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+++ b/40322-0.txt
@@ -1,38 +1,4 @@
-The Project Gutenberg EBook of Modern Illustration, by Joseph Pennell
-
-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/license
-
-
-Title: Modern Illustration
-
-Author: Joseph Pennell
-
-Release Date: July 24, 2012 [EBook #40322]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK MODERN ILLUSTRATION ***
-
-
-
-
-Produced by Chris Curnow and the Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images generously made available by The
-Internet Archive)
-
-
-
-
-
-
-
-
+*** START OF THE PROJECT GUTENBERG EBOOK 40322 ***
 
 THE EX-LIBRIS SERIES. EDITED BY GLEESON WHITE.
 
@@ -244,24 +210,24 @@ page nearest to them._
 
   A. DE NEUVILLE      Wood-engraving by Farlet from "Coups de Fusil"  59
 
-  GUSTAVE DORÉ        Wood-engraving by Brunier, from "Spain"         58
+  GUSTAVE DORÉ        Wood-engraving by Brunier, from "Spain"         58
 
      "      "         Process block by Dellagana, from a lithograph   60
 
   D. VIERGE           Pen drawing, process by Gillot, from
-                        "Pablo de Ségovie"                            60
+                        "Pablo de Ségovie"                            60
 
   LOUIS MORIN         Pen drawing, process, unsigned, from
-                        "L'Art et l'Idée"                         62, 63
+                        "L'Art et l'Idée"                         62, 63
 
-  CARLOS SCHWÆBE      Pen drawing, process, unsigned, from
-                        Zola's "Le Rêve"                              62
+  CARLOS SCHWÆBE      Pen drawing, process, unsigned, from
+                        Zola's "Le Rêve"                              62
 
   E. GRASSET          Pen drawing, process by Hare, from
                         "Quatre Fils Aymon"                           63
 
-  J. F. RAFFAËLLI     Pen drawing, process, unsigned, from
-                        "Paris Illustré"                              64
+  J. F. RAFFAËLLI     Pen drawing, process, unsigned, from
+                        "Paris Illustré"                              64
 
   H. IBELS            Pen drawing, process, unsigned, from
                         "L'Art du Rire"                           65, 66
@@ -276,10 +242,10 @@ page nearest to them._
                         Caran D'Ache"                                 67
 
   A. ROBIDA           Pen drawing, process, unsigned, from
-                        "Journal d'un vieux garçon"                   67
+                        "Journal d'un vieux garçon"                   67
 
   J. L. FORAIN        Pen drawing, process, unsigned, from
-                        "La Comédie Parisienne"                       68
+                        "La Comédie Parisienne"                       68
 
   P. RENOUARD         Wood-engraving, unsigned, from chalk
                         drawing in "The Graphic"                      68
@@ -308,7 +274,7 @@ page nearest to them._
                         "The Dance of Death"                          74
 
   G. DE NITTIS        Process, unsigned, from wash and brush,
-                        "Paris Illustré"                              76
+                        "Paris Illustré"                              76
 
   W. BUSCH            Process, unsigned, from pen drawing,
                         "Balduin Bahlamm"                             77
@@ -319,8 +285,8 @@ page nearest to them._
   H. SCHLITTGEN       Process, unsigned, from pen drawing,
                         "Ein erster und ein letzter Ball"             78
 
-  FRANZ STÜCK         Process, unsigned, from painting, "Franz
-                        Stück Album"                                  79
+  FRANZ STÃœCK         Process, unsigned, from painting, "Franz
+                        Stück Album"                                  79
 
   J. GARCIA Y RAMOS   Process, unsigned, from pen and wash drawing    79
 
@@ -628,7 +594,7 @@ may seem, the collection of original drawings is one of my hobbies;
 others may collect bad prints, I prefer good originals. The proprietors
 of "The Daily Chronicle" allowed us to reproduce a number of designs
 made for that paper, and published in it during February, 1895. That no
-drawings are included from many of the artists of "Fliegende Blätter" is
+drawings are included from many of the artists of "Fliegende Blätter" is
 because the proprietors refused to allow them to be reproduced or used;
 no doubt the publishers have daily applications of the same sort, but as
 a book like this is not intended as a rival to a comic paper, I think
@@ -757,7 +723,7 @@ the "Yellow Book" has come into existence, and been artistically
 eclipsed--I hope but for a short while--since I have been working at
 this volume. Temporarily, the shrieking brother and sisterhood have hurt
 the pockets of a few artists; but illustrators may be consoled by
-remembering that from the time of Dürer to the pre-Raphaelites, from
+remembering that from the time of Dürer to the pre-Raphaelites, from
 Whistler to Eternity, Art never has been and never will be understanded
 of the people; but they no longer dare to burn our productions, they
 only write to the newspapers about them. Art can stand that--even though
@@ -913,7 +879,7 @@ ever employed to illuminate important manuscripts.
 
 After the introduction of printing, the same state of affairs continued.
 Although the most beautiful books which came from the early German press
-appeared during the lifetime of Dürer, his contributions as an
+appeared during the lifetime of Dürer, his contributions as an
 illustrator are curiously limited, considering the amount of
 black-and-white work which he produced. He illustrated not more than
 three or four books, and of these only the Missal of the Emperor
@@ -921,13 +887,13 @@ Maximilian was worked out completely.[3] The great Italians never did
 anything of any importance, if we except Botticelli's designs for Dante
 which were never completed. Velasquez has left nothing behind him; nor
 has Rembrandt. A few of Rubens' sketches for title-pages exist in
-Antwerp, and Dürer's monograms and various decorative designs have
+Antwerp, and Dürer's monograms and various decorative designs have
 proved a veritable mine for the minor artists, or greatest thieves--I
 mean the decorators--who are with us still. With the exception of Hans
 Holbein, there never was in the past a great artist who devoted himself
 to illustration. The glorification of these minor craftsmen into great
 illustrators is unjust, incorrect, and absurd, when one seriously
-considers it. Dürer's designs were really published and sold as
+considers it. Dürer's designs were really published and sold as
 portfolios of engravings, or separately, although there was a little
 text with them, but not as illustrated books. So, too, were those of
 Rubens; while Rembrandt's etchings were altogether published separately.
@@ -939,7 +905,7 @@ certain on this point, since on some of the finest books, like the
 recorded.
 
   [3] This is a combination of illumination and printing, the
-      illustrations being original drawings by Dürer. The text
+      illustrations being original drawings by Dürer. The text
       is printed; but two or three copies exist.
 
 Although it is impossible now to give with absolute certainty the true
@@ -950,24 +916,24 @@ known at all, and this implied his being reasonably successful, was the
 head of a large shop in which the artist and the actual engraver were
 mere necessary evils; the proprietor, I do not doubt, taking not only
 all the credit, as we know, but most likely the bulk of the cash as
-well. Secondly, we have Dürer's own testimony that his wood-cutters were
-incompetent, and careless, and the much belauded line of Dürer which one
+well. Secondly, we have Dürer's own testimony that his wood-cutters were
+incompetent, and careless, and the much belauded line of Dürer which one
 is bidden to admire in the wood-block to-day, he himself, it is almost
 certain, did not cut.[4] But he sketched freely on paper, his design was
 then copied by another person on the block, and the third man cut it.
-That Dürer did work on the wood, correcting his designs and criticising
+That Dürer did work on the wood, correcting his designs and criticising
 his wood-cutters, there can be little doubt, simply from the improvement
 in this method of reproduction which began with him. But the reason that
-a great artist like Dürer did not contribute illustrations to books most
+a great artist like Dürer did not contribute illustrations to books most
 probably is because he was not decently paid for them, and because his
 designs were all cut to pieces. Finally, not only was almost all the
 engraving, except work done under the direct supervision, or influence,
-of Dürer, absolutely characterless so far as the quality of the line
+of Dürer, absolutely characterless so far as the quality of the line
 went, but there is not a single early printed book to be found in which
 the illustrations are decently printed. There is scarcely a solid black
 in any of them.[5]
 
-  [4] See "Literary Remains of Albert Dürer," and F. Didot's
+  [4] See "Literary Remains of Albert Dürer," and F. Didot's
       "Gravure sur Bois."
 
