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The Project Gutenberg eBook of Modern Illustration, by Joseph Pennell.
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<div>*** START OF THE PROJECT GUTENBERG EBOOK 40322 ***</div>
<h5>THE EX-LIBRIS SERIES. EDITED BY GLEESON WHITE.</h5>
<h2>MODERN ILLUSTRATION.</h2>
<hr style="width: 65%;" />
<div class="figcenter" style="width: 50%;">
<a name="Frontispiece" id="Frontispiece"></a>
<img src="images/i_005.jpg" width="100%" alt="" title="" />
<span class="caption">BY F. WALKER. PROCESS BLOCK FROM THE DRAWING ON
WOOD IN SOUTH KENSINGTON MUSEUM.</span>
</div>
<hr style="width: 65%;" />
<h1>Modern Illustration</h1>
<h2>by Joseph Pennell, author of<br />
<br />
"Pen Drawing and Pen<br />
<br />
Draughtsmen," etc.</h2>
<div class="figcenter" style="width: 25%;">
<img src="images/i_006.jpg" width="100%" alt="" title="" />
</div>
<p class="center">London: George Bell & Sons, York Street,<br />
Covent Garden, & New York. Mdcccxcv</p>
<hr style="width: 65%;" />
<p class="center"><small><br /><br />
CHISWICK PRESS:—CHARLES WHITTINGHAM AND CO.<br />
TOOKS COURT, CHANCERY LANE, LONDON.</small><br />
</p>
<hr style="width: 65%;" />
<p><span class='pagenum'><a name="Page_v" id="Page_v">[Pg v]</a></span></p>
<h2>CONTENTS.</h2>
<div class='center'>
<table border="0" cellpadding="4" cellspacing="0" summary="">
<tr><td align='right'><small>CHAP.</small></td><td></td><td align='right'><small>PAGE</small></td></tr>
<tr><td align='right'></td><td align='left'><span class="smcap">Index of Illustrations</span></td><td align='right'><a href="#Page_vii">vii</a></td></tr>
<tr><td align='right'></td><td align='left'><span class="smcap">Prefatory Chapter</span></td><td align='right'><a href="#Page_xiii">xiii</a></td></tr>
<tr><td align='right'></td><td align='left'><span class="smcap">Introduction</span></td><td align='right'><a href="#Page_1">1</a></td></tr>
<tr><td align='right'>I.</td><td align='left'><span class="smcap">A General Survey</span></td><td align='right'><a href="#Page_9">9</a></td></tr>
<tr><td align='right'>II.</td><td align='left'><span class="smcap">The Methods of To-day, their Origin and Development</span></td><td align='right'><a href="#Page_33">33</a></td></tr>
<tr><td align='right'>III.</td><td align='left'><span class="smcap">French Illustration</span></td><td align='right'><a href="#Page_50">50</a></td></tr>
<tr><td align='right'>IV.</td><td align='left'><span class="smcap">Illustration in Germany, Spain, and other Countries</span></td><td align='right'><a href="#Page_70">70</a></td></tr>
<tr><td align='right'>V.</td><td align='left'><span class="smcap">English Illustration</span></td><td align='right'><a href="#Page_81">81</a></td></tr>
<tr><td align='right'>VI.</td><td align='left'><span class="smcap">American Illustration</span></td><td align='right'><a href="#Page_113">113</a></td></tr>
<tr><td align='right'>VII.</td><td align='left'><span class="smcap">Conclusion</span></td><td align='right'><a href="#Page_131">131</a></td></tr>
</table></div>
<hr style="width: 65%;" />
<p><span class='pagenum'><a name="Page_vi" id="Page_vi">[Pg vi]</a></span></p>
<p class="bblockquote">*** 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.</p>
<hr style="width: 65%;" />
<p><span class='pagenum'><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p>
<h2><a name="INDEX_OF_ILLUSTRATIONS" id="INDEX_OF_ILLUSTRATIONS"></a>INDEX OF ILLUSTRATIONS.</h2>
<p class="center"><i>The full page engravings are indexed with the number of the
page nearest to them.</i></p>
<div class='center'>
<table border="0" cellpadding="4" cellspacing="0" summary="">
<tr><td align='center'><small>ARTIST</small></td><td align='center'><small>ENGRAVER AND SOURCE</small></td><td align='center'><small>PAGE</small></td></tr>
<tr><td align='left'><span class="smcap">Fred. Walker</span></td><td align='left'>From an original drawing on the wood in the South Kensington Museum. Process block by C. Hentschel</td><td align='right'><a href="#Frontispiece"><i>Frontispiece</i></a></td></tr>
<tr><td align='left'> " "</td><td align='left'>Process block by Hentschel, from a drawing in wash and pencil</td><td align='right'><a href="#Page_95">95</a></td></tr>
<tr><td align='left'><span class="smcap">Boutet De Monvel</span></td><td align='left'>Process block from "St. Nicolas," the French</td><td align='right'><a href="#Page_xiii">xiii</a></td></tr>
<tr><td align='left'> " "</td><td align='left'>From "Jeanne d'Arc," by Hentschel</td><td align='right'><a href="#Page_65">65</a></td></tr>
<tr><td align='left'><span class="smcap">W. W. Russell</span></td><td align='left'>Process block by Hentschel, from a pen drawing in "The Daily Chronicle"</td><td align='right'><a href="#Page_xiv">xiv</a></td></tr>
<tr><td align='left'><span class="smcap">Maurice Greiffenhagen</span></td><td align='left'>Process block by Hentschel, from a pen drawing in "The Daily Chronicle"</td><td align='right'><a href="#Page_xvi">xvi</a></td></tr>
<tr><td align='left'><span class="smcap">E. J. Sullivan</span></td><td align='left'>Process block by Hentschel, from a pen drawing in "The Daily Chronicle"</td><td align='right'><a href="#Page_xx">xx</a></td></tr>
<tr><td align='left'><span class="smcap">J. McNeil Whistler</span></td><td align='left'>From Thornbury's "Legendary Ballads" wood-engraving by J. Swain</td><td align='right'><a href="#Page_xxii">xxii</a></td></tr>
<tr><td align='left'><span class="smcap">A. S. Hartrick</span></td><td align='left'>Process block by Hentschel, from a pen drawing in "The Daily Chronicle"</td><td align='right'><a href="#Page_xxv">xxv</a></td></tr>
<tr><td align='left'><span class="smcap">John Constable</span></td><td align='left'>From a pencil drawing, process block unsigned</td><td align='right'><a href="#Page_1">1</a></td></tr>
<tr><td align='left'><span class="smcap">Unknown</span></td><td align='left'>"St. Christopher," from a woodcut, 1423</td><td align='right'><a href="#Page_6">6</a></td></tr>
<tr><td align='left'><span class="smcap">Sir E. Burne-Jones, Bt.</span></td><td align='left'>Pen drawing; block by Carl Hentschel. From "The Daily Chronicle"</td><td align='right'><a href="#Page_6">6</a></td></tr>
<tr><td align='left'> " "</td><td align='left'>Process block by Art Reproduction Co., from original drawing for Gatty's "Parables"</td><td align='right'><a href="#Page_44">44</a></td></tr>
<tr><td align='left'><span class="smcap">Thomas Bewick</span></td><td align='left'>Wood-engraving from Walton's "Angler"</td><td align='right'><a href="#Page_9">9</a></td></tr>
<tr><td align='left'><span class="smcap">David Wilkie</span></td><td align='left'>Process block by Carl Hentschel, from a pen drawing</td><td align='right'><a href="#Page_9">9</a></td></tr>
<tr><td align='left'><span class="smcap">The Linnells</span></td><td align='left'>Drawings on wood, and engravings from National Gallery Handbook</td><td align='right'><a href="#Page_10">10</a>, <a href="#Page_11">11</a></td></tr>
<tr><td align='left'><span class="smcap">Thomas Stothard</span></td><td align='left'>Process block by Carl Hentschel, from an unpublished pen and wash drawing</td><td align='right'><a href="#Page_10">10</a></td></tr>
<tr><td align='left'> " "</td><td align='left'>Wood-engravings by L. Clennell</td><td align='right'><a href="#Page_12">12</a>, <a href="#Page_13">13</a></td></tr>
<tr><td align='left'><span class="smcap">William Harvey</span></td><td align='left'>Wood-engravings by Thompson, from Milton's Works, etc.<span class='pagenum'><a name="Page_viii" id="Page_viii">[Pg viii]</a></span></td><td align='right'><a href="#Page_15">15</a>, <a href="#Page_16">16</a></td></tr>
<tr><td align='left'> " "</td><td align='left'>Original drawing on wood; process, unsigned</td><td align='right'><a href="#Page_17">17</a></td></tr>
<tr><td align='left'> " "</td><td align='left'>Wood-engraving after B. R. Haydon, detail of "Dentatus," process block from it by Dellagana</td><td align='right'><a href="#Page_49">49</a></td></tr>
<tr><td align='left'><span class="smcap">John Thurston</span></td><td align='left'>Wood-engravings, unsigned, from Butler's "Hudibras," Tasso, etc.</td><td align='right'><a href="#Page_19">19</a>, <a href="#Page_21">21</a></td></tr>
<tr><td align='left'><span class="smcap">George Cruikshank</span></td><td align='left'>Engravings by S. and T. Williams and others unsigned, from "Three Courses," "Table Book,"</td><td align='right'><a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_25">25</a></td></tr>
<tr><td align='left'><span class="smcap">Dante Gabriel Rossetti</span></td><td align='left'>Process block, by Clarke, from original unpublished pen drawing</td><td align='right'><a href="#Page_27">27</a></td></tr>
<tr><td align='left'> " " "</td><td align='left'>Wood-engraving, by Dalziel, from "Tennyson's Poems"</td><td align='right'><a href="#Page_27">27</a></td></tr>
<tr><td align='left'><span class="smcap">Birket Foster</span></td><td align='left'>Wood-engraving from Longfellow's Works, etc., by Dalziel, Vizetelly, etc.</td><td align='right'><a href="#Page_26">26-29</a></td></tr>
<tr><td align='left'> " "</td><td align='left'>Process block from an original drawing on wood</td><td align='right'><a href="#Page_28">28</a></td></tr>
<tr><td align='left'><span class="smcap">Harrison Weir</span></td><td align='left'>Two wood-engravings from "Poetry for Schools" by A. Slader</td><td align='right'><a href="#Page_30">30</a></td></tr>
<tr><td align='left'> " "</td><td align='left'>Original wash drawing on wood, process block unsigned</td><td align='right'><a href="#Page_31">31</a></td></tr>
<tr><td align='left'><span class="smcap">A. Cooper</span></td><td align='left'>Engraved by M. Jackson, for Walton's "Angler"</td><td align='right'><a href="#Page_32">32</a></td></tr>
<tr><td align='left'><span class="smcap">Randolph Caldecott</span></td><td align='left'>Engraved by J. D. Cooper; from "Old Christmas"</td><td align='right'><a href="#Page_33">33</a></td></tr>
<tr><td align='left'> " "</td><td align='left'>From the "Elegy on a Mad Dog," wood engraving, unsigned</td><td align='right'><a href="#Page_83">83</a></td></tr>
<tr><td align='left'> " "</td><td align='left'>From "Bracebridge Hall," wood-engraving, unsigned</td><td align='right'><a href="#Page_86">86</a></td></tr>
<tr><td align='left'><span class="smcap">Charles Keene</span></td><td align='left'>Original unpublished pen drawings, blocks by Clarke and Dellagana</td><td align='right'><a href="#Page_34">34</a>, <a href="#Page_36">36</a></td></tr>
<tr><td align='left'><span class="smcap">M. E. Edwards</span></td><td align='left'>Wood-engraving from Gatty's "Parables," by Harral</td><td align='right'><a href="#Page_38">38</a></td></tr>
<tr><td align='left'><span class="smcap">G. du Maurier</span></td><td align='left'>Wood-engraving by J. D. Cooper</td><td align='right'><a href="#Page_40">40</a></td></tr>
<tr><td align='left'> " "</td><td align='left'>Process blocks, from pen drawings for "Trilby"</td><td align='right'><a href="#Page_102">102</a>, <a href="#Page_103">103</a></td></tr>
<tr><td align='left'><span class="smcap">Arthur Hughes</span></td><td align='left'>Wood-engraving from Hake's "Parables," unsigned</td><td align='right'><a href="#Page_41">41</a></td></tr>
<tr><td align='left'><span class="smcap">Walter Crane</span></td><td align='left'>Process block by Carl Hentschel, from wood-engraving printed in colours, "Beauty and the Beast"</td><td align='right'><a href="#Page_46">46</a></td></tr>
<tr><td align='left'><span class="smcap">Kate Greenaway</span></td><td align='left'>Key-block for wood-engraving in colour, by Edmund Evans</td><td align='right'><a href="#Page_48">48</a></td></tr>
<tr><td align='left'><span class="smcap">E. Isabey</span></td><td align='left'>Process block by Dellagana, after wood-engraving by Slader, from "Paul and Virginia"</td><td align='right'><a href="#Page_50">50</a></td></tr>
<tr><td align='left'>"<span class="smcap">Gavarni</span>"</td><td align='left'><span class='pagenum'><a name="Page_ix" id="Page_ix">[Pg ix]</a></span>Process block by Dellagana, after wood-engraving, unsigned, from "Parisians by themselves"</td><td align='right'><a href="#Page_51">51</a></td></tr>
<tr><td align='left'><span class="smcap">J. M. L. E. Meissonier</span></td><td align='left'>Engravings from the "Contes Remois"</td><td align='right'><a href="#Page_52">52</a>, <a href="#Page_57">57</a></td></tr>
<tr><td align='left'><span class="smcap">Jean Gigoux</span></td><td align='left'>Process block, unsigned, from wood-engraving from "Gil Blas"</td><td align='right'><a href="#Page_53">53</a></td></tr>
<tr><td align='left'><span class="smcap">Jules Jacquemart</span></td><td align='left'>Pen drawings, reproduced by C. Gillot, from "The History of Furniture"</td><td align='right'><a href="#Page_55">55</a>, <a href="#Page_56">56</a>, <a href="#Page_64">64</a></td></tr>
<tr><td align='left'><span class="smcap">A. de Neuville</span></td><td align='left'>Wood-engraving by Farlet from "Coups de Fusil"</td><td align='right'><a href="#Page_59">59</a></td></tr>
<tr><td align='left'><span class="smcap">Gustave Doré</span></td><td align='left'>Wood-engraving by Brunier, from "Spain"</td><td align='right'><a href="#Page_58">58</a></td></tr>
<tr><td align='left'> " "</td><td align='left'>Process block by Dellagana, from a lithograph</td><td align='right'><a href="#Page_60">60</a></td></tr>
<tr><td align='left'><span class="smcap">D. Vierge</span></td><td align='left'>Pen drawing, process by Gillot, from "Pablo de Ségovie"</td><td align='right'><a href="#Page_60">60</a></td></tr>
<tr><td align='left'><span class="smcap">Louis Morin</span></td><td align='left'>Pen drawing, process, unsigned, from "L'Art et l'Idée"</td><td align='right'><a href="#Page_62">62</a>, <a href="#Page_63">63</a></td></tr>
<tr><td align='left'><span class="smcap">Carlos Schwæbe</span></td><td align='left'>Pen drawing, process, unsigned, from Zola's "Le Rêve"</td><td align='right'><a href="#Page_62">62</a></td></tr>
<tr><td align='left'><span class="smcap">E. Grasset</span></td><td align='left'>Pen drawing, process by Hare, from "Quatre Fils Aymon"</td><td align='right'><a href="#Page_63">63</a></td></tr>
