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diff --git a/40322-0.txt b/40322-0.txt new file mode 100644 index 0000000..9f0cbca --- /dev/null +++ b/40322-0.txt @@ -0,0 +1,5207 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 40322 *** + +THE EX-LIBRIS SERIES. EDITED BY GLEESON WHITE. + +MODERN ILLUSTRATION. + + + + +[Illustration: BY F. WALKER. PROCESS BLOCK FROM THE DRAWING ON +WOOD IN SOUTH KENSINGTON MUSEUM.] + + + + +Modern Illustration + +by Joseph Pennell, author of + +"Pen Drawing and Pen Draughtsmen," etc. + + +[Illustration] + + +London: George Bell & Sons, York Street, + +Covent Garden, & New York. Mdcccxcv + + + + +CHISWICK PRESS:--CHARLES WHITTINGHAM AND CO. + +TOOKS COURT, CHANCERY LANE, LONDON. + + + + +CONTENTS. + + + CHAP. PAGE + INDEX OF ILLUSTRATIONS vii + PREFATORY CHAPTER xiii + INTRODUCTION 1 + I. A GENERAL SURVEY 9 + II. THE METHODS OF TO-DAY, THEIR ORIGIN AND DEVELOPMENT 33 + III. FRENCH ILLUSTRATION 50 + IV. ILLUSTRATION IN GERMANY, SPAIN, AND OTHER COUNTRIES 70 + V. ENGLISH ILLUSTRATION 81 + VI. AMERICAN ILLUSTRATION 113 + VII. CONCLUSION 131 + + + + +*** The Publishers take this opportunity to thank especially the +following owners of copyrights of various drawings for their kind +permission to reproduce them here:--The editors of "The Daily +Chronicle," "Good Words," "Sunday Magazine," "The Studio," "The +Century Magazine," and "Scribner's Magazine"; Messrs. Chapman and +Hall, H. Grevel and Co., Harper and Brothers, C. Kegan Paul and +Co., Thomas Murby, and Ward, Lock and Bowden. + + + + +INDEX OF ILLUSTRATIONS. + +_The full page engravings are indexed with the number of the +page nearest to them._ + + + ARTIST ENGRAVER AND SOURCE PAGE + + FRED. WALKER From an original drawing on the wood + in the South Kensington Museum. + Process block by C. Hentschel _Frontispiece_ + + " " Process block by Hentschel, from a + drawing in wash and pencil 95 + + BOUTET DE MONVEL Process block from "St. Nicolas," the + French xiii + + From "Jeanne d'Arc," by Hentschel 65 + + W. W. RUSSELL Process block by Hentschel, from a pen + drawing in "The Daily Chronicle" xiv + + MAURICE Process block by Hentschel, from a pen + GREIFFENHAGEN drawing in "The Daily Chronicle" xvi + + E. J. SULLIVAN Process block by Hentschel, from a pen + drawing in "The Daily Chronicle" xx + + J. MCNEIL WHISTLER From Thornbury's "Legendary Ballads" + wood-engraving by J. Swain xxii + + A. S. HARTRICK Process block by Hentschel, from a pen + drawing in "The Daily Chronicle" xxv + + JOHN CONSTABLE From a pencil drawing, process block unsigned 1 + + UNKNOWN "St. Christopher," from a woodcut, 1423 6 + + SIR E. BURNE-JONES, Pen drawing; block by Carl Hentschel. + BT. From "The Daily Chronicle" 6 + + " " Process block by Art Reproduction Co., from + original drawing for Gatty's "Parables" 44 + + THOMAS BEWICK Wood-engraving from Walton's "Angler" 9 + + DAVID WILKIE Process block by Carl Hentschel, from + a pen drawing 9 + + THE LINNELLS Drawings on wood, and engravings from + National Gallery Handbook 10, 11 + + THOMAS STOTHARD Process block by Carl Hentschel, from + an unpublished pen and wash drawing 10 + + " " Wood-engravings by L. Clennell 12, 13 + + WILLIAM HARVEY Wood-engravings by Thompson, from + Milton's Works, etc. 15, 16 + + " " Original drawing on wood; process, unsigned 17 + + " " Wood-engraving after B. R. Haydon, + detail of "Dentatus," process block + from it by Dellagana 49 + + JOHN THURSTON Wood-engravings, unsigned, from Butler's + "Hudibras," Tasso, etc. 19, 21 + + GEORGE CRUIKSHANK Engravings by S. and T. Williams and + others unsigned, from "Three + Courses," "Table Book," 22, 23, 25 + + DANTE GABRIEL Process block, by Clarke, from original + ROSSETTI unpublished pen drawing 27 + + " " Wood-engraving, by Dalziel, from + "Tennyson's Poems" 27 + + BIRKET FOSTER Wood-engraving from Longfellow's Works, + etc., by Dalziel, Vizetelly, etc. 26-29 + + " " Process block from an original drawing + on wood 28 + + HARRISON WEIR Two wood-engravings from "Poetry + for Schools" by A. Slader 30 + + " " Original wash drawing on wood, process + block unsigned 31 + + A. COOPER Engraved by M. Jackson, for Walton's + "Angler" 32 + + RANDOLPH CALDECOTT Engraved by J. D. Cooper; from "Old + Christmas" 33 + + " " From the "Elegy on a Mad Dog," + wood engraving, unsigned 83 + + " " From "Bracebridge Hall," wood-engraving, + unsigned 86 + + CHARLES KEENE Original unpublished pen drawings, + blocks by Clarke and Dellagana 34, 36 + + M. E. EDWARDS Wood-engraving from Gatty's "Parables," + by Harral 38 + + G. DU MAURIER Wood-engraving by J. D. Cooper 40 + + " " Process blocks, from pen drawings for + "Trilby" 102, 103 + + ARTHUR HUGHES Wood-engraving from Hake's "Parables," + unsigned 41 + + WALTER CRANE Process block by Carl Hentschel, from + wood-engraving printed in colours, + "Beauty and the Beast" 46 + + KATE GREENAWAY Key-block for wood-engraving in + colour, by Edmund Evans 48 + + E. ISABEY Process block by Dellagana, after + wood-engraving by Slader, from + "Paul and Virginia" 50 + + "GAVARNI" Process block by Dellagana, after + wood-engraving, unsigned, from + "Parisians by themselves" 51 + + J. M. L. E. Engravings from the "Contes + MEISSONIER Remois" 52, 57 + + JEAN GIGOUX Process block, unsigned, from wood-engraving + from "Gil Blas" 53 + + JULES JACQUEMART Pen drawings, reproduced by C. Gillot, + from "The History of Furniture" 55, 56, 64 + + A. DE NEUVILLE Wood-engraving by Farlet from "Coups de Fusil" 59 + + 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 + + LOUIS MORIN Pen drawing, process, unsigned, from + "L'Art et l'Idée" 62, 63 + + 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 + + H. IBELS Pen drawing, process, unsigned, from + "L'Art du Rire" 65, 66 + + STEINLEN Chalk drawings, two process blocks, by + Carl Hentschel, from "Gil Blas" 66 + + A. WILLETTE Pen drawing, process, unsigned, from + "Les Pierrots" 66, 68 + + CARAN D'ACHE Pen drawing, process, unsigned, "Album + Caran D'Ache" 67 + + A. ROBIDA Pen drawing, process, unsigned, from + "Journal d'un vieux garçon" 67 + + J. L. FORAIN Pen drawing, process, unsigned, from + "La Comédie Parisienne" 68 + + P. RENOUARD Wood-engraving, unsigned, from chalk + drawing in "The Graphic" 68 + + M. LALANNE From pencil drawing, process block by Clarke 70 + + MARTIN RICO From a pen drawing, process by Dellagana 70 + + HANS TEGNER Unsigned process, from an original pen drawing 72 + + " " Pen drawing, from Holberg's "Comedies," + wood (?) unsigned 73 + + ADOLPH MENZEL Process block by Hentschel, from + unpublished drawing 73 + + F. GOYA Process by Dellagana, from etchings in + "Caprices" 74, 78 + + " From a chalk drawing in the British + Museum, process unsigned 74 + + M. FORTUNY Process, unsigned, from a pen drawing 74 + + JOSEPH SATTLER Process, unsigned, from a pen drawing, + "The Dance of Death" 74 + + G. DE NITTIS Process, unsigned, from wash and brush, + "Paris Illustré" 76 + + W. BUSCH Process, unsigned, from pen drawing, + "Balduin Bahlamm" 77 + + A. RETHEL Wood-engraving, by Burkner, "Death + the Friend," process reduction 78 + + H. SCHLITTGEN Process, unsigned, from pen drawing, + "Ein erster und ein letzter Ball" 78 + + FRANZ STÜCK Process, unsigned, from painting, "Franz + Stück Album" 79 + + J. GARCIA Y RAMOS Process, unsigned, from pen and wash drawing 79 + + W. L. WYLLIE Process, unsigned, pen drawing, "Magazine + of Art" 80 + + J. W. NORTH From a drawing on wood; block by Dellagana 81 + + HUGH THOMSON Process, unsigned, pen drawing from + "Our Village" 82 + + J. M. W. TURNER Process by Dellagana, from Rogers' "Italy" 85 + + E. GRISET Wood-engraving, unsigned from Hood's + "Comic Annual" 87 + + SIR J. E. MILLAIS, Wood-engravings, by Dalziel, from + BT. "Good Words" 88, 90 + + A. BOYD HOUGHTON Wood-engraving, by Dalziel, from + Dalziel's "Arabian Nights" 92 + + " " Wood-engraving, by Dalziel, from + Dalziel's "Arabian Nights" 92 + + G. J. PINWELL Process by Hentschel, from drawing + on wood for Goldsmith's Works 93 + + " " Process by Hentschel, from drawing on + wood for Goldsmith's Works 94 + + CHARLES GREEN Unknown 94 + + F. SANDYS Wood-engraving by Swain, from Thornbury's + "Legendary Ballads" 96 + + F. SHIELDS Wood-engraving, unsigned, from Defoe's + "History of the Plague" 98 + + J. MAHONEY Process block, from wood-engraving in + "The Sunday Magazine" 100 + + J. F. SULLIVAN Wood-engraving, unsigned, from Hood's + "Comic Annual" 100 + + SIR JOHN TENNIEL Engraved on wood by H. Harral, + from Gatty's "Parables" 102 + + LINLEY SAMBOURNE Engraved by H. Swain, from Kingsley's + "Water Babies" 102 + + W. G. BAXTER Process, unsigned, from pen drawing + in "Ally Sloper's Cartoons" 103 + + PHIL MAY Process, unsigned, from pen drawing + in "The Graphic" 103 + + W. SMALL Engraving on wood by Lacour, from + "Cassell's Magazine" 104, 105 + + R. ANNING BELL Process block by Hare, from a pen drawing 105 + + J. BERNARD Process block, unsigned, from pen + PARTRIDGE drawing in "Proverbs in Porcelain" 106 + + W. HOLMAN HUNT Engraving on wood by Harral, from + Gatty's "Parables" 106 + + E. H. NEW Process block, from pen drawing in + "The Quest" 107 + + WINIFRED SMITH Process block, unsigned, from pen + drawing in "Singing Games" 107 + + ALFRED PARSONS Wood-engraving by J. D. Cooper, from + "The English Illustrated Magazine" 107 + + " " Process block by Hentschel, from + "The Daily Chronicle" 109 + + SIR GEORGE REID Wash drawing, engraving on wood, + unsigned, from "A Scotch Naturalist" 108 + + W. PAGET Wash drawing, process, by Andre and + Sleigh, from "Cassell's Magazine" 109 + + L. RAVEN-HILL Process, unsigned, from pen drawings + in "The Butterfly" 110, 111 + + EDGAR WILSON Process, unsigned, from "The Unicorn" 111 + + C. E. MALLOWS Process, from a pencil drawing in + "The Builder" 111 + + R. CATON WOODVILLE Process from a wood-engraving, in + "The Illustrated London News" 112 + + SIDNEY P. HALL Wood-engraving from pencil drawing + in "The Graphic" 112 + + AUBREY BEARDSLEY Process block by Clarke, from a pen drawing 113 + + T. WALTER WILSON Process reduction, from "The Illustrated + London News" 113 + + F. S. CHURCH Process reduction, from "The Continent" 113 + + C. S. REINHART Wood-engraving by H. Davidson, from + "The Century Magazine" 114 + + WALTER SHIRLAW Process block, unsigned, from charcoal + drawing in "The Century Magazine" 116 + + HOWARD PYLE Process block, unsigned, from pen drawing + for "Wonderful One Hoss Shay" 118, 120 + + " " Wood-engraving, unsigned, from wash + drawing in "The Century Magazine" 119 + + ALFRED BRENNAN Process, unsigned, from pen drawing + in "The Continent" 121 + + A. B. FROST Process, unsigned, from pen drawing + in "Stuff and Nonsense" 122, 123 + + E. A. ABBEY Process, unsigned, from pen drawing + in "Harper's Magazine" 124 + + " " Wood-engraving, unsigned, from Austin + Dobson's Poems 124 + + C. D. GIBSON Process, unsigned, from pen drawing + in "The Century Magazine" 125 + + OLIVER HERFORD Process, unsigned, from pen drawing + in "Fables" 125 + + ROBERT BLUM Process, unsigned, from pen drawing + in "Scribner's Magazine" 126 + + " " Process, unsigned, from chalk drawings + in "Scribner's Magazine" 129 + + CHILDE HASSAM Process, unsigned, from pen drawing + in "The Commercial Advertiser" 126 + + HOPKINSON SMITH Process, unsigned, from chalk drawing + in "The Century Magazine" 126 + + FREDERIC REMINGTON Process, unsigned, from pen drawing + in "The Century Magazine" 128 + + R. BIRCH Process, unsigned, from pen drawing + in "Little Lord Fauntleroy" 129 + + T. COLE Wood-engraving after W. M. Chase, + from "The Century Magazine" 129 + + S. PARRISH Process, unsigned, from "The Continent" 130 + + GILBERT GAUL Wood-engraving, unsigned, from "The + Century Magazine" 130 + + SELWYN IMAGE Process, unsigned, from "The Fitzroy + Pictures" 131 + + HEYWOOD SUMNER Process, unsigned, from "The Fitzroy + Pictures" 131 + + A. J. GASKIN Process, unsigned, from pen drawing + in "Old Fairy Tales" 132 + + LAURENCE HOUSMAN Process, unsigned, from pen drawing + in "A Farm in Fairyland" 133 + + T. COTMAN Process reproduction by Dellagana, from + "Architectural Antiquities of Normandy" 134 + + + + +ERRATA. + + + Page xv, _for_ "T. W. Russell," _read_ "W. W. Russell." + + Page 20,} _for_ "1835,"} + Page 25,} _for_ "1838,"} _read_ "1836." + + *** I have seen four different dates given for the book. + + Page 25, _for_ "1842," _read_ "1840." + + Page 32,} + Page 69,} _for_ "Pannemacker," _read_ "Pannemaker." + + Page 52, _for_ "Lavoignal," _read_ "Lavoignat." + + Page 112, _for_ "Sydney P. Hall," _read_ "Sidney." + + " " _for_ "pen" _read_ "pencil." + + + + +[Illustration: BY BOUTET DE MONVEL. FROM "ST. NICOLAS" (DELEGRAVE).] + +PREFACE. + + +This book is the result of a request, made to me by the editor of the +Ex-Libris Series, that I should write for him something about the +Illustration of to-day. + +The idea, I must acknowledge, and I am glad to do so, is his, not mine. +To the editor also I am indebted for much help, especially in the matter +of the illustrations which the book contains; in fact, if he has not +selected and chosen them all, he has performed the more difficult and +thankless task of obtaining them. Only one who has gone through the +drudgery of finding drawings or blocks, in magazine, book, museum, +artist's studio, or collector's portfolio, and then of getting the +permission of editor, publisher, curator, artist, or amateur, to use or +reproduce them, knows what this means. I know from past experience, and +I was therefore only too glad to shirk the work when I found Mr. Gleeson +White willing to undertake it. I doubt, however, if he will ever again +attempt such a task. For the appearance of the illustrations in the book +he deserves the credit; for much advice and many suggestions of great +value, as well as to the articles he has written, and the lectures he +has delivered, on this subject, I am greatly indebted. + +[Illustration: BY T. W. RUSSELL. PEN DRAWING FROM "THE DAILY +CHRONICLE."] + +There are many others also whom I must thank. First of all Mr. Austin +Dobson, who, when he learned I was making a study of the subject, took +the trouble to put me on the track of the French illustrated books of +the early part of this century, giving me a most helpful start. Without +his assistance, and that of M. Beraldi, I might never have even been +able to trace the true birth, development, and growth of modern +illustration, which springs from Goya, the Spaniard, as draughtsman,[1] +and Bewick, the Englishman, as engraver; spreading, spontaneously but +quite independently, to France; thence to Germany, back again to +England, and finally to America, whence it has been diffused again all +over the world. Though in all its component parts--drawing, engraving, +and printing--illustration is more advanced in the United States than +anywhere else; still to-day, despite the excellence of much of the work +done there, remarkable results are being obtained in other countries. +Yet this latter-day excellence is so marked in American work that in +many ways it has overshadowed that of England, France, Germany, and +Spain, from the artists and engravers of which countries we Americans +have derived our inspiration. + + [1] The Spanish photographer to whom was given the commission by + Messrs. Bell to photograph the Goya drawings in the Museum + of the Prado, never carried it out. For nearly a year they + have been promised _manyana_, but the to-morrow has not yet + dawned. + +Once again I must thank the authorities at South Kensington and the +British Museum, Mr. E. F. Strange and the assistants; Mr. A. W. Pollard, +who, though the editor of a rival series, helped me as though the book +was to appear in his own collection; Professor Colvin and Mr. Lionel +Cust, the latter of whom, during his stay in the Print Room of the +British Museum, I bothered persistently; his transfer to a more +important post is a great loss to students at the Museum; Dr. Hans +Singer of Dresden, and many others. + +Artists, especially those of the older generation, the men who gave +illustration in this country thirty-five years ago a position it does +not hold to-day, have been untiring in their interest in the book, and +most helpful in every way; it has been a delight and a pleasure to meet +Frederick Sandys, Birket Foster, Harrison Weir, Frederick Shields, and +W. H. Hooper, just as it is an undying proof of the artistic blindness +of a generation which has not the intelligence to use the work of its +masters. Mr. Hooper has told me that he does not believe the Bewick +blocks could be printed any better than they originally were; this is an +interesting problem, but one which can never be solved; from my point of +view they were badly printed. He also thinks that Bewick used overlays. + +Mr. Hooper is the English master of _facsimile_ wood-engraving; and some +day, when this fact is generally discovered (as Mr. William Morris has +found out, for Mr. Hooper has engraved the greater part, if not all, of +Sir Edward Burne-Jones's and Mr. Morris's designs), there will be a wild +and fruitless discussion among bibliographers as to the engravers of the +wonderful blocks in Morris's books, and of much of the best work of 1860 +to 1870, signed with the name of a firm, or a tiny mark in the most +obscure corner. + +Mr. Laurence Housman's article on A. Boyd Houghton in "Bibliographica" I +wish I had seen before the English chapter was written, and I wish I had +had the benefit of his researches concerning this master, as well as the +advice of Mr. A. Strahan, which would have been invaluable. + +[Illustration: BY MAURICE GREIFFENHAGEN. PEN DRAWING FROM "THE DAILY +CHRONICLE."] + +Mr. W. J. Hennessy has given much help in the American chapter, and I +must thank Mr. Emery Walker, Mr. Horace Townsend, Mr. H. Orrinsmith, Mr. +C. T. Jacobi, Mr. W. E. Henley, and I cannot remember how many more. Mr. +Edmund Gosse kindly allowed us to reproduce his Rossetti, one of the +strongest pieces of work, I think, that artist ever did in pen and ink. +The other drawings not contributed directly by artists, or not obtained +as electros, etc., are mainly from my own collection, for strange as it +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 +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 +their refusal in this case rather uncalled for. Still, I have not +allowed their decision to influence me, nor yet the refusal of one or +two artists, who evidently prefer the advertisement of the vulgar type +of weekly to being included with their equals or masters. No doubt these +confessions will be greeted with applause, especially in that paper +whose boast it was once to be "written by gentlemen for gentlemen." No +doubt I shall be censured for leaving out the work of every man who ever +happened to make an illustration or even a sketch, especially if it was +privately published. No doubt the omission of Miss Alexander and other +Ruskin-boomed amateurs will be noted, but I have no collection of their +works which I should like to unload on the dear public. And as for the +misplaced energy contained in these drawings, I am sorry that their +authors wasted so much time over them. No doubt for making these +confessions, unknown or anonymous nobodies will shriek out that I have +stolen everything in the book from an authority of whom I never heard. +And, finally, no doubt an ordinarily rational paper like the "Spectator" +will remark of certain of the drawings, "they make us sick." + +As to the text, it is in no sense an attempt at a complete history of +modern illustration; such a subject would fill volumes, and take a +lifetime to prepare. It is but a sketch, and a very slight one, of what +I think is the most important work of this century; from which I know I +shall be told I have omitted almost all that I should have included, and +inserted much that should have been omitted. + +But I should like to point out that there are no works that I have been +able to consult on modern illustration, that is on drawing, engraving +and printing as practised to-day in Europe and America; there are a few +excellent books notably a "Chapter on English Illustration," by Mr. +Dobson, in Mr. Lang's "The Library," and Mr. Linton's works on +engraving; Mason Jackson's "Pictorial Press;" a few good monographs on +the great illustrators, Champfleury's "Vignettes Romantiques," for +example; many excellent scattered articles, and an ocean of rubbish. But +I am the unfortunate who will be sacrificed for attempting to write the +first book on a subject he loves. There is another most serious, really +insurmountable difficulty, for me or anyone else who attempts to write +of modern illustration: no illustrations are catalogued to any extent; +only the most important illustrators find a place in either the +catalogues of South Kensington Art Library or the British Museum; +therefore a few years, even a few weeks, after an illustrated book is +published, if it has already passed through several editions, it may +require hours to find the edition one wants. And as for a special +illustration, that necessitates almost always turning over thousands of +pages--unless one knows exactly where to find it. I know of but one +magazine--"Once a Week"--in the bound volumes of which the artist's work +is properly indexed, and even here the engraver's name is omitted.