   [5] Some of Ratdolt's are among the exceptions.
@@ -993,7 +959,7 @@ engravings were almost always sold as separate works of art, it hardly
 seems to me that engravings on metal or on stone, like lithographs,
 properly come under the head of illustration for printed books.
 
-The use of what we call now _clichés_ and stock blocks was almost
+The use of what we call now _clichés_ and stock blocks was almost
 universal, even from the very invention of printing, when the
 illustrations to the block-books were cut up for this purpose; and not
 only this: the same map was made to do duty for as many countries as
@@ -1146,7 +1112,7 @@ London with the Williamses. The result was, that, within ten years of
 their return, a school of wood-engravers, nearly as good as the English,
 arose in France, together with a number of draughtsmen, greatly superior
 to those of England. Among the engravers who should be mentioned are
-Best, Brévière, Leveille, Lavoignat, Piaud, Pisan, and Poirret. They
+Best, Brévière, Leveille, Lavoignat, Piaud, Pisan, and Poirret. They
 worked after Gigoux, the Johannots, Isabey, Paul Huet, Jacque,
 Meissonier, Charlet, Daubigny, Daumier, Gavarni, Monnier, and Raffet.
 
@@ -1159,8 +1125,8 @@ a faithfulness of _facsimile_ by their engravers, many of whom, as I
 have said, were English, quite unknown at that time in work published
 in England. So great was the reputation of these illustrators, artists
 and engravers both, that two Germans, Braun and Roehle, came to Paris to
-work with Brévière. This international exchange of engravers has kept
-up, in a measure, till the present time; M. Lepère, for instance,
+work with Brévière. This international exchange of engravers has kept
+up, in a measure, till the present time; M. Lepère, for instance,
 studied in England with Smeeton, while it is well known that the
 director of the "Graphic" was working in Paris almost up to 1870.
 
@@ -1169,7 +1135,7 @@ Wood-engraving, unsigned.]
 
 In 1830 I think one may safely say that the first really important
 modern illustrated book, in which wood was substituted for metal
-engraving, appeared in France. This was the "Histoire du Roi de Bohème,"
+engraving, appeared in France. This was the "Histoire du Roi de Bohème,"
 by Johannot. Though published twenty years later than Rogers' "Poems,"
 with Stothard's illustrations, as an example of engraving it was
 scarcely any better. But the designs--little head and tail-pieces--were
@@ -1196,12 +1162,12 @@ Gigoux himself is founded on Goya. In 1838, however, was issued a book
 which, in drawing, engraving, and printing, completely outdistanced
 anything that had heretofore appeared in England or in France: Curmer's
 edition of "Paul et Virginie," dedicated by a grateful publisher, "Aux
-artistes qui ont élevé ce monument typographique à la mémoire de J. H.
+artistes qui ont élevé ce monument typographique à la mémoire de J. H.
 Bernardin de Saint-Pierre." These artists include the names of nearly
 everyone who was then, or soon became famous in French art. The book
 contains marines by Isabey, beautiful landscapes by Paul Huet, animals
 and figures by Jacque, and, above all, drawings by Meissonier, who
-contributed over a hundred to this story and to the "Chaumière
+contributed over a hundred to this story and to the "Chaumière
 Indienne," published under the same cover. All the best French and
 English engravers collaborated. Even the printing was excellent, for the
 use of overlays, made by Aristide Derniame, had begun to be fully
@@ -1220,7 +1186,7 @@ Cie.
 
 After this, for some ten years, there was a perfect deluge of finely
 illustrated books. The "Vicar of Wakefield," with Jacque's drawings,
-Molière, "Don Quixote," "Le Diable Boiteux." Magazines, too, were
+Molière, "Don Quixote," "Le Diable Boiteux." Magazines, too, were
 brought out; the "Magazin Pittoresque," which had started in 1833,
 published in 1848 Meissonier's "Deux Joueurs," engraved by Lavoignat; in
 many ways this remains, even to-day, one of the best pieces of
@@ -1263,7 +1229,7 @@ his interpreter. For an accurate account of this inartistic triumph I
 would recommend the works of Mr. W. J. Linton.
 
 In France the art of illustration continued to improve. It culminated in
-1858 in the "Contes Rémois," with Meissonier for draughtsman and
+1858 in the "Contes Rémois," with Meissonier for draughtsman and
 Lavoignat and Leveille for engravers. These illustrations are absolutely
 equal to Menzel's best work, and are by far the finest ever produced in
 France.
@@ -1288,7 +1254,7 @@ Frederick the Great," and the "Heroes of War and Peace," those monuments
 to Menzel's art and German illustration. Indeed, it seems to me that,
 until the introduction of photography, there is little to be said of
 German illustration that does not relate entirely to Menzel and Dietz,
-and some of the artists on "Fliegende Blätter," which was founded in
+and some of the artists on "Fliegende Blätter," which was founded in
 1844.
 
   [10] Rather English and French, Andrew, Best, Leloir.
@@ -1368,13 +1334,13 @@ artistic books of the sort ever published in America or elsewhere. Then,
 too, amid a flood of other things, appeared, in 1872, "Picturesque
 America," and later "Picturesque Europe," which then reached really the
 high-water mark of American publishing enterprise in the United States,
-just as surely as Doré at the same time in France and England was the
+just as surely as Doré at the same time in France and England was the
 most exploited of all illustrators. The greater number of drawings for
 these books were made by Harry Fenn and J. D. Woodward. The profession
 of illustration at this period must have been almost equal to that of
 gold-mining. Everything the artist chose to produce was accepted. It
 would be more accurate to say everything he half produced, for the
-school of Turner being then superseded by that of Doré, wood-engravers,
+school of Turner being then superseded by that of Doré, wood-engravers,
 like Pannemacker, for instance, had been specially trained by the artist
 to carry out the ideas which he merely suggested on the block.
 
@@ -1429,7 +1395,7 @@ distinction, to devote himself wholly to black and white. If, on the one
 hand, this popularity threatens its degradation (foolish editors and
 grasping publishers flooding the world with cheap and nasty illustrated
 books and periodicals), on the other, the artistic gain promises to be
-its salvation, for not in the days of Dürer himself was so large a
+its salvation, for not in the days of Dürer himself was so large a
 proportion of genuinely good work published.
 
 [Illustration: BY CHARLES KEENE. FROM A PEN DRAWING IN THE POSSESSION OF
@@ -1482,14 +1448,14 @@ now.
 [Illustration: BY CHARLES KEENE. FROM A PEN DRAWING IN THE POSSESSION OF
 THE AUTHOR.]
 
