeare._ + Edited by Henry Irving and Frank A. Marshall. 4º. (Blackie, 1888, + etc.) 8 vols. 642 illust. by Gordon Browne, W. H. Margetson and + Maynard Brown. (37 f. p. etchings.) 552 by Gordon Browne. (32 + etchings.) + + _Snap-dragons._ Juliana Horatia Ewing. 8º. (S.P.C.K., 1888.) + 14 illust. (4 f. p.) + + _A Golden Age._ Ismay Thorn. 8º. (Hatchards, 1888.) 6 f. p. + + _Fairy Tales by the Countess d'Aulnoy._ Translated by J. R. + Planché. 8º. (Routledge, 1888.) 60 illust. (11 f. p.) + + _Harold the Boy-Earl._ J. F. Hodgetts. 8º. (Religious Tract + Society, 1888.) 11 f. p. With Alfred Pearse. + + _Bunty and the Boys._ Helen Atteridge. 8º. (Cassell, 1888.) + 4 f. p. + + _Tom's Nugget._ J. F. Hodgetts. 8º. (Sunday School Union, 1888.) + 13 illust. (6 f. p.) + + _Claimed at Last._ Sibella B. Edgcumb. 8º. (Cassell, 1888.) + 4 f. p. + + _Great-Uncle Hoot-Toot._ Mrs. Molesworth. 4º. (S.P.C.K., 1889.) + 24 illust. (4 f. p.) + + _My Friend Smith._ Talbot Baines Reed. 8º. (Religious Tract + Society, 1889.) 16 illust. (6 f. p.) + + _The Origin of Plum Pudding._ Frank Hudson. 8º. (Ward, 1889.) + 9 illust. (4 f. p., in colours.) + + _Prince Prigio._ Andrew Lang. 8º. (Arrowsmith, Bristol, 1889.) + 24 illust. (9 f. p.) + + _A Flock of Four._ Ismay Thorn. 8º. (Wells, Gardner, 1889.) + 7 f. p. + + _A Apple Pie._ 8º. (Evans, 1890.) 12 pictured pages. + + _Syd Belton._ G. Manville Fenn. 8º. (Methuen, 1891.) 6 f. p. + + _Great-Grandmamma._ Georgina M. Synge. 8º. (Cassell, 1891.) + 19 illust. (3 f. p.) + + _Master Rockafellar's Voyage._ W. Clarke Russell. 8º. + (Methuen, 1891.) 27 illust. (6 f. p.) + + _The Red Grange._ Mrs. Molesworth. 8º. (Methuen, 1891.) 6 f. p. + + _A Pinch of Experience._ L. B. Walford. 8º. (Methuen, 1892.) + 6 f. p. + + _The Doctor of the 'Juliet.'_ H. Collingwood. 8º. (Methuen, + 1892.) 6 f. p. + + _A Young Mutineer._ L. T. Meade. 8º. (Wells, Gardner, 1893.) + 3 f. p. + + _Graeme and Cyril._ Barry Pain. 8º. (Hodder, 1893.) 19 f. p. + + _The Two Dorothys._ Mrs. Herbert Martin. 8º. (Blackie, 1893.) + 4 f. p. + + _One in Charity._ Silas K. Hocking. 8º. (Warne, 1893.) 4 f. p. + + _The Book of Good Counsels._ Hitopadesa. Translated by Sir Edwin + Arnold. 8º. (W. H. Allen, 1893.) 20 illust. and decorations. + (7 f. p.) + + _Beryl._ Georgina M. Synge. 8º. (Skeffington, 1894.) 3 f. p. + + _Fairy Tales from Grimm._ With introduction by S. Baring Gould. + 8º. (Wells, Gardner, 1895.) 169 illust. and decorations. + (16 f. p.) + + _Prince Boohoo and Little Smuts._ Harry Jones. 8º. (Gardner, + Darton, 1896.) 93 illust. and decorations. (27 f. p.) + + _Sintram and his Companions_ and _Undine_. Baron de la Motte + Fouqué. 8º. (Gardner, Darton, 1896.) 80 illust. (12 f. p.) + + _The Surprising Adventures of Sir Toady Lion._ S. R. Crockett. + 8º. (Gardner, Darton, 1897.) 127 illust. and decorations. + (18 f. p.) + + _An African Millionaire._ Grant Allen. 8º. (Grant Richards, + 1897.) 66 illust. + + _Butterfly Ballads and Stories in Rhyme._ Helen Atteridge. 8º. + (Milne, 1898.) 63 illust. (4 f. p.) With Louis Wain and others. + 32 by Gordon Browne. + + _Paleface and Redskin and other Stories._ F. Anstey. 8º. + (Grant Richards, 1898.) 73 illust. and decorations. (10 f. p.) + + _Dr. Jollyboy's A. B. C._ 4º. (Wells, Gardner, 1898.) 43 pictured + pages. (21 f. p.) + + _Paul Carah Cornishman._ Charles Lee. 8º. (Bowden, 1898.) 