<tr><td align='left'><span class="smcap">J. F. Raffaëlli</span></td><td align='left'>Pen drawing, process, unsigned, from "Paris Illustré"</td><td align='right'><a href="#Page_64">64</a></td></tr>
<tr><td align='left'><span class="smcap">H. Ibels</span></td><td align='left'>Pen drawing, process, unsigned, from "L'Art du Rire"</td><td align='right'><a href="#Page_65">65</a>, <a href="#Page_66">66</a></td></tr>
<tr><td align='left'><span class="smcap">Steinlen</span></td><td align='left'>Chalk drawings, two process blocks, by Carl Hentschel, from "Gil Blas"</td><td align='right'><a href="#Page_66">66</a></td></tr>
<tr><td align='left'><span class="smcap">A. Willette</span></td><td align='left'>Pen drawing, process, unsigned, from "Les Pierrots"</td><td align='right'><a href="#Page_66">66</a>, <a href="#Page_68">68</a></td></tr>
<tr><td align='left'><span class="smcap">Caran D'Ache</span></td><td align='left'>Pen drawing, process, unsigned, "Album Caran D'Ache"</td><td align='right'><a href="#Page_67">67</a></td></tr>
<tr><td align='left'><span class="smcap">A. Robida</span></td><td align='left'>Pen drawing, process, unsigned, from "Journal d'un vieux garçon"</td><td align='right'><a href="#Page_67">67</a></td></tr>
<tr><td align='left'><span class="smcap">J. L. Forain</span></td><td align='left'>Pen drawing, process, unsigned, from "La Comédie Parisienne"</td><td align='right'><a href="#Page_68">68</a></td></tr>
<tr><td align='left'><span class="smcap">P. Renouard</span></td><td align='left'>Wood-engraving, unsigned, from chalk drawing in "The Graphic"</td><td align='right'><a href="#Page_68">68</a></td></tr>
<tr><td align='left'><span class="smcap">M. Lalanne</span></td><td align='left'>From pencil drawing, process block by Clarke</td><td align='right'><a href="#Page_70">70</a></td></tr>
<tr><td align='left'><span class="smcap">Martin Rico</span></td><td align='left'>From a pen drawing, process by Dellagana</td><td align='right'><a href="#Page_70">70</a></td></tr>
<tr><td align='left'><span class="smcap">Hans Tegner</span></td><td align='left'>Unsigned process, from an original pen drawing</td><td align='right'><a href="#Page_72">72</a></td></tr>
<tr><td align='left'> " "</td><td align='left'>Pen drawing, from Holberg's "Comedies," wood (?) unsigned</td><td align='right'><a href="#Page_73">73</a></td></tr>
<tr><td align='left'><span class="smcap">Adolph Menzel</span></td><td align='left'>Process block by Hentschel, from unpublished drawing</td><td align='right'><a href="#Page_73">73</a></td></tr>
<tr><td align='left'><span class="smcap">F. Goya</span></td><td align='left'><span class='pagenum'><a name="Page_x" id="Page_x">[Pg x]</a></span>Process by Dellagana, from etchings in "Caprices"</td><td align='right'><a href="#Page_74">74</a>, <a href="#Page_78">78</a></td></tr>
<tr><td align='left'> " </td><td align='left'>From a chalk drawing in the British Museum, process unsigned</td><td align='right'><a href="#Page_74">74</a></td></tr>
<tr><td align='left'><span class="smcap">M. Fortuny</span></td><td align='left'>Process, unsigned, from a pen drawing</td><td align='right'><a href="#Page_74">74</a></td></tr>
<tr><td align='left'><span class="smcap">Joseph Sattler</span></td><td align='left'>Process, unsigned, from a pen drawing, "The Dance of Death"</td><td align='right'><a href="#Page_74">74</a></td></tr>
<tr><td align='left'><span class="smcap">G. De Nittis</span></td><td align='left'>Process, unsigned, from wash and brush, "Paris Illustré"</td><td align='right'><a href="#Page_76">76</a></td></tr>
<tr><td align='left'><span class="smcap">W. Busch</span></td><td align='left'>Process, unsigned, from pen drawing, "Balduin Bahlamm"</td><td align='right'><a href="#Page_77">77</a></td></tr>
<tr><td align='left'><span class="smcap">A. Rethel</span></td><td align='left'>Wood-engraving, by Burkner, "Death the Friend," process reduction</td><td align='right'><a href="#Page_78">78</a></td></tr>
<tr><td align='left'><span class="smcap">H. Schlittgen</span></td><td align='left'>Process, unsigned, from pen drawing, "Ein erster und ein letzter Ball"</td><td align='right'><a href="#Page_78">78</a></td></tr>
<tr><td align='left'><span class="smcap">Franz Stück</span></td><td align='left'>Process, unsigned, from painting, "Franz Stück Album"</td><td align='right'><a href="#Page_79">79</a></td></tr>
<tr><td align='left'><span class="smcap">J. Garcia y Ramos</span></td><td align='left'>Process, unsigned, from pen and wash drawing</td><td align='right'><a href="#Page_79">79</a></td></tr>
<tr><td align='left'><span class="smcap">W. L. Wyllie</span></td><td align='left'>Process, unsigned, pen drawing, "Magazine of Art"</td><td align='right'><a href="#Page_80">80</a></td></tr>
<tr><td align='left'><span class="smcap">J. W. North</span></td><td align='left'>From a drawing on wood; block by Dellagana</td><td align='right'><a href="#Page_81">81</a></td></tr>
<tr><td align='left'><span class="smcap">Hugh Thomson</span></td><td align='left'>Process, unsigned, pen drawing from "Our Village"</td><td align='right'><a href="#Page_82">82</a></td></tr>
<tr><td align='left'><span class="smcap">J. M. W. Turner</span></td><td align='left'>Process by Dellagana, from Rogers' "Italy"</td><td align='right'><a href="#Page_85">85</a></td></tr>
<tr><td align='left'><span class="smcap">E. Griset</span></td><td align='left'>Wood-engraving, unsigned from Hood's "Comic Annual"</td><td align='right'><a href="#Page_87">87</a></td></tr>
<tr><td align='left'><span class="smcap">Sir J. E. Millais, Bt.</span></td><td align='left'>Wood-engravings, by Dalziel, from "Good Words"</td><td align='right'><a href="#Page_88">88</a>, <a href="#Page_90">90</a></td></tr>
<tr><td align='left'><span class="smcap">A. Boyd Houghton</span></td><td align='left'>Wood-engraving, by Dalziel, from Dalziel's "Arabian Nights"</td><td align='right'><a href="#Page_92">92</a></td></tr>
<tr><td align='left'> " "</td><td align='left'>Wood-engraving, by Dalziel, from Dalziel's "Arabian Nights"</td><td align='right'><a href="#Page_92">92</a></td></tr>
<tr><td align='left'><span class="smcap">G. J. Pinwell</span></td><td align='left'>Process by Hentschel, from drawing on wood for Goldsmith's Works</td><td align='right'><a href="#Page_93">93</a></td></tr>
<tr><td align='left'> " "</td><td align='left'>Process by Hentschel, from drawing on wood for Goldsmith's Works</td><td align='right'><a href="#Page_94">94</a></td></tr>
<tr><td align='left'><span class="smcap">Charles Green</span></td><td align='left'>Unknown</td><td align='right'><a href="#Page_94">94</a></td></tr>
<tr><td align='left'><span class="smcap">F. Sandys</span></td><td align='left'>Wood-engraving by Swain, from Thornbury's "Legendary Ballads"</td><td align='right'><a href="#Page_96">96</a></td></tr>
<tr><td align='left'><span class="smcap">F. Shields</span></td><td align='left'>Wood-engraving, unsigned, from Defoe's "History of the Plague"</td><td align='right'><a href="#Page_98">98</a></td></tr>
<tr><td align='left'><span class="smcap">J. Mahoney</span></td><td align='left'>Process block, from wood-engraving in "The Sunday Magazine"</td><td align='right'><a href="#Page_100">100</a></td></tr>
<tr><td align='left'><span class="smcap">J. F. Sullivan</span></td><td align='left'>Wood-engraving, unsigned, from Hood's "Comic Annual"</td><td align='right'><a href="#Page_100">100</a></td></tr>
<tr><td align='left'><span class="smcap">Sir John Tenniel</span></td><td align='left'>Engraved on wood by H. Harral, from Gatty's "Parables"</td><td align='right'><a href="#Page_102">102</a></td></tr>
<tr><td align='left'><span class="smcap">Linley Sambourne</span></td><td align='left'><span class='pagenum'><a name="Page_xi" id="Page_xi">[Pg xi]</a></span>Engraved by H. Swain, from Kingsley's "Water Babies"</td><td align='right'><a href="#Page_102">102</a></td></tr>
<tr><td align='left'><span class="smcap">W. G. Baxter</span></td><td align='left'>Process, unsigned, from pen drawing in "Ally Sloper's Cartoons"</td><td align='right'><a href="#Page_103">103</a></td></tr>
<tr><td align='left'><span class="smcap">Phil May</span></td><td align='left'>Process, unsigned, from pen drawing in "The Graphic"</td><td align='right'><a href="#Page_103">103</a></td></tr>
<tr><td align='left'><span class="smcap">W. Small</span></td><td align='left'>Engraving on wood by Lacour, from "Cassell's Magazine"</td><td align='right'><a href="#Page_104">104</a>, <a href="#Page_105">105</a></td></tr>
<tr><td align='left'><span class="smcap">R. Anning Bell</span></td><td align='left'>Process block by Hare, from a pen drawing</td><td align='right'><a href="#Page_105">105</a></td></tr>
<tr><td align='left'><span class="smcap">J. Bernard Partridge</span></td><td align='left'>Process block, unsigned, from pen drawing in "Proverbs in Porcelain"</td><td align='right'><a href="#Page_106">106</a></td></tr>
<tr><td align='left'><span class="smcap">W. Holman Hunt</span></td><td align='left'>Engraving on wood by Harral, from Gatty's "Parables"</td><td align='right'><a href="#Page_106">106</a></td></tr>
<tr><td align='left'><span class="smcap">E. H. New</span></td><td align='left'>Process block, from pen drawing in "The Quest"</td><td align='right'><a href="#Page_107">107</a></td></tr>
<tr><td align='left'><span class="smcap">Winifred Smith</span></td><td align='left'>Process block, unsigned, from pen drawing in "Singing Games"</td><td align='right'><a href="#Page_107">107</a></td></tr>
<tr><td align='left'><span class="smcap">Alfred Parsons</span></td><td align='left'>Wood-engraving by J. D. Cooper, from "The English Illustrated Magazine"</td><td align='right'><a href="#Page_107">107</a></td></tr>
<tr><td align='left'> " "</td><td align='left'>Process block by Hentschel, from "The Daily Chronicle"</td><td align='right'><a href="#Page_109">109</a></td></tr>
<tr><td align='left'><span class="smcap">Sir George Reid</span></td><td align='left'>Wash drawing, engraving on wood, unsigned, from "A Scotch Naturalist"</td><td align='right'><a href="#Page_108">108</a></td></tr>
<tr><td align='left'><span class="smcap">W. Paget</span></td><td align='left'>Wash drawing, process, by Andre and Sleigh, from "Cassell's Magazine"</td><td align='right'><a href="#Page_109">109</a></td></tr>
<tr><td align='left'><span class="smcap">L. Raven-Hill</span></td><td align='left'>Process, unsigned, from pen drawings in "The Butterfly"</td><td align='right'><a href="#Page_110">110</a>, <a href="#Page_111">111</a></td></tr>
<tr><td align='left'><span class="smcap">Edgar Wilson</span></td><td align='left'>Process, unsigned, from "The Unicorn"</td><td align='right'><a href="#Page_111">111</a></td></tr>
<tr><td align='left'><span class="smcap">C. E. Mallows</span></td><td align='left'>Process, from a pencil drawing in "The Builder"</td><td align='right'><a href="#Page_111">111</a></td></tr>
<tr><td align='left'><span class="smcap">R. Caton Woodville</span></td><td align='left'>Process from a wood-engraving, in "The Illustrated London News"</td><td align='right'><a href="#Page_112">112</a></td></tr>
<tr><td align='left'><span class="smcap">Sidney P. Hall</span></td><td align='left'>Wood-engraving from pencil drawing in "The Graphic"</td><td align='right'><a href="#Page_112">112</a></td></tr>
<tr><td align='left'><span class="smcap">Aubrey Beardsley</span></td><td align='left'>Process block by Clarke, from a pen drawing</td><td align='right'><a href="#Page_113">113</a></td></tr>
<tr><td align='left'><span class="smcap">T. Walter Wilson</span></td><td align='left'>Process reduction, from "The Illustrated London News"</td><td align='right'><a href="#Page_113">113</a></td></tr>
<tr><td align='left'><span class="smcap">F. S. Church</span></td><td align='left'>Process reduction, from "The Continent"</td><td align='right'><a href="#Page_113">113</a></td></tr>
<tr><td align='left'><span class="smcap">C. S. Reinhart</span></td><td align='left'>Wood-engraving by H. Davidson, from "The Century Magazine"</td><td align='right'><a href="#Page_114">114</a></td></tr>
<tr><td align='left'><span class="smcap">Walter Shirlaw</span></td><td align='left'>Process block, unsigned, from charcoal drawing in "The Century Magazine"</td><td align='right'><a href="#Page_116">116</a></td></tr>
<tr><td align='left'><span class="smcap">Howard Pyle</span></td><td align='left'><span class='pagenum'><a name="Page_xii" id="Page_xii">[Pg xii]</a></span>Process block, unsigned, from pen drawing for "Wonderful One Hoss Shay"</td><td align='right'><a href="#Page_118">118</a>, <a href="#Page_120">120</a></td></tr>
<tr><td align='left'> " "</td><td align='left'>Wood-engraving, unsigned, from wash drawing in "The Century Magazine"</td><td align='right'><a href="#Page_119">119</a></td></tr>
<tr><td align='left'><span class="smcap">Alfred Brennan</span></td><td align='left'>Process, unsigned, from pen drawing in "The Continent"</td><td align='right'><a href="#Page_121">121</a></td></tr>
<tr><td align='left'><span class="smcap">A. B. Frost</span></td><td align='left'>Process, unsigned, from pen drawing in "Stuff and Nonsense"</td><td align='right'><a href="#Page_122">122</a>, <a href="#Page_123">123</a></td></tr>
<tr><td align='left'><span class="smcap">E. A. Abbey</span></td><td align='left'>Process, unsigned, from pen drawing in "Harper's Magazine"</td><td align='right'><a href="#Page_124">124</a></td></tr>
<tr><td align='left'> " "</td><td align='left'>Wood-engraving, unsigned, from Austin Dobson's Poems</td><td align='right'><a href="#Page_124">124</a></td></tr>
<tr><td align='left'><span class="smcap">C. D. Gibson</span></td><td align='left'>Process, unsigned, from pen drawing in "The Century Magazine"</td><td align='right'><a href="#Page_125">125</a></td></tr>
<tr><td align='left'><span class="smcap">Oliver Herford</span></td><td align='left'>Process, unsigned, from pen drawing in "Fables"</td><td align='right'><a href="#Page_125">125</a></td></tr>
<tr><td align='left'><span class="smcap">Robert Blum</span></td><td align='left'>Process, unsigned, from pen drawing in "Scribner's Magazine"</td><td align='right'><a href="#Page_126">126</a></td></tr>
<tr><td align='left'> " "</td><td align='left'>Process, unsigned, from chalk drawings in "Scribner's Magazine"</td><td align='right'><a href="#Page_129">129</a></td></tr>