-Before the time of Dürer and Holbein, the artist was of small
+Before the time of Dürer and Holbein, the artist was of small
 importance; indeed, so too was the engraver, though we hear much about
 him. The artist made his drawing either on a piece of paper or on the
 block. Judging from some of the work in the Plantin Museum (the sole
 place where we can obtain any actual data[13]), the design was made in
 rather a free manner; the argument against this conclusion, of course,
 is that comparatively few originals exist. There is, however, in the
-British Museum a drawing of an Apollo by Dürer[14] on which are the
+British Museum a drawing of an Apollo by Dürer[14] on which are the
 marks of a hard lead pencil, or metal point leaving a mark, used to
 trace it, while the word "Apollo" in the mirror is written backwards.
 On the other hand, in the old Herbals are cuts of the artist making his
@@ -1606,7 +1572,7 @@ better work, because they can now engrave, in their own fashion, the
 blocks they want to. The art of wood-engraving has progressed if the
 trade has languished.
 
-  [16] In France the credit for the invention is given to Dr. Donné,
+  [16] In France the credit for the invention is given to Dr. Donné,
        who, about 1840, discovered that certain acids could be used
        to bite in the whites or the blacks of a daguerreotype. See
        also French chapter.
@@ -1785,7 +1751,7 @@ out of their own), has suggested one field for the artist who is a
 wood-engraver; the creation of masterpieces in his own medium of the
 painted masterpieces of other, or of his own time. Again, we have a man
 like Mr. Elbridge Kingsley working directly from nature, and producing
-the most amazing and interesting results; or M. Lepère, who is engraving
+the most amazing and interesting results; or M. Lepère, who is engraving
 his own designs exactly as Bewick did, or else giving us those
 marvellous originals in colour, only equalled by the Japanese who, for
 ages, have been masters among wood-cutters; or Mr. Kreull, who is doing
@@ -1797,11 +1763,11 @@ possibilities of making new experiments, such as printing from lowered
 blocks, reviving chiaroscuro, and an infinitude of other processes open
 to the artistic wood-engraver, there is no probability of its becoming a
 lost art. I have nothing but the highest praise for the work of men like
-Cole, Kingsley, Gamm, French Jüngling, Baude, Kreull, Florian,
+Cole, Kingsley, Gamm, French Jüngling, Baude, Kreull, Florian,
 Hendriksen, Bork, Hooper, and Biscombe Gardner. This modern _facsimile_
 wood-engraving is magnificent in its way, and is quite as legitimate and
 decorative as any of the old work, only process is bound to supersede
-the greater part of it. Wood-engraving has survived the mediæval
+the greater part of it. Wood-engraving has survived the mediæval
 mechanical limitations which were imposed upon it by the primitiveness
 of the printing-press, but which have been made into its chief merits.
 It has survived the ghastly period immediately succeeding Bewick, when
@@ -1850,17 +1816,17 @@ greatest activity has, until lately, existed. In the decade from 1875 to
 1885, nowhere in the world were such big men working, or having their
 work so well reproduced. Fortuny and Rico, settled in Paris, were
 exhibiting their marvellous drawings. If Meissonier had ceased to
-illustrate, Doré, Detaille, De Neuville, and Jacquemart were at the
+illustrate, Doré, Detaille, De Neuville, and Jacquemart were at the
 height of their powers. The first great book illustrated by process
-appeared in the midst of this period: Vierge's "Pablo de Ségovie,"
+appeared in the midst of this period: Vierge's "Pablo de Ségovie,"
 published in 1882; while the last years saw the appearance of the
 Guillaume series which, it was believed, would prove to be the final
-triumph of process. At the same time Baude, Leveille, Lepère, and
+triumph of process. At the same time Baude, Leveille, Lepère, and
 Florian were busy producing their masterpieces of wood-engraving.
 Publishing houses were issuing the most artistic journals, probably, the
 world has ever seen: "La Vie Moderne," "L'Art," "La Gazette des
-Beaux-arts," "Paris Illustré," "La Revue Illustrée," "Le Monde
-Illustré," "L'Illustration," and "Le Courrier Français."
+Beaux-arts," "Paris Illustré," "La Revue Illustrée," "Le Monde
+Illustré," "L'Illustration," and "Le Courrier Français."
 
 [Illustration: BY GAVARNI. FROM "PARISIANS BY THEMSELVES."
 Reduced from the wood-engraving.]
@@ -1900,9 +1866,9 @@ however, there was a rumour that this excellence was obtained at the
 expense of the artist, and that most of the clever work of Myrbach and
 of Rossi was more in the nature of an advertisement than anything else.
 It is perfectly well known that even Vierge had to await the generosity
-of an English publisher to recompense him for "Pablo de Ségovie." It
+of an English publisher to recompense him for "Pablo de Ségovie." It
 will also be found that certain of the large French publishing houses
-and leading magazines have become limited companies, or "Sociétés
+and leading magazines have become limited companies, or "Sociétés
 Anonymes;" while men, who may be clever enough in business affairs, have
 been set to direct artistic matters of which they are entirely ignorant.
 If the standard of illustration is daily falling in France, this fall is
@@ -1917,7 +1883,7 @@ pitiful, but the example is very contagious.
 Wood-engraving, unsigned.]
 
 Another cause too has operated against the production of fine books and
-fine magazines. This is the "Supplément littéraire et artistique" given
+fine magazines. This is the "Supplément littéraire et artistique" given
 away each week with papers like "Gil Blas," "L'Echo de Paris," "La
 Lanterne," "Le Petit Journal," and occasionally "Le Figaro." It is
 especially in "Gil Blas" that the best French work is now to be found,
@@ -1946,7 +1912,7 @@ FURNITURE."]
 That bad or mediocre work is supreme in France at the present time is
 proven by the fact that two of the most artistic journals have ceased to
 appear; Goupil's "Les Lettres et les Arts," and Octave Uzanne's "L'Art
-et L'Idée." Neither of these magazines was very expensive to
+et L'Idée." Neither of these magazines was very expensive to
 produce,--that is in comparison with many others. But it is a
 self-evident fact, to anyone who has studied illustration, that the art
 passes every few years through periods of great depression; in France,
@@ -1963,7 +1929,7 @@ public ignorance. And as for the rest of the world, why what of it? It
 is true Steinlein rivals Gavarni, and Marold, engraved by Florian,
 equals in certain ways Meissonier, engraved by Orrinsmith;--but in the
 majority of cases politics sit on art, and the photograph glares from
-the pages of the _édition de luxe_.
+the pages of the _édition de luxe_.
 
 [Illustration: BY MEISSONIER. FROM THE WOOD-ENGRAVING IN THE "CONTES
 REMOIS" BY LAVOIGNAL.]
@@ -1983,15 +1949,15 @@ electrotypes from large wood-engravings for publication in different
 papers, I am informed that editors who wish to make use, at so much an
 inch, of the brains of other people, will not publish electros from
 process blocks, for some reason known to none but themselves, only
-buying _clichés_ from wood blocks. However, it is quite possible that
+buying _clichés_ from wood blocks. However, it is quite possible that
 this revival of wood-engraving may encourage original work, and a new
 period of fine original engraving may be its result, little as those who
 are bringing this result about are interested in it.
 
 A few words as to the men, and the books they have illustrated. The
-artist who was most in evidence twenty years ago was Gustave Doré. The
+artist who was most in evidence twenty years ago was Gustave Doré. The
 unceasing stream of books which continued for years to delight the
-provinces and to amaze his biographers was then at its flood. That Doré
+provinces and to amaze his biographers was then at its flood. That Doré
 was a man of the most marvellous imagination, no one will doubt; that
 his imagination ran completely away with him is equally true. He has had
 no influence upon anything but the very cheapest form of wood-engraving.
@@ -2001,7 +1967,7 @@ been completely ignored as an artist. There is no question that some of
 his compositions were magnificent, even if every figure and type in them
 was mannered and hackneyed to a horrible degree. The only way in which
 we can account for his utter failure as an artist, is the fact that he
-was ruined by the praise of his friends. Although Doré started as a
+was ruined by the praise of his friends. Although Doré started as a
 lithographer, carrying on the traditions of his immediate predecessors
 and contemporaries, Daumier and Gavarni, Raffet and Charlet, he soon
 took to drawing on the block, and for years the world was inundated with
@@ -2010,22 +1976,22 @@ the block is no more to be compared to Meissonier's, than his
 lithographs to Gavarni's, who contributed some of the most exquisite
 designs to "L'Artiste" in its early days.
 