4 f. p. + + _Macbeth._ Wm. Shakespeare. 8º. (Longmans, 1899. Swan edition.) + 10 f. p. + + _Miss Cayley's Adventures._ Grant Allen. 8º. (Grant Richards, + 1899.) 79 illus. (2 f. p.) + + _The Story of the Treasure Seekers._ (See _Baumer_.) + + _Stories from Froissart._ Henry Newbolt. 8º. (Wells, Gardner, + 1899.) 32 illust. (17 f. p.) + + _Eric, or Little by Little._ F. W. Farrar. 8º. (Black, 1899.) + 78 illust. + + _Hilda Wade._ Grant Allen. 8º. (Grant Richards, 1900.) 98 illust. + (1 f. p.) + + _St. Winifred's._ F. W. Farrar. 8º. (Black, 1900.) 152 illust. + + _Daddy's Girl._ L. T. Meade. 8º. (Newnes, 1901.) 37 illust. + (2 f. p.) + + _Gordon Browne's Series of Old Fairy Tales._ 4º. (Blackie, + 1886-7.) + + _Hop o' my Thumb._ 28 pictured pages. (4 f. p.) + + _Beauty and the Beast._ 34 pictured pages. (4 f. p.) + + _Ivanhoe._ _Guy Mannering._ _Count Robert of Paris._ Walter + Scott. 8º. (Black. Dryburgh Edition.) 10 Woodcuts from drawings + by Gordon Browne. + + By G. A. Henty. 8º. (Blackie, 1887, etc.) + + _Bonnie Prince Charlie._ _With Wolfe in Canada._ _True to + the Old Flag._ _In Freedom's Cause._ _With Clive in India._ + _Under Drake's Flag._ 12 f. p. in each vol. + + _With Lee in Virginia._ _The Lion of St. Mark._ 10 f. p. in + each vol. + + _Orange and Green._ _For Home and Fame._ _St. George for + England._ _Hold fast for England._ _Facing Death._ 8 f. p. + in each vol. + +EDITH CALVERT. + + _Baby Lays._ A. Stow. 8º. (Elkin Matthews, 1897.) 16 illust. + (15 f. p.) + + _More Baby Lays._ A Stow. 8º. (Elkin Matthews, 1898.) 14 illust. + (13 f. p.) + +MARION WALLACE-DUNLOP. + + _Fairies, Elves and Flower Babies._ M. Rivett-Carnac. Obl. + 8º. (Duckworth, 1899.) 55 pictured pages. (4 f. p.) + + _The Magic Fruit Garden._ Marion Wallace-Dunlop. 8º. (Nister, + 1899.) 48 illust. (5 f. p.) + +H. J. FORD. + + _Æsop's Fables._ Arthur Brookfield. 4º. (Fisher Unwin, 1888.) + 29 illust. + + _The Blue Fairy Book._ Edited by Andrew Lang. 8º. (Longmans, + 1899.) 137 illust. (8 f. p.) With G. P. Jacomb Hood. + + _The Red Fairy Book._ Edited by Andrew Lang. 8º. (Longmans, + 1890.) 99 illust. (4 f. p.) With Lancelot Speed. + + _When Mother was little._ S. P. Yorke. 8º. (Fisher Unwin, + 1890.) 13 f. p. + + _A Lost God._ Francis W. Bourdillon. 8º. (Elkin Matthews, + 1891.) 3 Photogravures. + + _The Blue Poetry Book._ Edited by Andrew Lang. 8º. (Longmans, + 1891.) 98 illust. (12 f. p.) With Lancelot Speed. + + _The Green Fairy Book._ Edited by Andrew Lang. 8º. (Longmans, + 1892.) 101 illust. (12 f. p.) + + _The True Story Book._ Edited by Andrew Lang. 8º. (Longmans, + 1893.) 64 illust. (8 f. p.) With L. Bogle, etc. + + _The Yellow Fairy Book._ Edited by Andrew Lang. 8º. (Longmans, + 1894.) 104 illust. (22 f. p.) + + _The Animal Story Book._ Edited by Andrew Lang. 8º. (Longmans, + 1896.) 66 illust. (29 f. p.) + + _The Blue True Story Book._ Edited by Andrew Lang. 8º. + (Longmans, 1896.) 22 illust. (8 f. p.) With Lucien Davis, + etc. Some from _The True Story Book_. + + _The Red True Story Book._ Edited by Andrew Lang. 8º. + (Longmans, 1897.) 41 illust. (10 f. p.) + + _The Pink Fairy Book._ Edited by Andrew Lang. 8º. (Longmans, + 1897.) 68 illust. (33 f. p.) + + _The Arabian Nights' Entertainment._ Selected and Edited by + Andrew Lang. 8º. (Longmans, 1898.) 66 illust. (33 f. p.) + + _Early Italian Love Stories._ Taken from the original by Una + Taylor. 