<tr><td align='left'><span class="smcap">Childe Hassam</span></td><td align='left'>Process, unsigned, from pen drawing in "The Commercial Advertiser"</td><td align='right'><a href="#Page_126">126</a></td></tr>
<tr><td align='left'><span class="smcap">Hopkinson Smith</span></td><td align='left'>Process, unsigned, from chalk drawing in "The Century Magazine"</td><td align='right'><a href="#Page_126">126</a></td></tr>
<tr><td align='left'><span class="smcap">Frederic Remington</span></td><td align='left'>Process, unsigned, from pen drawing in "The Century Magazine"</td><td align='right'><a href="#Page_128">128</a></td></tr>
<tr><td align='left'><span class="smcap">R. Birch</span></td><td align='left'>Process, unsigned, from pen drawing in "Little Lord Fauntleroy"</td><td align='right'><a href="#Page_129">129</a></td></tr>
<tr><td align='left'><span class="smcap">T. Cole</span></td><td align='left'>Wood-engraving after W. M. Chase, from "The Century Magazine"</td><td align='right'><a href="#Page_129">129</a></td></tr>
<tr><td align='left'><span class="smcap">S. Parrish</span></td><td align='left'>Process, unsigned, from "The Continent"</td><td align='right'><a href="#Page_130">130</a></td></tr>
<tr><td align='left'><span class="smcap">Gilbert Gaul</span></td><td align='left'>Wood-engraving, unsigned, from "The Century Magazine"</td><td align='right'><a href="#Page_130">130</a></td></tr>
<tr><td align='left'><span class="smcap">Selwyn Image</span></td><td align='left'>Process, unsigned, from "The Fitzroy Pictures"</td><td align='right'><a href="#Page_131">131</a></td></tr>
<tr><td align='left'><span class="smcap">Heywood Sumner</span></td><td align='left'>Process, unsigned, from "The Fitzroy Pictures"</td><td align='right'><a href="#Page_131">131</a></td></tr>
<tr><td align='left'><span class="smcap">A. J. Gaskin</span></td><td align='left'>Process, unsigned, from pen drawing in "Old Fairy Tales"</td><td align='right'><a href="#Page_132">132</a></td></tr>
<tr><td align='left'><span class="smcap">Laurence Housman</span></td><td align='left'>Process, unsigned, from pen drawing in "A Farm in Fairyland"</td><td align='right'><a href="#Page_133">133</a></td></tr>
<tr><td align='left'><span class="smcap">T. Cotman</span></td><td align='left'>Process reproduction by Dellagana, from "Architectural Antiquities of Normandy"</td><td align='right'><a href="#Page_134">134</a></td></tr>
</table></div>
<hr style="width: 100%;" />
<h2><a name="ERRATA" id="ERRATA"></a>ERRATA.</h2>
<div class='center'>
<table border="0" cellpadding="4" cellspacing="0" summary="">
<tr><td align='left' colspan='4'>Page xv, <i>for</i> "T. W. Russell," <i>read</i> "W. W. Russell."</td></tr>
<tr><td align='left'>Page 20,</td><td align='left' rowspan='2'><span class="ft20">}</span></td><td align='left'><i>for</i> "1835,"</td><td align='left' rowspan='2'><span class="ft20">}</span> <i>read</i> "1836."</td></tr>
<tr><td align='left'>Page 25,</td><td align='left'><i>for</i> "1838,"</td></tr>
<tr><td align='left'></td><td align='left' colspan='3'> *** I have seen four different dates given for the book.</td></tr>
<tr><td align='left' colspan='4'>Page 25, <i>for</i> "1842," <i>read</i> "1840."</td></tr>
<tr><td align='left'>Page 32,</td><td align='left' colspan='3' rowspan='2'><span class="ft20">}</span> <i>for</i> "Pannemacker," <i>read</i> "Pannemaker."</td></tr>
<tr><td align='left' colspan='4'>Page 69,</td></tr>
<tr><td align='left' colspan='4'>Page 52, <i>for</i> "Lavoignal," <i>read</i> "Lavoignat."</td></tr>
<tr><td align='left' colspan='4'>Page 112, <i>for</i> "Sydney P. Hall," <i>read</i> "Sidney."</td></tr>
<tr><td align='left' colspan='4'> " " <i>for</i> "pen" <i>read</i> "pencil."</td></tr>
</table></div>
<hr style="width: 100%;" />
<p><span class='pagenum'><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span></p>
<h2>PREFACE.</h2>
<div class="backcenter" style="background-image: url(images/i_017.jpg); height: 100%;" >
<div class="sandbag-left" style="width:100%; height:500px;"> </div>
<div class="sandbag-left" style="width:50%; height:250px;"> </div>
<p class="caption">BY BOUTET DE MONVEL. FROM<br />
“ST. NICOLAS” (DELEGRAVE).</p>
<p>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.</p>
<p>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,
<span class='pagenum'><a name="Page_xiv" id="Page_xiv">[Pg xiv]</a></span>
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.</p>
</div>
<div class="figcenter" style="width: 80%;">
<img src="images/i_019.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY T. W. RUSSELL. PEN DRAWING FROM “THE DAILY CHRONICLE.”</span>
</div>
<p>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,<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> and Bewick, the Englishman, as en<span class='pagenum'><a name="Page_xv" id="Page_xv">[Pg xv]</a></span>graver;
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.</p>
<p>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.</p>
<p>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<span class='pagenum'><a name="Page_xvi" id="Page_xvi">[Pg xvi]</a></span>
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.</p>
<p>Mr. Hooper is the English master of <i>facsimile</i>
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.</p>
<p>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.</p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_023.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY MAURICE GREIFFENHAGEN. PEN DRAWING FROM
“THE DAILY CHRONICLE.”</span>
</div>
<p>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
<span class='pagenum'><a name="Page_xvii" id="Page_xvii">[Pg xvii]</a></span>
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<span class='pagenum'><a name="Page_xviii" id="Page_xviii">[Pg xviii]</a></span>
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."</p>
<p>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.</p>
<p>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<span class='pagenum'><a name="Page_xix" id="Page_xix">[Pg xix]</a></span>
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.<a name="FNanchor_1_2" id="FNanchor_1_2"></a><a href="#Footnote_1_2" class="fnanchor">[2]</a> 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
<span class='pagenum'><a name="Page_xx" id="Page_xx">[Pg xx]</a></span>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.</p>
<p>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.</p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_029.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY E. J. SULLIVAN. PEN DRAWING FROM “THE DAILY CHRONICLE.”</span>
</div>
<p>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
<span class='pagenum'><a name="Page_xxi" id="Page_xxi">[Pg xxi]</a></span>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.</p>
<p>Most illustrators, it is true, now sign their drawings,
but I should not care to attempt a catalogue
of my own work.</p>
<p>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.</p>
<p>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.</p>
<p>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.</p>
<p>Again, in this book it is repeatedly stated that<span class='pagenum'><a name="Page_xxii" id="Page_xxii">[Pg xxii]</a></span>
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.</p>
<p>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.</p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_033.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY J. McNEIL WHISTLER. FROM “LEGENDARY BALLADS” (CHATTO).</span>
</div>
<p>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
<span class='pagenum'><a name="Page_xxiii" id="Page_xxiii">[Pg xxiii]</a></span>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.</p>
<p>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."</p>
<h4>NOTE.</h4>
<p>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<span class='pagenum'><a name="Page_xxiv" id="Page_xxiv">[Pg xxiv]</a></span>
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.</p>
<p>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
<span class='pagenum'><a name="Page_xxv" id="Page_xxv">[Pg xxv]</a></span>
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
<span class='pagenum'><a name="Page_xxvi" id="Page_xxvi">[Pg xxvi]</a></span>
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.</p>
<p>
<span class="smcap">London</span>,<br />
<span style="margin-left: 3em;"><i>September 30th, 1895</i>.</span>
</p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_037.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY A. S. HARTRICK. FROM A PEN DRAWING IN “THE DAILY CHRONICLE.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_040.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY CONSTABLE. PROCESS BLOCK FROM AN ORIGINAL<br />
DRAWING IN POSSESSION OF THE AUTHOR.</span>
</div>
<hr style="width: 100%;" />
<p> <span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
<h1><a name="MODERN_ILLUSTRATION" id="MODERN_ILLUSTRATION"></a>MODERN ILLUSTRATION.</h1>
<hr style="width: 100%;" />
<h2><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION.</h2>
<p>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.</p>
<p>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.</p>
<p>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<span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span>
illustration, warned or encouraged her followers,
terrifying them by endless purgatories and <i>infernos</i>,
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.</p>
<p>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.</p>
<p>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<span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span>
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.</p>
<p>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.<a name="FNanchor_1_3" id="FNanchor_1_3"></a><a href="#Footnote_1_3" class="fnanchor">[3]</a>
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
<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span>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.</p>
<p>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<span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span>
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.<a name="FNanchor_1_4" id="FNanchor_1_4"></a><a href="#Footnote_1_4" class="fnanchor">[4]</a> 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.<a name="FNanchor_2_5" id="FNanchor_2_5"></a><a href="#Footnote_2_5" class="fnanchor">[5]</a></p>
<p>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,
<span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span>
second, that the reason they did not was because
they could be neither decently engraved nor printed.</p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_046.jpg" width="90%" alt="" title="" /><br />
<span class="caption">ST. CHRISTOPHER, 1423.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_047.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY SIR EDWARD BURNE-JONES, BART. REDUCED FROM A LARGE
PROCESS BLOCK IN “THE DAILY CHRONICLE.”</span>
</div>
<p>With the introduction of steel and copper-plate
engraving and etching, the paintings and sculptures
<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span>
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.</p>
<p>The use of what we call now <i>clichés</i> 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.</p>
<p>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,
<span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span>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.</p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_052.jpg" width="100%" alt="" title="" />
<span class="caption">BY SIR DAVID WILKIE. FROM AN ORIGINAL DRAWING IN THE POSSESSION OF THE AUTHOR.</span>
</div>
<hr style="width: 100%;" />
<p><span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span></p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_053.jpg" width="90%" alt="" title="" />
<span class="caption">WOOD-ENGRAVING BY THOMAS BEWICK. FROM WALTON’S
“COMPLETE ANGLER” (BOHN).</span>
</div>
<h2>CHAPTER I.</h2>
<h4>A GENERAL SURVEY.</h4>
<div class="figleft" style="width: 25%;">
<img src="images/i_054a.jpg" width="85%" alt="" title="" /><br />
<span class="caption">“CHRIST AND PETER.”
BY CARACCI. Wood-engraving
by the Linnells.</span>
</div>
<div class="figright" style="width: 20%;">
<img src="images/i_054b.jpg" width="85%" alt="" title="" /><br />
<span class="caption">“THE HOLY FAMILY.”
BY PERUGINO.
Wood-engraving
by the Linnells.</span>
</div>
<p>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
<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span>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.<a name="FNanchor_1_6" id="FNanchor_1_6"></a><a href="#Footnote_1_6" class="fnanchor">[6]</a></p>
<p>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.</p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_055.jpg" width="85%" alt="" title="" /><br />
<span class="caption">BY STOTHARD. FROM AN ORIGINAL DRAWING IN THE
POSSESSION OF THE AUTHOR.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 85%;">
<img src="images/i_057a.jpg" width="40%" alt="" title="" /><br />
<span class="caption">FROM A PAINTING BY WILSON.<br />
Wood-engraving by the Linnells.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 85%;">
<img src="images/i_057b.jpg" width="50%" alt="" title="" /><br />
<span class="caption">FROM A PAINTING BY RUBENS.<br />
Wood-engraving by the Linnells.</span>
</div>
<p>Book after book with Stothard's illustrations,
<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span>
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 Academi<span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span>cians
of the day for Boydell's "Shakespeare,"
immortalized by Thackeray as that "black and
ghastly gallery of murky Opies, glum Northcotes,
straddling Fuselis."</p>
<div class="figcenter" style="width: 85%;">
<img src="images/i_058.jpg" width="52%" alt="" title="" /><br />
<span class="caption">BY STOTHARD. FROM ROGERS’ “POEMS” (CADELL).<br />
Engraved on wood by Clennell.</span>
</div>
<p>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 <i>facsimile</i> engraving after pen drawing.