-[Illustration: BY GUSTAVE DORÉ. WOOD-ENGRAVING FROM "SPAIN" (CASSELL AND
+[Illustration: BY GUSTAVE DORÉ. WOOD-ENGRAVING FROM "SPAIN" (CASSELL AND
 CO., LIMITED).]
 
 [Illustration: BY A. DE NEUVILLE. FROM "COUPS DE FUSIL" (CHARPENTIER).
 Wood-engraving by Farlet.]
 
-[Illustration: BY GUSTAVE DORÉ. Process block, from a Lithograph.]
+[Illustration: BY GUSTAVE DORÉ. Process block, from a Lithograph.]
 
-[Illustration: PEN DRAWING BY D. VIERGE. FROM "PABLO DE SÉGOVIE" (FISHER
+[Illustration: PEN DRAWING BY D. VIERGE. FROM "PABLO DE SÉGOVIE" (FISHER
 UNWIN).]
 
 In Alphonse de Neuville's "Coups de Fusil," one will find most
 delightful renderings of the late war, while many of his illustrations
 to Guizot's "History of France," or "En Campagne" are superb. His rival
 and successor, Detaille, has carried on the military tradition very well
-in "L'Armée Française," which contains the best illustrations of any
+in "L'Armée Française," which contains the best illustrations of any
 sort that he ever did. P. G. Jeanniot also has done excellent work in
 the same field, but his studies of Parisian types are probably still
 more successful. The best work of all is probably contained in Dentu's
@@ -2041,25 +2007,25 @@ books, though their point of view is always that of the Frenchman who
 knows little about England; their drawings were reproduced mainly by
 photogravure, with small blocks printed in colour, or black and white
 process, interspersed. About 1880 an illustrated theatrical journal was
-started, "Les Premières Illustrées," and in this F. Lunel, Fernand Fau,
+started, "Les Premières Illustrées," and in this F. Lunel, Fernand Fau,
 L. Galice, G. Rochegrosse, and A. F. Gourget did remarkable work. Some
 of the painters, too, have allowed their sketch-books to be used, and
 from them books of travel have been manufactured, but these are hardly
 to be considered seriously as illustrations, as they were not specially
 made for the works which contain them.
 
-Daniel Vierge's "Pablo de Ségovie," though the work of a Spaniard, has
+Daniel Vierge's "Pablo de Ségovie," though the work of a Spaniard, has
 for twelve years held its own as the best example of pen drawing for
 process reproduction published in France. Following, a long way behind,
 come men like Henri Pille and Edouard Toudouze. The development of the
 Guillaume half-tone process produced the curious series of little books
 known under that title; and also the larger series which contained
-"Madame Chrysanthème" and "François le Champi," books which made
+"Madame Chrysanthème" and "François le Champi," books which made
 tone-process in France, and also the reputation of Myrbach and Rossi.
 
-[Illustration: BY LOUIS MORIN. PEN DRAWING. FROM "L'ART ET L'IDÉE."]
+[Illustration: BY LOUIS MORIN. PEN DRAWING. FROM "L'ART ET L'IDÉE."]
 
-[Illustration: BY CARLOS SCHWABE. PEN DRAWING. FROM ZOLA'S "LE RÊVE."]
+[Illustration: BY CARLOS SCHWABE. PEN DRAWING. FROM ZOLA'S "LE RÊVE."]
 
 [Illustration: BY EUGENE GRASSET. PEN DRAWING FROM "LES QUATRE FILS
 D'AYMON" (PARIS).]
@@ -2069,29 +2035,29 @@ D'AYMON" (PARIS).]
 
 Several fine and limited editions have been published lately,
 illustrated by Albert Lynch, Mme. Lemaire, and Paul Avril, such as the
-"Dame aux Camélias;" while Octave Uzanne's series on fans and fashions
+"Dame aux Camélias;" while Octave Uzanne's series on fans and fashions
 were a great success. So, too, are many of the books issued by Conquet.
-Robida's designs for Rabelais virtually superseded those of Doré, and he
+Robida's designs for Rabelais virtually superseded those of Doré, and he
 followed up the success of this book with a number of others which have
 gradually degenerated in quality. Louis Morin, who is author as well as
 artist; E. Grasset, who, not content with this, is an architect too, and
 whose "Quatre Fils d'Aymon" should be seen as a beautiful piece of
 colour-printing; and Georges Auriol have done extremely good work in
-their different ways. Félicien Rops is a man who stands apart from all
+their different ways. Félicien Rops is a man who stands apart from all
 other illustrators; he possesses a style and individuality so marked
 that, at times, it is not easy to obtain any of his books, so carefully
 are they watched by that Cerberus of the press: the social puritan, who
 never fails to see anything to which he can possibly find objection.
 From the mystic Rops, have sprung, one might almost say, even more
 mystic Rosicrucians, headed by Carlos Schwabe, who has produced, in "Le
-Rêve" of Zola, one of the most beautiful and refined books, despite its
+Rêve" of Zola, one of the most beautiful and refined books, despite its
 disgraceful printing, ever issued from the French press.
 
-[Illustration: BY LOUIS MORIN. PEN DRAWING. FROM "L'ART ET L'IDÉE."]
+[Illustration: BY LOUIS MORIN. PEN DRAWING. FROM "L'ART ET L'IDÉE."]
 
 [Illustration: PEN DRAWING BY JACQUEMART.]
 
-[Illustration: BY RAFFAËLLI. PEN DRAWING. FROM "PARIS ILLUSTRÉ."]
+[Illustration: BY RAFFAËLLI. PEN DRAWING. FROM "PARIS ILLUSTRÉ."]
 
 [Illustration: BY BOUTET DE MONVEL. PEN DRAWING FROM "JEANNE D'ARC"
 (PARIS, PLON).]
@@ -2102,18 +2068,18 @@ But less mystical, and, possibly, even more beautifully drawn, are some
 of Luc Ollivier Merson's designs, notably those for Victor Hugo's works:
 a charming series of drawings, etched, I think, by Lalauze--to the
 national edition of Hugo almost every French painter has
-contributed--and the more mystic but less accomplished Séon is another
+contributed--and the more mystic but less accomplished Séon is another
 of the same group; while the latest and most advanced are the Vebers.
 The list of really clever men is long. Marchetti and Tofani, Italians,
 whose work, continually seen in the supplements to "L'Illustration,"
-is engraved with the greatest charm and distinction; Raffaëlli, who,
+is engraved with the greatest charm and distinction; Raffaëlli, who,
 though he draws but little now, has decorated during the last fifteen
 years some of the most notable French books. Giacomelli, Riou, Bayard,
 Haennen, Adrian Marie,[18] Metivet, who are willing, at a moment's
 notice, to make you a drawing, often distinguished, of any subject, no
 matter whether they have seen it or not, though Giacomelli is best known
 for his renderings of birds and flowers, often very charming; Habert Dys
-and Felix Régamey, who have adapted the methods of Japan to their own
+and Felix Régamey, who have adapted the methods of Japan to their own
 needs; Paul Renouard whose work is, as it should be, appreciated in
 England, and who has the distinction, when any important event is coming
 off in this country, to be commissioned by the "Graphic" to cross the
@@ -2124,15 +2090,15 @@ Ibels, the decadent of decadents, Caran d'Ache, Willette, Steinlein,
 Mars, Legrand, Forain, Job, Guillaume, and Courboin, whose work can be
 seen more or less badly reproduced every week in the comic papers to
 which they contribute. Caran d'Ache has made himself, one might almost
-predict, a lasting reputation with his "Courses dans l'Antiquité," his
-"Carnet de Chèques," and his various other "Albums." A. Willette, when
+predict, a lasting reputation with his "Courses dans l'Antiquité," his
+"Carnet de Chèques," and his various other "Albums." A. Willette, when
 not playing at politics, is seriously working at his adventures of
 Pierrot. Steinlein, in his illustrations to Bruant's "Dans la Rue,"
 probably did as much as the author to make known the life of
 Batignolles. Mars rules the fashions of the provinces, while if one were
 to take Forain's Albums as absolutely typical of French morals, France
 certainly would seem the most distressful country on the face of the
-earth. To Grasset and Chéret, Lautrec and Auriol have fallen the task of
+earth. To Grasset and Chéret, Lautrec and Auriol have fallen the task of
 looking after the so-called decorative part of French work. But the fact
 that not only these men will do you a poster, a cover design, a head, or
 a tail-piece, but that almost all others will too, is a positive proof
@@ -2142,11 +2108,11 @@ true artists are decorators.
   [18] Adrian Marie and Emile Bayard died lately.
 