4º. (Longmans, 1899.) 12 illust. and photogravure + frontispiece. + + _The Red Book of Animal Stories._ Selected and edited by + Andrew Lang. 8º. (Longmans, 1899.) 67 illust. (32 f. p.) + + _The Grey Fairy Book._ Edited by Andrew Lang. 8º. (Longmans, + 1900.) 59 illust. (32 f. p.) + + _The Violet Fairy Book._ Edited by Andrew Lang. 8º. (Longmans, + 1901.) 66 illust. (33 f. p., 8 in colours.) + +MRS. ARTHUR GASKIN. + + _A. B. C._ Mrs. Arthur Gaskin. 8º. (Elkin Matthews, 1896.) + 56 pictured pages. + + _Divine and Moral Songs for Children._ Isaac Watts. 8º. + (Elkin Matthews, 1896.) 14 illust. (13 f. p.) In colours. + + _Horn-book Jingles._ Mrs. Arthur Gaskin. 8º. (Leadenhall + Press, 1896-7.) 70 pictured pages. + + _Little Girls and Little Boys._ Mrs. Arthur Gaskin. 12º. + (Dent, 1898.) 27 pictured pages, in colours. + + _The Travellers and other Stories._ Mrs. Arthur Gaskin. 8º. + (Bowden, 1898.) 61 pictured pages, in colours. + +WINIFRED GREEN. + + _Poetry for Children._ Charles and Mary Lamb. Prefatory note + by Israel Gollancz. 8º. (Dent, 1898.) 56 illust. and decorations. + (30 f. p., in colours.) + + _Mrs. Leicester's School._ Charles and Mary Lamb. Obl. 8º. + (Dent, 1899.) 41 illust. and decorations. (13 f. p., in colours.) + +EMILY J. HARDING. + + _An Affair of Honour._ Alice Weber. 4º. (Farran, 1892.) 19 + illust. (6 f. p.) + + _The Disagreeable Duke._ Ellinor Davenport Adams. 8º. (Geo. + Allen, 1894.) 8 f. p. + + _Fairy Tales of the Slav Peasants and Herdsmen._ From the + French of Alex. Chodsko. Translated by Emily J. Harding. + (Allen, 1896.) 56 illust. (33 f. p.) + + _Hymn on the Morning of Christ's Nativity._ (See _T. H. + Robinson_.) + +VIOLET M. AND E. HOLDEN. + + _The Real Princess._ Blanche Atkinson. 8º. (Innes, 1894.) + 19 illust. (5 f. p.) + + _The House that Jack Built._ 32º. (Dent, 1895. Banbury + Cross Series.) 39 illust. and decorations. (14 f. p.) + +ARCHIE MACGREGOR. + + _Katawampus: Its Treatment and Cure._ Judge Parry. 8º. + (Nutt, 1895.) 31 illust. and decorations. (7 f. p.) + + _Butterscotia, or A Cheap Trip to Fairyland._ Judge Parry. + 8º. (Nutt, 1896.) 35 illust. (5 f. p.) + + _The First Book of Krab._ Judge Parry. 8º. (Nutt, 1897.) 25 + illust. and decorations. (3 f. p.) + + _The World Wonderful._ Charles Squire. 8º. (Nutt, 1898.) 35 + illust. and decorations. (10 f. p.) + +H. R. MILLAR. + + _The Humour of Spain._ Selected with an introduction and notes + by Susan M. Taylor. 8º. (Scott, 1894.) 52 illust. (39 f. p.) + + _The Golden Fairy Book._ George Sand, etc. (Hutchinson, 1894.) + 110 illust. (11 f. p.) + + _Fairy Tales Far and Near._ 8º. (Cassell, 1895.) 28 illust. + (7 f. p.) + + _The Adventures of Hajji Baba of Ispahan._ James Morier. + 8º. (Macmillan, 1895.) 40 illust. (25 f. p.) + + _The Silver Fairy Book._ Sarah Bernhardt, etc. 8º. (Hutchinson, + 1895.) 84 illust. (7 f. p.) + + _The Phantom Ship._ Captain Marryat. 8º. (Macmillan, 1896. + Illustrated Standard Novels.) 40 f. p. + + _Headlong Hall, and Nightmare Abbey._ T. Love Peacock. With + introduction by George Saintsbury. 8º. (Macmillan, 1896.) + 40 f. p. + + _Frank Mildmay._ Captain Marryat. Introduction by David + Hannay. 8º. (Macmillan, 1897. Illustrated Standard Novels.) + 40 illust. (27 f. p.) + + _Snarleyyow._ Captain Marryat. Introduction by David Hannay. + 8º. (Macmillan, 1897. Illustrated Standard Novels.) 