<span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span>
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<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span>
that of the first illustrated catalogue of the National
Gallery by the Linnells.<a name="FNanchor_1_7" id="FNanchor_1_7"></a><a href="#Footnote_1_7" class="fnanchor">[7]</a></p>
<div class="figcenter" style="width: 85%;">
<img src="images/i_059.jpg" width="42%" alt="" title="" /><br />
<span class="caption">BY STOTHARD. FROM ROGERS’ “POEMS” (CADELL).<br />
Engraved on wood by Clennell.</span>
</div>
<p>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.</p>
<div class="figcenter" style="width: 85%;">
<img src="images/i_060.jpg" width="48%" alt="" title="" /><br />
<span class="caption">FROM TITIAN, “ARIADNE AND BACCHUS.”<br />
Wood-engraving by the Linnells.</span>
</div>
<p>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 French<span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span>men
been with the excellence of the work produced
in England.</p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_061.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY HARVEY. FROM “MILTON’S POETICAL WORKS” (BOHN).<br />
Engraved on wood by Thompson.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_062.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY HARVEY. FROM “MILTON’S POETICAL WORKS” (BOHN).<br />
Engraved on wood by Thompson.</span>
</div>
<p>A little later on, Lavoignat and other engravers
came over and worked in London with the
Williamses. The result was, that, within ten years
<span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span>
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,<span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span>
Lavoignat, Piaud, Pisan, and Poirret. They
worked after Gigoux, the Johannots, Isabey, Paul
Huet, Jacque, Meissonier, Charlet, Daubigny,
Daumier, Gavarni, Monnier, and Raffet.</p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_063.jpg" width="70%" alt="" title="" /><br />
<span class="caption">FROM AN ORIGINAL DRAWING ON THE WOOD BY HARVEY.</span>
</div>
<div class="figleft" style="width: 20%;">
<img src="images/i_064.jpg" width="95%" alt="" title="" /><br />
<span class="caption">BY HARVEY. FROM MILTON’S
POETICAL WORKS
(BOHN). Wood-engraving, unsigned.</span>
</div>
<p>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 <i>facsimile</i> by
their engravers, many of whom, as I have said,
were English, quite unknown at that time in work<span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span>
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.</p>
<p>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<span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span>
organ of the Romanticists, in which they were
accepted as the perfection of illustration.</p>
<p>At this date there is to be noted in England,
among the best work done, the beautiful alphabet
by Stothard, published by Pickering.</p>
<div class="figright" style="width: 55%;">
<img src="images/i_065.jpg" width="95%" alt="" title="" /><br />
<span class="caption">BY THURSTON. FROM BUTLER’S “HUDIBRAS” (BOHN).<br />
Wood-engraving, unsigned.</span>
</div>
<p>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"<a name="FNanchor_1_8" id="FNanchor_1_8"></a><a href="#Footnote_1_8" class="fnanchor">[8]</a>
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
<span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span>
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,<span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span>
had begun to be fully understood.<a name="FNanchor_2_9" id="FNanchor_2_9"></a><a href="#Footnote_2_9" class="fnanchor">[9]</a> The printers'
name deserves to be remembered: Everal et
Cie.</p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_066.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY THURSTON. FROM BUTLER’S “HUDIBRAS” (BOHN).<br />
Wood-engraving, unsigned.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_067.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY THURSTON. FROM TASSO (BOHN).<br />
Engraved on wood by Corbould.</span>
</div>
<p>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,
<span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span>
one of the best pieces of <i>facsimile</i> 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<span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span>
be found, from 1830, in lithography the work of
Delacroix, Monnier, Lami, and others.</p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_068.jpg" width="90%" alt="" title="" /><br />
<span class="caption">FROM CRUIKSHANK’S “THREE COURSES.”<br />
Engraved on wood by S. Williams.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_069a.jpg" width="70%" alt="" title="" /><br />
<span class="caption">FROM CRUIKSHANK’S “THREE COURSES.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_069b.jpg" width="70%" alt="" title="" /><br />
<span class="caption">FROM CRUIKSHANK’S “THREE COURSES.”<br />
Wood-engravings, not signed.</span>
</div>
<p>In England, too, very good work was being
done, though it was not so absolutely artistic as the<span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span>
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.</p>
<p>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.</p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_071.jpg" width="90%" alt="" title="" /><br />
<span class="caption">FROM CRUIKSHANK’S “TABLE BOOK.”<br />
Engraved on wood by T. Williams.</span>
</div>
<p><span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span></p>
<p>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,<a name="FNanchor_1_10" id="FNanchor_1_10"></a><a href="#Footnote_1_10" class="fnanchor">[10]</a> 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 <i>facsimile</i>.
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.</p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_074.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY BIRKET FOSTER. FROM
“LONGFELLOW’S POEMS”
(BELL).
<br />
Engraved on wood by Vizetelly.</span>
</div>
<p>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
<span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span>
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 <i>facsimile</i> work was done after Mr. Harrison
Weir; the Abbotsford edition of Scott was
<span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span>
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,<span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span>
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.</p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_075.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY SIR JOHN GILBERT. FROM MARRYAT’S
“MISSION”
(BOHN).
<br />
Engraved on wood by Dalziel.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_077.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY DANTE GABRIEL ROSSETTI. FROM
“TENNYSON’S POEMS.”
<br />
Moxon, 1857. Engraved on wood by Dalziel.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_080.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY DANTE GABRIEL ROSSETTI. PROCESS BLOCK FROM A DRAWING
IN THE POSSESSION OF EDMUND GOSSE, ESQ.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_081.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY BIRKET FOSTER. FROM
“LONGFELLOW’S POEMS”
(BELL).
<br />
Engraved on wood by H. Vizetelly.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_082.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY BIRKET FOSTER. FROM
“BELL’S SCHOOL READER.”
<br />
Wood-engraving unsigned.</span>
</div>
<p>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.</p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_083.jpg" width="100%" alt="" title="" /><br />
<span class="caption">BY BIRKET FOSTER. PROCESS BLOCK
FROM AN ORIGINAL DRAWING ON
THE WOOD BLOCK, NEVER
ENGRAVED.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_085.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY BIRKET FOSTER. FROM
“GOLDSMITH’S POEMS”
(BELL).
<br />
Engraved on wood by Dalziel.</span>
</div>
<p>In America F. O. C. Darley was certainly the
<span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span>
first illustrator, while the French tradition was
carried on for years in "Harper's Magazine" by
C. E. Dœpler, 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<span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span>
and Peter Moran, Alfred Fredericks, W. L. Shepherd,
and the older of the men working to-day.
Among the caricaturists, Thomas Nast was preeminent.</p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_086a.jpg" width="50%" alt="" title="" /><br />
<span class="caption">BY HARRISON WEIR. FROM POETRY FOR SCHOOLS (BELL).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_086b.jpg" width="50%" alt="" title="" /><br />
<span class="caption">BY HARRISON WEIR. FROM POETRY FOR SCHOOLS (BELL).
<br />
Engraved on wood by A. Slader.</span>
</div>
<p>There is one American book, however, which
deserves special mention. This is Harris's "Insects Injurious
<span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span>
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<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span>
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.</p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_087.jpg" width="95%" alt="" title="" /><br />
<span class="caption">BY HARRISON WEIR. FROM A WASH DRAWING ON THE WOOD.</span>
</div>
<p>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.</p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_088.jpg" width="100%" alt="" title="" /><br />
<span class="caption">BY A. COOPER. FROM WALTON’S
“ANGLER”
(BOHN).
<br />
Engraved on wood by M. Jackson.</span>
</div>
<hr style="width: 100%;" />
<p><span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span></p>
<div class="figcenter" style="width: 90%;">
<img src="images/i_089.jpg" width="60%" alt="" title="" /><br />
<span class="caption">BY RANDOLPH CALDECOTT. FROM “OLD CHRISTMAS”
(MACMILLAN, 1875).</span>
</div>
<h2>CHAPTER II.</h2>
<h4>THE METHODS OF TO-DAY; THEIR ORIGIN AND
DEVELOPMENT.</h4>
<p>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.</p>
<p>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<span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span>
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.</p>
<p>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 <i>facsimile</i> 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.</p>
<div class="figcenter" style="width: 45%;">
<img src="images/i_091.jpg" width="100%" alt="" title="" />
<span class="caption">BY CHARLES KEENE. FROM A PEN DRAWING IN THE
POSSESSION OF THE AUTHOR.</span>
</div>
<p>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
<span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span>
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.<a name="FNanchor_1_11" id="FNanchor_1_11"></a><a href="#Footnote_1_11" class="fnanchor">[11]</a>
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:"<a name="FNanchor_2_12" id="FNanchor_2_12"></a><a href="#Footnote_2_12" class="fnanchor">[12]</a> 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
<span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span>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.</p>
<p>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.</p>
<div class="figcenter" style="width: 52%;">
<img src="images/i_095.jpg" width="100%" alt="" title="" /><br />
<span class="caption">BY CHARLES KEENE. FROM A PEN DRAWING IN THE
POSSESSION OF THE AUTHOR.</span>
</div>
<p>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<a name="FNanchor_1_13" id="FNanchor_1_13"></a><a href="#Footnote_1_13" class="fnanchor">[13]</a>), 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<a name="FNanchor_2_14" id="FNanchor_2_14"></a><a href="#Footnote_2_14" class="fnanchor">[14]</a> 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
<span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span>
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,<a name="FNanchor_3_15" id="FNanchor_3_15"></a><a href="#Footnote_3_15" class="fnanchor">[15]</a> 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
<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span>accurately and carefully as they could, since what
the latter wanted was the absolute <i>facsimile</i> 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 <i>facsimile</i> 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.</p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_099.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY M. E. EDWARDS. FROM GATTY’S “PARABLES”
(BELL, 1867).</span>
</div>
<p>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
<span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span>
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.</p>
<p>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<span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span>
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.<a name="FNanchor_1_16" id="FNanchor_1_16"></a><a href="#Footnote_1_16" class="fnanchor">[16]</a> 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
<span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span>
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.</p>
<div class="backcenter" style="background-image: url(images/i_103.jpg); height: 100%;" >
<div class="sandbag-left" style="width:100%; height:400px;"> </div>
<div class="sandbag-left" style="width:60%; height:120px;"> </div>
<p class="caption"> BY G. DU MAURIER.<br />
FROM A WOOD-ENGRAVING.<br />
“THE ENGLISH ILLUSTRATED<br />
MAGAZINE.”</p>
</div>
<p> </p>
<div class="figcenter" style="width: 45%;">
<img src="images/i_106.jpg" width="100%" alt="" title="" />
<span class="caption">BY ARTHUR HUGHES. WOOD-ENGRAVING FROM
GORDON HAKE’S “PARABLES”
(CHAPMAN AND HALL).</span>
</div>
<p>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.</p>
<p>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<span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span>
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 <i>facsimile</i> 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.</p>
<p>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.</p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_109.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY G. R. SEYMOUR. WOOD-ENGRAVING FROM “THE MAGAZINE OF ART”
(CASSELL).</span>
</div>
<p><span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span></p>
<p>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 <i>facsimile</i> 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
<i>facsimile</i> wood-engravers are left in the rear. Ordi<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span>nary
good process work, which can be printed
with type, is, at the present moment, equal to any
<i>facsimile</i> wood-engraving. The more elaborate
methods, such as the photogravure of Amand
Durand, are infinitely better, and only to be compared
to etching.</p>
<div class="figcenter" style="width: 52%;">
<img src="images/i_113.jpg" width="100%" alt="" title="" /><br />
<span class="caption">BY SIR EDWARD BURNE-JONES. FROM THE ORIGINAL DRAWING
FOR GATTY’S “PARABLES”
(BELL, 1867).</span>
</div>
<p>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
<span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span>
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.<a name="FNanchor_1_17" id="FNanchor_1_17"></a><a href="#Footnote_1_17" class="fnanchor">[17]</a> 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
<span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span>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.</p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_117.jpg" width="100%" alt="" title="" />
<span class="caption">BY WALTER CRANE. PROCESS BLOCK FROM A WOOD-ENGRAVING BY EDMUND EVANS,
IN COLOURS IN “BEAUTY AND THE BEAST”
(ROUTLEDGE).</span>
</div>
<p>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
<span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span>
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.</p>
<p>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<span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span>
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.</p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_121.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY KATE GREENAWAY. KEY BLOCK WOOD-ENGRAVED BY
EDMUND EVANS FOR COLOUR PRINTING. FROM “MOTHER GOOSE”
(ROUTLEDGE).</span>
</div>
<p>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 <i>facsimile</i> 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
<span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span>
book-publishers has been relieved by the intervention
of mechanical process.</p>
<p>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.</p>
<div class="figcenter" style="width: 30%;">
<img src="images/i_123.jpg" width="90%" alt="" title="" /><br />
<span class="caption">DETAIL OF “THE DENTATUS”
ENGRAVED
ON WOOD BY HARVEY, AFTER
HAYDON.</span>
</div>
<hr style="width: 100%;" />
<p><span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span></p>
<div class="figcenter" style="width: 35%;">
<img src="images/i_124.jpg" width="100%" alt="" title="" /><br />
<span class="caption">BY E. ISABEY. FROM “PAUL AND VIRGINIA.”
<br />
Engraved by Slader.</span>
</div>
<h2>CHAPTER III.</h2>
<h4>FRENCH ILLUSTRATION.</h4>
<p>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.</p>
<div class="figright" style="width: 30%;">
<img src="images/i_125.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY GAVARNI.<br />
FROM “PARISIANS BY
THEMSELVES.”
<br />
Reduced from the wood-engraving.</span>
</div>
<p>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<span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span>
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."</p>
<p>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.</p>
<div class="figleft" style="width: 30%;">
<img src="images/i_126.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY MEISSONIER.<br />
FROM THE “CONTES REMOIS.”
<br />
Engraved on wood by
Lavoignal.</span>
</div>
<p>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
<span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span>
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
<span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span>
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
<span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span>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.</p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_127.jpg" width="100%" alt="" title="" />
<span class="caption">JEAN GIGOUX. FROM “GIL BLAS” (FRENCH).
<br />
Wood-engraving, unsigned.</span>
</div>
<p>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<span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span>
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.</p>
<div class="figcenter" style="width: 40%;">
<img src="images/i_129.jpg" width="100%" alt="" title="" />
<span class="caption">BY JACQUEMART. PEN DRAWING. FROM THE
“HISTORY
OF FURNITURE.”</span>
</div>
<p>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.<span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span>
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.</p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_130.jpg" width="100%" alt="" title="" />
<span class="caption">BY JACQUEMART. PEN DRAWING. FROM THE
“HISTORY
OF FURNITURE.”</span>
</div>
<div class="figright" style="width: 30%;">
<img src="images/i_131.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY MEISSONIER. FROM THE
WOOD-ENGRAVING IN THE “CONTES REMOIS”
BY LAVOIGNAL.</span>
</div>
<p>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<span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span>
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 <i>édition de luxe</i>.</p>
<p>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<span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span>
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 <i>clichés</i> 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.</p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_133.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY GUSTAVE DORÉ. WOOD-ENGRAVING FROM
“SPAIN”
(CASSELL AND CO., LIMITED).</span>
</div>
<div class="figcenter" style="width: 70%;">
<img src="images/i_135.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY A. DE NEUVILLE. FROM
“COUPS DE FUSIL”
(CHARPENTIER).
<br />
Wood-engraving by Farlet.</span>
</div>
<div class="figleft" style="width: 30%;">
<img src="images/i_136.jpg" width="100%" alt="" title="" /><br />
<span class="caption">BY GUSTAVE DORÉ.
<br />
Process block, from a Lithograph.</span>
</div>
<p>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
<span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span>
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<span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span>
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.</p>
<p>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
<span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span>
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.</p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_137.jpg" width="100%" alt="" title="" />
<span class="caption">PEN DRAWING BY D. VIERGE. FROM
“PABLO DE SÉGOVIE”
(FISHER UNWIN).</span>
</div>
<p>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<span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span>
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.</p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_140.jpg" width="85%" alt="" title="" /><br />
<span class="caption">BY LOUIS MORIN. PEN DRAWING. FROM
“L’ART ET L’IDÉE.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 75%;">
<img src="images/i_141.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY CARLOS SCHWABE. PEN DRAWING. FROM ZOLA’S
“LE RÊVE.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_144.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY EUGENE GRASSET. PEN DRAWING FROM
“LES
QUATRE FILS D’AYMON”
(PARIS).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_146.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY EUGENE GRASSET. PEN DRAWING FROM
“LES QUATRE
FILS D’AYMON”
(PARIS).</span>
</div>
<div class="figright" style="width: 30%;">
<img src="images/i_147.jpg" width="85%" alt="" title="" /><br />
<span class="caption">BY LOUIS MORIN. PEN DRAWING.