 Among wood-engravers, Baude and Florian hold the foremost place as
-reproductive artists, while Lepère stands quite apart, a brilliant
+reproductive artists, while Lepère stands quite apart, a brilliant
 many-sided man, at once draughtsman, engraver, etcher, and painter, a
 true craftsman in the best sense. Another man, F. Valloton, is making an
 endeavour to revive original wood-cutting, and though but few of his
-cuts are anything like so good as "Entêrrement en Province," he is the
+cuts are anything like so good as "Entêrrement en Province," he is the
 leader of a movement which may result in the resurrection, or indeed the
 creation of an original art of wood-cutting. But this desire of artists
 to engrave and print their own work is growing in France, as may be seen
@@ -2167,12 +2133,12 @@ BLAS."]
 
 [Illustration: BY CARAN D'ACHE. FROM "ALBUM" (PARIS, PLON).]
 
-[Illustration: BY ROBIDA. PEN DRAWING. FROM "JOURNAL D'UN TRÈS VIEUX
-GARÇON."]
+[Illustration: BY ROBIDA. PEN DRAWING. FROM "JOURNAL D'UN TRÈS VIEUX
+GARÇON."]
 
 [Illustration: BY A. WILLETTE. FROM "LES PIERROTS" (VANIER).]
 
-[Illustration: BY FORAIN. FROM "LA COMÉDIE PARISIENNE" (CHARPENTIER).]
+[Illustration: BY FORAIN. FROM "LA COMÉDIE PARISIENNE" (CHARPENTIER).]
 
 [Illustration: BY P. RENOUARD. CHALK DRAWING. FROM "THE GRAPHIC."]
 
@@ -2204,14 +2170,14 @@ native land as quickly as possible, for France or for Germany.
 
 [Illustration: BY MARTIN RICO. FROM A PEN DRAWING.]
 
-In Italy the important publishing house of the Fratelli Trevès, in
+In Italy the important publishing house of the Fratelli Trevès, in
 Milan, has made many attempts to bring out fine books, the works of de
 Amicis being among their best-known productions, but this importance
 comes from their literary rather than artistic side; and I am not aware
-that the Fratelli Trevès have ever done anything to surpass the
+that the Fratelli Trevès have ever done anything to surpass the
 "C'era una Volta" of Luigi Capuana, illustrated by Montalti, published
 in 1885, a most extraordinary example of the skilful use of _papier
-Gillot_, or scratch paper. The Fratelli Trevès issue a large number of
+Gillot_, or scratch paper. The Fratelli Trevès issue a large number of
 magazines and papers, a certain amount of good newsy wood-engraving is
 seen in these, process having been almost entirely given up, especially
 in the leading illustrated Italian weekly, "L'Illustrazion Italiana." In
@@ -2225,7 +2191,7 @@ Rico--have contributed important drawings. These journals are now almost
 entirely using wood-engravings, some of which are very good indeed. They
 are mainly, however, reproductions of the typical Spanish historical, or
 story-telling, machine which is turned out with such facility by a large
-number of Spaniards. But the bulk of the work is made up of _clichés_
+number of Spaniards. But the bulk of the work is made up of _clichés_
 from American papers and magazines, in which matter I find that even I
 have proved a useful mine.
 
@@ -2243,11 +2209,11 @@ either send abroad for their designs, or borrow and adapt from other
 men's work with a recklessness which is charming. And yet, the only
 international black-and-white exhibition was held in Vienna a few years
 ago; while one of the best photo-engraving firms in the world, Messrs.
-Anderer and Göschl, are located there. Russia and Scandinavia are
+Anderer and Göschl, are located there. Russia and Scandinavia are
 equally unfortunate in the matter of illustrated books, all of the
 artists of these countries being in Paris, London, or New York, and
 their work only finds its way back to their native countries as
-_clichés_. Men like Chelminski, Edelfelt, Répine, Pranishnikoff really
+_clichés_. Men like Chelminski, Edelfelt, Répine, Pranishnikoff really
 owe all their reputation, not to their native land, but to the country
 of their adoption.
 
@@ -2292,7 +2258,7 @@ Great. Next, taking up drawing on wood, he introduced exquisite
 _facsimile_ work into his own country, educating his own engravers,
 Unzelmann, Bentworth and the Vogels, in his edition of the "Works of
 Frederick the Great." Later on he drew much more largely and boldly for
-the "Cruche Cassée," which was freely interpreted on wood. And now he
+the "Cruche Cassée," which was freely interpreted on wood. And now he
 has so arranged his beautiful drawings in pencil and chalk that they
 come perfectly by process. He is a man who recognizes fully that we have
 not got to the end of art, but that unless we are ever pushing onward,
@@ -2307,11 +2273,11 @@ OF WELLINGTON) IN THE BRITISH MUSEUM.]
 
 [Illustration: BY JOSEPH SATTLER. FROM "THE DANCE OF DEATH" (GREVEL).]
 
-Following Menzel, and encouraged by "Fliegende Blätter," which started
+Following Menzel, and encouraged by "Fliegende Blätter," which started
 in the early forties, came Wilhelm Dietz, whose studies of armies on the
 march, and of peasants at work or at play, are inimitable. He, too, has
 been followed by Robert Haug and Hermann Luders. Dietz was the mainstay
-for years of "Fliegende Blätter," the only weekly comic paper of which
+for years of "Fliegende Blätter," the only weekly comic paper of which
 it can be said, that during the half century of its existence it has
 been not only at the head of its contemporaries, but has on the artistic
 side left far behind any pretended rival.
@@ -2330,7 +2296,7 @@ before the beginning of this century by J. F. G. Unger, who died in
 years. The trouble with German wood-engravers, however, has been that
 most of the work, though signed by the name of one man, is produced
 really by another. From one of these engraving shops, that of Braun and
-Schneider, issued a year after its establishment "Fliegende Blätter," in
+Schneider, issued a year after its establishment "Fliegende Blätter," in
 1844. Save for Menzel, most of the work in the middle of the century was
 of that heavy, pompous, ponderous sort which we call German, and, though
 good in its way, is now well forgotten. The best-known of all these
@@ -2339,7 +2305,7 @@ established in Dusseldorf, though he has branches--an artist with
 branches!--in Berlin, Leipzig, Stuttgart, Munich, and Brunswick. Still,
 as he seems to have been able to get an extremely good set of
 apprentices and workmen, who were the real artists, a great amount of
-very interesting work has been turned out, and _clichés_ from his
+very interesting work has been turned out, and _clichés_ from his
 excellent blocks have been used all over the world.
 