40 + illust. (33 f. p.) + + _The Diamond Fairy Book._ Isabel Bellerby, etc. 8º. (Hutchinson, + 1897.) 83 illust. (12 f. p.) + + _Untold Tales of the Past._ Beatrice Harraden. 8º. (Blackwood, + 1897.) 39 illust. (31 f. p.) + + _Eothen._ A. W. Kinglake. 8º. (Newnes, 1898.) 40 illust. + (17 f. p.) + + _Phroso._ Anthony Hope. 8º. (Methuen, 1897.) 8 f. p. + + _The Book of Dragons._ E. Nesbit. 8º. (Harper, 1900.) 15 f. p. + Decorations by H. Granville Fell. + + _Nine Unlikely Tales for Children._ E. Nesbit. 8º. (Fisher + Unwin, 1901.) 27 f. p. + + _Booklets by Count Tolstoi._ 8º. (Walter Scott, 1895-7.) 2 f. p. + in each vol. + + _Master and Man._ _Ivan the Fool._ _What Men Live By._ + _Where Love is there God is also._ _The Two Pilgrims._ + +CARTON MOORE PARK. + + _An Alphabet of Animals._ Carton Moore Park. 4º. (Blackie, + 1899.) 52 pictured pages. (26 f. p.) + + _A Book of Birds._ Carton Moore Park. Fol. (Blackie, 1900.) + 27 f. p. + + _A Child's London._ Hamish Hendry. 4º. (Sands, 1900.) 46 illust. + and decorations. (14 f. p.) + + _The Confessions of Harry Lorrequer._ Charles Lever. With + introduction by W. K. Leask. 8º. (Gresham Publishing Co., + 1900.) 6 f. p. + + _A Book of Elfin Rhymes._ Norman. 4º. (Gay and Bird, 1900.) + 40 illust., in colours. + + _The Child's Pictorial Natural History._ 4º. (S.P.C.K., 1901.) + 12 illust. (9 f. p.) + +ROSIE M. M. PITMAN. + + _Maurice, or the Red Jar._ The Countess of Jersey. 8º. + (Macmillan, 1894.) 9 f. p. + + _Undine._ Baron de la Motte Fouqué. 8º. (Macmillan, 1897.) + 63 illust. and decorations. (32 f. p.) + + _The Magic Nuts._ Mrs. Molesworth. 8º. (Macmillan, 1898.) 8 + illust. (7 f. p.) + +ARTHUR RACKHAM. + + _The Dolly Dialogues._ Anthony Hope. 8º. ('Westminster + Gazette,' 1894.) 4 f. p. + + _Sunrise-Land._ Mrs. Alfred Berlyn. 8º. (Jarrold, 1894.) + 136 illust. (2 f. p.) + + _Tales of a Traveller._ Washington Irving. 2 vols. 4º. + (Putman, 1895. Buckthorne edition.) 25 illust., with + borders and initials. 5 photogravures by Arthur Rackham. + + _The Sketch Book._ Washington Irving. 2 vols. 4º. (Putman, + 1895. Van Tassel edition.) 32 illust., with others. Borders. + 4 photogravures by Arthur Rackham. + + _The Money Spinner and other Character Notes._ Henry Seton + Merriman and S. G. Tallintyre. 8º. (Smith, Elder, 1896.) 12 f. p. + + _The Zankiwank and the Bletherwitch._ S. J. Adair Fitzgerald. + 8º. (Dent, 1896.) 41 illust. (17 f. p.) + + _Two Old Ladies, Two Foolish Fairies and a Tom Cat._ Maggie + Browne. 8º. (Cassell, 1897.) 23 illust. (14 f. p., 4 in colours.) + + _Charles O'Malley._ Charles Lever. 8º. (Service and Paton, + 1897.) 16 f. p. + + _The Grey Lady._ Henry Seton Merriman. 8º. (Smith, Elder, + 1897.) 12 f. p. + + _Evelina._ Frances Burney. 8º. (Newnes, 1898.) 16 f. p. + + _The Ingoldsby Legends._ H. R. Barham. 8º. (Dent, 1898.) + 102 illust. (40 f. p.) 12 printed in colours. + + _Feats on the Fjords._ Harriet Martineau. 8º. (Dent, 1899. + Temple Classics for Young People.) 12 f. p. + + _Tales from Shakespeare._ Charles and Mary Lamb. 8º. (Dent, + 1899. Temple Classics for Young People.) 12 f. p. + + _Fairy Tales of the Brothers Grimm._ Translated by Mrs. + Edgar Lucas. 8º. (Freemantle, 1900.) 