FROM “L’ART ET
L’IDÉE.”</span>
</div>
<p>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
<span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span>
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.</p>
<p><span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span></p>
<div class="figcenter" style="width: 40%;">
<img src="images/i_148.jpg" width="80%" alt="" title="" /><br />
<span class="caption">PEN DRAWING BY JACQUEMART.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_149.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY RAFFAËLLI. PEN DRAWING. FROM
“PARIS ILLUSTRÉ.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_152.jpg" width="100%" alt="" title="" /><br />
<span class="caption">BY BOUTET DE MONVEL. PEN DRAWING FROM
“JEANNE D’ARC”
(PARIS, PLON).</span>
</div>
<div class="figright" style="width: 40%;">
<img src="images/i_153.jpg" width="75%" alt="" title="" /><br />
<span class="caption">BY H. IBELS. FROM
“L’ART DU
RIRE ET CARICATURE.”</span>
</div>
<p>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,
<span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span>
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,<a name="FNanchor_1_18" id="FNanchor_1_18"></a><a href="#Footnote_1_18" class="fnanchor">[18]</a> 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
<span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span>
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
<span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span>
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
<span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span>
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
<span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span>
others will too, is a positive proof that decoration
cannot be separated from illustration, and also
that all true artists are decorators.</p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_154.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY H. IBELS. FROM
“L’ART DU RIRE ET CARICATURE.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_155.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY STEINLEN. PROCESS BLOCK FROM COLOURED PRINT IN
“GIL BLAS.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_157.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY STEINLEN. REPRODUCED FROM A COLOURED PRINT IN
“GIL BLAS.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 75%;">
<img src="images/i_159.jpg" width="100%" alt="" title="" /><br />
<span class="caption">BY A. WILLETTE. PEN DRAWING. FROM
“LES PIERROTS”
(VANIER).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_162.jpg" width="100%" alt="" title="" /><br />
<span class="caption">BY CARAN D'ACHE. FROM
“ALBUM”
(PARIS, PLON).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_163.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY ROBIDA. PEN DRAWING. FROM
“JOURNAL D’UN
TRÈS VIEUX GARÇON.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_164.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY A. WILLETTE. FROM
“LES PIERROTS”
(VANIER).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_165.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY FORAIN. FROM
“LA COMÉDIE PARISIENNE”
(CHARPENTIER).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 75%;">
<img src="images/i_167.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY P. RENOUARD. CHALK DRAWING. FROM
“THE GRAPHIC.”</span>
</div>
<p>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.</p>
<p>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.</p>
<hr style="width: 100%;" />
<p><span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span></p>
<div class="figcenter" style="width: 40%;">
<img src="images/i_170.jpg" width="100%" alt="" title="" />
<span class="caption">BY LALANNE. FROM A PENCIL DRAWING. (FRENCH.)</span>
</div>
<h2>CHAPTER IV.</h2>
<h4>ILLUSTRATION IN GERMANY, SPAIN, AND OTHER
COUNTRIES.</h4>
<p>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.</p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_171.jpg" width="100%" alt="" title="" />
<span class="caption">BY MARTIN RICO. FROM A PEN DRAWING.</span>
</div>
<div class="figleft" style="width: 50%;">
<img src="images/i_174.jpg" width="80%" alt="" title="" /><br />
<span class="caption">FROM AN ORIGINAL PEN
DRAWING BY H. TEGNER.</span>
</div>
<p>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
<span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span>
the "C'era una Volta" of Luigi Capuana, illustrated
by Montalti, published in 1885, a most
extraordinary example of the skilful use of <i>papier
Gillot</i>, 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.<a name="FNanchor_1_19" id="FNanchor_1_19"></a><a href="#Footnote_1_19" class="fnanchor">[19]</a> 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 <i>clichés</i> from American papers and
magazines, in which matter I find that even I
have proved a useful mine.</p>
<p>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
<span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span>
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
<span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span>
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 <i>clichés</i>.
Men like Chelminski, Edelfelt, Répine, Pranishnikoff
really owe all their reputation, not to their
native land, but to the country of their adoption.</p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_175.jpg" width="100%" alt="" title="" />
<span class="caption">PEN DRAWING. BY HANS TEGNER. FROM “HOLBERG’S COMEDIES” (BOJESENS).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 55%;">
<img src="images/i_178.jpg" width="100%" alt="" title="" />
<span class="caption">BY ADOLPH MENZEL. PROCESS BLOCK FROM ORIGINAL
DRAWING IN THE POSSESSION OF THE AUTHOR.</span>
</div>
<div class="figleft" style="width: 28%;">
<img src="images/i_180.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY GOYA. FROM
“CAPRICES.”</span>
</div>
<p>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 <i>facsimile</i> 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.</p>
<p>During the last three-quarters of a century
German illustration has been absolutely dominated
<span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span>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 <i>facsimile</i>
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
<span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span>
looks backward for nothing but design; he
looks forward to the perfection of everything.</p>
<div class="figcenter" style="width: 55%;">
<img src="images/i_181.jpg" width="100%" alt="" title="" />
<span class="caption">BY GOYA. FROM AN ORIGINAL DRAWING (A PORTRAIT OF THE DUKE
OF WELLINGTON) IN THE BRITISH MUSEUM.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_183.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY FORTUNY. FROM A PEN DRAWING.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 55%;">
<img src="images/i_185.jpg" width="100%" alt="" title="" />
<span class="caption">BY JOSEPH SATTLER. FROM “THE DANCE OF DEATH” (GREVEL).</span>
</div>
<p>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.</p>
<p>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<span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span>
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 <i>clichés</i> from his
excellent blocks have been used all over the world.</p>
<p>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.</p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_189.jpg" width="100%" alt="" title="" />
<span class="caption">BY DE NITTIS. PEN DRAWING
FROM “PARIS ILLUSTRÉ.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_192.jpg" width="50%" alt="" title="" /><br />
<span class="caption">BY W. BUSCH. FROM “BALDUIN BAHLAMM”
(MUNICH, BASSERMANN).</span>
</div>
<div class="figleft" style="width: 24%;">
<img src="images/i_194.jpg" width="90%" alt="" title="" /><br />
<span class="caption">FROM ETCHING BY GOYA. FROM “CAPRICES.”</span>
</div>
<p>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
<span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span>
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.</p>
<p>Busch and Oberländer, Meggendorfer, and
Hengler, are names so well known that their mere
mention raises a laugh, and that, if anything, is<span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span>
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.</p>
<p> </p>
<div class="figcenter" style="width: 100%;">
<img src="images/i_195.jpg" width="50%" alt="" title="" /><br />
<span class="caption">DEATH THE FRIEND.<br />
LINE DRAWING BY RETHEL. REDUCED FROM A WOOD-ENGRAVING
BY H. BURKNER.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 75%;">
<img src="images/i_197.jpg" width="100%" alt="" title="" />
<span class="caption">BY H. SCHLITTGEN. FROM “EIN ERSTER UND EIN LETZTER BALL”
(STUTTGART, KRABBE).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_199.jpg" width="100%" alt="" title="" />
<span class="caption">BY MAROLD. FROM “ZWISCHEN ZWEI REGEN”
(STUTTGART, KRABBE).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_202.jpg" width="100%" alt="" title="" />
<span class="caption">BY FRANZ STÜCK. FROM BIERBAUM’S “FRANZ STÜCK,” MUNICH<br />
(ALBERT AND CO.).</span>
</div>
<p> <span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span></p>
<div class="figright" style="width: 35%;">
<img src="images/i_203.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY GARCIA Y
RAMOS. GIPSY
DANCE.</span>
<p class="center">Process block, from pen and wash
drawing.</p>
</div>
<div class="blockquot"><p><i>Note.</i>—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
<span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span>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.</p>
<p>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.</p>
<p>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.</p></div>
<div class="figcenter" style="width: 85%;">
<img src="images/i_205.jpg" width="100%" alt="" title="" />
<span class="caption">BY W. L. WYLLIE, A.R.A. PEN DRAWING FROM “THE MAGAZINE OF ART.”</span>
</div>
<hr style="width: 100%;" />
<p><span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span></p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_207.jpg" width="50%" alt="" title="" /><br />
<span class="caption">BY J. W. NORTH. FROM A DRAWING ON THE WOOD
IN THE POSSESSION OF THE AUTHOR.</span>
</div>
<h2>CHAPTER V.</h2>
<h4>ENGLISH ILLUSTRATION.</h4>
<p>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.</p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_208.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY HUGH THOMSON. FROM
“OUR VILLAGE”
(MACMILLAN).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_209.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY RANDOLPH CALDECOTT. FROM
“THE ELEGY ON A MAD
DOG”
(ROUTLEDGE).</span>
</div>
<div class="figright" style="width: 50%;">
<img src="images/i_211.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY TURNER. FROM ROGERS’
“ITALY,”
1830.</span>
</div>
<p>It appears to me, that before discussing the English
<span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span>
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
<span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span>
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 abso<span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span>lutely
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.<span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span>
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.</p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_212.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY RANDOLPH CALDECOTT. FROM
“BRACEBRIDGE HALL”
(MACMILLAN, 1877).</span>
</div>
<p>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
<span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span>
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<span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span>
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.</p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_213.jpg" width="85%" alt="" title="" /><br />
<span class="caption">BY E. GRISET. FROM HOOD’S
“COMIC ANNUAL”
(1878).</span>
</div>
<p>When I commenced this book I have no hesitation
in admitting that my knowledge of the really<span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span>
great period of English Illustration was of the
vaguest possible description.</p>
<p>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.</p>
<p>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.</p>
<p>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
<span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span>
and a few others have given to the book a
fame, among illustrated volumes, which it has no
right or claim to.</p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_215.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY SIR J. E. MILLAIS, BART. WOOD-ENGRAVING BY DALZIEL.<br />
FROM “GOOD WORDS”
(ISBISTER AND CO.).</span>
</div>
<p>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.</p>
<p>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<span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span>
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.</p>
<p>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.</p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_219.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY SIR J. E. MILLAIS, BART. WOOD-ENGRAVING BY DALZIEL.<br />
FROM “GOOD WORDS”
(ISBISTER AND CO.).</span>
</div>
<p>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
<span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span>
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.</p>
<p>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.</p>
<p>But 1865 is the most notable year of all; in this
"Dalziel's Illustrated Arabian Nights' Entertain<span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span>ments"
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:</p>
<p>"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
<span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span>
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.</p>
<div class="figcenter" style="width: 100%;">
<img src="images/i_223.jpg" width="75%" alt="" title="" /><br />
<span class="caption">BY A. BOYD HOUGHTON. FROM DALZIEL’S
“ARABIAN NIGHTS”
(WARD, LOCK AND CO., 1865).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 90%;">
<img src="images/i_225.jpg" width="60%" alt="" title="" /><br />
<span class="caption">BY A. BOYD HOUGHTON. FROM DALZIEL’S
“ARABIAN NIGHTS”<br />
(WARD, LOCK AND CO.), 1865.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_228.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY G. J. PINWELL. FOR
“GOLDSMITH’ WORKS”
(WARD, LOCK
AND CO.). PROCESS BLOCK FROM THE ORIGINAL
DRAWING ON THE WOOD IN SOUTH
KENSINGTON MUSEUM.</span>
</div>
<p>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<span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span>
these men accomplished all this masterly work
in such a short time, I do not pretend to understand.</p>
<p>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.</p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_231.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY G. J. PINWELL. FOR
“GOLDSMITH’ WORKS”
(WARD, LOCK AND CO.). PROCESS BLOCK FROM THE ORIGINAL
DRAWING ON THE WOOD IN SOUTH
KENSINGTON MUSEUM.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 100%;">
<img src="images/i_233.jpg" width="75%" alt="" title="" /><br />
<span class="caption">BY CHARLES GREEN.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_236.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY FRED. WALKER. PROCESS BLOCK FROM AN ORIGINAL
STUDY IN THE POSSESSION OF THE AUTHOR.</span>
</div>
<p>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,
<span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span>
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.</p>
<p>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.</p>
<p>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<span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span>
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.</p>
<p>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.</p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_239.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY F. SANDYS. FROM THORNBURY’S
“LEGENDARY BALLADS”
(CHATTO AND WINDOS).</span>
</div>
<p>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
<span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span>
of art—in fact, of all art work—is simply <i>nil</i>.