[2] In +Harper's most excellently conducted magazine, for some unknown reason +artists and engravers are ignored in the index. Even "The Century" +leaves much to be desired in this way. Again, it is almost impossible to +obtain the date or the name of the work in which many an important +illustration first appeared. Illustrations are used over and over again, +this has always been done; even a publisher at times cannot help one: +for this reason it is very difficult to tell when one is consulting a +first edition of an illustrated book. Sometimes I fancy this +carelessness is not altogether unassociated with the author's or +publisher's desire to palm off old blocks as new. It is by no means +uncommon to omit the name of the artist altogether from the work he has +illustrated; rarely indeed is it that the engraver's name is given; +sometimes no mention that the work is illustrated is even made on the +title page, or only that it contains so many illustrations; usually if +an attempt is made to describe the method by which the designs have been +reproduced, it is wrong; in rare cases, I am glad to say, this is +intentional--photogravures being called etchings, for example--but it is +mainly the result of sheer ignorance on the part of publisher, author, +or at times, the illustrator. + + [2] The "Pall Mall Magazine" has just commenced to index artists and + engravers completely. + +Hence there are two matters to which I should like to call attention; +that all library catalogues give the name of artist and engraver +whenever these are printed in the book being catalogued; naturally in a +work like this or a magazine, such a course would be impossible, but at +least the number of illustrations might be given. The name of the +illustrator should always appear on the title page when possible; if his +work is worth printing he should have a decent amount of attention drawn +to it. This matter is not so difficult, nor would it entail in new +catalogues so much work as librarians might think, for I may say in the +British Museum and South Kensington I find that Menzel's work is so +catalogued already. + +[Illustration: BY E. J. SULLIVAN. PEN DRAWING FROM "THE DAILY +CHRONICLE."] + +Secondly, that bibliographers everywhere should turn their attention +more to modern illustrated works, even if from the bibliographer of the +future it removed much of that pleasant uncertainty which enhances, for +some, the work of to-day. There is scarce an illustrated book of the +fifteenth or sixteenth century, in which we are absolutely sure of the +artist and engraver; but the bibliographers of the future will have a +far bigger puzzle to solve, unless we pay some attention to the work of +to-day, when they come to catalogue and describe the books of this +century. + +Most illustrators, it is true, now sign their drawings, but I should not +care to attempt a catalogue of my own work. + +I have no doubt that I have omitted to mention some really important +books, but they have been omitted because I have never seen them; with +no good catalogue, no guide, many of the artists dead, and the books +dead too, how is one to find them? I have done what I could to make a +start; I only hope some one will carry it on; certainly I am sure some +of my sincere flatterers will imitate me, as they always do. + +But to-day the output of illustration is overwhelming; to study the +subject properly one must see all the books, magazines, and papers +published all over the world. No one man has a chance to do this, and, +if he had, the mere looking at such a mass of material would take up all +his time. Yet one must get some idea of what is being done, for in the +most unexpected places the best work often appears; originality is +barred in many, so-called, high-class journals, and has to struggle, in +the cheapest publications, with the printing-press, ink, and paper. + +What magazine, for example, has eclipsed "The Daily Chronicle's" +experiment in illustration? Within the same short period no such +distinguished band of contributors ever appeared. + +Again, in this book it is repeatedly stated that certain artists are at +work on certain publications; these have since appeared; I can only say +that the book was not made in a day, and the artists, engravers, and +printers to whom I have referred, have worked faster than I have. Even +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 +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 +it, for the moment, is hard on the artist. + +It is now no longer necessary for me to insist on the importance of +illustration; it is acknowledged, and, save that academic honours are +denied him in this country, the illustrator ranks with any other +practitioner of the fine or applied arts. + +[Illustration: BY J. Mc NEIL WHISTLER. FROM "LEGENDARY BALLADS" +(CHATTO).] + +Nor do I propose to contradict the statement that one can see too much +good art; well, the Elgin marbles stood for centuries where only the +blind could avoid them, and I have not heard that the Athenians were +injured in consequence; now they are shut up in boxes, and only visible +at certain times, hence the British taste has been so elevated, that the +ha'penny comic and the photograph have become its ideal. Still, if +people could see every day, as they had the chance of seeing this +year in the "Chronicle," illustrations by Whistler and Burne-Jones, I do +not think they would be harmed, even if they did not happen to have to +travel in a penny 'bus to the British Museum, or take a Cook's ticket +and a shilling Ruskin in order to walk in Florence. My opinion is, the +better the art around us, even in the penny paper, the better shall we +be able to appreciate the work we must travel to see. + +As for the people who would vulgarize art and literature, bringing +everything down to their own low level, we have them always with us. And +they and their hangers-on are the ones against whom the present puritans +should level their attacks--not against men whose art they do not +understand, even if they do object to their personality. Still here it +will be always impossible to separate a man from his work; yet good art +will live, and good illustration is good art. The world may or may not +appreciate it, still "there never was an artistic period, there never +was an art-loving nation." + + +NOTE. + +Since this preface was written much has happened, and I hope I have +learned a little. A show of wood-engravings was held in March, 1895, in +Stationers' Hall, which demonstrated clearly that there are many capable +artists in this branch of illustration, though at present they have but +little encouragement to practise their art; in that exhibition one saw +much good work, and I must at least record the names of H. Harral and C. +Roberts among English engravers on wood who have done notable large +blocks--while excellent engraving has been recently accomplished by +Messrs. M. Stainforth, O. Lacour, J. D. Cooper, R. Paterson, A. Worf, F. +Babbage, J. M. Johnstone, and W. Spielmeyer, the latter of whom was good +enough to give me much help in the German chapter of this book. Edmund +Evans, the engraver and colour-printer, loaned me the original drawings +on the wood by Birket Foster, William Harvey, and Harrison Weir, now for +the first time reproduced, while William Archer allowed us to reproduce +the Tegner on page 72. + +[Illustration: BY A. S. HARTRICK. FROM A PEN DRAWING IN "THE DAILY +CHRONICLE."] + +Among artists too I should have noted the work of G. H. Thomas and +Samuel Palmer, who made some designs for Sacred Allegories, mainly +engraved by W. T. Green, 1856. One of the earliest and best of modern +illustrated books, "Poets of the Nineteenth Century," 1857, and +Wilmott's "Sacred Poetry," 1863, are worth preservation for their +illustrations. The more I see of this illustration of twenty or thirty +years ago, the better and more interesting I find it. Arthur Hughes' +work grows on one; certainly his illustrations to Christina Rossetti's +"Sing Song," are very charming. I have made no mention scarcely of the +splendid work Charles Green, Luke Fildes, and Fred. Barnard did for +Charles Dickens. My only excuse is that till yesterday I never saw it. +Griset's grotesques, too, I have but just come across--but while one +is looking up the work of a few years ago, that of the present is +unseen. I have said nothing of many interesting illustrators who have +come to the front almost within a few months, illustrators are being +made almost daily, one cannot keep track of them, good as their work is +much of it is like journalism, bound to perish, only the best will live; +but when one is right in the midst of it, difficult indeed is the task +of picking out the good from the almost good, the clever from the +distinguished. + + LONDON, + _September 30th, 1895._ + +[Illustration: BY CONSTABLE. PROCESS BLOCK FROM AN ORIGINAL DRAWING IN +POSSESSION OF THE AUTHOR.] + + + + +MODERN ILLUSTRATION. + + + + +INTRODUCTION. + + +Illustration is not only the oldest, but the only form of artistic +expression which graphic artists have ever been able to employ. For that +matter, every expression of the artist, whether conveyed by means of +monochrome or colour, even the work of the plastic artist, is but an +illustration. + +For an illustration is the recording, by means of some artistic medium, +either of something seen by the artist which he wishes to convey +to--that is, illustrate for--others; or else the direct interpretation +by some artistic means of a written description, or the chronicling of +an historical event; or, it is a composition which has been suggested to +him by some occurrence in nature; or, again, his impression of some +phase of nature or life. Therefore all art is illustration, though it +rather seems to follow that all illustration is not art. + +In the past, the great illustrators were employed by the great patrons +of art in the church and at court. The church, by means of graphic or +plastic illustration, warned or encouraged her followers, terrifying +them by endless purgatories and _infernos_, more gruesome and ghastly +than the British idea of the Salon picture; turning their thoughts +towards heaven mainly by cloying sweetness, which the typical member of +the Royal Academy finds much difficulty in approaching. Though such +illustration, in a certain sense, was made for the people, it was not +given into their possession as modern illustration is to-day; it was +meant not for their pleasure, but for their instruction. + +The old illustrator in his work was simply nothing if not a moralist, +though he himself may have been a most amusing person, while his +treatment of even the most sacred subjects was frequently the broadest +and most suggestive. Still, he was commissioned solely to "point a moral +and adorn a tale." As for the court painters, their work was never seen +by the people at all, any more than it is now, often luckily. But what +were the portraits of Velasquez, the groups of Rembrandt, the feasts of +Veronese, the processions of Carpaccio? The work of all court and +portrait painters is but the recording, that is, the illustration, of +human vanity; and the work of all subject painters is but the recording, +that is, the illustration, of great and important events; while +landscape painting, a modern invention, is only more or less glorified +topography. + +With the writing and illustrating of manuscripts, however, there had +been developed a school of minor artists and craftsmen: illuminators and +scribes who--mainly taking for their subjects either a portion of some +painting by a master, but usually the mere mechanical part of the early +painters' backgrounds, the mechanical gold punch design of the +primitives, the elaborate, but mannered and conventional, foregrounds of +Botticelli, and the entire compositions, more or less altered, of Fra +Angelico and Pinturicchio--by "lifting" these things judiciously, +evolved the art of illumination. It must be borne in mind that this +illumination, in its detail and accessories often very beautiful and +conventionally decorative, in its main subject almost always as +realistic as possible, was the work, with two or three most notable +exceptions, of second- and third-rate clever technicians, but in no +sense great creative artists at all. Only a few well-known painters were +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 +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 +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 +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 +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. +It was the same with the work of the early Italians. Holbein is almost +the only exception proving the rule that great artists in the past +were not illustrators of books. Still, one can never be absolutely +certain on this point, since on some of the finest books, like the +"Hypnerotomachia," a great artist was employed whose name has never been +recorded. + + [3] This is a combination of illumination and printing, the + 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 +reasons why the best-known artists did not illustrate the important +publications of their own day, there seem to be three very good ones. +First, because it is almost certain that the wood-cutter, when he was +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 +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 +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 +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 +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 + "Gravure sur Bois." + + [5] Some of Ratdolt's are among the exceptions. + +When one considers these facts, which have been carefully ignored by a +small set of artists, and, of course, are absolutely unknown to the +ordinary critic and authority on the early printed book, two things +become evident. First, that the great artists of the past did not +illustrate; and, second, that the reason they did not was because they +could be neither decently engraved nor printed. + +[Illustration: ST. CHRISTOPHER, 1423.] + +[Illustration: BY SIR EDWARD BURNE-JONES, BART. REDUCED FROM A LARGE +PROCESS BLOCK IN "THE DAILY CHRONICLE."] + +With the introduction of steel and copper-plate engraving and etching, +the paintings and sculptures of great artists were not infrequently used +as the subjects of book illustrations, but they were seldom made +expressly for the books they illustrate. And as the steel or copper +engraving must be printed separately, and as the best proofs of these +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 +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 +were required, and one and the same portrait or town served for as many +characters and places as happened to figure in the book. While, under +the heading of appropriateness of decoration and fitness, it may be +remarked that most of the old printers only had one set of initials, and +if they did possess two sets of borders, they usually chopped them up, +and, by judicious mixing, obtained a variety apparently pleasing to +their patrons. + +It is not until the eighteenth century that one finds artists of note +illustrating books, always with the exception of Holbein. Even then the +illustrations were usually steel or copper-plate engravings made very +freely from other men's drawings, although the artists were beginning to +be commissioned to produce designs themselves. One might devote much +space to the work of Piranesi, Canaletto, Watteau, Greuze, Hogarth, +Chodowiecki, and the illustrators of La Fontaine. But this does not +come really within my subject, since the making of modern illustration, +that is, the employment of great artists to produce great works of art +to appear with letterpress in printed books, dates entirely from this +century, and is due altogether to the genius of four men: Meissonier in +France, Menzel in Germany, Goya in Spain, and Bewick in England. It is +to these four that modern illustration is solely and entirely due; +though a word--and a strong one--of praise should be given to the +patrons and publishers who employed and encouraged them. + +[Illustration: BY SIR DAVID WILKIE. FROM AN ORIGINAL DRAWING IN THE +POSSESSION OF THE AUTHOR.] + + + + +[Illustration: WOOD-ENGRAVING BY THOMAS BEWICK. FROM WALTON'S "COMPLETE +ANGLER" (BOHN).] + +CHAPTER I. + +A GENERAL SURVEY. + + +Nowhere were the conditions of illustration more deplorable than in +England when Bewick, and Stothard, and Blake appeared upon the scene. +There was a decided revolution when Gay's "Fables," the "General History +of Quadrupeds," "British Land and Water Birds," all illustrated by +Bewick's wood-engravings, were issued. Bewick, as has been said before, +and cannot be repeated too often, was an artist who happened to engrave +his designs on wood, instead of drawing them on paper or painting them +on canvas; he was not a mere wood-engraver, interpreting other men's +work which he only half understood or appreciated; and this is a +distinction to be borne in mind. Bewick, virtually, did for himself what +the new mechanical processes almost succeed in doing for contemporary +illustrators. For him were none of the difficulties and miseries of the +draughtsman who made his designs on the block, saw them ruthlessly +ruined by an incompetent, or unscrupulous engraver, and then had but the +print, which could not prove the reproduction to be the wretched +caricature of the original that it really was. This was the chief reason +for Bewick's success. He invented wood-engraving; he showed what good +work ought to be; in a word, he revolutionized the art of illustration +in England.[6] + + [6] The printing is, however, always bad. + +Whatever may have brought about this sudden activity and revival of +excellence, Bewick's books were far from being its sole outcome. "The +Songs of Innocence and Experience," the "Inventions to the Book of Job," +Blair's "Grave," Mary Wollstonecraft's stories, with Blake's +illustrations, belong to the same period, though this was but a chance. +The illustrations were mostly done on metal, and Blake had his own +peculiar methods. He belongs to no special time or group. + +[Illustration: "CHRIST AND PETER." BY CARACCI. Wood-engraving by the +Linnells.] + +[Illustration: "THE HOLY FAMILY." BY PERUGINO. Wood-engraving by the +Linnells.] + +Book after book with Stothard's illustrations, the "Pilgrim's +Progress," Richardson's novels, tales now forgotten, above all, Rogers' +"Poems," with the engravings by Clennell, helped to prove the +possibilities of good illustration, and emphasize, by force of contrast, +the inappropriateness of work done by some of the most popular +Academicians of the day for Boydell's "Shakespeare," immortalized by +Thackeray as that "black and ghastly gallery of murky Opies, glum +Northcotes, straddling Fuselis." + +[Illustration: BY STOTHARD. FROM AN ORIGINAL DRAWING IN THE POSSESSION +OF THE AUTHOR.] + +[Illustration: FROM A PAINTING BY WILSON. Wood-engraving by the +Linnells.] + +[Illustration: FROM A PAINTING BY RUBENS. Wood-engraving by the +Linnells.] + +[Illustration: BY STOTHARD. FROM ROGERS' "POEMS" (CADELL). Engraved on +wood by Clennell.] + +[Illustration: BY STOTHARD. FROM ROGERS' "POEMS" (CADELL). Engraved on +wood by Clennell.] + +But the most important outcome of Bewick's work was the appearance of an +excellent school of wood-engravers in England: Clennell, Branston, +Harvey and Nesbit, the Thompsons, the Williamses, and Orrinsmith. These +engravers tried, in the beginning, to produce exactly the same sort of +work that is being done by the so-called school of American +wood-engravers to-day. One has only to look at Stothard's illustrations +to Rogers' "Poems," engraved by Clennell, to see an example of +_facsimile_ engraving after pen drawing. But, as a general thing, these +men all endeavoured to imitate the qualities of steel engraving or +etching. First, because steel or metal engraving was the prevailing form +of illustration, enjoying, for a while, tremendous popularity in the +long series of "Keepsakes," "Forget-Me-Nots," and "Albums;" and, +secondly, because they were forced mainly to copy old metal engravings, +since scarcely any artist, always excepting Stothard and a few others, +knew how to draw on the wood. So great was the rage for popularizing +engravings on metal, that John Thompson projected an edition of Hogarth +on wood, about two inches by three, showing that, instead of being able +to produce new work done specially for the wood, engravers were +continually thrown back upon the copying of steel or copper-plates, or +the work of their predecessors. Another notable instance, though +published much later, is that of the first illustrated catalogue of the +National Gallery by the Linnells.[7] + + [7] So far as I know, the original of that system of abomination. + +In France, however, there were plenty of artists, willing to draw on the +wood, who could not get their designs engraved, at the very time that in +England there were plenty of engravers who could find no artists to draw +for them. + +[Illustration: FROM TITIAN, "ARIADNE AND BACCHUS." Wood-engraving by the +Linnells.] + +In 1816 Charles Thompson went to Paris, partly for pleasure and partly +in search of work. He was at once successful. He arrived at the right +moment: already a Society for the Encouragement of National Industry in +France had offered a prize of two thousand francs for wood-engravings +done in that country, so impressed had Frenchmen been with the +excellence of the work produced in England. + +[Illustration: BY HARVEY. FROM "MILTON'S POETICAL WORKS" (BOHN). +Engraved on wood by Thompson.] + +[Illustration: BY HARVEY. FROM "MILTON'S POETICAL WORKS" (BOHN). +Engraved on wood by Thompson.] + +A little later on, Lavoignat and other engravers came over and worked in +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 +worked after Gigoux, the Johannots, Isabey, Paul Huet, Jacque, +Meissonier, Charlet, Daubigny, Daumier, Gavarni, Monnier, and Raffet. + +[Illustration: FROM AN ORIGINAL DRAWING ON THE WOOD BY HARVEY.] + +In both countries this new illustration began to make its mark about +1835. Although, in its own way, Bewick's engraving was unsurpassed, +still a refinement, a freedom, was introduced by the French artists, and +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, +studied in England with Smeeton, while it is well known that the +director of the "Graphic" was working in Paris almost up to 1870. + +[Illustration: BY HARVEY. FROM MILTON'S POETICAL WORKS (BOHN). +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," +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 +so good that they were used over and over again by "L'Artiste," the +organ of the Romanticists, in which they were accepted as the perfection +of illustration. + +At this date there is to be noted in England, among the best work done, +the beautiful alphabet by Stothard, published by Pickering. + +[Illustration: BY THURSTON. FROM BUTLER'S "HUDIBRAS" (BOHN). +Wood-engraving, unsigned.] + +[Illustration: BY THURSTON. FROM BUTLER'S "HUDIBRAS" (BOHN). +Wood-engraving, unsigned.] + +If, up to 1830, England and France were in equal rank, so far as +illustration went, for the next ten or fifteen years France utterly +eclipsed her earlier rival. In 1833 appeared the "Gil Blas"[8] of +Gigoux, containing hundreds of drawings, which all Frenchmen, I believe, +consider to be the illustrated book of the period. To Gigoux, Daniel +Vierge owes more probably than he would care to acknowledge; while +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. +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 +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 +understood.