102 illust. (32 f. p., + in colours.) + +CHARLES ROBINSON. + + _Æsop's Fables._ 32º. (Dent, 1895. Banbury Cross Series.) + 45 illust. and decorations. (15 f. p.) + + _Animals in the Wrong Places._ Edith Carrington. 16º. (Bell, + 1896.) 14 illust. (11 f. p.) + + _The Child World._ Gabriel Setoun. 8º. (Lane, 1896.) 104 illust. + and decorations. (11 f. p.) + + _Make-believe._ H. D. Lowry. 8º. (Lane, 1896.) 53 illust. and + decorations. (4 f. p.) + + _A Child's Garden of Verses._ Robert Louis Stevenson. 8º. + (Lane, 1896.) 173 illust. and decorations. (14 f. p.) + + _Dobbie's Little Master._ Mrs. Arthur Bell. (Bell, 1897.) 8 + illust. (3 f. p.) + + _King Longbeard, or Annals of the Golden Dreamland._ + Barrington MacGregor. 8º. (Lane, 1898.) 116 illust. and + decorations. (12 f. p.) + + _Lullaby Land._ Eugene Field. Selected by Kenneth Grahame. + 8º. (Lane, 1898.) 204 illust. and decorations. (14 f. p.) + + _Lilliput Lyrics._ W. B. Rand. Edited by R. Brimley Johnson. + 8º. (Lane, 1899.) 113 illust. and decorations. (9 f. p., 1 in + colours.) + + _Fairy Tales from Hans Christian Andersen._ Translated by + Mrs. E. Lucas. 8º. (Dent, 1899.) 107 illust. and decorations. + (40 f. p., 1 in colours.) With Messrs. T. H. and W. H. Robinson. + + _Pierrette._ Henry de Vere Stacpoole. 8º. (Lane, 1900.) 21 + illust. and decorations. (14 f. p.) + + _Child Voices._ W. E. Cule. 8º. (Melrose, 1900.) 17 illust. + and decorations. (13 f. p.) + + _The Little Lives of the Saints._ Rev. Percy Dearmer. 8º. + (Wells, Gardner, 1900.) 64 illust. and decorations. (13 f. p.) + + _The Adventures of Odysseus._ Retold in English by F. S. + Marion, R. J. G. Mayor, and F. M. Stawell. 8º. (Dent, + 1900.) 28 illust. and decorations. (14 f. p., 1 in colours.) + + _The True Annals of Fairy Land. The Reign of King Herla._ + Edited by William Canton. 8º. (Dent, 1900.) 185 illust. and + decorations. (22 f. p., 1 in colours.) + + _Sintram and his Companions_ and _Aslauga's Knight_. Baron + de la Motte Fouqué. 8º. (Dent, 1900. Temple Classics for + Young People.) 12 f. p., 1 in colours. + + _The Master Mosaic-Workers._ George Sand. Translated by + Charlotte C. Johnston. 8º. (Dent, 1900. Temp. Class. for + Young People.) 12 f. p., 1 in colours. + + _The Suitors of Aprille._ Norman Garstin. 8º. (Lane, 1900.) + 18 illust. and decorations. (15 f. p.) + + _Jack of all Trades._ J. J. Bell. 4º. (Lane, 1900.) 32 f. p., + in colours. + +T. H. ROBINSON. + + _Old World Japan._ Frank Rinder. 8º. (Allen, 1895.) 34 illust. + (14 f. p.) + + _Cranford._ Mrs. Gaskell. 8º. (Bliss, Sands, 1896.) 17 illust. + (16 f. p.) + + _Legends from River and Mountain._ Carmen Sylva and Alma + Strettell. 8º. (Allen, 1896.) 41 illust. (10 f. p.) + + _The History of Henry Esmond._ W. M. Thackeray. 8º. (Allen, + 1896.) 72 illust. and decorations, (1 f. p.) + + _The Scarlet Letter._ Nathaniel Hawthorne. 8º. (Bliss, Sands, + 1897.) 8 f. p. + + _A Sentimental Journey through France and Italy._ Laurence + Sterne. 8º. (Bliss, Sands, 1897.) 89 illust. and decorations. + (13 f. p.) + + _Hymn on the Morning of Christ's Nativity._ John Milton. + 8º. (Allen, 1897.) 15 f. p. With Emily J. Harding. + + _A Child's Book of Saints._ W. Canton. 8º. (Dent, 1898.) 19 f. p. + (1 in colours.) + + _The Heroes, or Greek Fairy Tales for my Children._ Chas. + Kingsley. 