 One sort of decorative design, developed by a German, or, I presume, a
@@ -2349,17 +2315,17 @@ none of them have surpassed him. His edition of "Faust" is one of the
 best-known examples. Retche's outline drawings for Shakespeare are also
 good.
 
-[Illustration: BY DE NITTIS. PEN DRAWING FROM "PARIS ILLUSTRÉ."]
+[Illustration: BY DE NITTIS. PEN DRAWING FROM "PARIS ILLUSTRÉ."]
 
 [Illustration: BY W. BUSCH. FROM "BALDUIN BAHLAMM" (MUNICH,
 BASSERMANN).]
 
 Following the classical tradition of Overbeck and Kaulbach, but changing
-it rather into mysticism and decadence through the influence of Böcklin,
+it rather into mysticism and decadence through the influence of Böcklin,
 and probably the pre-Raphaelites in England, has been developed a school
 of mystical decorators who are unequalled, unappreciated and curiously
 unknown outside of their own country. The chief of these men is Max
-Klinger. Like his master, Böcklin, and like Schwabe in France, he
+Klinger. Like his master, Böcklin, and like Schwabe in France, he
 brings both his mysticism and his drawing up to date, and makes no
 attempt to bolster up faulty design and incomplete technique by
 primitiveness, or quaintness, or archaism. For his illustrations Klinger
@@ -2377,22 +2343,22 @@ and Max Dasio. Their work may be seen in "Neue Lithographem," by Max
 Lehers, published in Vienna. Whether there are two or three men of the
 name of Franz Stuck who draw, or whether it is the same Franz Stuck who
 produces the mystic arrangements and the burlesques of them, the
-decorative vignettes and the absurd caricatures in "Fliegende Blätter,"
+decorative vignettes and the absurd caricatures in "Fliegende Blätter,"
 I do not know. I only do know that it is all very well worth study, and
 very amusing and interesting.
 
-Busch and Oberländer, Meggendorfer, and Hengler, are names so well known
+Busch and Oberländer, Meggendorfer, and Hengler, are names so well known
 that their mere mention raises a laugh, and that, if anything, is the
 mission of those artists: while Harburger's and Aller's marvellous
-studies of character, and René Reinecke's exquisite renderings in wash
+studies of character, and René Reinecke's exquisite renderings in wash
 of fashionable life, marvellously engraved by Stroebel, can be seen
-every week printed in the pages of "Fliegende Blätter" and other
-papers. The works of Hackländer, published in Stuttgart, have been
+every week printed in the pages of "Fliegende Blätter" and other
+papers. The works of Hackländer, published in Stuttgart, have been
 illustrated mainly by process by that clever band of artists of whom
 Schlittgen, Albrecht, Marold, Vogel, and others are so much in evidence.
-The German monthly magazines, like "Daheim," "Kunst für Alle," "Felz und
+The German monthly magazines, like "Daheim," "Kunst für Alle," "Felz und
 Meer," "Die Graphischen Kunste," etc., are very notable, especially
-"Kunst für Alle," which seems to me to be about the best-conducted art
+"Kunst für Alle," which seems to me to be about the best-conducted art
 magazine in the world. Altogether the arts of illustration and
 reproduction, and the business of publishing, in Germany are apparently
 in a most healthy condition. It could scarcely be otherwise, however,
@@ -2412,7 +2378,7 @@ REDUCED FROM A WOOD-ENGRAVING BY H. BURKNER.]
 [Illustration: BY MAROLD. FROM "ZWISCHEN ZWEI REGEN" (STUTTGART,
 KRABBE).]
 
-[Illustration: BY FRANZ STÜCK. FROM BIERBAUM'S "FRANZ STÜCK," MUNICH
+[Illustration: BY FRANZ STÃœCK. FROM BIERBAUM'S "FRANZ STÃœCK," MUNICH
 (ALBERT AND CO.).]
 
 [Illustration: BY GARCIA Y RAMOS. GIPSY DANCE. Process block,
@@ -2421,13 +2387,13 @@ from pen and wash drawing.]
      _Note._--A recent visit to Spain shows me to be quite
      mistaken in this matter. A very fine book has lately been
      published in Barcelona by a Seville artist, F. Garcia y
-     Ramos, "La Tierra di Maria Santissima," and though Señor
+     Ramos, "La Tierra di Maria Santissima," and though Señor
      Garcia y Ramos is greatly indebted to Fortuny, Rico and
      Vierge, he has made a very notable series of designs; he has
      also contributed several drawings to a comparatively new
      Spanish paper,--"Blanco y Negro"--which has printed very good
      work by a group of young men in Madrid, the most
-     distinguished of whom is Señor Huertas. Another artist on the
+     distinguished of whom is Señor Huertas. Another artist on the
      staff is Jiminez Lucena; he is realistically decorative. The
      most popular man in Spain, after the artists of "La Lidia"
      (the organ of the Bull Ring), is Angel Pons, who, however, is
@@ -2749,7 +2715,7 @@ KENSINGTON MUSEUM.]
 