[9] The printers' name deserves to be remembered: Everal et +Cie. + + [8] My own copy, apparently a first edition, is dated 1836. + + [9] Charles Whittingham, the founder of the Chiswick Press, + who died in 1840, has the credit of being the first printer + in England to use overlays, and as an early example might + be mentioned, "The Gardens and Menageries of the Zoological + Society delineated," published by Tilt in 1830, containing + drawings by William Harvey, engraved by Branston and Wright, + assisted by other artists. + +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 +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 +_facsimile_ wood-engraving ever made. At that time it was simply +unapproached anywhere. In "L'Artiste" and "Gazette des Entants," 1840, +will be found many remarkable lithographs by Gavarni; but most of +Daumier's works must be looked for in the cheaper prints, notably in "La +Caricature," where also may be found, from 1830, in lithography the +work of Delacroix, Monnier, Lami, and others. + +[Illustration: BY THURSTON. FROM TASSO (BOHN). Engraved on wood by +Corbould.] + +[Illustration: FROM CRUIKSHANK'S "THREE COURSES." Engraved on wood by S. +Williams.] + +[Illustration: FROM CRUIKSHANK'S "THREE COURSES."] + +[Illustration: FROM CRUIKSHANK'S "THREE COURSES." Wood-engravings, not +signed.] + +In England, too, very good work was being done, though it was not so +absolutely artistic as the French. Among the men who were working were +Thurston, Stothard, Harvey, Landseer, Wilkie, Calcott, and Mulready. The +"Penny Magazine" was started in 1832 by Charles Knight. Gray's "Elegy" +appeared in 1836, the "Arabian Nights" in 1838, and, about the same time +the "Solace of Song," both containing much of Harvey's best work; while +later came those drawings by Cruikshank, which mainly owe their claim to +notice to the marvellous interpretations of them made by the Thompsons +and the Williamses. In England, however, the engravers were seeking more +and more to imitate steel, the artist's simplest washes being turned +into the most elaborate cross-hatching, which made each block look as if +it were a mass of pen-and-ink or pencil detail, when no such work was +ever put on it by the draughtsman. The artist was ignored by the +engraver, until finally the latter became absolutely supreme, that is to +say, his shop became supreme, while the artist who, when he had the +chance, could give on a piece of wood an inch or two square, most +beautiful, even great, effects of landscape, was subordinated wholly to +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 +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. + +[Illustration: FROM CRUIKSHANK'S "TABLE BOOK." Engraved on wood by T. +Williams.] + +I had always supposed Menzel to occupy a position quite as original as +Bewick's. But I find that he was really a follower of Meissonier. His +"Life of Frederick the Great" was not published until 1842, while the +"Paul et Virginie" had appeared in 1835. Besides, the first of his +drawings for the "Frederick" Menzel confided to French engravers,[10] +especially to the men who had reproduced Tony Johannot. But this +artist's illustrations, though in point of size the most important, in +point of excellence are the worst in the French book, being not unlike +characterless steel engravings. It is therefore not surprising that +Menzel was dissatisfied with the results, and that he proceeded at once +to train a number of Germans to produce engravings of his work in +_facsimile_. The best of these men were Bentworth, Unzelmann, the +Vogels, Kreitzschmar, who engraved the drawings for the "Works of +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 +1844. + + [10] Rather English and French, Andrew, Best, Leloir. + +But in England it is just before the invention of photographing on wood +that some of the most marvellous drawings were produced; really the most +marvellous that have ever been done in the country. It is true that Sir +John Gilbert had been making his striking and powerful designs, Mr. +Birket Foster his exquisite drawings, while much good _facsimile_ work +was done after Mr. Harrison Weir; the Abbotsford edition of Scott was +appearing, and the "Liber Studiorum;" true, also, that the +"Illustrated London News," started in 1842, had done much to raise the +general standard; "Punch," also, was commenced in 1842; much, too, had +been accomplished in lithography. Still, it is with the appearance of +Frederick Sandys, Rossetti, Walker, Pinwell, A. Boyd Houghton, Small, +Du Maurier, Keene, Crane, Leighton, Millais, and Tenniel, with the +publication of the "Cornhill," "Once a Week," "Good Words," the +"Shilling Magazine," and such books as Moxon's "Tennyson," that the best +period of English illustration begins. Mr. Ruskin's own drawings for his +books must not be forgotten. + +[Illustration: BY BIRKET FOSTER. FROM "LONGFELLOW'S POEMS" (BELL). +Engraved on wood by Vizetelly.] + +[Illustration: BY SIR JOHN GILBERT. FROM MARRYAT'S "MISSION" (BOHN). +Engraved on wood by Dalziel.] + +[Illustration: BY DANTE GABRIEL ROSSETTI. FROM "TENNYSON'S POEMS." +Moxon, 1857. Engraved on wood by Dalziel.] + +[Illustration: BY DANTE GABRIEL ROSSETTI. PROCESS BLOCK FROM A DRAWING +IN THE POSSESSION OF EDMUND GOSSE, ESQ.] + +[Illustration: BY BIRKET FOSTER. FROM "LONGFELLOW'S POEMS" (BELL). +Engraved on wood by H. Vizetelly.] + +[Illustration: BY BIRKET FOSTER. FROM "BELL'S SCHOOL READER." +Wood-engraving unsigned.] + +Among the English engravers, outside of the large shops of Dalziel and +Swain, there are only two names that stand out conspicuously: W. J. +Linton and W. H. Hooper. The excellent work of the latter, +unfortunately, has been overshadowed by that of Mr. Linton, who, +however, cannot be considered his equal as an engraver. + +[Illustration: BY BIRKET FOSTER. PROCESS BLOCK FROM AN ORIGINAL DRAWING +ON THE WOOD BLOCK, NEVER ENGRAVED.] + +[Illustration: BY BIRKET FOSTER. FROM "GOLDSMITH'S POEMS" (BELL). +Engraved on wood by Dalziel.] + +In America F. O. C. Darley was certainly the first illustrator, while +the French tradition was carried on for years in "Harper's Magazine" by +C. E. Doepler, who produced some very excellent little blocks. +Harper's "Illuminated Bible," with more than fourteen hundred drawings +by J. G. Chapman, engraved by J. A. Adams, was begun in 1837, and +finished in 1843. But the greatest number of the better American +drawings were either borrowed from English sources, or, as in the case +of the American Tract Society, English artists, like Sir John Gilbert, +were commissioned to make them. After the Civil War, the first man to +appear prominently was Winslow Homer. Contemporary with him, and later, +were John La Farge, Thomas and Peter Moran, Alfred Fredericks, W. L. +Shepherd, and the older of the men working to-day. Among the +caricaturists, Thomas Nast was preeminent. + +[Illustration: BY HARRISON WEIR. FROM POETRY FOR SCHOOLS (BELL).] + +[Illustration: BY HARRISON WEIR. FROM POETRY FOR SCHOOLS (BELL). +Engraved on wood by A. Slader.] + +[Illustration: BY HARRISON WEIR. FROM A WASH DRAWING ON THE WOOD.] + +There is one American book, however, which deserves special mention. +This is Harris's "Insects Injurious to Vegetation," the drawings for +which were the work of Sourel and Burckhardt. It is one of the most +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 +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, +like Pannemacker, for instance, had been specially trained by the artist +to carry out the ideas which he merely suggested on the block. + +But a change was coming; the incessant output of illustration killed not +only the artists themselves, but the process. In its stead arose a +better, truer method, a more artistic method, which we are even now, +only developing. This later American illustration may be said to have +had its beginning in the year 1876. + +[Illustration: BY A. COOPER. FROM WALTON'S "ANGLER" (BOHN). Engraved on +wood by M. Jackson.] + + + + +[Illustration: BY RANDOLPH CALDECOTT. FROM "OLD CHRISTMAS" (MACMILLAN, +1875).] + +CHAPTER II. + +THE METHODS OF TO-DAY; THEIR ORIGIN AND DEVELOPMENT. + + +Modern illustration belongs essentially to our own times, to our own +generation. To the last quarter of the eighteenth century several +writers on the subject have traced its beginning. But in a measure only +is this theory justified by fact. All dates are difficult and elusive. +It is not easy to point to the exact year when the old came to an end +and the new began. Even in cases when a certain date, 1830 for example, +seems to mark a positive barrier, it does so only because, with constant +use, it has become the symbol of a certain change. + +But the cause of this modern development is not hard to discover. It was +the application of photography to the illustration of books and papers +which established the art on a new basis. As the invention of printing +gave the first great impetus to illustration, so surely has it received +its second and more important from the invention of photography. The +gulf between primitive illuminated manuscripts and Holbein's "Dance of +Death" is not wider than that which separates the antiquated "Keepsakes" +and "Forget-Me-Nots" from the "Century Magazine" and the "Graphic." The +conditions have entirely altered. + +Greater ease of reproduction, greater speed, greater economy of labour +have been secured, as well as greater freedom for the artist, and +greater justice in the reproduction of his design. As a consequence, +illustration has increased in popularity, the comparative cheapness of +production placing it within reach of the people who have ever taken +pleasure in the art, since the days when all writing was but +picture-making; it has gained artistically, since the fidelity of the +_facsimile_ now obtained has induced many an artist of genius, or +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 +proportion of genuinely good work published. + +[Illustration: BY CHARLES KEENE. FROM A PEN DRAWING IN THE POSSESSION OF +THE AUTHOR.] + +The first attempt to photograph a drawing on the block for the purpose +of engraving, is said to have been made in England, in 1851 or 1852, by +Mr. Langton, an engraver in Manchester, assisted by a photographer whose +name unfortunately has not been preserved. It may be granted that this +was the first attempt. But artistically it was of small importance, +as nothing, so far as I know, directly came of it. That the process was +well enough known in 1865 is proved by the following extracts from the +"Art Student" of that year: "The picture is obtained in the usual way, +and the film of collodion afterwards removed by using a pledget of +cotton moistened in ether. A block so prepared works as well under the +graver as an ordinary drawing." But I do not believe that even this +process of photographing on the block was very practically used.[11] To +take one case in point, the "Amor Mundi" by Sandys, published in the +"Shilling Magazine" for April, 1865, which I reproduced by photogravure +in "Pen Drawing and Pen Draughtsmen:"[12] the plate was made from a +negative taken from this design after it had been drawn on the block. +Mr. Swain has told me that he photographed the drawing, because he was +so delighted with the original (which he was about to cut to pieces) +that he wanted to preserve an exact copy. Now, had the art of +photographing drawings on wood been generally known, Mr. Swain would +have photographed the drawing on to another block, reversing the +negative, and kept the original. Instead, he simply photographed the +original before it was engraved. The same thing is said to have been +done with some of Rossetti's illustrations for Tennyson; while Messrs. +Dalziel kept back their "Bible Gallery" for many years, until drawings +could be decently photographed on the wood. But the practical +application of photography to the transferring of drawings to wood +blocks, although probably known about as long ago as 1850, in a few +offices is scarcely practised to-day. I think, however, one may safely +say that about the year 1876 this practice became fairly general; one +may therefore, for the sake of convenience, take the year 1876 as the +date of the beginning of modern illustration. + + [11] I am mistaken in this, as many of Pinwell and North's + drawings, made on paper in 1865-66 for Dalziel, were + photographed on wood. + + [12] First edition 1889. + +As this change is probably the most important in the whole history of +the art, I think it may be well to explain shortly how drawings were +produced before the introduction of photography, and how they are made +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 +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 +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 +drawing from nature, the draughtsman putting it on the block, and the +wood-cutter cutting it. When we come to engraving on metal, we find +that, though the wood-cutter need not have been an artist, he only +having to follow lines given him, or to make certain mechanical ones to +suit himself, the metal engraver was obliged to be an artist, because he +had to be able to copy the picture or design entrusted to him. But +mechanical aids were found for him too, with the result that the later +engravings on metals, as well as the old woodcuts, became the +productions of shops, in which certain parts were done by certain men, +and the real artist, whether he were draughtsman or engraver, had a +small share in the actual reproduction. The next stage was the entire +disappearance of the wood-cutter, when finally all books were +illustrated by means of steel and copper. With Bewick who, with a +graver, engraved his own designs on the end of the block, instead of +cutting them with a knife on the side of a plank, as everyone had +previously done,[15] there was introduced a new phase--the possibility +of drawing with a pen, or pencil, or brush, or wash, upon the whitened +surface of box-wood, a good medium, a design which should be absolutely +facsimiled by the engraver. The engravers of Bewick's time and until +about 1835 or 1840, being true artists and craftsmen, knew that their +business was to engrave the artist's design as accurately and carefully +as they could, since what the latter wanted was the absolute _facsimile_ +of his work and none of their suggestions. But by the fifties, the +artist either had become wholly indifferent to the way in which his work +was engraved, or else he was absolutely under the thumb of the +engravers. His entire style, all his individuality, was sacrificed for +the benefit of the engraving shop, from which blocks after him were +turned out. The head of the firm whose signature they bore may never +have done a stroke of work on them. Even a man strong as Charles Keene +was completely broken up by this system, though he may not have realized +it. Artists were told that they must draw in such a way that the +engravers could engrave them with the least time, trouble, and expense. +Two attempts were made to escape from the wood-engraver who was again +endeavouring to reduce everything to a _facsimile_ of steel: by the use +of steel plates themselves, as in the case of the later editions of +Rogers' "Italy;" and also, by the practice of aquatint and lithography, +in France by such men as Gavarni and Daumier, and in England by Prout, +Roberts, Harding, Nash, and Cotman. But lithography in this country, as +a method of illustrating books and papers, never can be said to have +become very popular, though in France for years its employment was +general. + + [13] There are two or three seventeenth-century drawings on + the wood at South Kensington, and some, I believe, in the + British Museum. + + [14] On paper. + + [15] At least, he was the first man to do important artistic + wood-engraving. + +The art of wood-engraving was dying in the clutch of the engraver, when +an artless process came to its aid. For, at this crisis it was +discovered that a drawing made in any medium, upon any material, of any +size (so long as proportion was regarded), might be photographed upon +the sensitized wood-block in reverse. The importance of the discovery +will be appreciated when it is remembered that, before this, the poor +artist, if he were drawing the portrait of a place directly on the +block, was compelled to draw it the exact size it was to be engraved, to +reverse it himself, and to have his actual drawing destroyed by +engraving through it. Once photography was used, the drawing could be +made of any size, it was mechanically reversed, the original was +preserved, and the artist was free. Gone, however, according to the +engraver, was the engraver's art. It is true that the wood-chopper +disappeared: the man who could not draw a line himself, and yet would +pretend that his mechanical lines, made with a graver or ruling machine, +were more valuable than the artist's, and who had no hesitancy in +changing the entire composition of a subject if he did not like it. But +his disappearance was a great gain. In his place there arose the latest +school of wood-engravers. Many of the new were perhaps no better than +the old men, for not knowing how to draw, not being artists, they +directed their energies often to the meaningless elaboration of +unimportant detail. But at least this work could always be corrected, +now that the original drawing was preserved and could be compared with +the print from the engraved block. + +[Illustration: BY M. E. EDWARDS. FROM GATTY'S "PARABLES" (BELL, 1867).] + +[Illustration: BY G. DU MAURIER. FROM A WOOD-ENGRAVING. "THE ENGLISH +ILLUSTRATED MAGAZINE."] + +[Illustration: BY ARTHUR HUGHES. WOOD-ENGRAVING FROM GORDON HAKE'S +"PARABLES" (CHAPMAN AND HALL).] + +In England, from 1860 to 1870 some very remarkable drawings were made +and engraved upon the block. During the years just before the +introduction of photography, Walker, Pinwell, Keene, Sandys, Shields, +and Du Maurier were illustrating. To a certain extent, they seem to +have insisted upon their work being followed. Between 1870 and 1880, +when the actual change was made from drawing on wood to drawing on +paper, even a larger number of men were at work. The "Graphic" and the +"Century" were founded, and enormous were the improvements in France and +Germany. But between 1880 and 1890 came the greatest development of all. +For these years saw the perfecting and successful practice of mechanical +reproduction: that is, the photographing of drawings in line upon a +metal plate or gelatine film, the biting of them in relief on this +plate, or the mechanical growth of a plate on the gelatine, resulting in +the production of a metal block which could be printed along with type. +This method of replacing the wood-engraver by a chemical agent has, +however, been the aim of every photographer since the time of Niepce, +who made the first experiments, while the process was patented by Gillot +on the 21st of March, 1850.[16] These ten years are also noted for the +invention of what is now generally known as the half-tone process: that +is the reproduction by mechanical means of drawings in wash, or in +colour, worked out in Europe by the Meisenbach process, in America by +the Ives method. In many ways wood-engraving as a trade or business has +been, it may be only temporarily, seriously damaged. However, in the +very short period since mechanical reproduction has been +introduced, those wood-engravers who really are artists have been doing +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, + 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. + +The most modern of these developments are worthy of special notice both +in Europe and America. But before pointing out the changes and results +that have come from them, it may be well to say something about process. +Upon this subject there are two widely differing factions. It is not at +all curious that the artists, the men who practise the art of +illustration, should be found almost unanimously on one side, while the +critics, whose business it is to preach about an art of which they know +nothing in practice, are ranged upon the other. There are a few critics +of intelligence, who understand the requirements and limitations of both +process and wood-engraving, just as there are hack and superior +illustrators who neither know nor care anything about any form of +reproduction. + +Many advantages are claimed for wood-engraving. The print from an +engraving on wood gives, it is said, a softer, richer, fuller impression +than the print from the mechanically engraved process block. But not in +one case out of a hundred thousand is the wood block itself printed +from: the illustration which delights the critics has, in reality, been +printed from a cast of the block made of exactly the same metal as the +cast from the process block, and the softness, the velvety quality, is +therefore due to the imagination of the critic who is unable to tell the +difference. Indeed, to distinguish between a mechanically produced block +and one engraved on wood, provided the subject of the drawing is +reasonably simple, is so difficult, that when neither of the blocks is +signed, no living expert on the subject would venture an off-hand +opinion. Between good _facsimile_ engraving and good process there is +really no difference at all, excepting in a few particulars. For in the +mechanically engraved process block, to use the ordinary term, the lines +made by the artist on paper, are photographed directly on to the metal +plate; these lines are protected by ink which is rolled upon them with +an ordinary ink roller, the sticky ink adhering to the lines of the +photograph, and nowhere else. This inked photograph is then placed in a +bath of acid, and the exposed portions are eaten away; the zinc or other +metal block is set up with a wooden back, type high, and is ready to +print from. The process is so ridiculously simple that it can be done in +a very few hours. + +Process blocks for line work, and nearly always half-tone blocks, have +to be finished by a clever engraver especially employed for the purpose. +It is very hard for him, as it leaves him no chance for original work, +but in course of time it is hoped that the process will be so perfected +that the services of the engraver can be dispensed with. There are other +methods, such as that of using swelled gelatine, to produce the same +results, but the biting of zinc that I have described is the most +popular. + +[Illustration: BY G. R. SEYMOUR. WOOD-ENGRAVING FROM "THE MAGAZINE OF +ART" (CASSELL).] + +In the case of the wood-engraving, the drawing is photographed in the +same way on the wood block, but the engraver proceeds slowly, tediously, +and laboriously with his tools to cut away the wood and leave the lines +in relief. This requires an amount of devotion to painstaking drudgery +which is appalling. As many days will be given to the production of a +good wood-engraving, as hours are needed to produce a good process +block. The results obtained by a first-class wood-engraver on the one +hand, on the other by the first-class mechanical reproduction which is +always watched by a first-class man, may be so close as to be +indistinguishable. But there is no artistic gain in employing the +wood-engraver, while great artistic loss is involved, since the latter, +who can scarce enjoy doing this sort of thing, is compelled to waste his +time in competing with a chemical and mechanical combination which does +the work just as well; besides, there is as much difference in the cost +as in the methods themselves, a process block being worth about as many +shillings as the wood-engraving is pounds. As the results are equal, I +see no reason why the publisher should be called upon to pay this large +sum of money, unless he wishes to, simply for what is absolutely a fad. +I admit, however, that _facsimile_ engravings by the early Englishmen +and Frenchmen, and some of the Americans and Danes of the present day, +are worth quite as much money as is asked for them. But I am just as +certain that mechanical engravers will go on improving their mechanical +process until _facsimile_ wood-engravers are left in the rear. Ordinary +good process work, which can be printed with type, is, at the present +moment, equal to any _facsimile_ wood-engraving. The more elaborate +methods, such as the photogravure of Amand Durand, are infinitely +better, and only to be compared to etching. + +[Illustration: BY SIR EDWARD BURNE-JONES. FROM THE ORIGINAL DRAWING FOR +GATTY'S "PARABLES" (BELL, 1867).] + +To contrast the mechanical reproductions of black and white wash, or +colour drawings with wood-engravings after them is, however, another +matter. Many drawings, owing to the medium in which they are done, will +not as yet reproduce well mechanically. Indeed, to have one's drawings +rendered satisfactorily, by the half-tone process, requires such an +enormous experience and knowledge of the improvements continuously being +made in the many different methods used by the different process men, +that the artist, if he kept posted in all the developments and +modifications, would have very little time left to produce works of art +of his own. On the other hand, the artist may admire the work of a +sympathetic wood-engraver whom he is delighted to trust with his +drawings: it is always a pleasure to see the translation of a good +drawing by a good wood-engraver. From the point of view of engraving, +nothing is more hopelessly monotonous than process; for the aim of the +process-man, as of some of the best wood-engravers, is to render the +drawing in wash, or in colour, so well, that there should be no +suggestion of the methods by which the results are obtained: to give the +drawing itself, and this is exactly, in the majority of cases, what the +artist wants. Naturally, he prefers an absolute reproduction of his +drawing, to somebody else's interpretation of it. He is not eager to +have another person interpret his ideas for the public; he would rather +the public should see what he has done himself with his own hands. This +reasonable desire process now begins to realize. By the half-tone +process, a photograph is made of a drawing with either a microscopically +ruled glass plate or screen in front of it, which breaks up the flat +tones into infinitesimal dots, or squares, or lozenges; or else, there +is impressed into the inked photo, in some one of a dozen ways, a dotted +plate which will give the same effect.