8º. (Dent, 1899. Temple Classics for Young People.) + 12 f. p., 1 in colours. + + _Fairy Tales from the Arabian Nights._ 11 f. p., 1 in colours. + + _Fairy Tales from Hans Christian Andersen._ 8º. (Dent, 1899.) + (See _C. H. Robinson_.) + + _A Book of French Songs for the Young._ Bernard Minssen. + 8º. (Dent, 1899.) 55 illust. and decorations. (9 f. p.) + + _Lichtenstein._ Adapted from the German of Wilhelm Hauff by + L. L. Weedon. 8º. (Nister, 1900.) 20 illust. and decorations. + (8 f. p.) + + _The Scottish Chiefs._ Jane Porter. 8º. (Dent, 1900.) 65 illust. + (19 f. p.) + +W. H. ROBINSON. + + _Don Quixote._ Translated by Charles Jarvis. 8º. (Bliss, Sands, + 1897.) 16 f. p. + + _The Pilgrim's Progress._ John Bunyan. Edited by George Offer. + 8º. (Bliss, Sands, 1897.) 24 f. p. + + _The Giant Crab and Other Tales from Old India._ Retold by + W. H. D. Rouse. 8º. (Nutt, 1897.) 52 illust. and decorations. + (7 f. p.) + + _Danish Fairy Tales and Legends._ Hans Christian Andersen. + 8º. (Bliss, Sands, 1897.) 16 f. p. + + _The Arabian Nights' Entertainments._ 4º. (Newnes, by arrangement + with Messrs. Constable, 1899.) 546 illust. With Helen Stratton, + A. D. McCormick, A. L. Davis and A. P. Norbury. (38 f. p.) + + _The Talking Thrush and other Tales from India._ Collected by + W. Cooke. Retold by W. H. D. Rouse. 8º. (Dent, 1899.) 84 illust. + and decorations. (8 f. p.) + + _Fairy Tales from Hans Christian Andersen._ (See _Charles + Robinson_.) + + _The Poems of Edgar Allan Poe._ Introduction by H. Noel Williams. + 8º. (Bell, 1900. The Endymion Series.) 103 illust. and + decorations. (2 double-page, 26 f. p.) + + _Tales for Toby._ Ascott R. Hope. 8º. (Dent, 1900.) 29 illust. + and decorations. (5 f. p.) With S. Jacobs. + +HELEN STRATTON. + + _Songs for Little People._ Norman Gale. 8º. (Constable, 1896.) + 119 illust. and decorations. (8 f. p.) + + _Tales from Hans Andersen._ 8º. (Constable, 1896.) 58 illust. + and decorations. (6 f. p.) + + _Beyond the Border._ Walter Douglas Campbell. 8º. (Constable, + 1898.) 167 illust. (40 f. p.) + + _The Fairy Tales of Hans Christian Andersen._ 4º. (Newnes, + by arrangement with Messrs. Constable, 1899.) 424 illust. + Some reprinted from _Tales from Hans Andersen_. + + _The Arabian Nights' Entertainments._ (See _W. H. Robinson_.) + +A. G. WALKER. + + _The Lost Princess, or the Wise Woman._ George Macdonald. + 8º. (Wells, Gardner, 1895.) 22 illus. (6 f. p.) + + _Stories from the Faerie Queene._ Mary Macleod. With introduction + by J. W. Hales. 8º. (Gardner, Darton, 1897.) 86 illust. (40 f. p.) + + _The Book of King Arthur and his Noble Knights._ Stories from + Sir Thomas Malory's _Morte D'Arthur_. Mary Macleod. 8º. (Wells, + Gardner, 1900.) 72 illust. (35 f. p.) + +ALICE B. WOODWARD. + + _Eric, Prince of Lorlonia._ Countess of Jersey. 8º. + (Macmillan, 1895.) 8 f. p. + + _Banbury Cross and other Nursery Rhymes._ 32º. (Dent, 1895. + Banbury Cross Series.) 62 pictured pages. (23 f. p.) + + _To Tell the King the Sky is Falling._ Sheila E. Braine. + 8º. (Blackie, 1896.) 85 illust. and decorations. (8 f. p.) + + _Bon-Mots of the Eighteenth Century._ 16º. (Dent, 1897.) 64 + grotesques. (7 f. p.) + + _Bon-Mots of the Nineteenth Century._ 16º. (Dent, 1897.) 64 + grotesques. (9 f. p.) + + _Brownie._ Alice Sargant. Music by Lilian Mackenzie. Obl. + folio. (Dent, 1897.) 44 pictured pages, in colours. + + _Red Apple and Silver Bells._ Hamish Hendry. 8º. (Blackie, + 1897.) 