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 <i>cliché</i> 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.</p>
<p>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<span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span>
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 <i>fin-de-siècle</i> 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.</p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_243.jpg" width="95%" alt="" title="" /><br />
<span class="caption">BY FREDERICK SHIELDS. FROM DEFOE’S
“HISTORY OF
THE PLAGUE”
(LONGMANS, 1863).</span>
</div>
<p>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,
<span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span>
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,<span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span>
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.</p>
<p>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.</p>
<p>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.</p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_247.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY J. MAHONEY. FROM THE
“SUNDAY MAGAZINE.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_249.jpg" width="100%" alt="" title="" /><br />
<span class="caption">BY J. F. SULLIVAN. FROM HOOD’S
“COMIC ANNUAL.”</span>
</div>
<p>As for the other men who calmly go on doing
their work in their own way, showing the process-engraver
<span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span>
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.</p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_252.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY LINLEY SAMBOURNE. FROM KINGSLEY’S
“WATER BABIES”
(MACMILLAN).</span>
</div>
<p>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 <i>clichés</i>
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
<span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span>
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
<span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span>
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.<span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span>
One has to deplore the recent death of Charles
Keene, the greatest of all English draughtsmen.</p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_253.jpg" width="75%" alt="" title="" /><br />
<span class="caption">BY (SIR) JOHN TENNIEL. ENGRAVED ON WOOD BY H. HARRAL.<br />
FROM GATTY’S “PARABLES”
(BELL, 1867).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_255.jpg" width="85%" alt="" title="" /><br />
<span class="caption">BY W. G. BAXTER. FROM
“ALLY SLOPER’S” CARTOONS.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_257.jpg" width="100%" alt="" title="" /><br />
<span class="caption">BY PHIL MAY. A PEN DRAWING FROM
“THE GRAPHIC.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_259.jpg" width="75%" alt="" title="" /><br />
<span class="caption">BY G. DU MAURIER. FROM
“TRILBY”
(OSGOOD, McILVAINE AND CO.).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_261.jpg" width="75%" alt="" title="" /><br />
<span class="caption">BY G. DU MAURIER. FROM
“TRILBY” (OSGOOD,
McILVAINE AND CO.).</span>
</div>
<p>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.</p>
<div class="figcenter" style="width: 78%;">
<img src="images/i_263.jpg" width="100%" alt="" title="" /><br />
<span class="caption">BY W. SMALL. FROM
“CASSELL’S MAGAZINE.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_265.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY W. SMALL. FROM
“CASSELL’S MAGAZINE.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_268.jpg" width="50%" alt="" title="" /><br />
<span class="caption">BY R. ANNING BELL. FROM AN ORIGINAL
PEN DRAWING.</span>
</div>
<p>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
<span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span>
in "The Butterfly," which I hope will have the
success it deserves.<a name="FNanchor_1_20" id="FNanchor_1_20"></a><a href="#Footnote_1_20" class="fnanchor">[20]</a> 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,
<span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span>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
<span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span>
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.</p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_271.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY J. BERNARD PARTRIDGE. FROM AUSTIN DOBSON’S<br />
“PROVERBS
IN PORCELAIN”
(KEGAN PAUL AND CO.).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_273.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY HOLMAN HUNT. FROM GATTY’S
“PARABLES”
(BELL, 1867).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 90%;">
<img src="images/i_276.jpg" width="60%" alt="" title="" /><br />
<span class="caption">BY E. H. NEW. FROM A PEN DRAWING FOR
“THE QUEST,”
NO. 3.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 90%;">
<img src="images/i_278.jpg" width="60%" alt="" title="" /><br />
<span class="caption">BY WINIFRED SMITH. FROM
“CHILDREN’S SINGING GAMES”
(NUTT).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_279.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY ALFRED PARSONS. FROM THE<br />
“ENGLISH ILLUSTRATED MAGAZINE.”</span>
</div>
<p>I should like to discuss the schools that have
been developed by the Arts and Crafts Society in<span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span>
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.</p>
<p>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.</p>
<p>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
<span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span>
to publish weekly, and even daily, stacks of their
drawings, when those of better men go a-begging.</p>
<div class="figcenter" style="width: 100%;">
<img src="images/i_281.jpg" width="72%" alt="" title="" /><br />
<span class="caption">BY ALFRED PARSONS. REDUCED FROM A LARGE DRAWING IN
“THE DAILY CHRONICLE.” 1895.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_283.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY SIR GEORGE REID. FROM
“THE LIFE OF A SCOTCH
NATURALIST”
(MURRAY).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_286.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY W. PAGET. FROM
“CASSELL’S MAGAZINE.”</span>
</div>
<p>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
<i>facsimile</i> 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<span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span>
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,
<span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span>
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.</p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_288.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY L. RAVEN-HILL. FROM
“THE BUTTERFLY.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_289.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY L. RAVEN-HILL. FROM
“THE BUTTERFLY.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_291.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY EDGAR WILSON. PROCESS BLOCK FROM THE ORIGINAL DRAWING
FOR “THE UNICORN.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_294.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY C. E. MALLOWS. FROM THE ORIGINAL DRAWING, PUBLISHED
IN “THE BUILDER.”</span>
</div>
<p>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 English<span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span>men
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,"<a name="FNanchor_1_21" id="FNanchor_1_21"></a><a href="#Footnote_1_21" class="fnanchor">[21]</a> 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.</p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_297.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY R. CATON WOODVILLE. REDUCED FROM
“THE ILLUSTRATED
LONDON NEWS.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 100%;">
<img src="images/i_299.jpg" width="85%" alt="" title="" /><br />
<span class="caption">BY SYDNEY P. HALL. PEN DRAWING FROM
“THE GRAPHIC.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_301.jpg" width="50%" alt="" title="" /><br />
<span class="caption">BY AUBREY BEARDSLEY. FROM A DRAWING IN
THE POSSESSION OF THE AUTHOR.</span>
</div>
<p> </p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_304.jpg" width="90%" alt="" title="" /><br />
<span class="caption">BY WALTER WILSON. REDUCED FROM
“THE ILLUSTRATED
LONDON NEWS.”</span>
</div>
<hr style="width: 100%;" />
<p><span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span></p>
<div class="figcenter" style="width: 52%;">
<img src="images/i_305.jpg" width="100%" alt="" title="" />
<span class="caption">BY F. S. CHURCH. FROM AN ETCHING IN “THE CONTINENT.”</span>
</div>
<h2>CHAPTER VI.</h2>
<h4>AMERICAN ILLUSTRATION.</h4>
<p>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.</p>
<p>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<span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span>
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.</p>
<p>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.</p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_307.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY C. S. REINHART. WOOD-ENGRAVING FROM “THE CENTURY MAGAZINE.”</span>
</div>
<p>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 <i>clientèle</i> won't know what you mean." But
then Mr. Drake was a trained artist and
<span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span>
engraver.<a name="FNanchor_1_22" id="FNanchor_1_22"></a><a href="#Footnote_1_22" class="fnanchor">[22]</a> 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 <i>facsimile</i>
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.</p>
<p>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<span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span>
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.</p>
<p>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.</p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_311.jpg" width="100%" alt="" title="" />
<span class="caption">BY WALTER SHIRLAW. FROM “THE CENTURY MAGAZINE.”</span>
</div>
<p>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 <i>clichés</i> 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,
<span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span>
unless the conductors of the better class of magazines
choose to lower the tone of their own
publications.</p>
<p>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.</p>
<p><span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span></p>
<div class="figcenter" style="width: 100%;">
<img src="images/i_314.jpg" width="45%" alt="" title="" /><br />
<span class="caption">BY HOWARD PYLE. FROM HOLMES’S “ONE HOSS SHAY”
(GAY AND BIRD).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 55%;">
<img src="images/i_315.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY HOWARD PYLE. FROM “THE CENTURY MAGAZINE.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 100%;">
<img src="images/i_316.jpg" width="45%" alt="" title="" /><br />
<span class="caption">BY HOWARD PYLE. FROM HOLMES’S “ONE HOSS SHAY”
(GAY AND BIRD).</span>
</div>
<p>If, as is universally admitted, America has produced
the best example of an illustrated magazine
<span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span>
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
<span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span>
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
<span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span>
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.</p>
<div class="figcenter" style="width: 85%;">
<img src="images/i_317.jpg" width="100%" alt="" title="" />
<span class="caption">BY ALFRED BRENNAN. PEN DRAWING FROM “THE CONTINENT.”</span>
</div>
<p> <span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span></p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_318.jpg" width="100%" alt="" title="" />
<span class="caption">BY A. B. FROST. FROM “STUFF AND NONSENSE” (SCRIBNER’S).</span>
</div>
<p> <span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span></p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_319.jpg" width="100%" alt="" title="" />
<span class="caption">BY A. B. FROST. FROM “STUFF AND NONSENSE” (SCRIBNER’S).</span>
</div>
<p>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
<span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span>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.</p>
<p>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."</p>
<div class='center'>
<table border="0" cellpadding="0" cellspacing="0" summary="" width="100%">
<colgroup><col width="50%" /><col width="50%" /></colgroup>
<tr>
<td align='right'><img src="images/i_322.jpg" width="100%" alt="" title="" /></td>
<td align='left'><img src="images/i_323.jpg" width="100%" alt="" title="" /></td>
</tr>
<tr><td colspan="2" class="caption">BY E. A. ABBEY. FROM “HARPER’S MAGAZINE” (COPYRIGHT 1894, BY HARPER AND BROTHERS).</td></tr>
</table></div>
<p> </p>
<div class="figcenter" style="width: 40%;">
<img src="images/i_325.jpg" width="100%" alt="" title="" />
<span class="caption">BY E. A. ABBEY. FROM AUSTIN DOBSON’S
POEMS (KEGAN PAUL).</span>
</div>
<p>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
<span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span>
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."</p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_327.jpg" width="80%" alt="" title="" /><br />
<span class="caption">PEN DRAWING BY C. D. GIBSON. FROM “THE CENTURY
MAGAZINE.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_329.jpg" width="90%" alt="" title="" /><br />
<span class="caption">PEN DRAWING BY OLIVER HERFORD. FROM “FABLES”
(GAY AND BIRD).</span>
</div>
<p>Mr. C. D. Gibson exhibits the follies and graces<span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span>
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
<span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span>
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.</p>
<div class="figcenter" style="width: 50%;">
<img src="images/i_331.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY F. HOPKINSON SMITH. FROM “THE CENTURY
MAGAZINE.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 75%;">
<img src="images/i_333.jpg" width="50%" alt="" title="" /><br />
<span class="caption">PEN DRAWING BY ROBERT BLUM. FROM “SCRIBNER’S
MAGAZINE.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 45%;">
<img src="images/i_335.jpg" width="100%" alt="" title="" />
<span class="caption">BY CHILDE HASSAM. FROM A PEN DRAWING MADE FOR
THE “NEW YORK COMMERCIAL ADVERTISER.”</span>
</div>
<p>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
<span class='pagenum'><a name="Page_128" id="Page_128">[Pg 128]</a></span>
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
<span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span>