[17] These dots, squares, or +lozenges lend a grain to the flat washes, translating them into +rectilinear relief, yielding a printing surface,--accomplishing, in a +word, the same end as the wood-engraver's translation of flat washes +into lines and dots. The great objection hitherto to half-tone process +has been, especially in large reproductions, that the squares or +lozenges produce a mechanical look which is entirely absent from a good +wood-engraving, the very essence of engraving being variety and, +therefore, interest in the lines drawn with the graver. The crucial +point, however, is this: even the greatest wood-engraver, in reproducing +a drawing made in tone, is forced to translate this tone by lines or +dots; in fact, instead of the wash, to give lines which do not exist in +the original drawing. Though he may be so clever as to succeed in +reproducing the actual values of the original, which he rarely does, he +has still entirely altered the original appearance of the work. The +object of the half-tone process is to give, not only these actual +values, so often missed by the engraver, but also the brush-marks and +the washy or painty look of the original, a result much further beyond +the powers of any wood-engraver, than beyond the possibilities of +process at the present day. It is said that process reproduction is but +a mechanical makeshift, and this is a term of reproach against it. But +it must be evident that wood-engraving, especially for the reproduction +of wash, and, in a less degree, of line drawings, is a far more +mechanical makeshift. There is no possible way in wood of representing +the wash, while in reproducing line on the block, at least two cuts are +required with the graver to get what the mechanical process gives at +once. Moreover, as soon as the line drawing becomes at all complicated, +it is impossible for the engraver to follow it on the wood block. + + [17] This method, I believe, is no longer used. + +Therefore, it seems to me that the strictures which have been applied to +process are far more applicable to wood-engraving. Now that +wood-engraving has become a medium for the reproduction of any and every +sort of design, it has stepped quite outside its proper province. Almost +anything can be done with a block of wood and a graver, but it must be +evident to people of average intelligence that a very great gulf +separates those things which possibly can be done, from those which +rationally should be attempted. Still, to-day any subject that can be +engraved on wood may be printed; and if one likes to try experiments, +why should he be stopped? The wood-engraver of to-day has been +compelled to suppress and efface himself. When he proposes to reproduce +another man's designs, if he is really a great wood-engraver, he +recognizes that his sole function is to render the original, faithfully +giving as much of the artist's handiwork as possible, and as little of +his own. That this must be to many a most galling and annoying position +is evident. But to rebel against it is absurd, and for the engraver to +tamper with an artist's original design is as unwarrantable as for an +editor to change an author's manuscript after the final proof has left +the writer's hands. + +[Illustration: BY WALTER CRANE. PROCESS BLOCK FROM A WOOD-ENGRAVING BY +EDMUND EVANS, IN COLOURS IN "BEAUTY AND THE BEAST" (ROUTLEDGE).] + +There have been two, or perhaps three, great periods of producing works +of art on the block. First, that of the old woodcuts, which were +undoubtedly great, though what the draughtsmen thought of them we shall +never really know. Secondly, the period of Bewick, who engraved his own +designs, and therefore was his own master, doing what he wanted. And +thirdly, to-day, the greatest revival of all. Mr. Timothy Cole, in his +interpretations of the old masters (though some of the painters whom he +has reproduced might object to certain things in his reproductions, they +could but admit that never before have such beautiful pictures been made +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 +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 +marvellous portraits on the block. + +With so broad a scope at its service in the hands of artists, +wood-engraving is not in the slightest danger. With the added +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, +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 +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 +the sole end of the engravers on wood was to imitate the engraver on +steel or on copper. It has survived the stage of the shop run by a +clever business-man who merged the individuality of all his artists and +engravers into that of his own firm. It has survived the backing of Mr. +Linton, which at one time threatened to kill it entirely. And the strain +put upon it by magazine-editors and book-publishers has been relieved +by the intervention of mechanical process. + +[Illustration: BY KATE GREENAWAY. KEY BLOCK WOOD-ENGRAVED BY EDMUND +EVANS FOR COLOUR PRINTING. FROM "MOTHER GOOSE" (ROUTLEDGE).] + +I believe that it will continue and flourish as an original art, side by +side with process, until it runs against another of the snags or +quicksands which every half century seem to imperil it. Still, at the +present moment, its artistic outlook is very bright,--so also is that of +process. + +[Illustration: DETAIL OF "THE DENTATUS" ENGRAVED ON WOOD BY HARVEY, +AFTER HAYDON.] + + + + +[Illustration: BY E. ISABEY. FROM "PAUL AND VIRGINIA." Engraved +by Slader.] + +CHAPTER III. + +FRENCH ILLUSTRATION. + + +The nearer we approach our own time, the more difficult it becomes to +write of illustration. For, although it is the duty of an editor, and +even of an artist, to note all that is going on around him, at the +present time this is almost impossible, so great is the output from the +press, so varying are the fortunes of many artists. The man who, one +day, promises to revolutionize all illustration, the next, disappears, +or, worse still, becomes absolutely common-place. And process supersedes +process with a rapidity that is perfectly bewildering. + +But it seems best to begin with modern illustration in France, where the +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 +height of their powers. The first great book illustrated by process +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 +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." + +[Illustration: BY GAVARNI. FROM "PARISIANS BY THEMSELVES." +Reduced from the wood-engraving.] + +But from 1885 onward, there has been a change, and this change is not +difficult to account for. There are too many illustrators and too few +publishers--I mean publishers worthy of the name--and, most important, +too few real artists. + +[Illustration: BY MEISSONIER. FROM THE "CONTES REMOIS." +Engraved on wood by Lavoignal.] + +When, in 1879, the new process of "Gillotage," as all process is +described in France, was reasonably perfected--Jacquemart's "Histoire de +Mobilier," being one of the first important books to be reproduced +mechanically--every artist wished to try it. The consequence was that +the catalogues of the Salon, the weekly papers and monthly magazines, +were made bright and gay and charming with autographic artistic work; +while wood-engravers, feeling that their art was in danger, were put +upon their mettle and engraved a multitude of amazing blocks. Now that +illustration has arrived, and by its aid many of the biggest men in +France have arrived too, there has come a period of commonplaceness and +content. The Frenchman, who is even more insular in his views of art +than the Englishman,--unless his art is brought to him, when he proves +himself catholic enough,--knows that bad work is being turned out in his +own country, but believes that the same thing must be happening the +world over, though he has heard vaguely of the American magazine, the +German paper, and the English book. But since 1885, it may be said that +every French periodical has fallen away in quality, if it has not ceased +to appear altogether. The fine and expensive volumes, which in 1835 were +published in France, have been succeeded by the three-franc-fifty +Guillaume form, which, since the immortal "Tartarin," has degenerated +steadily both in number and excellence of illustrations. Looking back on +the original series, it does not seem so very fine, but eight years ago +it was an enormous advance on anything that had been done. Even then, +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 +will also be found that certain of the large French publishing houses +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 +owing mainly to the incompetence of editors and the rapacity of +publishers. To-day, if one wishes to see the best work of French +draughtsmen and engravers, one looks abroad for it, to America first and +then to England and Germany, where French artists are forced to publish +their drawings in order to obtain adequate pay or decent printing. It is +pitiful, but the example is very contagious. + +[Illustration: JEAN GIGOUX. FROM "GIL BLAS" (FRENCH). +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 +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, +usually printed in colour. But most of the others--there are notable +exceptions--either publish the veriest drivel and dirt, both from the +literary and artistic standpoint, or else the drawings of mere boys and +girls just out of the art schools, who give their designs to the +publishers for little more than the sake of having their names in the +papers. Under these circumstances, which actually exist, it is becoming +well-nigh impossible for a draughtsman to live in France. Printing, too, +has degenerated, until French printing now ranks with the worst. + +[Illustration: BY JACQUEMART. PEN DRAWING. FROM THE "HISTORY OF +FURNITURE."] + +On the other hand, a few firms, like Goupils, are producing excellent +colour work in the most expensive fashion, and good cheap prints as +well. The printing of Guillaume for Dentu's "Le Bambou"--most of the +illustrations are on wood--is to be commended, as it shows off the work +of artists and engravers to perfection. While one notes clever +paper-cover designs on many new books. + +[Illustration: BY JACQUEMART. PEN DRAWING. FROM THE "HISTORY OF +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 +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, +art of all sorts is at the present moment in the most disorganized and +unsettled state, and illustration is in as bad a way as any other +branch. Nor is it for lack of illustrators, but because some of the +publishers and editors of the country--and France is not solitary and +alone in this matter--are a set of money-grubbing, ignorant fools, who +have been able temporarily to impress their contemptible view of art, or +rather their miserable failure to understand it from any other +standpoint than that of their money-bags, upon a sufficient number of +gullible people to make a fairly good living for themselves out of the +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_. + +[Illustration: BY MEISSONIER. FROM THE WOOD-ENGRAVING IN THE "CONTES +REMOIS" BY LAVOIGNAL.] + +To-day an attempt is also being made to revive wood-engraving in France, +and almost all over the world, except in England--where nothing would be +known of any revival, or improvement, until long years after the whole +matter had been settled and pigeon-holed everywhere else--and in +America, where every endeavour now is made to perfect process. But the +reason for this revival in France, Germany, and the other countries of +the Continent is not the advancement of the art of wood-engraving, or +the benefit of the wood-engraver; it comes from the willingness of good +wood-engravers to work very cheaply, simply to secure the chance of +working at all, and also from the increase of the electrotype business. +Although an enormous trade has been developed in the production of +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 +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 +unceasing stream of books which continued for years to delight the +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. +Though it is easy to understand his popularity, it is difficult, +considering how much really good work he did, to explain why he has +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 +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 +his work. In popularity no one ever approached him, but his drawing on +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 +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: 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 +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 +edition of "Tartarin de Tarascon." L. Lhermitte, too, has made some +striking drawings in charcoal, both for reproduction by photography and +for engraving on wood, especially in "La Vie Rustique," where the +designs were extraordinarily well engraved. Jean Paul Laurens heads a +long list of painters who have made many pictures in black and white for +the illustration of books, but most of them are duller as illustrators +than painters. Maurice Leloir and V. A. Poirson have illustrated the +"Sentimental Journey," the "Vicar of Wakefield," and some other English +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, +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 +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 +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 CARLOS SCHWABE. PEN DRAWING. FROM ZOLA'S "LE RÊVE."] + +[Illustration: BY EUGENE GRASSET. PEN DRAWING FROM "LES QUATRE FILS +D'AYMON" (PARIS).] + +[Illustration: BY EUGENE GRASSET. PEN DRAWING FROM "LES QUATRE FILS +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 +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 +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 +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 +disgraceful printing, ever issued from the French press. + +[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 BOUTET DE MONVEL. PEN DRAWING FROM "JEANNE D'ARC" +(PARIS, PLON).] + +[Illustration: BY H. IBELS. FROM "L'ART DU RIRE ET CARICATURE."] + +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 +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, +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 +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 +Channel and "do" it; Boutet de Monvel, whose books for children have +gained him a world-wide reputation; the long list of delineators of +character, costume, and caricature who weekly fill the lighter papers: +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 +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 +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 +that decoration cannot be separated from illustration, and also that all +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 +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 +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 +in such a collection as "Estampe Originale." Pannemacker and his +followers have been the most popular, and their influence has been felt, +sometimes with distinction, in all cheap French wood-engraving. + +[Illustration: BY H. IBELS. FROM "L'ART DU RIRE ET CARICATURE."] + +[Illustration: BY STEINLEN. PROCESS BLOCK FROM COLOURED PRINT IN "GIL +BLAS."] + +[Illustration: BY STEINLEN. REPRODUCED FROM A COLOURED PRINT IN "GIL +BLAS."] + +[Illustration: BY A. WILLETTE. PEN DRAWING. FROM "LES PIERROTS" +(VANIER).] + +[Illustration: BY CARAN D'ACHE. FROM "ALBUM" (PARIS, PLON).] + +[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 P. RENOUARD. CHALK DRAWING. FROM "THE GRAPHIC."] + +After enumerating this long list, it seems as if I had contradicted my +own rather pessimistic view of illustration in France. I do not think +so. It is true that the artists, though few in number, are in the +country, but to-day the opportunities for them to express their art are +lacking: as a proof, the only book devoted solely to French illustration +which has ever appeared has just been published in America. + + + + +[Illustration: BY LALANNE. FROM A PENCIL DRAWING. (FRENCH.)] + +CHAPTER IV. + +ILLUSTRATION IN GERMANY, SPAIN, AND OTHER COUNTRIES. + + +In writing upon drawing on the Continent, I have heretofore found it +only necessary to classify illustrators under three nationalities. In +discussing illustration it seems to me that this question of nationality +can be even further simplified. Italy and Spain have not produced a +single original illustrated book of real importance. Although several of +the foremost illustrators of the day were born in one or the other of +these countries and partially educated there, they have left their +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 +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 +"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 +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 +Spain I know of no notable illustrated books published of late. I may be +labouring under a mistake, but I must frankly admit that I have never +heard of, or seen any.[19] If they do exist I should be only too glad to +have them brought to my notice. But there are two very good illustrated +papers, "Illustracion Espanola y Americana" and "Illustracion +Artistica." To both, Fortuny, Rico, Vierge, and Casanova--especially +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_ +from American papers and magazines, in which matter I find that even I +have proved a useful mine. + + [19] See note p. 78. + +Dutch books are not remarkable. Here and there a good drawing may be +found in a magazine called "Elsevir." Though in Holland there is an +artist, H. J. Icke, who, in his studies from the old masters in pen and +ink, evinces a power and brilliancy only equalled by reproductive +etchers like Mr. Hole, Mr. Macbeth, or Mr. Short. The same is true of +Belgium. Austria and Hungary have little to show, their illustrators, +like Myrbach, Marold, and Vogel, coming to Paris, or sending their work +to Munich, for the publishers mainly ignore their own artists, and +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 +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 +owe all their reputation, not to their native land, but to the country +of their adoption. + +[Illustration: FROM AN ORIGINAL PEN DRAWING BY H. TEGNER.] + +[Illustration: PEN DRAWING. BY HANS TEGNER. FROM "HOLBERG'S COMEDIES" +(BOJESENS).] + +[Illustration: BY ADOLPH MENZEL. PROCESS BLOCK FROM ORIGINAL DRAWING IN +THE POSSESSION OF THE AUTHOR.] + +There is, however, one little country that deserves more than a word of +mention, and this is Denmark. For it can boast an illustrator of +individuality and character, Hans Tegner. His drawings for the jubilee +edition of "Holberg's Comedies," published in Copenhagen in 1884 to +1888, must be ranked as masterpieces of graphic art. Though evidently +based on the style of Menzel and Meissonier, they are quite individual; +especially in the rendering of interiors crowded with people he has +surpassed any living illustrator. This book is also interesting from the +fact that while it was being produced the change was made from +_facsimile_ wood-engraving to process, and though the engraving of +Hendricksen and Bork is excellent, the process blocks in some ways are +even more interesting. The decorations to these volumes, head and +tail-pieces, are as atrociously bad as Tegner's illustrations in the +text are good. There are also a number of lesser artists, Danes and +Norwegians, who have done good work, but to name them would merely be to +make a catalogue, as their work is never seen here. + +[Illustration: BY GOYA. FROM "CAPRICES."] + +During the last three-quarters of a century German illustration has been +absolutely dominated by Menzel. Not only has he been the leading spirit +in his own country, whether he was influenced originally by Meissonier +or not, but he has himself influenced the entire world of illustrators, +his drawings having been received with rapture and applause by artists +wherever they have been shown. And, most interesting of all, he is a man +who has been perfectly able, throughout his long life, to adapt himself +to the various radical changes and developments which have been brought +about in reproduction and printing. Commencing with lithography, he +produced the amazing series of drawings of the uniforms of Frederick the +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 +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, +and striving for improvements, we may very easily get to the end of +ourselves. He looks backward for nothing but design; he looks forward +to the perfection of everything. + +[Illustration: BY GOYA. FROM AN ORIGINAL DRAWING (A PORTRAIT OF THE DUKE +OF WELLINGTON) IN THE BRITISH MUSEUM.] + +[Illustration: BY FORTUNY. FROM A PEN DRAWING.] + +[Illustration: BY JOSEPH SATTLER. FROM "THE DANCE OF DEATH" (GREVEL).] + +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 +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. + +Germany has for the last half century, too, possessed a remarkable +school of interpretative wood-engravers: men who have been able to take +a large picture, which they have either drawn on the wood themselves or +had drawn for them, and produce out of it an excellent rendering, which +would print perfectly in black and white, under the rapid requirements +of a steam-press. The work of these engravers can be seen any week in +the "Illustrirte Zeitung," "Uber Land und Meer," and the other weeklies. +Wood-engraving has been treated as a serious profession for years in +Germany, as a Professorship of the art was held in the Berlin Academy +before the beginning of this century by J. F. G. Unger, who died in +1804. Even in Vienna, a Professorship has been established for many +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 +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 +shops was that of Richard Brend'amour, who since 1856 has been +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 +excellent blocks have been used all over the world. + +One sort of decorative design, developed by a German, or, I presume, a +Pole, Paul Konewka, though his work, was, I believe, first published in +Copenhagen, is the silhouette; Konewka has had imitators everywhere, but +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 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, +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 +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 +usually makes an elaborate series of pen drawings, and then etches from +these. The only example which I know of in England available for study +is a copy of the Apuleius which is in South Kensington, and this is not +by any means one of his most successful books, as the etchings are hard +and tight, and the inharmonious decorations which surround the small +prints in the text are crude and unsatisfactory. To know Klinger's work +one must visit the Print Rooms in the Museums of Berlin and Dresden. +Another group have devoted themselves to lithography. H. Thoma in this +has been probably the most successful, but in the exhibition held this +year in Vienna he was closely followed by Otto Greiner, W. Steinhausen, +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," +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 +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 +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 +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 +Meer," "Die Graphischen Kunste," etc., are very notable, especially +"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, +when we consider that one of the greatest illustrators in the world is +still alive and at work there, as well as the most curious mystics, the +most amusing comic draughtsmen, and the most conscientious and clever +realists. + +[Illustration: FROM ETCHING BY GOYA. FROM "CAPRICES."] + +[Illustration: DEATH THE FRIEND. LINE DRAWING BY RETHEL. +REDUCED FROM A WOOD-ENGRAVING BY H. BURKNER.] + +[Illustration: BY H. SCHLITTGEN. FROM "EIN ERSTER UND EIN LETZTER BALL" +(STUTTGART, KRABBE).] + +[Illustration: BY MAROLD. FROM "ZWISCHEN ZWEI REGEN" (STUTTGART, +KRABBE).] + +[Illustration: BY FRANZ STÜCK. FROM BIERBAUM'S "FRANZ STÜCK," MUNICH +(ALBERT AND CO.).] + +[Illustration: BY GARCIA Y RAMOS. GIPSY DANCE. Process block, +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 + 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 + 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 + but an echo of Caran d'Ache. "La Lidia" is illustrated + entirely by lithography and in colour; the designs, often + full of go and life, are the work of D. Perea. I find, too, + that the French work of 1830 was seen and known in Spain, + that some books were produced in the style of "Paul and + Virginia," with drawings by Spaniards, though I imagine they + were all engraved either in Paris, or by French engravers who + went to Spain. The work, however, is but a reminiscence of + the French, and simply curious as showing the power of the + Romanticists, but more especially of Meissonier as an + illustrator. The most interesting of these books is "Spanish + Scenes," illustrated by Lameyer, engraved by G. Fernandez, + rather in the manner of Gavarni. But there is one Spaniard + who as an illustrator is unknown, at least to artists--for he + only produced one set of designs for publication--but who is + universally known in almost every other branch of art, F. + Goya. The only widely published and generally circulated + publications, the bank-notes of Spain, are the work of this + artist, and they reflect little credit on him. His etchings + are to be found in all great galleries; but, interesting as + they are, they give no idea of the amazing drawings in chalk, + wash, and ink, in which mediums they were produced. Even in + Madrid the originals are but little known; the greater number + are in the Library of the Prado, the National Museum, + inaccessible to the ordinary visitor: but a small selection, + undescribed, and not even in the catalogue, are placed upon a + revolving screen in the Room of Drawings; but as this is + almost always closed, most people leave Madrid without even + being aware of the existence of the greatest treasures + possessed by the museum after the Velasquez. On this screen + are the designs for the bull-fights, admirably described by + T. Gautier, in his "Voyage en Espagne," from the literary + artist's point of view, but from the artistic stand-point, + they are quite the most uninteresting of all, and do not in + the slightest express the great passion Goya is said to have + always shown for the noblest sport in the world. + + It is rather to the exquisite designs in red chalk for the + "Scenes of Invasion," that one sees him at his best. Here he + is the direct descendant of Callot, only there is a power in + his work that Callot never possessed. It is, I am now + certain, from these designs that Vierge obtained many of his + ideas--although they are worked out in an entirely different + fashion. The drawings for the "Caprices" are in pen and wash, + and are as much finer than the aquatints made from them, as + the aquatints are superior to the caricatures of any of his + contemporaries. As Goya passed, an exile, the latter part of + his life in France, his work must have been known to the men + of 1830. He died in 1828, just as the few lithographs he has + left show that he was aware of the work of Delacroix in that + newly invented art. + + Still, Goya cannot be called an illustrator, for none of his + work was published as illustration; yet, at the same time, it + is so well adapted to that end that it is perfectly + incomprehensible that these drawings have not only never been + published, but I am informed they have never even been + photographed. The two that are in this book are from the + "Caprices," those of the "Invasion" are too delicate to stand + the necessary reduction. The portrait of Wellington in red + chalk is in the British Museum. + +[Illustration: BY W. L. WYLLIE, A.R.A. PEN DRAWING FROM "THE MAGAZINE OF +ART."] + + + + +[Illustration: BY J. W. NORTH. FROM A DRAWING ON THE WOOD IN THE +POSSESSION OF THE AUTHOR.] + +CHAPTER V. + +ENGLISH ILLUSTRATION. + + +It is in England alone, that illustration, like many other things, has +been taken seriously. Ponderous volumes have been written about it, as +well as clever essays. It seemed at first sight rather unnecessary to +repeat what has been said so well by Mr. Austin Dobson, for example, in +his chapter on modern illustrated books in Mr. Lang's "Library," +especially as he has added a postscript to the edition of 1892 which is +supposed to bring his essay up to that date. But there are other ways of +looking at the matter, and I have tried not to repeat what Mr. Dobson +has said, nor yet to trench upon the preserves of Mr. C. G. Harper and +Mr. Hamerton, or Mr. Blackburn. + +[Illustration: BY HUGH THOMSON. FROM "OUR VILLAGE" (MACMILLAN).] + +[Illustration: BY RANDOLPH CALDECOTT. FROM "THE ELEGY ON A MAD DOG" +(ROUTLEDGE).] + +It appears to me, that before discussing the English illustrators of +to-day, it might be well to take a glance at the state of English +illustration. English illustration has during the last twenty years +suffered tremendously from over-writing and indiscriminate praise and +blame. I suppose that among artists and people of any artistic +appreciation, it is generally admitted by this time that the greatest +bulk of the works of "Phiz," Cruikshank, Doyle, and even many of Leech's +designs are simply rubbish, and that the reputation of these men was +made by critics whose names and works are absolutely forgotten, or else, +by Thackeray, Dickens, and Tom Taylor, whose books they illustrated, and +who had absolutely no intelligent knowledge of art, their one idea +being to log-roll their friends and illustrators. It is true, however, +that some of Doyle's designs, like those in "Brown, Jones, and +Robinson," were extremely amusing, though too often his rendering of +character was brutal, as, for example, in the "Dinner at Greenwich" in +the "Cornhill" Series. Technically, there is little to study, even in +his most successful drawings. Leech's fund of humour was no doubt +inexhaustible, but one cannot help feeling to-day that his work cannot +for a moment be compared to that of Charles Keene. Some of his +best-known designs, the man in a hot bath for instance, praised by Mr. +Dobson may be amusing, but the subject is quite as horrible as a Middle +Age purgatory. Leech was the successor in this work of Gillray and +Rowlandson, and though his designs appealed very strongly to the last +generation, they do not equal those of Randolph Caldecott, done in much +the same sort of way. Though some of the editions containing the +engravings from these men's drawings sell for fabulous prices, on +account of their rarity, one may purchase to-day for almost the price of +old paper, lovely little engravings after Birket Foster, and the other +followers of the Turner school; while drawings after Sir John Gilbert, +and later, Whistler, Sandys, Boyd Houghton, Keene, Du Maurier, Small, +Shields, and the other men who made "Once a Week," "Good Words," and the +"Shilling Magazine," really the most important art journals England has +ever seen, can be picked up in many old book-shops for comparatively +nothing. Of the best period of English illustration there are but few +of the really good books that cannot be purchased for, at the present +time, less than their original price. And only the works of one painter +who did illustrate to any extent, Rossetti, command an appreciable +value. For this, the fortunate possessors of his drawings have to thank +Mr. Ruskin, who, himself, is by no means a poor illustrator. Some of his +work in "Modern Painters," "Stones of Venice," "Examples of Venetian +Architecture," is excellent, while his original drawings at Oxford are +worth the most careful study. Many of Rossetti's designs are, it is +true, very beautiful, and probably others were; one can see that from, +the few which were never engraved. But the bulk of his drawings are +certainly not so good as those which several people working in London +are producing to-day. + +[Illustration: BY TURNER. FROM ROGERS' "ITALY," 1830.] + +[Illustration: BY RANDOLPH CALDECOTT. FROM "BRACEBRIDGE HALL" +(MACMILLAN, 1877).] + +While the magazines I have mentioned were being published, the "Graphic" +was started in 1870, taking on its staff most of the foremost artists of +the day, Fildes, Holl, Gregory, Houghton, Linton, Herkomer, Pinwell, +Green, Woods, S. P. Hall; and about the same date Walter Crane made his +far too little known designs for children's books--"King Luckieboy's +Party," the "Baby's Opera," the "Baby's Bouquet," and the many +others--which have been not half enough appreciated. In a measure, the +same may be said of Randolph Caldecott's books for children,--the "House +that Jack Built," the "Mad Dog," the "John Gilpin," which, though they +contain his cleverest drawings, are usually given secondary rank to his +"Bracebridge Hall" and "Old Christmas," of far less artistic importance. +Miss Kate Greenaway has been more fortunate: her "Under the Window," and +the long series that followed, have set the fashion for children, and +have enjoyed a popularity of which they are not by any means unworthy. +A trifle mannered and affected, perhaps, her illustrations are full of +refined drawing, charming colour, and pleasing sentiment. These artists, +in conjunction with Mr. Edmund Evans, gave colour-printing for book +illustration a standing in England, while every one of their books is +stamped with a decided English character. A Frenchman, too, Ernest +Griset, living here, made some notable drawings about this time. + +[Illustration: BY E. GRISET. FROM HOOD'S "COMIC ANNUAL" (1878).] + +When I commenced this book I have no hesitation in admitting that my +knowledge of the really great period of English Illustration was of the +vaguest possible description. + +I knew of "Good Words," "Once a Week," and the "Shilling Magazine," +"Dalziel's Bible Gallery," and a few other books, but I had never seen +and never even heard of the great mass of work produced during those ten +years; even now, I am only slowly beginning to learn about and see +something of it. + +But a day is coming when the books issued between 1860 and 1870, in this +country, will be sought for and treasured up, when the few original +drawings that are still in existence will be striven for by collectors, +as they struggle for Rembrandt's etchings to-day. + +The source from which the English illustrators of 1860 got their +inspiration was Adolph Menzel's books; pre-Raphaelites and all came +under the influence of this great artist. The change from the style of +Harvey, Cruikshank, Kenny Meadows, Leech and S. Read, to Rossetti, +Sandys, Houghton, Pinwell, Walker, Millais, was almost as great as from +the characterless steel engraving of the beginning of the century to the +vital work of Bewick. The first English book to appear after Menzel's +work became known, was William Allingham's "The Music Master," 1855, +illustrated by Arthur Hughes, Rossetti and Millais; the first book of +that period which still lives is Moxon's edition of Tennyson published +in 1857, containing Rossetti's drawings for "The Palace of Art" and "Sir +Galahad"; Millais' "St. Agnes' Eve," and Holman Hunt's "Lady of +Shalott." These drawings and a few others have given to the book a +fame, among illustrated volumes, which it has no right or claim to. + +[Illustration: BY SIR J. E. MILLAIS, BART. WOOD-ENGRAVING BY DALZIEL. +FROM "GOOD WORDS" (ISBISTER AND CO.).] + +Far more important and more complete is Sir John Gilbert's edition of +Shakespeare published by Routledge in three volumes, 1858 to 1860. This +edition of Shakespeare has yet, as a whole, to be surpassed. + +In 1859 "Once a Week" was started by Bradbury and Evans, and the first +volume contained illustrations by H. K. Browne ("Phiz"), G. H. Bennett, +W. Harvey, Charles Keene, W. J. Lawless, John Leech, Sir J. E. Millais, +Sir John Tenniel, J. Wolf; this is the veritable connecting link between +the work of the past as exemplified by Harvey, and of the present by +Keene. The next year, 1860, the "Cornhill" appeared, for the first +number of which Thackeray, more or less worked over by ghosts, and +engravers, did the illustrations to "Lovel the Widower," but Millais was +called in for the second or third number, and then George Sala. +Frederick Sandys illustrated "The Legend of the Portent," and the volume +ends with Millais' splendid design "Was it not a lie?" to "Framley +Parsonage." It is curious to note that either Thackeray or the +publishers refuse to mention the names of the artists in any way, only +that Millais and Sala are allowed to sign their designs with their +monograms. Leighton, I imagine, contributed the "Great God Pan" to the +second volume, and Dicky Doyle began his "Bird's Eye Views of Society" +in the third, but it is not until one is more than half way through +this volume that the initials F. W. appear on what are supposed to be +Thackeray's drawings--or, rather, it is not until then that the great +author acknowledged his failure as an illustrator; though, in the +"Roundabout Papers," he admitted his indebtedness to Walker. + +The first drawing signed by Walker faces p. 556, "Nurse and Doctor," and +illustrates Thackeray's "Adventures of Philip;" this is in May, 1861. +"Good Words" was also started in 1860; in it in 1863 Millais' "Parables" +were printed, as well as work by Holman Hunt, Keene and Walker, while A. +Boyd Houghton, Frederick Sandys, Pinwell, North, Pettie, Armstead, +Graham, and many others began to come to the front in this magazine and +"Once a Week." About 1865 nearly as many good illustrated magazines must +have been issued as there are to-day; not only were the three I have +mentioned continued, but "The Argosy," "The Sunday Magazine," and "The +Shilling Magazine," among others, printed fine work by all these +artists. + +[Illustration: BY SIR J. E. MILLAIS, BART. WOOD-ENGRAVING BY DALZIEL. +FROM "GOOD WORDS" (ISBISTER AND CO.).] + +The illustration was done in a curious, but very interesting sort of +way. The entire illustration began to be undertaken by two firms, +Messrs. Dalziel and Swain--and I believe in the case of "Good Words" the +same system is still carried on by Mr. Edward Whymper. These firms +commissioned the drawings from the artists, and then engraved them. The +method seems to have been so successful that the engravers, notably the +Dalziels, began not only to employ artists to draw for them, and to +engrave their designs, but they became printers as well, and produced +that set of books which are now the admiration and despair of the +intelligent and artistic collector. When they were printed, they were +sold to a publisher, who merely put his imprint on them. To this day +they are known as Dalziel's Illustrated Editions. The first important +book of this series that I have seen is Birket Foster's "Pictures of +English Landscape," 1863 (Routledge), printed by Dalziel; with "Pictures +in Words," by Tom Taylor, though this was preceded by a horrid tinted +affair by the same artist, called "Odes and Sonnets." The binding is +vile; the paper is spotting and losing colour, but the drawings must +have been exquisite, and here and there the ink is spreading and giving +a lovely tone, like an etching, to the prints on the page. + +In 1864 Messrs. Dalziel, who had already engraved for "Good Words" in +the previous year Millais' "Parables of Our Lord," published them +through Routledge. This book, in an atrocious binding described as +elaborate, and it truly is, bound up so badly that it has broken all to +pieces printed with some text in red and black, contains much of the +finest work Millais ever did. Nothing could exceed in dramatic power, in +effect of light and shade, "The Enemy sowing Tares," to mention one +block among so many that are good. But the whole book is excellent, and +excessively rare in its first edition. + +But 1865 is the most notable year of all; in this "Dalziel's Illustrated +Arabian Nights' Entertainments" came out; originally published in +parts, I believe, and later in two volumes, text and pictures within +horrid borders. In this book A. Boyd Houghton first showed what a really +great man he was. He clearly proves himself the English master of +technique, as well as of imagination, although in this volume, issued by +Ward and Lock, he has as fellow illustrators Sir J. E. Millais, J. D. +Watson, Sir John Tenniel, G. J. Pinwell, and Thomas Dalziel--the latter +of whom is a very big man, and for this, and some of the subsequent +books, he made most remarkable drawings. But Houghton towers above them +all, and Mr. Laurence Housman in an able article on him in +"Bibliographica" well says: + +"Among artists and those who care at all deeply for the great things of +art, he cannot be forgotten: for them his work is too much an influence +and a problem. And though officially the Academy shuts its mouth at +him ... certain of its leading lights have been heard unofficially to +declare that he was the greatest artist" who has appeared in England in +black and white. In '65, also, his "Home Thoughts and Home Scenes" was +published, much less imaginative than his later work, but containing +more beauty; and after this, for ten years, he worked prodigiously, and +yet excellently. His edition of "Don Quixote" (F. Warne and Co.), must +be sought for in the most out-of-the-way places; easier to find are his +"Kuloff's Fables," '69 (Strahan), and best known of all, the drawings in +the early numbers of the "Graphic,"--the American series--which were +not all published, I think, before he died. If some of these are +grotesque, even almost caricature, they are amazingly powerful--and +being the largest engraved works left, show him fortunately at his best. +His original drawings scarce exist at all. I happen to have one of the +most beautiful, "Tom the Piper's Son," from Novello's "National Nursery +Rhymes," 1871. I have not pretended to give a list of Houghton's +drawings, it would be nearly impossible; but those books and magazines I +have mentioned contain many of the most important. In '65 Pinwell did a +"Goldsmith" for Ward and Lock, which revealed his surprising powers. + +[Illustration: BY A. BOYD HOUGHTON. FROM DALZIEL'S "ARABIAN NIGHTS" +(WARD, LOCK AND CO., 1865).] + +[Illustration: BY A. BOYD HOUGHTON. FROM DALZIEL'S "ARABIAN NIGHTS" +(WARD, LOCK AND CO.), 1865.] + +[Illustration: BY G. J. PINWELL. FOR "GOLDSMITH'S WORKS" (WARD, LOCK AND +CO.). PROCESS BLOCK FROM THE ORIGINAL DRAWING ON THE WOOD IN SOUTH +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 +"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 +expensive gift books, illustrated by Houghton, Pinwell, North, and +Walker, began to appear, perfectly new unpublished works: in 1866 "A +Round of Days" was issued by Routledge; Walker, North, Pinwell, and T. +Dalziel, come off best in this gorgeous morocco covered volume, +especially the last, who contributes a notable nocturne, the beauty of +night, discovered by Whistler, being appreciated by artists, even while +Ruskin was busy reviling or ignoring these illustrators. Houghton's +edition of "Don Quixote" also belongs to this year. How these men +accomplished all this masterly work in such a short time, I do not +pretend to understand. + +In 1867, "Wayside Posies," and "Jean Ingelow's Poems" were published by +Routledge and Longmans. These two books reach the high-water mark of +English illustration, North and Pinwell surpass themselves, the one in +landscape and the other in figures. T. Dalziel also did some amazing +studies of mist, rain, and night, which I imagine were absolutely +unnoticed by the critics. The drawings, however, must have been popular, +for Smith and Elder reprinted the Walkers and Millais', among others, +from the "Cornhill" in a "Gallery" (this also included Leightons and, I +think, one Sandys), and Strahan the Millais drawings in another +portfolio. The "Cornhill Gallery," printed, it is said, from the +original blocks, came out in 1864, possibly as an atonement for the +shabby way in which the artists were treated in the magazine originally. + +In 1868, "The North Coast," by Robert Buchanan, was issued by Routledge; +it has much good work by Houghton hidden away in it. In the next year +the "Graphic" started, and these books virtually ceased to appear--why, +I know not. There were some spasmodic efforts, most notable of which +were Whymper's magnificent "Scrambles amongst the Alps," 1871, +containing T. Mahoney's best drawings and Whymper's best engraving; and +"Historical and Legendary Ballads," Chatto and Windus, 1876; in this +book, made up from the early numbers of the magazines, one will find +Whistler's and Sandys' rare drawings; it is almost the only volume which +contains these men's work, although the drawings were not done +originally for it, as the editor would like one to believe. + +[Illustration: BY G. J. PINWELL. FOR "GOLDSMITH'S WORKS" (WARD, LOCK AND +CO.). PROCESS BLOCK FROM THE ORIGINAL DRAWING ON THE WOOD IN SOUTH +KENSINGTON MUSEUM.] + +[Illustration: BY CHARLES GREEN.] + +[Illustration: BY FRED. WALKER. PROCESS BLOCK FROM AN ORIGINAL STUDY IN +THE POSSESSION OF THE AUTHOR.] + +Whistler, it is true, illustrated a "Catalogue of Blue and White Nankin +Porcelain," published by Ellis and White, 1878, a very interesting work, +mainly in colours. But Sandys' drawings must be looked for in the +magazines alone. I know of no book that he ever illustrated, a few +volumes contain one or two, that is all; his drawings are separate +distinct works of art, every print from them worthy of the portfolio of +the collector. Dalziels issued at least two books later on, magnificent +India proofs of "English Rustic Pictures," printed from the original +blocks by Pinwell and Walker, done for the books I have mentioned, this +volume is undated; and their Bible Gallery in 1881 (the drawings were +made long before), to which all the best-known artists contributed, +though the result was not altogether an artistic success; but most +notable drawings by Ford Madox-Brown, Leighton, Sandys, Poynter, +Burne-Jones, S. Solomon, Houghton, and T. Dalziel, are included in it. + +This is the last great book illustrated by a band of artists and +engravers working together in this country; whether the results are +satisfactory or not, the fact remains that the engravers were most +enthusiastic, and encouraged the artists as no one has done since in the +making of books; and the artists were the most distinguished that have +ever appeared in England. Possibly, I should also have referred to the +"British Workman," which was probably the first penny paper to publish +good work of a large size. And I may have treated Mr. Arthur Hughes in a +rather summary fashion. But I know his original drawings far better than +the books in which they were printed; the only book which I really am +acquainted with is "Tom Brown's School Days;" yet I know that he has +made a very large number of illustrations, especially for Norman +MacLeod's books among others. After twenty-five years illustration is +again reviving in England, and one looks forward hopefully to the future +of this branch of art. + +Ten years later than the "Graphic" came the introduction of process, and +process was employed in England mainly for one reason only: cheapness. +Bad cheap process--which by the way is very little worse than cheap +wood-engraving--has been responsible in this country for more vile work +than in all the rest of the world put together. The development of +process has brought with it not only truth of reproduction, which is its +aim, but evils which its inventors did not anticipate. + +[Illustration: BY F. SANDYS. FROM THORNBURY'S "LEGENDARY BALLADS" +(CHATTO AND WINDOS).] + +Too many process-engravers encourage the most commonplace, because it is +the easiest, work. They know perfectly well that mechanical engraving +will reproduce almost any drawings at the present moment, but then, good +reproduction demands time and trouble and artistic intelligence. But it +is no wonder that process-engravers are indifferent, when we remember +the lamentable ignorance displayed by some editors, whose knowledge of +art--in fact, of all art work--is simply _nil_. They may have piles of +taste, but all of it is bad. They know exactly what the public wants, +for they themselves are the public they consider. The slightest attempt +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 +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 +has sprung up a species of illustrator who licks the boots of these +editors and grovels before the process man. He turns out as much work as +he can in the shortest space of time, knowing that he must make as many +drawings as possible before some miserable creature, more contemptible +than himself, comes along with an offer to do the work at half the price +which he is paid. + +I am happy to say that this state of affairs is by no means universal in +England; but I regret that there seems to be a tendency in some quarters +to prefer bad work because it is usually cheap. On the other hand, there +are many notable exceptions: intelligent publishers, editors, artists, +and process-engravers, who strive to do good work and expect to pay, or +be paid, for it. But this state of things has produced three classes of +artists. First, the men who loudly declare they care nothing about their +work, and who may therefore be dismissed with that contempt which they +court. Second, those who rush absolutely to the other extreme, saying +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 +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 +the business of engravers and printers to follow the artist, and not the +artist's duty to become a slave to a mere mechanic, no matter how +intelligent. The second of these classes has always existed in almost +every profession in England; the class, in short, which is convinced +that society and the world generally needs reforming, and that it is +their little fad which is going to bring about this reformation. + +[Illustration: BY FREDERICK SHIELDS. FROM DEFOE'S "HISTORY OF THE +PLAGUE" (LONGMANS, 1863).] + +Now I do not hold for a moment that the man who is generally accepted as +the leader of the pre-Raphaelite movement, Rossetti, had any desire to +reform anybody, or improve anything. A certain form of art interested +him, and he succeeded in reviving it for himself, though he put himself +and his century into his drawings. It is the same with Sir Edward +Burne-Jones, and Mr. William Morris, and Mr. Walter Crane. But the +praise which has been duly bestowed upon them has been unjustly lavished +upon a set of people--or else, they, as they never weary of doing, have +exploited themselves--who have neither the power to design nor the +intelligence to appreciate a drawing when it is made, nor any technical +understanding of how it was made. They will tell you, both by their work +and in print, that there is nothing worth bothering about save the +drawings of the Little Masters, and, to prove their appreciation of +these drawings, they proceed at once not to copy the drawings, but the +primitive woodcuts which were made out of them, not by the Masters at +all. They will proceed to imitate painfully with pen and ink a woodcut, +have it reproduced by a cheap process man, who, of course, is delighted +to have work which gives him no trouble, entrust it to a printer buried +in cellars into which the light of improvement has never made its way, +that he may print it upon handmade paper, which the old men never would +have used had they had anything better; and thus they succeed in +perpetuating all the old faults and defects, adding to them absurdity of +design which triumphs in the provinces, is the delight of Boston and the +Western States of America, and the beloved of the Vicarage. Or, again, +the young person, reeking with the School of Science and Art at South +Kensington, will have none of process, and, painfully (for he usually +cuts his finger), and simply (otherwise he should waste his time), +endeavours, with halting execution but with perfect belief in his +powers, to cut his design upon the wood-block, not knowing that the +master woodcutter, whom he essays to worship, spent almost as many years +in learning his trade, as this person has spent minutes in knocking off +a little illustration as a change from designing a stained-glass window, +or writing a sonnet. This is the sort of work that exhausts first +editions, is remembered for a few months, and produces leaders in the +advanced organs of opinion. It is unfortunately true that the leaders +have little influence, and that, later on, the first editions may be +bought as old paper. + +Ignorance of printing and of the improvements in that art is really in +this country too awful to contemplate. The average critic will blame a +competent artist for the imperfections of a process and the ignorance of +a printer. It never occurs to this critic that he knows nothing +practically about the subject. No attempt is made to surmount mechanical +difficulties; no attempt is made to study improvements; one is simply +told to work down to the lowest level and to copy the fads of an +obsolete past. + +Quaintness and eccentricity, too, have their followers, and though both +are dangerous games to play, still they imply, if good, such an amount +of research, study, and invention, whether original or not, that from +them good work may often come. Still I no longer dare to prophesy. I +know not what a man will do or will not. There is possibility in every +one. + +[Illustration: BY J. MAHONEY. FROM THE "SUNDAY MAGAZINE."] + +[Illustration: BY J. F. SULLIVAN. FROM HOOD'S "COMIC ANNUAL."] + +As for the other men who calmly go on doing their work in their own way, +showing the process-engraver what is wanted, instructing the printer on +the subject of effects and colour, and dealing satisfactorily with +intelligent publishers and editors, or even, as some do, ignoring all +these factors, which they should not, their work is around us and +delights us. + +[Illustration: BY LINLEY SAMBOURNE. FROM KINGSLEY'S "WATER BABIES" +(MACMILLAN).] + +Of the older men, though Whistler has long ceased to illustrate, Du +Maurier, Sidney Hall and William Small are still with us, producing +characteristic designs. Charles Green carries on the excellent method +which he developed in his illustrations to Dickens. Though J. Mahoney is +dead, the present re-issue of Whymper's "Scrambles amongst the Alps" +testifies marvellously to his powers. The late A. Boyd Houghton's +abilities, too, are beginning to be appreciated, and his designs for the +"Arabian Nights" are now being sought for as they never were during his +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 +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 +Hardy's "Tess of the D'Urbervilles," has, within the last few years, +done some of his most striking work. Linley Sambourne, whose name was +made years ago, pursues the even tenor of his ways, his reputation +having been well secured by his illustrations to the "Water Babies," +and his countless "Punch" contributions. From the quantity of work +produced by Harry Furniss it is quite evident that he is one of the most +popular men in England. The fund of imagination which he devotes to +perpetuating the unimportant actions of trivial members of Parliament is +truly amazing. J. F. Sullivan has made caricature of the British workman +his speciality, and he has recorded many of the antics of that +personality with a truth that the labour organs might imitate to +advantage. Sir John Tenniel is the legitimate successor of the old +political cartoonist, but, luckily for him, his reputation rests, not +upon his portrayal of the events of the moment, but upon his marvellous +"Alice in Wonderland" and his classic illustrations to the "Legendary +Ballads." Political caricature rarely, however, has an exponent like +Tenniel, and though the work of J. Proctor, G. R. Halkett, and F. C. +Gould is good in its way, owing to the conditions under which much of it +has to be produced, and the absolute artlessness of the +subject, their aim naturally is to drive home a political point, and not +to produce a work of art. The most genuine caricaturist who has ever +lived in England was W. G. Baxter, the inventor of "Ally Sloper." Baxter +died a few years ago. Happily, the three men who, in a great measure, +are responsible for modern English illustration are working to-day: +Birket Foster, Sir John Gilbert, and Harrison Weir, but, save the +latter, they now produce scarcely any designs. Few of the brilliant band +who succeeded them, however, are at work save Du Maurier and W. Small. +One has to deplore the recent death of Charles Keene, the greatest of +all English draughtsmen. + +[Illustration: BY (SIR) JOHN TENNIEL. ENGRAVED ON WOOD BY H. HARRAL. +FROM GATTY'S "PARABLES" (BELL, 1867).] + +[Illustration: BY W. G. BAXTER. FROM "ALLY SLOPER'S" CARTOONS.] + +[Illustration: BY PHIL MAY. A PEN DRAWING FROM "THE GRAPHIC."] + +[Illustration: BY G. DU MAURIER. FROM "TRILBY" (OSGOOD, McILVAINE AND +CO.).] + +[Illustration: BY G. DU MAURIER. FROM "TRILBY" (OSGOOD, McILVAINE AND +CO.).] + +One therefore turns with interest to some of the younger men--men who +have made and are making illustration their profession. Among them, one +looks first to that erratic genius, Phil May, who has produced work +which not only will live, but which successfully runs the gamut of all +wit and humour. Nothing in its way has been done in England to approach +his designs for the "Parson and the Painter." They appeared first in the +pages of the "St. Stephen's Review," where they were scarcely seen by +artists. But on their reappearance in book form, though even more badly +printed than at first, what remained of them was good enough to make +May's reputation. Between him and everyone else, there is a great gulf +fixed, but the greatest is between May and his imitators. + +[Illustration: BY W. SMALL. FROM "CASSELL'S MAGAZINE."] + +[Illustration: BY W. SMALL. FROM "CASSELL'S MAGAZINE."] + +[Illustration: BY R. ANNING BELL. FROM AN ORIGINAL PEN DRAWING.] + +Most of the younger men of individuality have studied abroad and, like +Americans, have returned home more or less affected by continental +ideas. It would be quite impossible for me to place any estimate on +their work, or even attempt to describe it. But certainly it is to some +of the new weekly and daily journals and less known monthlies that one +must look for their illustrations. It seems to me that E. J. Sullivan, +A. S. Hartrick, T. S. Crowther, H. R. Millar, F. Pegram, L. Raven-Hill, +W. W. Russell are doing much to brighten the pages of the papers to +which they contribute. Raven-Hill, Maurice Greiffenhagen, Edgar Wilson +and Oscar Eckhardt have made a most interesting experiment in "The +Butterfly," which I hope will have the success it deserves.[20] R. +Anning Bell, Aubrey Beardsley, Reginald Savage, Charles Ricketts, C. H. +Shannon and L. Pissarro have the courage of their convictions and the +ability often to carry out their ideas. Beardsley, in his edition of the +"Morte d'Arthur," "Salome," and his "Yellow Book" pictures, among other +things, has acquired a reputation in a very short space of time. R. +Anning Bell has become known by his very delightful book-plates, while +Ricketts, Shannon and Pissarro, are not only their own artists and +engravers, but editors and publishers as well. "The Dial" is their +organ, and it has contained very many beautiful drawings by them, though +they have contributed covers and title-pages to various books and +magazines, and have brought out an edition of "Daphnis and Chloe" which +must serve to perpetuate the imperfections of the Middle-Age +wood-cutter. Wal Paget, W. H. Hatherell, and G. L. Seymour, in very +different ways, head a long list of illustrators who can decorate a +story with distinction, or depict an event almost at a moment's notice. +In facility, I suppose there is no one to equal Herbert Railton, unless +it be Hugh Thomson. They have together illustrated "Coaching Days and +Coaching Ways." Railton must have drawn almost all the cathedrals and +historic houses in the country; and Thomson is in a fair way to +resurrect many forgotten and unforgotten authors of the last century. J. +D. Batten's illustrations to Celtic, English, and Indian fairy tales +are extremely interesting, while Launcelot Speed and H. J. Ford have for +several years been making designs for Mr. Lang's series of fairy books. +Laurence Housman has this year scored a decided success with his +illustrations for Miss Rossetti's "Goblin Market." To Bernard Partridge +has fallen of late the task of upholding "Punch" from its artistic end; +this has apparently proved too much even for him, since I note that for +the first time in its existence that paper is employing outsiders and +even foreigners. To what is England, or rather "Punch," coming? His +drawings for Mr. Anstey's sketches have been deservedly well received, +while lately he, too, has fallen a victim to the eighteenth century in +his striking illustrations for Mr. Austin Dobson's "Beau Brocade." Mr. +E. T. Reed, of the same journal, during the last year has developed not +only a most delightful vein of humour, but an original style of +handling--his burlesques of the decadents are better than the originals +almost. Reginald Cleaver can probably produce a drawing for a cheap +process with more success than anyone, and yet, at the same time, his +work is full of character. It is pleasant to turn to men like Sir George +Reid and Alfred Parsons, with whom exquisite design and skilled +technique, and not cheapness, is the aim in their illustrative work. +Parsons has, with Abbey, in "Old Songs," "A Quiet Life," etc., and alone +in Wordsworth's "Sonnets," and also in the "Warwickshire Avon," produced +the books which reach the high-water mark of English illustration, +although they were first published in America. On the other hand Sir +George Reid's designs for "Johnny Gibb," "The River Tweed and the River +Clyde," and several other publications of David Douglas of Edinburgh, +have been brought out altogether in this country. + + [20] I did not mean I hoped it would die. It has now ceased to + appear. + +I should like to discuss the schools that have been developed by the +Arts and Crafts Society in some of the provincial centres. But as none +of the students approach for a moment such an exquisite draughtsman as +Sandys, to say nothing of the work of the older men whom they attempt to +imitate, it seems rather premature to talk about them. + +[Illustration: BY J. BERNARD PARTRIDGE. FROM AUSTIN DOBSON'S "PROVERBS +IN PORCELAIN" (KEGAN PAUL AND CO.).] + +[Illustration: BY HOLMAN HUNT. FROM GATTY'S "PARABLES" (BELL, 1867).] + +[Illustration: BY E. H. NEW. FROM A PEN DRAWING FOR "THE QUEST," NO. 3.] + +[Illustration: BY WINIFRED SMITH. FROM "CHILDREN'S SINGING GAMES" +(NUTT).] + +[Illustration: BY ALFRED PARSONS. FROM THE "ENGLISH ILLUSTRATED +MAGAZINE."] + +Still, A. J. Gaskin, limiting himself in a way that seems quite +unnecessary, has illustrated Andersen's "Fairy Tales" very well, if one +adopts his standpoint. E. H. New has made portraits that are decorative; +and, under Gaskin's direction, a little book of "Carols" has been +illustrated by his pupils; while, in the same style, C. M. Gere and L. +F. Muckley are doing notable work, and they are about to start a +magazine "The Quest." The "Hobby Horse," the organ of the Century Guild, +has contained many good designs by Herbert Horne and Selwyn Image. On +much the same lines, too, Heywood Sumner, Henry Ryland, Reginald +Hallward, Christopher Whall and others have been very successful. Nor +can one ignore the initials and borders of William Morris, made for his +own publications. + +There are dozens of artists, whose names, like their works, are +household words, Forrestier, Montbard, W. L. Wyllie, Barnard, Nash, +Overend, Wollen, Staniland, Caton Woodville, Durand, Stacey, Rainey, +Barnes, and Walter Wilson, who have a power of rendering events of the +day in a fashion unequalled elsewhere, and whose excellent designs are +seen continuously in the pages of the "Graphic," the "Illustrated London +News," and "Black and White." There is also another set who amaze us by +their power of compelling editors to publish weekly, and even daily, +stacks of their drawings, when those of better men go a-begging. + +[Illustration: BY ALFRED PARSONS. REDUCED FROM A LARGE DRAWING IN "THE +DAILY CHRONICLE." 1895.] + +[Illustration: BY SIR GEORGE REID. FROM "THE LIFE OF A SCOTCH +NATURALIST" (MURRAY).] + +[Illustration: BY W. PAGET. FROM "CASSELL'S MAGAZINE."] + +[Illustration: BY L. RAVEN-HILL. FROM "THE BUTTERFLY."] + +[Illustration: BY L. RAVEN-HILL. FROM "THE BUTTERFLY."] + +[Illustration: BY EDGAR WILSON. PROCESS BLOCK FROM THE ORIGINAL DRAWING +FOR "THE UNICORN."] + +[Illustration: BY C. E. MALLOWS. FROM THE ORIGINAL DRAWING, PUBLISHED IN +"THE BUILDER."] + +Though wood-engraving is purely an English art, and though some of the +greatest wood-engravers even in modern times have been Englishmen, the +art no longer flourishes here as it should. The strongest of modern +engravers, Cole and Linton, are both Englishmen, but their reputations +are due chiefly to America. W. Biscombe Gardner is almost the only man +who has continued to produce good interpretative work, engraving his own +designs, while W. H. Hooper easily leads in _facsimile_ work. This +decline of wood-engraving has been especially felt by such important +firms as Dalziel and Swain. An International Society of Wood-engravers +has lately been started, and one hopes its members will succeed in the +task they have set themselves: that of encouraging original +wood-engraving. In colour-printing England has always held a leading +place, the work of Edmund Evans and the Leighton Brothers being +universally appreciated. A very strong endeavour is being made by +Messrs. Way to revive original lithography. As this art is now beginning +to be again practised by eminent artists, there is every probability +that their efforts will be successful. "Vanity Fair" has always been +illustrated by chromo-lithography, and in it appeared the work of the +late Carlo Perugini, while "Spy" and others still carry out his methods. +The architectural papers also use, mainly, photo-lithography for +reproducing the drawings which they print. In England the fashion of +making pictorial perspective drawings for architects has been very +extensively practised; it is only an outgrowth of the work of Prout and +Harding, but it has been enormously developed since their day; at +present, several architectural papers are published which solely +contain drawings of this sort, drawings mainly the outcome of the +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. +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 +his drawings of old work, notably difficult studies in perspective, like +the cloisters of Gloucester, have never been equalled by any of the +Prout-Harding-Cotman set. He feels that architecture and the delineation +of it are a part of the fine arts--and he makes others feel it too. And +to do this is simply to be an artist. This fashion of architectural +drawing has spread to America and Germany, but it has no support in +France. Much has also been accomplished in etching, and England +possesses to-day in William Hole, Robert Macbeth, William Strang, Frank +Short, D. Y. Cameron, C. J. Watson, C. O. Murray, a number of etchers +whose fame is justly great. + +Whether the idea of the "special artist on the spot" originated in +England or not, I cannot say; certainly he was employed, and his work +acknowledged in the early numbers of the "Illustrated London News." But, +at any rate, many Englishmen have devoted themselves almost entirely to +this form of pictorial reporting and correspondence. The man who has had +probably the most extensive experience is William Simpson, of the +"Illustrated London News,"[21] but F. Villiers, Melton