152 pictured pages. (21 f. p., in colours.) + + _Adventures in Toyland._ Edith Hall King. 4º. (Blackie, + 1897.) 78 illust. and decorations. (8 f. p., in colours.) + + _The Troubles of Tatters and other Stories._ Alice Talwin Morris. + 8º. (Blackie, 1898.) 62 illust. and decorations. (8 f. p.) + + _The Princess of Hearts._ Sheila E. Braine. 4º. (Blackie, + 1899.) 69 illust. and decorations. (4 f. p., in colours.) + + _The Cat and the Mouse._ Obl. 4º. (Blackie, 1899.) 24 pictured + pages. (6 f. p., in colours.) + + _The Elephant's Apology._ Alice Talwin Morris. 8º. (Blackie, + 1899.) 35 illust. + + _The Golden Ship and other Tales._ Translated from the Swahili. + 8º. (Universities' Mission, 1900.) 36 illust. and decorations, + with Lilian Bell. (19 f. p., 4 by A. B. Woodward.) + + _The House that Grew._ Mrs. Molesworth. 8º. (Macmillan, 1900.) + 8 illust. (7 f. p.) + +ALAN WRIGHT. + + _Queen Victoria's Dolls._ Frances H. Low. 4º. (Newnes, 1894.) + 73 illust. and decorations. (36 f. p., 34 in colours.) + + _The Wallypug in London._ G. E. Farrow. 8º. (Methuen, 1898.) + 56 illust. (13 f. p.) + + _Adventures in Wallypug Land._ G. E. Farrow. 8º. (Methuen, + 1898.) 55 illust. (18 f. p.) + + _The Little Panjandrum's Dodo._ G. E. Farrow. 8º. (Skeffington, + 1899.) 72 illust. (4 f. p.) + + _The Mandarin's Kite._ G. E. Farrow. 8º. (Skeffington, 1900.) + 57 illust. + + + + +INDEX OF ARTISTS. + + +Abbey, E. A., 36, 64, 87, 144. + +Allingham, Mrs., 95. + +Ansted, Alexander, 50, 132. + + +Barnes, Robert, 95. + +Barrett, C. R. B., 47, 48, 132. + +Batten, J. D., 109, 110, 158. + +Bauerle, Amelia, 14, 121. + +Baumer, Lewis, 99, 159. + +Bedford, F. D., 106, 159. + +Bell, R. Anning, 7, 121. + +Billinghurst, P. J., 117, 160. + +Boyd, A. S., 76, 90, 145. + +Bradley, Gertrude M., 106, 160. + +Brangwyn, Frank, 91, 146. + +Britten, W. E. F., 29, 122. + +Brock, C. E., 83, 146. + +Brock, H. M., 83, 84, 148. + +Brooke, L. Leslie, 99, 160. + +Browne, Gordon, 96, 161. + +Bryden, Robert, 64. + +Bulcock, Percy, 14, 122. + +Burns, Robert, 26. + + +Cadenhead, James, 26. + +Calvert, Edith, 102, 165. + +Cameron, D. Y., 41, 64, 133. + +Cleaver, Ralph, 76. + +Cleaver, Reginald, 76. + +Clifford, H. P., 53. + +Cole, Herbert, 13, 14, 122. + +Connard, Philip, 13, 14, 122. + +Cooke, W. Cubitt, 84, 149. + +Cowper, Max, 93. + +Crane, Walter, 3, 96, 98, 122. + + +Dadd, Frank, 92. + +Davis, Louis, 7. + +Davison, Raffles, 50. + +Duncan, John, 26. + +Dunlop, Marion Wallace, 106, 165. + + +Edwards, M. E., 95. + +Erichsen, Nelly, 46, 133. + + +Fell, H. Granville, 27, 126. + +Fitton, Hedley, 46, 133. + +Ford, H. J., 109, 110, 165. + +Forestier, Amedée, 92, 93. + +Fulleylove, J., 31, 39, 134. + +Furniss, Sir Harry, 58, 86, 88, 150. + + +Gaskin, A. J., 10, 126. + +Gaskin, Mrs. Arthur, 101, 166. + +Gere, C. M., 12, 50, 126. + +Goldie, Cyril, 14. + +Gould, F. Carruthers, 88. + +Green, Winifred, 101, 166. + +Greiffenhagen, Maurice, 76. + +Griggs, F. L., 54, 134. + +Guthrie, J. J., 26, 27, 127. + + +Harding, Emily J., 112, 166. + +Hardy, Dudley, 93. + +Hardy, Paul, 92. + +Hare, Augustus, 47. + +Hartrick, A. S., 76. + +Harper, C. G., 47, 134. + +Hill, L. Raven, 86, 87. + +Holden, Violet M. and E., 102, 167. + +Hole, William B., 92, 151. + +Hood, G. P. Jacomb, 91. + +Hopkins, Arthur, 90. + +Hopkins, Edward, 90. + +Horne, Herbert, 10. + +Housman, Laurence, 15, 127. + +Hughes, Arthur, 