 Cassells may have been the originators of this sort of illustrated book,
 or only the followers of a style which became immensely popular. They
-issued many works by Doré about the same time or later, and a
+issued many works by Doré about the same time or later, and a
 "Gulliver," by T. Morten, among others, but as this volume is not dated,
 I am unable to say when it appeared--still to this day they keep up the
 system of publishing illustrated books in parts at a low rate. But soon
@@ -2853,7 +2819,7 @@ at the artistic rendering of a drawing, or the appearance of a new man
 with a new style, is enough to put them in a rage, because they cannot
 understand the one or the other. And the selection of "cuts which
 embellish"--I believe is the expression--their pages, is left to the
-process man, the photographer, and the _cliché_ agent, who of course
+process man, the photographer, and the _cliché_ agent, who of course
 pick out the easiest they can supply. Their other duty is to edit their
 contributors, that is, if screwing and jewing an artist, and taking all
 life and soul for work out of him, can be described as editing. Lately
@@ -2877,7 +2843,7 @@ that all modern work is bad, and that there is nothing to do but to
 follow in the track of the fifteenth-century craftsman, not knowing, or
 more probably not wanting to know, that these same illustrators and
 engravers of the fifteenth century were, according to their time, as
-modern and up-to-date and _fin-de-siècle_ as possible. Finally, there is
+modern and up-to-date and _fin-de-siècle_ as possible. Finally, there is
 a saving remnant, increasing as fast as good workmen do increase--and
 that is very slowly--who are going on, endeavouring to perfect
 themselves to the best of their ability, believing rightly that it is
@@ -2970,7 +2936,7 @@ abilities, too, are beginning to be appreciated, and his designs for the
 lifetime. The success of Messrs. Macmillan's re-issue of the "Tennyson"
 of 1857 is gratifying proof that a large number of people do care for
 good work, and that the endeavour to swamp us with poor drawings,
-tedious photographs, and worn-out _clichés_ will probably have its just
+tedious photographs, and worn-out _clichés_ will probably have its just
 reward. F. Sandys, one of the greatest of all, though still living,
 scarcely produces anything; F. Shields' designs for Defoe's "Plague"
 were Rembrandt-like in power; while H. Herkomer, in his illustrations to
@@ -3187,7 +3153,7 @@ T-square, and the inner consciousness of the architectural perspective
 man, who has never seen the house, nor the landscape, nor street
 elevation in which his subject may be ultimately built; nevertheless
 some of these drawings are most interesting. The work of the late W.
-Burgess, A.R.A., of A. B. Pite, in mediæval design; of G. C. Horsley, A.
+Burgess, A.R.A., of A. B. Pite, in mediæval design; of G. C. Horsley, A.
 B. Mitchell, T. Raffles Davison, Rowland Paul, and, above all, of C. E.
 Mallows. Mr. Mallows is an artist; to him a drawing is as important as
 the building it represents; he does everything he can from nature, and
@@ -3292,7 +3258,7 @@ which there were any signs of individuality, intelligence, or striving
 after untried effects, his endeavour was to use that drawing, at any
 rate as an experiment, and to encourage the artist to go on and make
 others; not to say to the artist, "the public won't stand this, and our
-_clientèle_ won't know what you mean." But then Mr. Drake was a trained
+_clientèle_ won't know what you mean." But then Mr. Drake was a trained
 artist and engraver.[22] Nor did Mr. Drake and Mr. Fraser put down their
 opinions as those of the public. They did not pretend to be infallible,
 nor did the literary editors; with the consequence, that the American
@@ -3340,7 +3306,7 @@ Within the last few years a new spirit has, to a certain extent, entered
 into American publishing, and there have cropped up magazines which,
 apparently, have for their aim the furnishing to their readers of the
 greatest amount of the cheapest material at the lowest possible price.
-Syndicate stories and photographic _clichés_ struggle with bad printing,
+Syndicate stories and photographic _clichés_ struggle with bad printing,
 and possibly appeal to the multitude. However, these cheap and nasty
 journals will probably struggle among themselves to their own
 discomfiture, without producing lasting effect, unless the conductors
@@ -3352,7 +3318,7 @@ publications.
 The illustrated newspaper has become an enormous factor in America. The
 "Pall Mall" claims to have been the first illustrated daily, and the
 "Daily Graphic" is the only complete daily illustrated paper yet in
-existence in England. "Le Quotidien Illustré" has just been started in
+existence in England. "Le Quotidien Illustré" has just been started in
 Paris. The claim of the "Pall Mall" is without foundation, as the London
 "Daily Graphic" but follows in the footsteps of the New York "Daily
 Graphic," which took its name from the London weekly; its illustrations
@@ -3524,7 +3490,7 @@ them a position which I cannot better. The best known is Timothy Cole,
 whose engravings from the Old Masters have won him world-wide
 recognition. He is followed by W. B. Closson, who has to some extent
 attempted the same sort of work. Messrs. Frank French, Kingsley, and the
-late Frederick Jüngling have, with surprising success, engraved directly
+late Frederick Jüngling have, with surprising success, engraved directly
 from nature; while for portraits, G. Kruell and T. Johnson are
 deservedly well known. In fine reproductive work Henry Wolf, H.
 Davidson, Gamm, Miss C. A. Powell, J. Tinkey, F. S. King, J. P. Davis
@@ -3622,7 +3588,7 @@ INDEX.
   "Abbotsford" Waverley Novels, 26.
 
   Ache, Caran d', 66;
-    "Courses dans l'Antiquité," "Carnet de Chéques," "Albums,"
+    "Courses dans l'Antiquité," "Carnet de Chéques," "Albums,"
           etc., 67, 79.
 
   Adams, J. A., 29.
@@ -3649,7 +3615,7 @@ INDEX.
 
   Angelico, Fra, 3.
 
-  Angerer and Göschl, 72.
+  Angerer and Göschl, 72.
 
   Anning Bell, R., 105.
 
@@ -3662,7 +3628,7 @@ INDEX.
 
   _Argosy, The_, 90.
 
-  "Armée Française, L'," 60.
+  "Armée Française, L'," 60.
 
   Armstead, H. H., 90.
 
@@ -3670,7 +3636,7 @@ INDEX.
 
   _Art, L'_, 51.
 
-  _Art, L', et l'Idée_, 56.
+  _Art, L', et l'Idée_, 56.
 
   _Art Student_, 35.
 
@@ -3680,7 +3646,7 @@ INDEX.
 
   Auriol, Georges, 63, 68.
 
-  Avril, Paul, "La Dame aux Camélias," 62.
+  Avril, Paul, "La Dame aux Camélias," 62.
 
 
   Babbage, F., xxiv.
@@ -3746,7 +3712,7 @@ INDEX.
 
   Blum, R., "Japonica," "Japan," 126.
 
-  Böcklin, A., 76, 77.
+  Böcklin, A., 76, 77.
 
   Bork, 48, 73.
 
@@ -3771,7 +3737,7 @@ INDEX.
 
   Brennan, A., 126.
 
-  Brévière, 16, 18.
+  Brévière, 16, 18.
 
   British Museum, xv, xix, xx, 36.
 
@@ -3823,7 +3789,7 @@ INDEX.
   Caricature, Political, 102, 103;
     _Ally Sloper's Half Holiday_, 103.
 
-  "Carnet de Chéques," 67.
+  "Carnet de Chéques," 67.
 
   "Carols" (Gaskin, A. J.), 108.
 
@@ -3849,11 +3815,11 @@ INDEX.
 
   Charlet, 17, 60.
 
-  "Chaumière Indienne," 20.
+  "Chaumière Indienne," 20.
 
   Chelminski, 73.
 
-  Chéret, 68.
+  Chéret, 68.
 
   Chiaroscuro, engraving in, 48.
 
@@ -3869,7 +3835,7 @@ INDEX.
 
   Clennell, Luke, 11, 12.
 
-  Clichés, early use of, 7.
+  Clichés, early use of, 7.
 
   Closson, W. B., 129.
 
@@ -3896,9 +3862,9 @@ INDEX.
 
   Courboin, E., 66.
 
-  _Courrier Français, Le_, 51.
+  _Courrier Français, Le_, 51.
 
-  "Courses dans l'Antiquité," 67.
+  "Courses dans l'Antiquité," 67.
 
   Cox, Kenyon, 126.
 
@@ -3963,7 +3929,7 @@ INDEX.
   Derniame, Aristide, 20.
 
   Detaille, E., 51;
-    "L'Armée Française," 60.
+    "L'Armée Française," 60.
 
   _Dial, The_, 105.
 
@@ -3980,9 +3946,9 @@ INDEX.
 
   Doepler, C. E., 29.
 
-  Donné, Dr., 40.
+  Donné, Dr., 40.
 
-  Doré, G., 31, 32, 51, 58;
+  Doré, G., 31, 32, 51, 58;
     characterization of his work, 58-60, 63, 93.
 
   Doyle, R., 83;
@@ -3996,7 +3962,7 @@ INDEX.
 
   Durand, Amand, photogravure process of, 44.
 
-  Dürer, A., xxii, 3;
+  Dürer, A., xxii, 3;
     illustrations to "Maximilian's Missal," 3;
     decorative designs, 4;
     his criticism on his wood-engravers, 5;
@@ -4054,7 +4020,7 @@ INDEX.
 
   Fildes, Luke, xxiv, 86.
 
-  _Fliegende Blätter_, xvii, 25, 75-78.
+  _Fliegende Blätter_, xvii, 25, 75-78.
 
   Florian, 48, 51, 57, 69.
 
@@ -4077,7 +4043,7 @@ INDEX.
     "Pictures of English Landscape," 91;
     "Odes and Sonnets," 91, 103.
 
-  "François le Champi," 62.
+  "François le Champi," 62.
 