Prior, and Sidney +Hall have assisted at almost all the scenes of national joy or +grief--have followed the fortunes of war, or the progress of royalty, or +any other important event in every quarter of the world. These artists' +methods of work were most interesting. They trained themselves to sketch +under the most dangerous, fatiguing, and difficult conditions--making +rather shorthand notes than sketches, which were quite intelligible to a +clever band of artists attached to their various journals. These +artists, on receiving the sketches, produced finished drawings in a few +hours, or, at longest, a few days. Now, however, matters have changed +somewhat. The editors (not the public) have learned to appreciate +sketches, and men who can either produce a complete work of art on the +spot, or work from their own sketches, are more generally engaged in +this way. I do not mean to say that the war correspondents I have named +could not do this work, only that often they did not, owing to +exigencies of time and other difficulties. Mr. Hall's work at present is +finished on the spot. His drawings at the Parnell trial were most +notable. But I think in the next artistic generation the correspondent +will have to work harder--if he produces less. + + [21] S. Read was the first artist correspondent; he worked during + the Crimean War. + +[Illustration: BY R. CATON WOODVILLE. REDUCED FROM "THE ILLUSTRATED +LONDON NEWS."] + +[Illustration: BY SYDNEY P. HALL. PEN DRAWING FROM "THE GRAPHIC."] + +[Illustration: BY AUBREY BEARDSLEY. FROM A DRAWING IN THE POSSESSION OF +THE AUTHOR.] + +[Illustration: BY WALTER WILSON. REDUCED FROM "THE ILLUSTRATED LONDON +NEWS."] + + + + +[Illustration: BY F. S. CHURCH. FROM AN ETCHING IN "THE CONTINENT."] + +CHAPTER VI. + +AMERICAN ILLUSTRATION. + + +In many ways the illustrative work of America is more interesting than +that of any other country. The rapidity of its growth, the encouragement +that has been given it by publishers, and the surprisingly important +artistic results obtained have won it recognition all over the world. + +Twenty-five years ago, at the time that the best work was really being +done in England, scarcely anything was being produced in America. It is +true that some of the magazines had been started, and that some of the +men, who are best known as illustrators to-day, were at work. But it was +not until 1876, the year of the Centennial, the first international +exhibition held in America, that American artists, engravers, printers, +and publishers were enabled to form an idea of what was being done in +Europe. At the same time a brilliant band of young men, who had been +studying abroad, returned to New York, and it is mainly owing to their +return, and the encouragement which intelligent and far-seeing +publishers gave to them, and also to the artists and engravers who were +already in America anxious to work, that what is now known as the +American school of wood-engraving, together with American illustration +and printing, was developed. + +The way in which this school has been built up is so interesting that it +may be well to refer to it somewhat in detail. From the time that Mr. A. +W. Drake, and, later, Mr. W. Lewis Fraser were appointed art editors of +the "Century," then "Scribner's," they made it their business, as art +editors, to assist and aid and encourage young artists. And earlier, +too, Mr. Charles Parsons who managed the art department of Harper +Brothers, gave such kind, sensible, and practical advice to many young +artists that not only will his name never be forgotten as one who helped +greatly to develop American art, but many an American illustrator now +looks back to Mr. Parsons as the man who really started him on his +career. + +[Illustration: BY C. S. REINHART. WOOD-ENGRAVING FROM "THE CENTURY +MAGAZINE."] + +Mr. Drake's plan was this. If an artist brought a drawing to him in +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 +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 +magazines have gained for themselves the largest circulation among +respectable publications. In engraving, too, the engraver was asked to +reproduce a drawing, not in the conventional manner, but as faithfully +as he could, not only rendering the subject of the drawing, but +suggesting its quality, the look of the medium in which it was produced. +From this sprang the so-called American school of _facsimile_ +wood-engraving, which, until the advent of process, was the favourite +cockshy of the literary critic who essayed to write upon the subject of +art. Now, however, that he believes American engraving is about to +disappear in process--though of course there is not the slightest danger +of anything of the sort happening--he is uttering premature wails over +its disappearance, which is really not coming to pass at all. + + [22] I do not mean to say that the American idea of having artists + for art editors is unique. Everyone knows the good editorial + work that has been done, and is still being done by Mr. Bale, + Mr. W. L. Thomas, Mr. Thomson, Mr. Mason Jackson, Mr. L. + Raven-Hill, to mention no others. + +In printing, too, experiments were made from the very beginning with +inks and paper and press-work. And though stiff glazed paper has been +the outcome of these experiments, it is used simply because upon no +other sort of paper can such good results be obtained. If some of the +people who raise such a wail about this paper would only produce +something better, I am sure they would be well rewarded for their pains, +because all the great magazines would at once adopt it. + +Another reason for the success and advancement of American illustrators +is because the publishers of the great magazines, like "The Century," +"Harper's," "Scribner's," have had the sense to see that if you want to +get good work out of a man you have to pay him for it and encourage him +to do it, then reproduce, and print it in a proper fashion. Naturally, +the artists have taken a personal pride in the success of the magazines +with which they have been connected; in certain cases, greater probably +than the proprietors themselves ever realized. They have worked with +engravers; they have mastered the mysteries of process and of printing; +various engravers and printers have also worked with the artist, and in +many cases there has been a truer system of genuine craftsmanship than +existed in the everlastingly belauded guilds of the Middle Ages. + +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, +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 +of the better class of magazines choose to lower the tone of their own +publications. + +[Illustration: BY WALTER SHIRLAW. FROM "THE CENTURY MAGAZINE."] + +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 +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 +were almost altogether reproduced by lithography. The New York "Graphic" +was never a great success. Many American daily newspapers print more +drawings in a week than the London "Daily Graphic." The chances are that +in a very few years the daily will have completely superseded many of +the weeklies, and quite a number of the monthly magazines too. It is +simply a question of improving the printing press, and this improvement +will be made. Anyone who has watched the progress of illustrated +journalism during the last ten years can have no doubts upon the +subject; and I am almost certain that the very near future will see the +advent of daily illustrated magazines of convenient size, which will +take the place of the monthly reviews and the ponderous and cumbersome +machine we now call a newspaper. + +[Illustration: BY HOWARD PYLE. FROM HOLMES'S "ONE HOSS SHAY" (GAY AND +BIRD).] + +If, as is universally admitted, America has produced the best example of +an illustrated magazine that the world has to show, it is not very +difficult to find out the reason. Editors have secured the services of +some of the best native artists, and are ready to use the work of +foreigners. Also many of the best engravers work for these periodicals, +and in machine printing Theodore de Vinne has set up a standard for the +whole world. If these men have become master craftsmen, it is because +they first studied their art profoundly, and then learned the practical +requirements and technical conditions under which drawings can best be +reproduced for the printed page, as well as the best methods of printing +that page. + +[Illustration: BY HOWARD PYLE. FROM "THE CENTURY MAGAZINE."] + +[Illustration: BY HOWARD PYLE. FROM HOLMES'S "ONE HOSS SHAY" (GAY AND +BIRD).] + +[Illustration: BY ALFRED BRENNAN. PEN DRAWING FROM "THE CONTINENT."] + +[Illustration: BY A. B. FROST. FROM "STUFF AND NONSENSE" (SCRIBNER'S).] + +[Illustration: BY A. B. FROST. FROM "STUFF AND NONSENSE" (SCRIBNER'S).] + +In his own way Mr. Abbey stands completely apart from all other artists. +His beautiful drawing, conscientious attention to detail and costume, +interesting composition and perfect grace give him rank as a master. His +edition of Herrick has become a classic, while in his "Old Songs," and +"Quiet Life," done in collaboration with Mr. Parsons, he has so +successfully delineated the eighteenth century that he has made it a +mine for less able men who have neither his power as draughtsman, nor +his appreciation that illustration is as serious as any other branch of +art, not to be entered upon lightly and without training. He has +transformed "She Stoops to Conquer" from a play into a series of +pictures; and his illustrations to Shakespeare will, without doubt, +become historic; they are models of accurate learning and careful +research, and yet, at the same time, the most perfect expression of +beauty and refinement. The decorative or decadent craze has also reached +America, and its most amusing representative, so far, is W. H. Bradley; +but G. W. Edwards, L. S. Ispen, and others, decorated books long before +mysticism became the rage. + +Mr. Reinhart and Mr. Smedley have treated the more modern side of life +with an intelligence which is almost equal to Abbey's. Mr. Reinhart's +most remarkable work is to be found in "Spanish Vistas" by Mr. George +Parsons Lathrop, and in his sketches in "American Watering Places." Mr. +Smedley's drawings may be seen any month in "Harper's Magazine." + +Mr. Howard Pyle has brought all the resources of the past to aid him in +the present, and is probably the most intelligent and able student of +the fifteenth century living to-day. Yet Mr. Pyle is, when illustrating +a modern subject, as entirely modern. He has treated with equal success +the England of Robin Hood, the Germany of the fifteenth century, +colonial days in America, children's stories, and the ordinary everyday +events which an illustrator is called upon to record. He is deservedly +almost as well known as a writer. His principal books are "Otto of the +Silver Hand," the "Story of Robin Hood," and "Pepper and Salt." + +[Illustration: BY E. A. ABBEY. FROM "HARPER'S MAGAZINE" +(COPYRIGHT 1894, BY HARPER AND BROTHERS).] + +[Illustration: BY E. A. ABBEY. FROM AUSTIN DOBSON'S POEMS (KEGAN PAUL).] + +[Illustration: PEN DRAWING BY C. D. GIBSON. FROM "THE CENTURY +MAGAZINE."] + +[Illustration: PEN DRAWING BY OLIVER HERFORD. FROM "FABLES" (GAY AND +BIRD).] + +Mr. C. D. Gibson exhibits the follies and graces of society; it was he +who contributed so brilliantly to the success of "Life," the American +"Punch." Messrs. Frost, Kemble, Redwood, Remington, show the life of the +West and the South; while, as a comic draughtsman, Frost stands at the +head of Americans. These men's work will one day be regarded as +historical documents. Mr. Remington has given the rapidly vanishing +Indian and cowboy, especially in the "Hunting Trips of a Ranchman." Mr. +Frost's drawings of the farmer in the Middle States will later be as +valuable records as Menzel's "Uniforms of Frederick the Great." Mr. +Kemble is not alone in his delineation of darkey life and character. In +fact, he has rather worked in a field which was marked out for him by W. +L. Shepherd and Gilbert Gaul. W. Hamilton Gibson has treated many +beautiful and pleasing aspects of nature, both as writer and +illustrator. Blum, Brennan and Lungren transported the Fortuny, Rico, +Vierge movement to America, but have now worked out schemes for +themselves. Blum has produced more complete work than the others, +however, and his illustrations to Sir Edwin Arnold's "Japonica," and his +own articles on Japan, have given him a deservedly prominent position. +Elihu Vedder, most notably in his edition of Omar Khayyam, Kenyon Cox, +and Will Low, who have illustrated Keats and Rossetti, are responsible +for much of the decoration and decorative design in the country, and +there are many other extremely clever, brilliant and most artistic men +whose work can be found almost every month in the magazines. Mr. Childe +Hassam has brought Parisian methods to bear upon the illustration +of New York life; and Mr. Reginald Birch's studies of childhood, though +frequently German in handling, are altogether delightful in results, his +drawings having no doubt added much to the popularity of "Little Lord +Fauntleroy;" in the same sort of work P. Newell and Oliver Herford are +distinguished. Mrs. Mary Halleck Foote is one of the few who continue to +draw upon the wood, and very beautifully she does this; while Mrs. Alice +Barber Stephens, and Miss Katharine Pyle prove that there is no earthly +reason why women should not be illustrators. Mr. Otto Bacher, Mr. W. H. +Drake and Mr. Charles Graham turn the most uninteresting photograph, if +they are not doing original work, into a pleasing design; while that +phenomenally clever Frenchman, A. Castaigne, who, I believe, now +considers himself to be naturalized, gets more movement and dramatic +feeling into his drawing than almost anyone else, though he is closely +approached in some ways by T. de Thulstrup. + +[Illustration: BY F. HOPKINSON SMITH. FROM "THE CENTURY MAGAZINE."] + +[Illustration: PEN DRAWING BY ROBERT BLUM. FROM "SCRIBNER'S MAGAZINE."] + +[Illustration: BY CHILDE HASSAM. FROM A PEN DRAWING MADE FOR THE "NEW +YORK COMMERCIAL ADVERTISER."] + +In some ways Mr. Harry Fenn, Mr. J. D. Woodward, and Mr. Thomas Moran +were among the pioneers of American landscape illustration. Mr. +Hopkinson Smith, whose work also is frequently seen in the magazines, +says that "Harry Fenn's illustrations in 'Picturesque America' entitle +him to be called the Nestor of his guild, not only for the delicacy, +truth, and refinement of his drawings, but also because of the enormous +success attending its publication--the first illustrated publication on +so large a scale ever attempted--paving the way for the illustrated +magazine and paper of to-day." In this venture of Appleton's, Mr. +Woodward and Mr. Moran had a large share. Among some of the younger men +should be noted Mr. Irving Wiles, whose work is as direct and brilliant +as, and much more true than, Rossi's; Mr. Metcalf, whose illustrations +to Mr. Stevenson's "Wrecker" are most notable; Mr. A. C. Redwood who, +with Mr. Rufus Zogbaum, has made the American soldier his special +study. F. S. Church is many-sided both in the mediums he employs and the +subjects he selects. J. A. Mitchell has produced in "Life" a society +comic paper which is much more human than "Punch." "Puck" and "Judge" +are the leading illustrated political weeklies; their conductors are D. +Kepler and B. Gillom. + +[Illustration: PEN DRAWING BY FREDERIC REMINGTON. FROM "THE CENTURY +MAGAZINE."] + +[Illustration: PEN DRAWING BY R. BIRCH. FROM "LITTLE LORD FAUNTLEROY" +(WARNE).] + +[Illustration: "READY FOR THE RIDE." WOOD-ENGRAVING BY T. COLE, +AFTER W. M. CHASE. FROM "THE CENTURY MAGAZINE."] + +[Illustration: BY ROBERT BLUM. FROM "SCRIBNER'S MAGAZINE."] + +The list of engravers is quite as important. Almost all of those who +belong to the American Society of Engravers on Wood are original artists +and very well deserving of mention, though their work itself has given +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 +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 +have shown that wood-engraving is an art which can be used in the hands +of a clever man or woman in a hundred ways undreamt of twenty years ago. +This list makes no pretension of being complete, for new magazines, new +men and new methods are springing up all over the country every few +weeks, and a mere list of the illustrators and engravers would make a +catalogue as large as this volume. + +There was a period of great activity in American etching a few years +ago. Among the most notable results were Cassell's Portfolios of the +work of American etchers, edited by Mr. S. R. Koehler. But the art seems +now to be languishing. Mr. Frank Duveneck, Mr. Otto Bacher, Mr. Stephen +Parrish, Mr. Charles Platt, Mrs. Mary Nimmo Moran did some of the best +original work, while, as reproductive men, Peter and Thomas Moran, +Stephen Ferris, and J. D. Smillie were most notable. However, this brief +spontaneous movement toward individual expression unfortunately seems +rather to have spent itself; and America, like so many other countries, +is waiting for something new to turn up. + +[Illustration: BY S. PARRISH. FROM A DRAWING IN "THE CONTINENT."] + +[Illustration: BY GILBERT GAUL. FROM "THE CENTURY MAGAZINE."] + +[Illustration: BY SELWYN IMAGE. FROM "THE FITZROY PICTURES" SERIES +(BELL).] + + + + +[Illustration: BY HEYWOOD SUMNER. FROM "THE FITZROY PICTURES" SERIES +(BELL).] + +CHAPTER VII. + +CONCLUSION. + + +I have tried to show the methods of modern illustration, and to give a +sketch of its present conditions. It would be absurd to prophesy its +future, though I believe it will have a very brilliant one. Much of the +work that is being turned out to-day is beneath contempt; much of it is +done by young men who are absolutely uneducated, and an illustrator +requires education as much as an author; much of it is done by people +who are too careless, or too stupid, to read or to understand the MSS. +which they illustrate. Thus, in looking through late numbers of a +magazine, I learn that all the policemen in New York wear patent leather +shoes; while from another I find that when people are very poor in +France, they rock their babies in log cabin cradles, cook their meals +on American stoves and sit upon Chippendale chairs. + +[Illustration: BY A. J. GASKIN. FROM "OLD FAIRY TALES" (METHUEN AND +CO.).] + +But it is a pleasure to turn from budding geniuses of this sort and +photographic hacks; from the gentlemen who copy the imperfections of the +woodcut of the Middle Ages; from the people who enlarge the borders of +their magazines with decorations that neither belong to our own time, +nor are good examples of any other; from those who have succeeded in +making a certain portion of the world believe that clumsy eccentricity +is a cloak for all the sins in the artistic calendar, to illustrators +who are calmly and quietly pursuing their profession, and producing +work which may even drag other portions of the magazine or book, to +which they contribute, to an unmerited immortality. + +[Illustration: BY LAURENCE HOUSMAN. FROM "A FARM IN FAIRYLAND" (KEGAN +PAUL).] + +I do not pretend to foretell what the ultimate form of the book of the +future, or of the magazine either, may be. But I do believe that +illustration is as important as any other branch of art, will live as +long as there is any love for art, long after the claims of the working +classes have been forgotten, and the statues of the statesmen, who are +the newspaper heroes of to-day, have crumbled into dust, unless +preserved because a sculptor of distinction produced them. + +[Illustration: BY COTMAN. FROM AN ETCHING IN "ARCHITECTURAL ANTIQUITIES +OF NORMANDY."] + +Illustration is an important, vital, living branch of the fine arts, and +it will flourish for ever. + + + + +INDEX. + + + Abbey, E. A., "Herrick," 123; + "Old Songs" and "Quiet Life," 106, 124; + "She Stoops to Conquer," 124; + "Shakespeare," 124. + + "Abbotsford" Waverley Novels, 26. + + Ache, Caran d', 66; + "Courses dans l'Antiquité," "Carnet de Chéques," "Albums," + etc., 67, 79. + + Adams, J. A., 29. + + Albrecht, E., 78. + + Alexander, Miss, xvii. + + Allers, C. W., 78. + + Allingham, W., "The Music Master," 88. + + _Ally Sloper's Half Holiday_, 103. + + American illustration, xv, 30-32, 113, 130. + + American Tract Society, 29. + + Amicis, E. de, 70. + + Andersen's "Fairy Tales," 108. + + Andrew, 25. + + Angelico, Fra, 3. + + Angerer and Göschl, 72. + + Anning Bell, R., 105. + + Aquatint, 38. + + "Arabian Nights" (Lane), 24; + (Dalziel), 91, 101. + + Architectural drawing, 111. + + _Argosy, The_, 90. + + "Armée Française, L'," 60. + + Armstead, H. H., 90. + + Arnold, Sir Edwin, "Japonica," and "Japan," 126. + + _Art, L'_, 51. + + _Art, L', et l'Idée_, 56. + + _Art Student_, 35. + + Artist-correspondents and their work, 112. + + _Artiste, L'_, 18, 22, 60. + + Auriol, Georges, 63, 68. + + Avril, Paul, "La Dame aux Camélias," 62. + + + Babbage, F., xxiv. + + Bacher, Otto, 127, 130. + + Bale, Edwin, 115. + + _Bambou, Le_, 56. + + Barnard, Fred., xxiv, 108. + + Barnes, R., 108. + + Batten, J. D., illustrations to Fairy Tales, 105-106. + + Baude, C., 48, 51, 69. + + Baxter, W. G., "Ally Sloper," 103. + + Bayard, Emile, 65. + + Beardsley, Aubrey, 105; + _Yellow Book_, "Morte d'Arthur," and "Salome," 105. + + Bennett, G. H., 89. + + Bentworth, 25, 74. + + Beraldi, M., xiv. + + Best, 16, 25. + + Bewick, Thos., xiv, xvi, 8; + Walton's "Angler," 9; + Gay's "Fables," 9; + "General History of Quadrupeds," 9; + "British Land and Water Birds," 9; + as engraver-artist, 9, 10; + outcome of his work, 12, 17, 47, 88. + + Bibliographers' duties with regard to illustrations, xx. + + _Bibliographica_, xvi, 92. + + Birch, Reginald, 127. + + Blackburn, H., 81. + + _Black and White_, 108. + + Black and White Exhibition, Vienna, 72. + + Blair's "The Grave," 9. + + Blake, W., 9; + "Songs of Innocence" and "Songs of Experience," 10; + "Book of Job," 10; + Blair's "The Grave," 9; + Mary Wollstonecraft's "Stories," 10. + + _Blanco y Negro_, 79. + + Blum, R., "Japonica," "Japan," 126. + + Böcklin, A., 76, 77. + + Bork, 48, 73. + + Botticelli, 3; + designs for Dante, 3. + + Boydell's "Shakespeare," 12. + + "Bracebridge Hall," 86. + + Bradbury and Evans, 89. + + Bradley, W. H., 124. + + Branston, C., 12, 21. + + Braun, 18. + + Braun and Schneider, 76. + + Brend'amour, Richard, 76. + + Brennan, A., 126. + + Brévière, 16, 18. + + British Museum, xv, xix, xx, 36. + + _British Workman_, 96. + + Brown, Ford Madox, 95. + + "Brown, Jones, and Robinson," 84. + + Browne, H. K. ("Phiz"), 89. + + Bruant's "Dans la Rue," 68. + + Buchanan's "The North Coast," 94. + + Burckhardt, "Insects Injurious to Vegetation," 31. + + Burges, W., 111. + + Burne-Jones, Sir E., xvi; + In _Daily Chronicle_, xxiii, 95, 98. + + Busch, W., 77. + + Butler's "Hudibras," 19, 20. + + _Butterfly, The_, 105. + + + Calcott, W., 24. + + Caldecott, Randolph, illustration from "Old Christmas," 33, 84, 86; + Books for Children, 86. + + Callot, 80. + + Cameron, D. Y., 111. + + Canaletto, 7. + + "Caprices" (Goya), 80. + + Capuana, Luigi, 71. + + Caracci's "Christ and Peter," 10. + + _Caricature, La_, 22. + + Caricature, Political, 102, 103; + _Ally Sloper's Half Holiday_, 