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.</p>
<div class="figcenter" style="width: 45%;">
<img src="images/i_338.jpg" width="100%" alt="" title="" />
<span class="caption">PEN DRAWING BY FREDERIC REMINGTON. FROM
“THE CENTURY MAGAZINE.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 60%;">
<img src="images/i_339.jpg" width="80%" alt="" title="" /><br />
<span class="caption">PEN DRAWING BY R. BIRCH. FROM
“LITTLE LORD FAUNTLEROY” (WARNE).</span>
</div>
<p> </p>
<div class="figcenter" style="width: 52%;">
<img src="images/i_341.jpg" width="100%" alt="" title="" />
<span class="caption">“READY FOR THE RIDE.”<br /><br />
WOOD-ENGRAVING BY T. COLE, AFTER W. M. CHASE.<br />
FROM “THE CENTURY MAGAZINE.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_344.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY ROBERT BLUM. FROM
“SCRIBNER’S MAGAZINE.”</span>
</div>
<p>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.<span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span></p>
<p>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.</p>
<div class="figcenter" style="width: 55%;">
<img src="images/i_346.jpg" width="100%" alt="" title="" />
<span class="caption">BY S. PARRISH. FROM A DRAWING IN “THE CONTINENT.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_347.jpg" width="100%" alt="" title="" />
<span class="caption">BY GILBERT GAUL. FROM “THE CENTURY MAGAZINE.”</span>
</div>
<p> </p>
<div class="figcenter" style="width: 80%;">
<img src="images/i_349.jpg" width="50%" alt="" title="" /><br />
<span class="caption">BY SELWYN IMAGE. FROM “THE FITZROY PICTURES”
SERIES (BELL).</span>
</div>
<hr style="width: 100%;" />
<p><span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span></p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_351.jpg" width="80%" alt="" title="" /><br />
<span class="caption">BY HEYWOOD SUMNER. FROM “THE FITZROY PICTURES”
SERIES (BELL).</span>
</div>
<h2>CHAPTER VII.</h2>
<h4>CONCLUSION.</h4>
<p>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<span class='pagenum'><a name="Page_132" id="Page_132">[Pg 132]</a></span>
their babies in log cabin cradles, cook their meals
on American stoves and sit upon Chippendale
chairs.</p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_352.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY A. J. GASKIN. FROM “OLD FAIRY TALES”
(METHUEN AND CO.).</span>
</div>
<p>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<span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span>
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.</p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_353.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY LAURENCE HOUSMAN. FROM “A FARM IN FAIRYLAND”
(KEGAN PAUL).</span>
</div>
<p><span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span>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.</p>
<p>Illustration is an important, vital, living branch
of the fine arts, and it will flourish for ever.</p>
<div class="figcenter" style="width: 70%;">
<img src="images/i_354.jpg" width="70%" alt="" title="" /><br />
<span class="caption">BY COTMAN. FROM AN ETCHING IN “ARCHITECTURAL
ANTIQUITIES OF NORMANDY.”</span>
</div>
<hr style="width: 100%;" />
<h3>FOOTNOTES</h3>
<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> 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 <i>manyana</i>, but the to-morrow has not
yet dawned.</p></div>
<div class="footnote"><p><a name="Footnote_1_2" id="Footnote_1_2"></a><a href="#FNanchor_1_2"><span class="label">[2]</span></a> The "Pall Mall Magazine" has just commenced to index
artists and engravers completely.</p></div>
<div class="footnote"><p><a name="Footnote_1_3" id="Footnote_1_3"></a><a href="#FNanchor_1_3"><span class="label">[3]</span></a> 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.</p></div>
<div class="footnote"><p><a name="Footnote_1_4" id="Footnote_1_4"></a><a href="#FNanchor_1_4"><span class="label">[4]</span></a> See "Literary Remains of Albert Dürer," and F. Didot's
"Gravure sur Bois."</p></div>
<div class="footnote"><p><a name="Footnote_2_5" id="Footnote_2_5"></a><a href="#FNanchor_2_5"><span class="label">[5]</span></a> Some of Ratdolt's are among the exceptions.</p></div>
<div class="footnote"><p><a name="Footnote_1_6" id="Footnote_1_6"></a><a href="#FNanchor_1_6"><span class="label">[6]</span></a> The printing is, however, always bad.</p></div>
<div class="footnote"><p><a name="Footnote_1_7" id="Footnote_1_7"></a><a href="#FNanchor_1_7"><span class="label">[7]</span></a> So far as I know, the original of that system of abomination.</p></div>
<div class="footnote"><p><a name="Footnote_1_8" id="Footnote_1_8"></a><a href="#FNanchor_1_8"><span class="label">[8]</span></a> My own copy, apparently a first edition, is dated 1836.</p></div>
<div class="footnote"><p><a name="Footnote_2_9" id="Footnote_2_9"></a><a href="#FNanchor_2_9"><span class="label">[9]</span></a> 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.</p></div>
<div class="footnote"><p><a name="Footnote_1_10" id="Footnote_1_10"></a><a href="#FNanchor_1_10"><span class="label">[10]</span></a> Rather English and French, Andrew, Best, Leloir.</p></div>
<div class="footnote"><p><a name="Footnote_1_11" id="Footnote_1_11"></a><a href="#FNanchor_1_11"><span class="label">[11]</span></a> 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.</p></div>
<div class="footnote"><p><a name="Footnote_2_12" id="Footnote_2_12"></a><a href="#FNanchor_2_12"><span class="label">[12]</span></a> First edition 1889.</p></div>
<div class="footnote"><p><a name="Footnote_1_13" id="Footnote_1_13"></a><a href="#FNanchor_1_13"><span class="label">[13]</span></a> There are two or three seventeenth-century drawings on
the wood at South Kensington, and some, I believe, in the
British Museum.</p></div>
<div class="footnote"><p><a name="Footnote_2_14" id="Footnote_2_14"></a><a href="#FNanchor_2_14"><span class="label">[14]</span></a> On paper.</p></div>
<div class="footnote"><p><a name="Footnote_3_15" id="Footnote_3_15"></a><a href="#FNanchor_3_15"><span class="label">[15]</span></a> At least, he was the first man to do important artistic
wood-engraving.</p></div>
<div class="footnote"><p><a name="Footnote_1_16" id="Footnote_1_16"></a><a href="#FNanchor_1_16"><span class="label">[16]</span></a> 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.</p></div>
<div class="footnote"><p><a name="Footnote_1_17" id="Footnote_1_17"></a><a href="#FNanchor_1_17"><span class="label">[17]</span></a> This method, I believe, is no longer used.</p></div>
<div class="footnote"><p><a name="Footnote_1_18" id="Footnote_1_18"></a><a href="#FNanchor_1_18"><span class="label">[18]</span></a> Adrian Marie and Emile Bayard died lately.</p></div>
<div class="footnote"><p><a name="Footnote_1_19" id="Footnote_1_19"></a><a href="#FNanchor_1_19"><span class="label">[19]</span></a> See note p. 78.</p></div>
<div class="footnote"><p><a name="Footnote_1_20" id="Footnote_1_20"></a><a href="#FNanchor_1_20"><span class="label">[20]</span></a> I did not mean I hoped it would die. It has now ceased
to appear.</p></div>
<div class="footnote"><p><a name="Footnote_1_21" id="Footnote_1_21"></a><a href="#FNanchor_1_21"><span class="label">[21]</span></a> S. Read was the first artist correspondent; he worked
during the Crimean War.</p></div>
<div class="footnote"><p><a name="Footnote_1_22" id="Footnote_1_22"></a><a href="#FNanchor_1_22"><span class="label">[22]</span></a> 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.</p></div>
<hr style="width: 100%;" />
<p><span class='pagenum'><a name="Page_135" id="Page_135">[Pg 135]</a></span></p>
<h2><a name="INDEX" id="INDEX"></a>INDEX.</h2>
<p class="bindex">
Abbey, E. A., "Herrick," <a href="#Page_123">123</a>;<br />
<span style="margin-left: 1em;">"Old Songs" and "Quiet Life," <a href="#Page_106">106</a>, <a href="#Page_124">124</a>;</span><br />
<span style="margin-left: 1em;">"She Stoops to Conquer," <a href="#Page_124">124</a>;</span><br />
<span style="margin-left: 1em;">"Shakespeare," <a href="#Page_124">124</a>.</span><br />
<br />
"Abbotsford" Waverley Novels, <a href="#Page_26">26</a>.<br />
<br />
Ache, Caran d', <a href="#Page_66">66</a>;<br />
<span style="margin-left: 1em;">"Courses dans l'Antiquité," "Carnet de Chéques," "Albums," etc., <a href="#Page_67">67</a>, <a href="#Page_79">79</a>.</span><br />
<br />
Adams, J. A., <a href="#Page_29">29</a>.<br />
<br />
Albrecht, E., <a href="#Page_78">78</a>.<br />
<br />
Alexander, Miss, <a href="#Page_xvii">xvii</a>.<br />
<br />
Allers, C. W., <a href="#Page_78">78</a>.<br />
<br />
Allingham, W., "The Music Master," <a href="#Page_88">88</a>.<br />
<br />
<i>Ally Sloper's Half Holiday</i>, <a href="#Page_103">103</a>.<br />
<br />
American illustration, <a href="#Page_xv">xv</a>, <a href="#Page_30">30-32</a>, <a href="#Page_113">113</a>, <a href="#Page_130">130</a>.<br />
<br />
American Tract Society, <a href="#Page_29">29</a>.<br />
<br />
Amicis, E. de, <a href="#Page_70">70</a>.<br />
<br />
Andersen's "Fairy Tales," <a href="#Page_108">108</a>.<br />
<br />
Andrew, <a href="#Page_25">25</a>.<br />
<br />
Angelico, Fra, <a href="#Page_3">3</a>.<br />
<br />
Angerer and Göschl, <a href="#Page_72">72</a>.<br />
<br />
Anning Bell, R., <a href="#Page_105">105</a>.<br />
<br />
Aquatint, <a href="#Page_38">38</a>.<br />
<br />
"Arabian Nights" (Lane), <a href="#Page_24">24</a>;<br />
<span style="margin-left: 1em;">(Dalziel), <a href="#Page_91">91</a>, <a href="#Page_101">101</a>.</span><br />
<br />
Architectural drawing, <a href="#Page_111">111</a>.<br />
<br />
<i>Argosy, The</i>, <a href="#Page_90">90</a>.<br />
<br />
"Armée Française, L'," <a href="#Page_60">60</a>.<br />
<br />
Armstead, H. H., <a href="#Page_90">90</a>.<br />
<br />
Arnold, Sir Edwin, "Japonica," and "Japan," <a href="#Page_126">126</a>.<br />
<br />
<i>Art, L'</i>, <a href="#Page_51">51</a>.<br />
<br />
<i>Art, L', et l'Idée</i>, <a href="#Page_56">56</a>.<br />
<br />
<i>Art Student</i>, <a href="#Page_35">35</a>.<br />
<br />
Artist-correspondents and their work, <a href="#Page_112">112</a>.<br />
<br />
<i>Artiste, L'</i>, <a href="#Page_18">18</a>, <a href="#Page_22">22</a>, <a href="#Page_60">60</a>.<br />
<br />
Auriol, Georges, <a href="#Page_63">63</a>, <a href="#Page_68">68</a>.<br />
<br />
Avril, Paul, "La Dame aux Camélias," <a href="#Page_62">62</a>.<br />
<br />
<br />
Babbage, F., <a href="#Page_xxiv">xxiv</a>.<br />
<br />
Bacher, Otto, <a href="#Page_127">127</a>, <a href="#Page_130">130</a>.<br />
<br />
Bale, Edwin, <a href="#Page_115">115</a>.<br />
<br />
<i>Bambou, Le</i>, <a href="#Page_56">56</a>.<br />
<br />
Barnard, Fred., <a href="#Page_xxiv">xxiv</a>, <a href="#Page_108">108</a>.<br />
<br />
Barnes, R., <a href="#Page_108">108</a>.<br />
<br />
Batten, J. D., illustrations to Fairy Tales, <a href="#Page_105">105-106</a>.<br />
<br />
Baude, C., <a href="#Page_48">48</a>, <a href="#Page_51">51</a>, <a href="#Page_69">69</a>.<br />
<br />
Baxter, W. G., "Ally Sloper," <a href="#Page_103">103</a>.<br />
<br />
Bayard, Emile, <a href="#Page_65">65</a>.<br />
<br />
Beardsley, Aubrey, <a href="#Page_105">105</a>;<br />
<span style="margin-left: 1em;"><i>Yellow Book</i>, "Morte d'Arthur," and "Salome," <a href="#Page_105">105</a>.</span><br />
<br />
Bennett, G. H., <a href="#Page_89">89</a>.<br />
<br />
Bentworth, <a href="#Page_25">25</a>, <a href="#Page_74">74</a>.<br />
<br />
Beraldi, M., <a href="#Page_xiv">xiv</a>.<br />
<span class='pagenum'><a name="Page_136" id="Page_136">[Pg 136]</a></span><br />
Best, <a href="#Page_16">16</a>, <a href="#Page_25">25</a>.<br />
<br />
Bewick, Thos., <a href="#Page_xiv">xiv</a>, <a href="#Page_xvi">xvi</a>, <a href="#Page_8">8</a>;<br />
<span style="margin-left: 1em;">Walton's "Angler," <a href="#Page_9">9</a>;</span><br />
<span style="margin-left: 1em;">Gay's "Fables," <a href="#Page_9">9</a>;</span><br />
<span style="margin-left: 1em;">"General History of Quadrupeds," <a href="#Page_9">9</a>;</span><br />
<span style="margin-left: 1em;">"British Land and Water Birds," <a href="#Page_9">9</a>;</span><br />
<span style="margin-left: 1em;">as engraver-artist, <a href="#Page_9">9</a>, <a href="#Page_10">10</a>;</span><br />
<span style="margin-left: 1em;">outcome of his work, <a href="#Page_12">12</a>, <a href="#Page_17">17</a>, <a href="#Page_47">47</a>, <a href="#Page_88">88</a>.</span><br />
<br />
Bibliographers' duties with regard to illustrations, <a href="#Page_xx">xx</a>.<br />
<br />
<i>Bibliographica</i>, <a href="#Page_xvi">xvi</a>, <a href="#Page_92">92</a>.<br />
<br />
Birch, Reginald, <a href="#Page_127">127</a>.<br />
<br />
Blackburn, H., <a href="#Page_81">81</a>.<br />
<br />
<i>Black and White</i>, <a href="#Page_108">108</a>.<br />
<br />
Black and White Exhibition, Vienna, <a href="#Page_72">72</a>.<br />
<br />
Blair's "The Grave," <a href="#Page_9">9</a>.<br />
<br />
Blake, W., <a href="#Page_9">9</a>;<br />
<span style="margin-left: 1em;">"Songs of Innocence" and "Songs of Experience," <a href="#Page_10">10</a>;</span><br />
<span style="margin-left: 1em;">"Book of Job," <a href="#Page_10">10</a>;</span><br />
<span style="margin-left: 1em;">Blair's "The Grave," <a href="#Page_9">9</a>;</span><br />
<span style="margin-left: 1em;">Mary Wollstonecraft's "Stories," <a href="#Page_10">10</a>.</span><br />
<br />
<i>Blanco y Negro</i>, <a href="#Page_79">79</a>.<br />
<br />
Blum, R., "Japonica," "Japan," <a href="#Page_126">126</a>.<br />
<br />
Böcklin, A., <a href="#Page_76">76</a>, <a href="#Page_77">77</a>.<br />
<br />
Bork, <a href="#Page_48">48</a>, <a href="#Page_73">73</a>.<br />
<br />
Botticelli, <a href="#Page_3">3</a>;<br />
<span style="margin-left: 1em;">designs for Dante, <a href="#Page_3">3</a>.</span><br />
<br />
Boydell's "Shakespeare," <a href="#Page_12">12</a>.<br />
<br />
"Bracebridge Hall," <a href="#Page_86">86</a>.<br />
<br />
Bradbury and Evans, <a href="#Page_89">89</a>.<br />
<br />
Bradley, W. H., <a href="#Page_124">124</a>.<br />
<br />
Branston, C., <a href="#Page_12">12</a>, <a href="#Page_21">21</a>.<br />
<br />
Braun, <a href="#Page_18">18</a>.<br />
<br />
Braun and Schneider, <a href="#Page_76">76</a>.<br />
<br />
Brend'amour, Richard, <a href="#Page_76">76</a>.<br />
<br />
Brennan, A., <a href="#Page_126">126</a>.<br />
<br />
Brévière, <a href="#Page_16">16</a>, <a href="#Page_18">18</a>.<br />
<br />
British Museum, <a href="#Page_xv">xv</a>, <a href="#Page_xix">xix</a>, <a href="#Page_xx">xx</a>, <a href="#Page_36">36</a>.<br />
<br />
<i>British Workman</i>, <a href="#Page_96">96</a>.<br />
<br />
Brown, Ford Madox, <a href="#Page_95">95</a>.<br />
<br />
"Brown, Jones, and Robinson," <a href="#Page_84">84</a>.<br />
<br />
Browne, H. K. ("Phiz"), <a href="#Page_89">89</a>.<br />
<br />
Bruant's "Dans la Rue," <a href="#Page_68">68</a>.<br />
<br />
Buchanan's "The North Coast," <a href="#Page_94">94</a>.<br />
<br />
Burckhardt, "Insects Injurious to Vegetation," <a href="#Page_31">31</a>.<br />