95. + +Hurst, Hal, 93. + +Hyde, William, 39, 135. + + +Image, Selwyn, 10. + + +Jalland, G. P., 90. + +James, Helen, 46. + +Jones, A. Garth, 14, 15, 128. + + +Kitton, F. G., 48, 135. + + +Levetus, Celia, 12, 128. + + +Macdougall, W. B., 26, 128. + +MacGregor, Archie, 107, 167. + +Mallows, C. E., 50. + +Mason, Fred, 12, 128. + +May, Phil, 86, 87. + +Millais, J. G., 54, 135. + +Millar, H. R., 109, 112, 167. + +Millet, F. D., 36. + +Moore, T. Sturge, 18, 24, 129. + +Muckley, L. Fairfax, 12, 129. + + +New, E. H., 10, 38, 50, 136. + +North, J. W., 31. + + +Ospovat, Henry, 13, 14, 129. + + +Paget, H. M., 92, 152. + +Paget, Sidney, 68, 152. + +Paget, Walter, 92, 152. + +Park, Carton Moore, 118, 168. + +Parsons, Alfred, 31, 35, 137. + +Partridge, J. Bernard, 58, 86, 153. + +Payne, Henry, 12. + +Pegram, Fred, 68, 69, 153. + +Pennell, Joseph, 31, 38, 41, 137. + +Pissarro, Lucien, 18, 24. + +Pitman, Rosie M. M., 117, 168. + +"Pym, T.," 95. + + +Rackham, Arthur, 108, 168. + +Railton, Herbert, 31, 38, 45, 74, 139 + +Reed, E. T., 88. + +Reid, Sir George, 31, 141. + +Reid, Stephen, 68. + +Ricketts, Charles, 18, 129. + +Robinson, Charles, 102, 114, 169. + +Robinson, T. H., 114, 170. + +Robinson, W. H., 114, 116, 171. + +Ryland, Henry, 7. + + +Sambourne, Linley, 86, 88. + +Sauber, Robert, 93. + +Savage, Reginald, 18, 24, 130. + +Shannon, C. H., 18, 130. + +Shaw, Byam, 13, 130. + +Shepherd, J. A., 118. + +Shepperson, C. A., 68, 74, 154. + +Sleigh, Bernard, 12, 130. + +Speed, Lancelot, 110. + +Spence, Robert, 14. + +Strang, William, 58, 154. + +Stratton, Helen, 116, 172. + +Sullivan, E. J., 15, 74, 77, 155. + +Sumner, Heywood, 6, 130. + + +Tenniel, Sir John, 86, 88, 96. + +Thomas, F. Inigo, 50, 142. + +Thomson, Hugh, 68, 79, 156. + +Townsend, F. H., 68, 69, 72, 157. + +Tringham, Holland, 46. + + +Wain, Louis, 118. + +Walker, A. G., 116, 172. + +Weguelin, J. R., 29, 131. + +Weir, Harrison, 54. + +Wheeler, E. J., 91. + +Whymper, Charles, 54, 142. + +Williams, R. J., 53. + +Wilson, Edgar, 56. + +Wilson, Patten, 28, 131. + +Woodroffe, P. V., 13, 14, 131. + +Woodward, Alice B., 104, 172. + +Wright, Alan, 107, 173. + +[Illustration] + +CHISWICK PRESS: CHARLES WHITTINGHAM AND CO. +TOOKS COURT, CHANCERY LANE, LONDON. + + * * * * * + + +Transcriber's Notes + + +Italicized text is shown within _underscores_. Quarto, (normally 4to), +is shown as 4º, and octavo, (normally 8vo), is shown as 8º. + +Illustrations were moved outside of paragraphs and closer to their +pertinent paragraphs. Although the List of Illustrations displays the +original page number, the html version of this book links the page +numbers to the illustrations. + +Made minor punctuation corrections and the following changes: + +Page vii: Contents, Bibliographies: Changed "Book" to "Books" and +"Illustrations" to "Illustrators". + Orig.: Some Children's-Book Illustrations. + +Page 55: Illustration: Changed "HOMES" to "HORNS". + Orig.: FROM HIS 'BRITISH DEER AND THEIR HOMES.' + +Page 130: Indented Essex House Press under author Reginald Savage. +Changed "Woolam" to "Woolman". + Orig.: Essex House Press ... The Journal of John Woolam. + +Page 141: Changed "Tho" to "The". + Orig.: Ripon Cathedral. Tho Ven. Archdeacon Danks. + +Page 170: Changed "Ohe" to "The", and "Hesla" to "Herla". + Orig.: The True Annals of Fairy Land. 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