103. + + "Carnet de Chéques," 67. + + "Carols" (Gaskin, A. J.), 108. + + Carpaccio, 2. + + Carroll's "Alice in Wonderland," 102. + + Casanova y Estorach, A., 71. + + Castaigne, A., 127. + + "Catalogue of Blue and White Nankin Porcelain," 95. + + _Century Magazine_, xix, 34, 40, 114, 116. + + "Cera una Volta," 71. + + Cervante's "Don Quixote," 21. + + Champfleury's "Vignettes Romantiques," xviii. + + Chapman, J. G., drawings for the "Illuminated Bible," 29. + + Charlet, 17, 60. + + "Chaumière Indienne," 20. + + Chelminski, 73. + + Chéret, 68. + + Chiaroscuro, engraving in, 48. + + Chiswick Press, 21. + + Chodowiecki, 7. + + Christopher, St., 6, 34, 36. + + Church, F. S., 129. + + Cleaver, Reginald, 106. + + Clennell, Luke, 11, 12. + + Clichés, early use of, 7. + + Closson, W. B., 129. + + Cole, Timothy, 47, 48, 108, 129. + + Colvin, Prof. S., xv. + + Conquet, 63. + + "Contes Remois," 24. + + Cooper, A. W., illustration to Walton's "Angler," 32. + + Cooper, J. D., xxiv. + + Corbould, A., 21. + + _Cornhill, The_, 28, 84, 89; + "Gallery," 94. + + Cotman, F. G., 38, 111. + + "Coups de Fusil," 60. + + Courboin, E., 66. + + _Courrier Français, Le_, 51. + + "Courses dans l'Antiquité," 67. + + Cox, Kenyon, 126. + + Crane, Walter, 28; + "King Luckyboy's Party," "The Baby's Opera," "Baby's + Bouquet," 86, 99. + + Crowther, T. S., 104. + + Cruikshank, George, "Three Courses and a Dessert," 22-24, 83, 88. + + Curmer, L., "Paul et Virginie," 20. + + Cust, Lionel, xv. + + + _Daheim_, 78. + + _Daily Chronicle_, xvii, xxi, xxiii. + + _Daily Graphic_, 117. + + Dalziel Brothers, 28, 35; + "Bible Gallery," 35, 95, 88, 90, 91; + "Arabian Nights' Entertainments," 91-93; + "Wayside Posies" and Ingelow's "Poems," 94; + "English Rustic Pictures," 95, 109. + + Dalziel, E., 93. + + "Daphnis and Chloe," 105. + + Darley, F. O. C., 28. + + Dasio, Max, 77. + + Daubigny, 17. + + Daumier, 17; + _La Caricature_, 22, 38, 60. + + Davidson, H., 129. + + Davis, J. P., 129. + + Davison, T. R., 111. + + Defoe's "Plague," 101. + + Delacroix, 23, 80. + + De Neuville, A., 51, 60; + "Coups de Fusil," 60; + Guizot's "History of France," 60; + "En Campagne," 60. + + "Dentatus, The," 49. + + Dentu's _Le Bambou_, 56; + "Tartarin de Tarascon," 61. + + Derniame, Aristide, 20. + + Detaille, E., 51; + "L'Armée Française," 60. + + _Dial, The_, 105. + + Dickens, C., 83. + + Didot, F., "Gravure sur Bois," 5. + + Dietz, W., 25, 75. + + "Dinner at Greenwich," 84. + + Dobson, Austin, xiv, xviii, 81, 84; + "Beau Brocade," 106. + + Doepler, C. E., 29. + + Donné, Dr., 40. + + Doré, G., 31, 32, 51, 58; + characterization of his work, 58-60, 63, 93. + + Doyle, R., 83; + "Brown, Jones, and Robinson," 84, 89. + + Drake, A. W., 114, 115, 127. + + Du Maurier, G., 28, 39, 84, 101, 103. + + Durand, 108. + + Durand, Amand, photogravure process of, 44. + + Dürer, A., xxii, 3; + illustrations to "Maximilian's Missal," 3; + decorative designs, 4; + his criticism on his wood-engravers, 5; + an Apollo drawing, 36. + + Duveneck, Frank, 130. + + Dys, Habert, 65. + + + _Echo de Paris, L'_, 54. + + Eckhardt, Oscar, 104. + + Edelfelt, A., 73. + + Edwards, G. W., 124. + + Elgin Marbles, xxii. + + _Elsevir_, 71. + + "En Campagne," 60. + + "English Rustic Pictures," 95. + + "Enterrement de Province," 69. + + _Estampe Originale, L'_, 69. + + Etching, 111; + American, 130; + Cassell's "Portfolios," 130. + + Evans, Edmund, xxiv, 87, 109. + + Everal et Cie., 21. + + "Examples of Venetian Architecture," 85. + + _Ex-Libris Series_, Editor, xiii, xiv. + + + Fau, F., 61. + + _Felz und Meer_, 78. + + Fenn, Harry, "Picturesque Europe and America," 31, 127. + + Fernandez, G., 79. + + Ferris, Stephen, 130. + + Figaro, Le, 54. + + Fildes, Luke, xxiv, 86. + + _Fliegende Blätter_, xvii, 25, 75-78. + + Florian, 48, 51, 57, 69. + + "Fontaine, La," 8. + + Foote, Mrs. Mary H., 127. + + Forain, J. L., 66; + Album, 68. + + Ford, H. J., 106. + + _Forget-me-Not_, 13, 34. + + Forrestier, A., 108. + + Fortuny, M., 50, 71, 79, 126. + + Foster, Birket, xv, xxiv, 26-29, 84; + "Pictures of English Landscape," 91; + "Odes and Sonnets," 91, 103. + + "François le Champi," 62. + + Fraser, Lewis, 114, 115. + + Fredericks, Alfred, 30. + + "Frederick the Great's Works," 74. + + French, Frank, 129. + + Frost, A. B., 126. + + Furniss, Harry, 102. + + + Galice, L., 61. + + Gamm, 48, 129. + + Gardner, W. Biscombe, 48, 109. + + Gaskin, A. J., 108. + + Gaul, Gilbert, 126. + + Gautier, T., 80. + + Gavarni, 17; + _Gazette des Enfants_, lithographs in, 22, 38, 57, 60, 79. + + _Gazette des Enfants_, 22. + + _Gazette des Beaux-Arts, La_, 51. + + Gere, C. M., _The Quest_, 108. + + Giacomelli, 65. + + Gibson, C. D., 125, 126. + + Gibson, W. Hamilton, 126. + + Gigoux, Jean, 17; + _Gil Blas_, 19. + + Gilbert, Sir John, 26; + Work for American Tract Society, 29, 84; + edition of Shakespeare, 89, 103. + + _Gil Blas_, 54. + + Gillom, B., 129. + + Gillot, C., engraver, 40. + + Gillotage, the process, 51. + + Gillray, 84. + + Goldsmith's "Vicar of Wakefield," 21, 61, 93; + "She Stoops to Conquer," 124. + + _Good Words_, 28, 84, 88, 90, 91. + + Gosse, Edmund, xvi. + + Gould, F. C., 102. + + Goupil, 55; + _Les Lettres et les Arts_, 56. + + Gourget, A. F., 61. + + Goya, F., xiv, 8, 20, 79, 80; + "Caprices," 80; + "Invasion," 80; + Bull-fights, 80. + + Graham, Charles, 90, 127. + + _Graphic_, 18, 34, 40, 65, 85, 92, 94, 96, 108. + + _Graphischen Kunste Die_, 78. + + Grasset, E., 63, 68. + + Gray's, "Elegy," 24. + + Green, Charles, xxiv, 86, 101. + + Green, W. T., xxiv. + + Greenaway, Kate, 86; + Children's Books, 87. + + Gregory, E. J., 86. + + Greiffenhagen, Maurice, 104. + + Greiner, Otto, 77. + + Greuze, 7. + + Griset, Ernest, "Grotesques," xxiv, 87. + + "Gulliver's Travels," 93. + + Guillaume, process and publisher, 56, 66. + + "Guillaume" Series, 51, 62. + + Guizot's "History of France," 60. + + + Hackländer, F., 78. + + Haennen, T. von, 65. + + "Half-tone" process, 40. + + Halkett, G. R., 102. + + Hall, S. P., 86, 101, 112. + + Hallward, Reginald, 108. + + Hamerton, P. G., 81. + + Harburger, 77. + + Harding, J. D., 38, 110, 111. + + Hardy, Thos., "Tess of the D'Urbervilles," 101. + + Harper, C. G., 81. + + Harper's "Illuminated Bible," 29. + + _Harper's Magazine_, xix, 29, 116. + + Harral, H., xxiii. + + Harris's "Insects Injurious to Vegetation," 30, 31. + + Hartrick, A. S., 104. + + Harvey, William, xxiv, 12; + Milton's "Poetical Works," 15, 16, 17, 18; + "Gardens, etc., of Zoological Society," 21, 24; + "Elegy" (Gray), 24; + "Arabian Nights," 24; + "Solace of Song," 24; + "Dentatus," 49, 88, 89. + + Hassam, F. Childe, 126, 127. + + Hatherell, W. H., 105. + + Haug, Robert, 75. + + Haydon's "Dentatus," 49. + + Hendriksen, 48, 73. + + Hengler, 77. + + Henley, W. E., xvi. + + Hennessy, W. J., xvi. + + "Herbals," The, 37. + + Herford, Oliver, 127. + + Herkomer, Prof. H., 86; + Hardy's "Tess," 101. + + "Histoire de Mobilier," 51. + + "Histoire du Roi de Bohème," 18. + + "Historical and Legendary Ballads," 94, 95, 102. + + _Hobby Horse, The_, 108. + + Hogarth, W., 7. + + Holbein, Hans, 4, 7; + "Dance of Death," 34, 36. + + Hole, W., 72, 111. + + Holl, F., 86. + + Homer, Winslow, 29. + + Hooper, W. H., xvi, 28, 48, 109. + + Horne, Herbert, 108. + + Horsley, G. C., 111. + + Houghton, A. Boyd, xvi, 27, 84, 86, 88, 90; + "Arabian Nights," 92; + Housman on his work, 92; + "Home Thoughts and Home Scenes," 92; + "Don Quixote," 92; + "Kuloff's Fables," 92; + _Graphic_ drawings, 92; + "National Nursery Rhymes," 93; + "The North Coast," 94, 95, 101. + + Housman, Laurence, xvi, 92; + "Goblin Market," 106. + + Huertas, 79. + + Huet, Paul, 17, 20. + + Hughes, Arthur, + illustrations to Christina Rossetti's "Sing Song," xxiv, 88, 96; + "Tom Brown's School-days," 96. + + Hugo's, V., works, "Edition Nationale," 64. + + Hunt, Holman, "Lady of Shalott," 88, 90. + + "Hypnerotomachia," 4. + + + Ibels, 66. + + Icke, H. J., 72. + + Illumination, 3. + + _Illustracion Artistica_, 71. + + _Illustracion Española y Americana_, 71. + + _Illustrated London News_, 27, 108. + + _Illustration, L'_, 51, 65. + + Illustration, definition of, 1; + compared to art, 1, 2; + the old illustrator, 2; + the court painters, 2; + the subject and landscape painters, 2; + illumination of MSS., 3; + French illustration, 24; + modern development in, 33; + application of photography to, 34; + increase in its popularity, 34; + production of before the introduction of photography, 36; + French, 50-57; + decline of French work, 52; + decay due to publishers, 54; + Spanish, 71; + Dutch, 71, 72; + Belgian, Austrian, and Hungarian, 72; + Russian and Scandinavian, 73; + Danish, 73, 74; + German, 74, 75; + English, 82, 84; + revival in England, 96; + editors' bad judgments on, 97; + their bad influence, 97; + their ignorance, 90, 99; + evils of modern reproductions, 99; + ignorance of printers, 100; + modern copies of obsolete fads, 100; + colour printing, 109; + American, 113, 130; + reasons for American advance in, 116; + daily papers, 117; + future of modern, 131-134. + + _Illustrazion Italiana, L'_, 71. + + _Illustrirte Zeitung_, 75. + + Image, Selwyn, 108. + + Indexing of artists' works, xix, xx. + + Ingelow, Jean, "Poems," 94. + + "International Society of Wood Engravers," 109. + + Isabey, E., 17, 20. + + Ispen, L. S., 124. + + Ives' method of engraving, 40. + + + Jackson, Mason, "The Pictorial Press," xviii, 32, 115. + + Jacobi, C. T., xvi. + + Jacque, C., 17, 20; + "Vicar of Wakefield," 21. + + Jacquemart, Jules, 51. + + Jeanniot, P. G., 60. + + Job, 66. + + Johannot, Tony, 25. + + Johannots, the Brothers, 17, 18. + + Johnson, T., 129. + + Johnstone, J. M., xxiv. + + _Judge_, 129. + + Jüngling, Frederick, 48, 129. + + + Kaulbach, 76. + + Keene, C., 28, 38, 39, 84, 89, 90, 104. + + _Keepsake_, 13, 34. + + Kepler, F., 129. + + King, F. S., 129. + + Kingsley's "Water Babies," 102. + + Kingsley, Elbridge, 47, 48, 129. + + Klinger, Max, 76; + his method, 77; + his "Apuleius," 77. + + Knight, Charles, 24. + + Koehler, S. R., 130. + + Konewka, Paul, 76; + "Faust," 76. + + Kreull, G., 48, 129. + + Kreitzschmar, 25. + + _Kunst für Alle_, 78. + + + Lacour, O., xxiv. + + La Farge, John, 29. + + Lalauze, A., 64. + + Lameyer, 79. + + Lami, E., 23. + + Landseer, Sir E., 24. + + Lang, A., "The Library," xviii, 81; + "Fairy Books," 106. + + Langton, first use of photography for book illustration, 34. + + _Lanterne, La_, 54. + + Lathrop's "Spanish Vistas," 124. + + Laurens, Jean Paul, 61. + + Lautrec, H. T., 68. + + _La Vie Moderne_, 51. + + Lavoignat, 15, 17, 21, 24. + + Lawless, M. J., 89. + + Leech, John, 83, 84, 88, 89. + + "Legend of the Portent," 89. + + Legrand, L., 66. + + Lehers, Max, 77. + + Leighton, Brothers, 109. + + Leighton, Sir F., 28, 89; + _Cornhill_ "Gallery," 94, 95. + + Leloir, M., 25, 61. + + Lemaire, Mme., 62. + + Lepère, A., 18, 47, 51, 69. + + Le Sage's "Diable Boiteux," 21. + + _Les Lettres et les Arts_, 56. + + Leveille, 16, 24, 51. + + Lhermitte, L., "La Vie Rustique," 61. + + "Liber Studiorum," 27. + + _Lidia, La_, 79. + + _Life_, 126, 129. + + Linnells, The, 10, 11; + "The National Gallery," 14. + + Linton's "Engraving," xviii; + on engraver and artist, 24, 28, 48, 86, 109. + + Lithography, 38; + work by Prout, Harding, Roberts, Nash, 38; + revival in, 109; + _Vanity Fair_ and chromo-lithography, 109; + photo-lithography, 109. + + Low, Will. H., 126. + + Lucena, Jiminez, 79. + + Luders, Hermann, 75. + + Lunel, F., 61. + + Lungren, F., 126. + + Lynch, Albert, "La Dame aux Camélias," 62. + + + Macbeth, R. W., 72, 111. + + "Madame Chrysanthème," 62. + + _Magazin Pittoresque_, 21. + + Mahoney, T., "Scrambles amongst the Alps," 94, 101. + + Mallows, C. E., 111. + + Marchetti, 64. + + Marie, Adrian, 65. + + Marold, L., 57, 72, 78. + + Mars, 66, 68. + + May, Phil, 104; + "The Parson and the Painter," 104. + + Meadows, Kenny, 88. + + Meggendorfer, 77. + + Meisenbach process, 40. + + Meissonier, J. L. E., 8, 17, 20; + "Deux Joueurs," 21; + "Contes Remois," 24, 25, 50, 57, 60, 73, 74, 79. + + Menzel, Adolph, xx, 8, 24; + comparison with Bewick, 25; + "Life of Frederick the Great," 25; + "Paul et Virginie," 25, 73, 74; + his genius and work, 74, 75, 76, 88, 126. + + Merson, Luc Ollivier, 64. + + Metal, engraving on, 37. + + Metcalfe, W. L., Stevenson's "The Wreckers," 128. + + Métivet, L., 65. + + Millais, Sir J. E., 28; + "St. Agnes' Eve," 88, 89; + "Parables," 90-92; + _Cornhill_ "Gallery," 94; + Strahan's "Portfolio," 94. + + Millar, H. R., 104. + + Mitchell, G. C., 111. + + Mitchell, J. A., _Life_, 129. + + "Modern Painters," 85. + + _Monde Illustré, Le_, 51. + + Monnier, H., 17, 23. + + Montalti, "Cera una Volta," 71. + + Montbard, A., 108. + + Monvel, Boutet de, 66. + + Moran, Mrs. Mary Nimmo, 130. + + Moran, Thomas and Peter, 30, 127, 128, 130. + + Morin, Louis, 63. + + Morris, William, xvi, 108. + + Morton, T., "Gulliver's Travels," 93. + + Moxon's "Tennyson," 28, 88; + Macmillan's re-issue, 101. + + Muckley, L. F., _The Quest_, 108. + + Mulready, W., 24. + + Murray, C. O., 111. + + Myrbach, 54, 62, 72. + + + Nash, 38. + + Nast, Thomas, 30. + + Nesbit, 12. + + _Neue Lithographem_, 77. + + New, E. H., 108. + + Newell, P., 127. + + Newspapers, illustrated, 116, 117. + + _New York Daily Graphic_, 117. + + Niepce, 40. + + North, J. W., 35, 93; + "Wayside Posies" and Ingelow's "Poems," 94. + + Novello's "National Nursery Rhymes," 93. + + + Oberländer, 77. + + "Odes and Sonnets," 91. + + "Old Christmas," 86. + + "Old Songs," 106. + + "Omar Khayyam," 126. + + _Once a Week_, xix, 28, 84, 88-90. + + Orrinsmith, H., xvi, 12, 57. + + Overbeck, 76. + + Overend, W. H., 108. + + Overlays used by Bewick, xvi, 20, 21. + + + "Pablo de Ségovie," 51, 54, 61. + + Paget, Wal, 105. + + "Palace of Art, The," 88. + + _Pall Mall Gazette_, 117. + + _Pall Mall Magazine_, xix. + + Palmer, Samuel, xxiv. + + Pannemaker, 32, 69. + + Papier Gillot, 71. + + _Paris Illustré_, 51. + + Parrish, Stephen, 130. + + Parsons, Alfred, 106; + "Old Songs," "A Quiet Life," "Wordsworth's Sonnets," and + "The Warwickshire Avon," 106, 124. + + Parsons, Charles, 114. + + Partridge, J. Bernard, 106. + + Paterson, R., xxiv. + + Paul, Rowland, 111. + + Pegram, F., 104. + + "Pen Drawing and Pen Draughtsmen," 35. + + _Penny Magazine_, 24. + + Perea, D., 79. + + Perugini, Carlo, 109. + + Perugino's "The Holy Family," 10. + + _Petit Journal, Le_, 54. + + Pettie, J., 90. + + "Phiz" (H. K. Browne), 83. + + Photography applied to book illustration, 34; + _Art Student_, 1865, 35; + fairly general in 1870, 36; + photographing of drawings in line upon a metal plate or gelatine + film, 40; + "half-tone" process, 40; + Meisenbach process, 40; + Ives' method, 40. + + Piaud, 17. + + Pickering's "Alphabet," 19. + + "Pictures of English Landscape," 91. + + "Pictures in Words," 91. + + "Picturesque America," 31, 127. + + "Picturesque Europe," 31. + + Pille, Henri, 61. + + Pinturicchio, 3. + + Pinwell, G. J., 27, 35, 39, 86, 88, 90, 92; + "Goldsmith's Works," 93; + "Wayside Posies" and Ingelow's "Poems," 94; + "English Rustic Pictures," 95. + + Piranesi, 7. + + Pisan, 17. + + Pissarro, L., 105. + + Pite, A. B., 111. + + Plantin Museum, 36. + + Platt, Charles A., 130. + + "Poets of the Nineteenth Century," xxiv. + + Poirret, 17. + + Poirson, V. A., 61. + + Pollard, A. W., xv. + + Pons, Angel, 79. + + Powell, Miss C. A., 129. + + Poynter, E. J., 95. + + Prado, The, 80. + + Pranishnikoff, 73. + + _Premières Illustrées, Les_, 61. + + Pre-Raphaelites, xxii, 76, 88, 98. + + Prior, Melton, 112. + + "Process," art of, 41; + Meisenbach, 40; + comparison with wood-engraving, 41-43; + method of, 42; + application of photography, 42; + for "line" work, 42; + use of swelled gelatine, 42; + photogravure of Amand Durand, 44; + black-and-white drawings reproduced in, 44; + wash reproductions by, 44; + advantages of, over engraving, 45; + flat washes, 45; + objections to, 45; + object of, 46; + not a "mechanical makeshift," 46; + answers to criticisms on, 46; + bound to supersede wood-engraving, 48; + Gillotage, 51; + Guillaume half-tone process, 62; + bad process work, 96. + + Proctor, J., 102. + + Prout, S., 38, 110, 111. + + _Puck_, 129. + + _Punch_, 27, 106, 129. + + Pyle, Howard, 124, 125. + + Pyle, Miss Katharine, 127. + + + "Quatre fils d'Aymon," 63. + + _Quest, The_, 108. + + "Quiet Life," 106. + + _Quotidien Illustré_, 117. + + + Raffaëlli, J. F., 65. + + Raffet, 17, 60. + + Railton, Herbert, 105. + + Rainey, W., 108. + + Ramos, F. Garcia y, "La Tierra di Maria Santissima," 79. + + Ratdolt, E., 5. + + Raven-Hill, L., 104, 115. + + Read, S., 88, 112. + + Redwood, A. C., 126, 128. + + Reed, E. T., 106. + + Régamey, Felix, 65. + + Reid, Sir George, 106; + "Johnny Gibb," "The River Tweed and the River Clyde," 107. + + Reinecke, René, 78. + + Reinhart, G. S., "Spanish Vistas," 124. + + Rembrandt, 2, 3; + Etchings of, 4, 88. + + Remington, F., "Hunting Trips of a Ranchman," 126. + + Renouard, Paul, 65. + + Répine, 73. + + Retzche's "Shakespeare," 76. + + _Revue Illustré, La_, 51. + + Ricketts, Charles, 105; + "Daphnis and Chloe," 105. + + Rico, 50, 71, 79, 126. + + Riou, 65. + + Roberts, C., xxiii. + + Roberts, D., 38. + + Robida, "Rabelais," 63. + + Rochegrosse, G., 61. + + Roehle, 18. + + Rogers' "Italy," 38; + "Poems," 11, 12, 18. + + Rops, Félicien, 63. + + Rossetti, C., "Goblin Market," 106. + + Rossetti, D. G., xvii, 27, 35, 85; + "The Palace of Art," "Sir Galahad," 88, 98; + his influence and motives, 98. + + Rossi, 54, 62, 128. + + Rowlandson, 84. + + Rubens, sketches for title-pages, 4, 11. + + Ruskin, J., 28, 85, 93. + + Russell, W. W., 104. + + Ryland, Henry, 108. + + + Sala, G. A., 89. + + Sambourne, Linley, 101; + "Water Babies," 102; + _Punch_ work, 102. + + Sandys, Frederick, xv, 27; + "Amor Mundi," 35, 39, 84, 88-90; + _Cornhill_ "Gallery," 94; + "Legendary Ballads," 95, 101, 108. + + Savage, Reginald, 105. + + Schlittgen, H., 78. + + Schwæbe, C., 63, 77. + + "Scrambles amongst the Alps," 94, 101. + + _Scribner's Magazine_, 116. + + Séon, 64. + + Seymour, G. L., 105. + + Shannon, C. H., 105; + "Daphnis and Chloe," 105. + + Shepherd, W. L., 30, 126. + + Shields, Frederick, xvi, 39, 84; + Defoe's "Plague," 101. + + _Shilling Magazine_, 28, 35, 84, 88, 90. + + Short, Frank, 72, 111. + + Simpson, William, 112. + + Singer, Dr. Hans, xv. + + Small, W., 27, 101, 103. + + Smedley, W. T., "Sketches of American Watering-places," 124. + + Smeeton, 18. + + Smillie, J. D., 130. + + Smith, F. Hopkinson, 127. + + "Sociétés Anonymes," 54. + + "Solace of Song," 24. + + Solomon, S., 95. + + Sourel, "Insects Injurious to Vegetation," 31. + + South Kensington Museum, xv, xix, xx, 36. + + "Spanish Scenes," 79. + + _Spectator_, xviii. + + Speed, Lancelot, 106. + + Spielmeyer, W., xxiv. + + "Spy," 109. + + _St. Stephen's Review_, 104. + + Stacey, W. S., 108. + + Stainforth, M., xxiv. + + Staniland, C. J., 108. + + Stationers' Hall, Exhibition of Wood-Engravings, March, 1895, xxiii. + + Steinhausen, W., 77. + + Steinlen, 57, 66; + Bruant's "Dans la Rue," 68. + + Stephens, Mrs. Alice B., 127. + + Sterne's "Sentimental Journey," 61. + + Stevenson's "The Wreckers," 128. + + "Stones of Venice," 85. + + Stothard, T., 9, 10; + "The Pilgrim's Progress," 11; + Richardson's "Novels," 11; + Rogers' "Poems," 11-13, 18; + "Alphabet," 19, 24. + + Strahan, A., xvi. + + Strang, William, 111. + + Strange, E. F., xv. + + Stroebel, 78. + + Stück, Franz, 77. + + Sullivan, E. J., 104. + + Sullivan, J. F., 102. + + Sumner, Heywood, 108. + + _Sunday Magazine_, 90. + + _Supplement Littéraire et Artistique_, 54. + + Swain, J., 28, 35, 90, 109. + + + "Tartarin de Tarascon," 52, 61. + + Taylor, Tom, 83; + "Pictures in Words," 91. + + Tegner, Hans, 73; + drawings for Holberg's "Comedies," 73. + + Tenniel, Sir J., 28, 89, 92; + "Alice in Wonderland," "Legendary Ballads," 102. + + Thackeray, W. M., 12, 83, 89; + "Roundabout Papers," 90. + + Thoma, H., 77. + + Thomas, G. H., xxiv. + + Thomas, W. L., 115. + + Thompson, Charles, 14, 15, 16. + + Thompson, John, Hogarth's Works, 13. + + Thompsons, the, 12; + Cruikshank's Work, 24. + + Thomson, D. C., 115. + + Thomson, Hugh, 105. + + Thulstrup, T. de, 127. + + Thurston's Butler's "Hudibras," 19, 20; + "Tasso," 21, 24. + + Tilt's, "Gardens and Menageries of the Zoological Society + Delineated," 21. + + Tinkey, J., 129. + + "Tierra di Maria Santissima, La," 79. + + Titian's "Ariadne and Bacchus," 14. + + Tofani, 64. + + "Tom Brown's School-days," 96. + + Toudouze, Edouard, 62. + + Townsend, Horace, xvi. + + Trevès, Fratelli, 70. + + Tristram's "Coaching Days and Coaching Ways," 105. + + + _Ueber Land und Meer_, 75. + + Unger, J. F. G., 75. + + Unzelmann, 25, 74. + + Uzanne, Octave, 56, 62. + + + Valloton, F., 69; + "Enterrement en Province," 69. + + _Vanity Fair_, 109. + + Vebers, the, 64. + + Vedder, Elihu, "Omar Khayyam," 126. + + Velasquez, portraits of, 2, 80. + + Veronese, 2, 3. + + Vierge, Daniel, 19, 51, 54, 61, 71, 79, 80, 126. + + "Vie Rustique, La," 61. + + Villiers, F., 112. + + Vinne, Theodore de, 120. + + Vizetelly, H., 27. + + Vogels, the, 25, 72, 74, 78. + + + Walker, Emery, xvi. + + Walker, Fred., 27, 39, 88; + "Adventures of Philip," 90, 93; + _Cornhill_ "Gallery," 94; + "English Rustic Pictures," 95. + + War Correspondents and their work, 112. + + "Warwickshire Avon," 106. + + Watson, C. J., 111. + + Watson, J. D., 92. + + Watteau, 7. + + Way, Messrs., 109. + + "Wayside Posies," 94. + + Weir, Harrison, xv, xxiv, 26, 30, 31, 103. + + Whall, Christopher, 108. + + Whistler, J. M. N., xxii; + in _Daily Chronicle_, xxiii, 84, 93; + "Legendary Ballads," 95; + "Catalogue of Blue and White Nankin Porcelain," 95, 101. + + White, Gleeson, xiv. + + Whittingham, C., 21. + + Whymper, 90; + "Scrambles amongst the Alps," 94, 101. + + Wiles, Irving R., 128. + + Wilkie, Sir David, 24. + + Willette, A., 66, 68. + + Williamses, the, 12, 15, 24. + + Wilmot's, "Sacred Poetry," xxiv. + + Wilson, Edgar, 104. + + Wilson, Richard, 11. + + Wilson, T. Walter, 108. + + Wood-engraving, xvi; + early English, 12-14; + French prize for, 14; + rise of in France, 16; + Bewick's influence, 12, 17; + disappearance of, 37; + methods of wood-engraving shops, 38; + bad influence on the artists, 39; + disappearance of the "wood-choppers" again, 39; + replaced by photography, 40; + progression of the art of, 41; + advantages claimed for, 41; + comparison to "process" work, 41-43; + real duties of the engraver, 47; + three great periods, 47; + Japanese wood-cutting, 48; + no danger in the hands of good artists, 48; + modern facsimile wood-engraving, 48; + bound to be superseded by "process" work, 48; + bright outlook for, 49; + revival in France, Germany, etc., 57, 58, 75; + method of publication of the Dalziel books, 91; + "International Society of Wood-Engravers," 109; + American School of, 114-116; + facsimile work in America, 115. + + Wolf, Henry, 129. + + Woods, H., 86. + + Woodville, R. Caton, 108. + + Woodward, J. D., "Picturesque Europe and America," 31, 127, 128. + + Wollen, W. B., 108. + + Wordsworth's "Sonnets," 106. + + Wolf, J., 89. + + Worf, A., xxiv. + + Wright, 21. + + Wyllie, W. L., 108. + + + _Yellow Book_, xxii, 105. + + + Zogbaum, Rufus, 128. + + Zola's "Le Rêve," 63. + + + + +[Illustration] + + +CHISWICK PRESS:--CHARLES WHITTINGHAM AND CO. + +TOOKS COURT, CHANCERY LANE, LONDON. + + + + + +End of the Project Gutenberg EBook of Modern Illustration, by Joseph Pennell + +*** END OF THE PROJECT GUTENBERG EBOOK 40322 *** |