   Fraser, Lewis, 114, 115.
 
@@ -4191,7 +4157,7 @@ INDEX.
   Guizot's "History of France," 60.
 
 
-  Hackländer, F., 78.
+  Hackländer, F., 78.
 
   Haennen, T. von, 65.
 
@@ -4256,7 +4222,7 @@ INDEX.
 
   "Histoire de Mobilier," 51.
 
-  "Histoire du Roi de Bohème," 18.
+  "Histoire du Roi de Bohème," 18.
 
   "Historical and Legendary Ballads," 94, 95, 102.
 
@@ -4315,7 +4281,7 @@ INDEX.
 
   _Illustracion Artistica_, 71.
 
-  _Illustracion Española y Americana_, 71.
+  _Illustracion Española y Americana_, 71.
 
   _Illustrated London News_, 27, 108.
 
@@ -4397,7 +4363,7 @@ INDEX.
 
   _Judge_, 129.
 
-  Jüngling, Frederick, 48, 129.
+  Jüngling, Frederick, 48, 129.
 
 
   Kaulbach, 76.
@@ -4429,7 +4395,7 @@ INDEX.
 
   Kreitzschmar, 25.
 
-  _Kunst für Alle_, 78.
+  _Kunst für Alle_, 78.
 
 
   Lacour, O., xxiv.
@@ -4480,7 +4446,7 @@ INDEX.
 
   Lemaire, Mme., 62.
 
-  Lepère, A., 18, 47, 51, 69.
+  Lepère, A., 18, 47, 51, 69.
 
   Le Sage's "Diable Boiteux," 21.
 
@@ -4518,12 +4484,12 @@ INDEX.
 
   Lungren, F., 126.
 
-  Lynch, Albert, "La Dame aux Camélias," 62.
+  Lynch, Albert, "La Dame aux Camélias," 62.
 
 
   Macbeth, R. W., 72, 111.
 
-  "Madame Chrysanthème," 62.
+  "Madame Chrysanthème," 62.
 
   _Magazin Pittoresque_, 21.
 
@@ -4564,7 +4530,7 @@ INDEX.
 
   Metcalfe, W. L., Stevenson's "The Wreckers," 128.
 
-  Métivet, L., 65.
+  Métivet, L., 65.
 
   Millais, Sir J. E., 28;
     "St. Agnes' Eve," 88, 89;
@@ -4580,7 +4546,7 @@ INDEX.
 
   "Modern Painters," 85.
 
-  _Monde Illustré, Le_, 51.
+  _Monde Illustré, Le_, 51.
 
   Monnier, H., 17, 23.
 
@@ -4636,7 +4602,7 @@ INDEX.
   Novello's "National Nursery Rhymes," 93.
 
 
-  Oberländer, 77.
+  Oberländer, 77.
 
   "Odes and Sonnets," 91.
 
@@ -4657,7 +4623,7 @@ INDEX.
   Overlays used by Bewick, xvi, 20, 21.
 
 
-  "Pablo de Ségovie," 51, 54, 61.
+  "Pablo de Ségovie," 51, 54, 61.
 
   Paget, Wal, 105.
 
@@ -4673,7 +4639,7 @@ INDEX.
 
   Papier Gillot, 71.
 
-  _Paris Illustré_, 51.
+  _Paris Illustré_, 51.
 
   Parrish, Stephen, 130.
 
@@ -4767,7 +4733,7 @@ INDEX.
 
   Pranishnikoff, 73.
 
-  _Premières Illustrées, Les_, 61.
+  _Premières Illustrées, Les_, 61.
 
   Pre-Raphaelites, xxii, 76, 88, 98.
 
@@ -4813,10 +4779,10 @@ INDEX.
 
   "Quiet Life," 106.
 
-  _Quotidien Illustré_, 117.
+  _Quotidien Illustré_, 117.
 
 
-  Raffaëlli, J. F., 65.
+  Raffaëlli, J. F., 65.
 
   Raffet, 17, 60.
 
@@ -4836,12 +4802,12 @@ INDEX.
 
   Reed, E. T., 106.
 
-  Régamey, Felix, 65.
+  Régamey, Felix, 65.
 
   Reid, Sir George, 106;
     "Johnny Gibb," "The River Tweed and the River Clyde," 107.
 
-  Reinecke, René, 78.
+  Reinecke, René, 78.
 
   Reinhart, G. S., "Spanish Vistas," 124.
 
@@ -4852,11 +4818,11 @@ INDEX.
 
   Renouard, Paul, 65.
 
-  Répine, 73.
+  Répine, 73.
 
   Retzche's "Shakespeare," 76.
 
-  _Revue Illustré, La_, 51.
+  _Revue Illustré, La_, 51.
 
   Ricketts, Charles, 105;
     "Daphnis and Chloe," 105.
@@ -4878,7 +4844,7 @@ INDEX.
   Rogers' "Italy," 38;
     "Poems," 11, 12, 18.
 
-  Rops, Félicien, 63.
+  Rops, Félicien, 63.
 
   Rossetti, C., "Goblin Market," 106.
 
@@ -4914,13 +4880,13 @@ INDEX.
 
   Schlittgen, H., 78.
 
-  Schwæbe, C., 63, 77.
+  Schwæbe, C., 63, 77.
 
   "Scrambles amongst the Alps," 94, 101.
 
   _Scribner's Magazine_, 116.
 
-  Séon, 64.
+  Séon, 64.
 
   Seymour, G. L., 105.
 
@@ -4950,7 +4916,7 @@ INDEX.
 
   Smith, F. Hopkinson, 127.
 
-  "Sociétés Anonymes," 54.
+  "Sociétés Anonymes," 54.
 
   "Solace of Song," 24.
 
@@ -5007,7 +4973,7 @@ INDEX.
 
   Stroebel, 78.
 
-  Stück, Franz, 77.
+  Stück, Franz, 77.
 
   Sullivan, E. J., 104.
 
@@ -5017,7 +4983,7 @@ INDEX.
 
   _Sunday Magazine_, 90.
 
-  _Supplement Littéraire et Artistique_, 54.
+  _Supplement Littéraire et Artistique_, 54.
 
   Swain, J., 28, 35, 90, 109.
 
@@ -5075,7 +5041,7 @@ INDEX.
 
   Townsend, Horace, xvi.
 
-  Trevès, Fratelli, 70.
+  Trevès, Fratelli, 70.
 
   Tristram's "Coaching Days and Coaching Ways," 105.
 
@@ -5220,7 +5186,7 @@ INDEX.
 
   Zogbaum, Rufus, 128.
 
-  Zola's "Le Rêve," 63.
+  Zola's "Le Rêve," 63.
 
 
 
@@ -5238,366 +5204,4 @@ TOOKS COURT, CHANCERY LANE, LONDON.
 
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+*** END OF THE PROJECT GUTENBERG EBOOK 40322 ***
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     <title>
       The Project Gutenberg eBook of Modern Illustration, by Joseph Pennell.
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@@ -88,48 +88,7 @@
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 <body>
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-The Project Gutenberg EBook of Modern Illustration, by Joseph Pennell
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-This eBook is for the use of anyone anywhere at no cost and with
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-Title: Modern Illustration
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+<div>*** START OF THE PROJECT GUTENBERG EBOOK 40322 ***</div>
 
 <h5>THE EX-LIBRIS SERIES. &nbsp; EDITED BY GLEESON WHITE.</h5>
 
@@ -7141,387 +7100,6 @@ CHISWICK PRESS:&mdash;CHARLES WHITTINGHAM AND CO.<br />
 TOOKS COURT, CHANCERY LANE, LONDON.
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