<br />
Burges, W., <a href="#Page_111">111</a>.<br />
<br />
Burne-Jones, Sir E., <a href="#Page_xvi">xvi</a>;<br />
<span style="margin-left: 1em;">In <i>Daily Chronicle</i>, <a href="#Page_xxiii">xxiii</a>, <a href="#Page_95">95</a>, <a href="#Page_98">98</a>.</span><br />
<br />
Busch, W., <a href="#Page_77">77</a>.<br />
<br />
Butler's "Hudibras," <a href="#Page_19">19</a>, <a href="#Page_20">20</a>.<br />
<br />
<i>Butterfly, The</i>, <a href="#Page_105">105</a>.<br />
<br />
<br />
Calcott, W., <a href="#Page_24">24</a>.<br />
<br />
Caldecott, Randolph, illustration from "Old Christmas," <a href="#Page_33">33</a>, <a href="#Page_84">84</a>, <a href="#Page_86">86</a>;<br />
<span style="margin-left: 1em;">Books for Children, <a href="#Page_86">86</a>.</span><br />
<br />
Callot, <a href="#Page_80">80</a>.<br />
<br />
Cameron, D. Y., <a href="#Page_111">111</a>.<br />
<br />
Canaletto, <a href="#Page_7">7</a>.<br />
<br />
"Caprices" (Goya), <a href="#Page_80">80</a>.<br />
<br />
Capuana, Luigi, <a href="#Page_71">71</a>.<br />
<br />
Caracci's "Christ and Peter," <a href="#Page_10">10</a>.<br />
<br />
<i>Caricature, La</i>, <a href="#Page_22">22</a>.<br />
<br />
Caricature, Political, <a href="#Page_102">102</a>, <a href="#Page_103">103</a>;<br />
<span style="margin-left: 1em;"><i>Ally Sloper's Half Holiday</i>, <a href="#Page_103">103</a>.</span><br />
<br />
"Carnet de Chéques," <a href="#Page_67">67</a>.<br />
<br />
"Carols" (Gaskin, A. J.), <a href="#Page_108">108</a>.<br />
<br />
Carpaccio, <a href="#Page_2">2</a>.<br />
<br />
Carroll's "Alice in Wonderland," <a href="#Page_102">102</a>.<br />
<br />
Casanova y Estorach, A., <a href="#Page_71">71</a>.<br />
<br />
Castaigne, A., <a href="#Page_127">127</a>.<br />
<br />
"Catalogue of Blue and White Nankin Porcelain," <a href="#Page_95">95</a>.<br />
<br />
<i>Century Magazine</i>, <a href="#Page_xix">xix</a>, <a href="#Page_34">34</a>, <a href="#Page_40">40</a>, <a href="#Page_114">114</a>, <a href="#Page_116">116</a>.<br />
<br />
"Cera una Volta," <a href="#Page_71">71</a>.<br />
<br />
Cervante's "Don Quixote," <a href="#Page_21">21</a>.<br />
<br />
Champfleury's "Vignettes Romantiques," <a href="#Page_xviii">xviii</a>.<br />
<br />
Chapman, J. G., drawings for the "Illuminated Bible," <a href="#Page_29">29</a>.<br />
<br />
Charlet, <a href="#Page_17">17</a>, <a href="#Page_60">60</a>.<br />
<br />
"Chaumière Indienne," <a href="#Page_20">20</a>.<br />
<br />
Chelminski, <a href="#Page_73">73</a>.<br />
<br />
Chéret, <a href="#Page_68">68</a>.<br />
<span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span><br />
Chiaroscuro, engraving in, <a href="#Page_48">48</a>.<br />
<br />
Chiswick Press, <a href="#Page_21">21</a>.<br />
<br />
Chodowiecki, <a href="#Page_7">7</a>.<br />
<br />
Christopher, St., <a href="#Page_6">6</a>, <a href="#Page_34">34</a>, <a href="#Page_36">36</a>.<br />
<br />
Church, F. S., <a href="#Page_129">129</a>.<br />
<br />
Cleaver, Reginald, <a href="#Page_106">106</a>.<br />
<br />
Clennell, Luke, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>.<br />
<br />
Clichés, early use of, <a href="#Page_7">7</a>.<br />
<br />
Closson, W. B., <a href="#Page_129">129</a>.<br />
<br />
Cole, Timothy, <a href="#Page_47">47</a>, <a href="#Page_48">48</a>, <a href="#Page_108">108</a>, <a href="#Page_129">129</a>.<br />
<br />
Colvin, Prof. S., <a href="#Page_xv">xv</a>.<br />
<br />
Conquet, <a href="#Page_63">63</a>.<br />
<br />
"Contes Remois," <a href="#Page_24">24</a>.<br />
<br />
Cooper, A. W., illustration to Walton's "Angler," <a href="#Page_32">32</a>.<br />
<br />
Cooper, J. D., <a href="#Page_xxiv">xxiv</a>.<br />
<br />
Corbould, A., <a href="#Page_21">21</a>.<br />
<br />
<i>Cornhill, The</i>, <a href="#Page_28">28</a>, <a href="#Page_84">84</a>, <a href="#Page_89">89</a>;<br />
<span style="margin-left: 1em;">"Gallery," <a href="#Page_94">94</a>.</span><br />
<br />
Cotman, F. G., <a href="#Page_38">38</a>, <a href="#Page_111">111</a>.<br />
<br />
"Coups de Fusil," <a href="#Page_60">60</a>.<br />
<br />
Courboin, E., <a href="#Page_66">66</a>.<br />
<br />
<i>Courrier Français, Le</i>, <a href="#Page_51">51</a>.<br />
<br />
"Courses dans l'Antiquité," <a href="#Page_67">67</a>.<br />
<br />
Cox, Kenyon, <a href="#Page_126">126</a>.<br />
<br />
Crane, Walter, <a href="#Page_28">28</a>;<br />
<span style="margin-left: 1em;">"King Luckyboy's Party," "The Baby's Opera," "Baby's Bouquet," <a href="#Page_86">86</a>, <a href="#Page_99">99</a>.</span><br />
<br />
Crowther, T. S., <a href="#Page_104">104</a>.<br />
<br />
Cruikshank, George, "Three Courses and a Dessert," <a href="#Page_22">22-24</a>, <a href="#Page_83">83</a>, <a href="#Page_88">88</a>.<br />
<br />
Curmer, L., "Paul et Virginie," <a href="#Page_20">20</a>.<br />
<br />
Cust, Lionel, <a href="#Page_xv">xv</a>.<br />
<br />
<br />
<i>Daheim</i>, <a href="#Page_78">78</a>.<br />
<br />
<i>Daily Chronicle</i>, <a href="#Page_xvii">xvii</a>, <a href="#Page_xxi">xxi</a>, <a href="#Page_xxiii">xxiii</a>.<br />
<br />
<i>Daily Graphic</i>, <a href="#Page_117">117</a>.<br />
<br />
Dalziel Brothers, <a href="#Page_28">28</a>, <a href="#Page_35">35</a>;<br />
<span style="margin-left: 1em;">"Bible Gallery," <a href="#Page_35">35</a>, <a href="#Page_95">95</a>, <a href="#Page_88">88</a>, <a href="#Page_90">90</a>, <a href="#Page_91">91</a>;</span><br />
<span style="margin-left: 1em;">"Arabian Nights' Entertainments," <a href="#Page_91">91-93</a>;</span><br />
<span style="margin-left: 1em;">"Wayside Posies" and Ingelow's "Poems," <a href="#Page_94">94</a>;</span><br />
<span style="margin-left: 1em;">"English Rustic Pictures," <a href="#Page_95">95</a>, <a href="#Page_109">109</a>.</span><br />
<br />
Dalziel, E., <a href="#Page_93">93</a>.<br />
<br />
"Daphnis and Chloe," <a href="#Page_105">105</a>.<br />
<br />
Darley, F. O. C., <a href="#Page_28">28</a>.<br />
<br />
Dasio, Max, <a href="#Page_77">77</a>.<br />
<br />
Daubigny, <a href="#Page_17">17</a>.<br />
<br />
Daumier, <a href="#Page_17">17</a>;<br />
<span style="margin-left: 1em;"><i>La Caricature</i>, <a href="#Page_22">22</a>, <a href="#Page_38">38</a>, <a href="#Page_60">60</a>.</span><br />
<br />
Davidson, H., <a href="#Page_129">129</a>.<br />
<br />
Davis, J. P., <a href="#Page_129">129</a>.<br />
<br />
Davison, T. R., <a href="#Page_111">111</a>.<br />
<br />
Defoe's "Plague," <a href="#Page_101">101</a>.<br />
<br />
Delacroix, <a href="#Page_23">23</a>, <a href="#Page_80">80</a>.<br />
<br />
De Neuville, A., <a href="#Page_51">51</a>, <a href="#Page_60">60</a>;<br />
<span style="margin-left: 1em;">"Coups de Fusil," <a href="#Page_60">60</a>;</span><br />
<span style="margin-left: 1em;">Guizot's "History of France," <a href="#Page_60">60</a>;</span><br />
<span style="margin-left: 1em;">"En Campagne," <a href="#Page_60">60</a>.</span><br />
<br />
"Dentatus, The," <a href="#Page_49">49</a>.<br />
<br />
Dentu's <i>Le Bambou</i>, <a href="#Page_56">56</a>;<br />
<span style="margin-left: 1em;">"Tartarin de Tarascon," <a href="#Page_61">61</a>.</span><br />
<br />
Derniame, Aristide, <a href="#Page_20">20</a>.<br />
<br />
Detaille, E., <a href="#Page_51">51</a>;<br />
<span style="margin-left: 1em;">"L'Armée Française," <a href="#Page_60">60</a>.</span><br />
<br />
<i>Dial, The</i>, <a href="#Page_105">105</a>.<br />
<br />
Dickens, C., <a href="#Page_83">83</a>.<br />
<br />
Didot, F., "Gravure sur Bois," <a href="#Page_5">5</a>.<br />
<br />
Dietz, W., <a href="#Page_25">25</a>, <a href="#Page_75">75</a>.<br />
<br />
"Dinner at Greenwich," <a href="#Page_84">84</a>.<br />
<br />
Dobson, Austin, <a href="#Page_xiv">xiv</a>, <a href="#Page_xviii">xviii</a>, <a href="#Page_81">81</a>, <a href="#Page_84">84</a>;<br />
<span style="margin-left: 1em;">"Beau Brocade," <a href="#Page_106">106</a>.</span><br />
<br />
Dœpler, C. E., <a href="#Page_29">29</a>.<br />
<br />
Donné, Dr., <a href="#Page_40">40</a>.<br />
<br />
Doré, G., <a href="#Page_31">31</a>, <a href="#Page_32">32</a>, <a href="#Page_51">51</a>, <a href="#Page_58">58</a>;<br />
<span style="margin-left: 1em;">characterization of his work, <a href="#Page_58">58-60</a>, <a href="#Page_63">63</a>, <a href="#Page_93">93</a>.</span><br />
<br />
Doyle, R., <a href="#Page_83">83</a>;<br />
<span style="margin-left: 1em;">"Brown, Jones, and Robinson," <a href="#Page_84">84</a>, <a href="#Page_89">89</a>.</span><br />
<br />
Drake, A. W., <a href="#Page_114">114</a>, <a href="#Page_115">115</a>, <a href="#Page_127">127</a>.<br />
<br />
Du Maurier, G., <a href="#Page_28">28</a>, <a href="#Page_39">39</a>, <a href="#Page_84">84</a>, <a href="#Page_101">101</a>, <a href="#Page_103">103</a>.<br />
<br />
Durand, <a href="#Page_108">108</a>.<br />
<br />
Durand, Amand, photogravure process of, <a href="#Page_44">44</a>.<br />
<br />
Dürer, A., <a href="#Page_xxii">xxii</a>, <a href="#Page_3">3</a>;<br />
<span style="margin-left: 1em;">illustrations to "Maximilian's Missal," <a href="#Page_3">3</a>;</span><br />
<span style="margin-left: 1em;">decorative designs, <a href="#Page_4">4</a>;</span><br />
<span style="margin-left: 1em;">his criticism on his wood-engravers, <a href="#Page_5">5</a>;</span><br />
<span style="margin-left: 1em;">an Apollo drawing, <a href="#Page_36">36</a>.</span><br />
<span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span><br />
Duveneck, Frank, <a href="#Page_130">130</a>.<br />
<br />
Dys, Habert, <a href="#Page_65">65</a>.<br />
<br />
<br />
<i>Echo de Paris, L'</i>, <a href="#Page_54">54</a>.<br />
<br />
Eckhardt, Oscar, <a href="#Page_104">104</a>.<br />
<br />
Edelfelt, A., <a href="#Page_73">73</a>.<br />
<br />
Edwards, G. W., <a href="#Page_124">124</a>.<br />
<br />
Elgin Marbles, <a href="#Page_xxii">xxii</a>.<br />
<br />
<i>Elsevir</i>, <a href="#Page_71">71</a>.<br />
<br />
"En Campagne," <a href="#Page_60">60</a>.<br />
<br />
"English Rustic Pictures," <a href="#Page_95">95</a>.<br />
<br />
"Enterrement de Province," <a href="#Page_69">69</a>.<br />
<br />
<i>Estampe Originale, L'</i>, <a href="#Page_69">69</a>.<br />
<br />
Etching, <a href="#Page_111">111</a>;<br />
<span style="margin-left: 1em;">American, <a href="#Page_130">130</a>;</span><br />
<span style="margin-left: 1em;">Cassell's "Portfolios," <a href="#Page_130">130</a>.</span><br />
<br />
Evans, Edmund, <a href="#Page_xxiv">xxiv</a>, <a href="#Page_87">87</a>, <a href="#Page_109">109</a>.<br />
<br />
Everal et Cie., <a href="#Page_21">21</a>.<br />
<br />
"Examples of Venetian Architecture," <a href="#Page_85">85</a>.<br />
<br />
<i>Ex-Libris Series</i>, Editor, <a href="#Page_xiii">xiii</a>, <a href="#Page_xiv">xiv</a>.<br />
<br />
<br />
Fau, F., <a href="#Page_61">61</a>.<br />
<br />
<i>Felz und Meer</i>, <a href="#Page_78">78</a>.<br />
<br />
Fenn, Harry, "Picturesque Europe and America," <a href="#Page_31">31</a>, <a href="#Page_127">127</a>.<br />
<br />
Fernandez, G., <a href="#Page_79">79</a>.<br />
<br />
Ferris, Stephen, <a href="#Page_130">130</a>.<br />
<br />
Figaro, Le, <a href="#Page_54">54</a>.<br />
<br />
Fildes, Luke, <a href="#Page_xxiv">xxiv</a>, <a href="#Page_86">86</a>.<br />
<br />
<i>Fliegende Blätter</i>, <a href="#Page_xvii">xvii</a>, <a href="#Page_25">25</a>, <a href="#Page_75">75-78</a>.<br />
<br />
Florian, <a href="#Page_48">48</a>, <a href="#Page_51">51</a>, <a href="#Page_57">57</a>, <a href="#Page_69">69</a>.<br />
<br />
"Fontaine, La," <a href="#Page_8">8</a>.<br />
<br />
Foote, Mrs. Mary H., <a href="#Page_127">127</a>.<br />
<br />
Forain, J. L., <a href="#Page_66">66</a>;<br />
<span style="margin-left: 1em;">Album, <a href="#Page_68">68</a>.</span><br />
<br />
Ford, H. J., <a href="#Page_106">106</a>.<br />
<br />
<i>Forget-me-Not</i>, <a href="#Page_13">13</a>, <a href="#Page_34">34</a>.<br />
<br />
Forrestier, A., <a href="#Page_108">108</a>.<br />
<br />
Fortuny, M., <a href="#Page_50">50</a>, <a href="#Page_71">71</a>, <a href="#Page_79">79</a>, <a href="#Page_126">126</a>.<br />
<br />
Foster, Birket, <a href="#Page_xv">xv</a>, <a href="#Page_xxiv">xxiv</a>, <a href="#Page_26">26-29</a>, <a href="#Page_84">84</a>;<br />
<span style="margin-left: 1em;">"Pictures of English Landscape," <a href="#Page_91">91</a>;</span><br />
<span style="margin-left: 1em;">"Odes and Sonnets," <a href="#Page_91">91</a>, <a href="#Page_103">103</a>.</span><br />
<br />
"François le Champi," <a href="#Page_62">62</a>.<br />
<br />
Fraser, Lewis, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>.<br />
<br />
Fredericks, Alfred, <a href="#Page_30">30</a>.<br />
<br />
"Frederick the Great's Works," <a href="#Page_74">74</a>.<br />
<br />
French, Frank, <a href="#Page_129">129</a>.<br />
<br />
Frost, A. B., <a href="#Page_126">126</a>.<br />
<br />
Furniss, Harry, <a href="#Page_102">102</a>.<br />
<br />
<br />
Galice, L., <a href="#Page_61">61</a>.<br />
<br />
Gamm, <a href="#Page_48">48</a>, <a href="#Page_129">129</a>.<br />
<br />
Gardner, W. Biscombe, <a href="#Page_48">48</a>, <a href="#Page_109">109</a>.<br />
<br />
Gaskin, A. J., <a href="#Page_108">108</a>.<br />
<br />
Gaul, Gilbert, <a href="#Page_126">126</a>.<br />
<br />
Gautier, T., <a href="#Page_80">80</a>.<br />
<br />
Gavarni, <a href="#Page_17">17</a>;<br />
<span style="margin-left: 1em;"><i>Gazette des Enfants</i>, lithographs in, <a href="#Page_22">22</a>, <a href="#Page_38">38</a>, <a href="#Page_57">57</a>, <a href="#Page_60">60</a>, <a href="#Page_79">79</a>.</span><br />
<br />
<i>Gazette des Enfants</i>, <a href="#Page_22">22</a>.<br />
<br />
<i>Gazette des Beaux-Arts, La</i>, <a href="#Page_51">51</a>.<br />
<br />
Gere, C. M., <i>The Quest</i>, <a href="#Page_108">108</a>.<br />
<br />
Giacomelli, <a href="#Page_65">65</a>.<br />
<br />
Gibson, C. D., <a href="#Page_125">125</a>, <a href="#Page_126">126</a>.<br />
<br />
Gibson, W. Hamilton, <a href="#Page_126">126</a>.<br />
<br />
Gigoux, Jean, <a href="#Page_17">17</a>;<br />
<span style="margin-left: 1em;"><i>Gil Blas</i>, <a href="#Page_19">19</a>.</span><br />
<br />
Gilbert, Sir John, <a href="#Page_26">26</a>;<br />
<span style="margin-left: 1em;">Work for American Tract Society, <a href="#Page_29">29</a>, <a href="#Page_84">84</a>;</span><br />
<span style="margin-left: 1em;">edition of Shakespeare, <a href="#Page_89">89</a>, <a href="#Page_103">103</a>.</span><br />
<br />
<i>Gil Blas</i>, <a href="#Page_54">54</a>.<br />
<br />
Gillom, B., <a href="#Page_129">129</a>.<br />
<br />
Gillot, C., engraver, <a href="#Page_40">40</a>.<br />
<br />
Gillotage, the process, <a href="#Page_51">51</a>.<br />
<br />
Gillray, <a href="#Page_84">84</a>.<br />
<br />
Goldsmith's "Vicar of Wakefield," <a href="#Page_21">21</a>, <a href="#Page_61">61</a>, <a href="#Page_93">93</a>;<br />
<span style="margin-left: 1em;">"She Stoops to Conquer," <a href="#Page_124">124</a>.</span><br />
<br />
<i>Good Words</i>, <a href="#Page_28">28</a>, <a href="#Page_84">84</a>, <a href="#Page_88">88</a>, <a href="#Page_90">90</a>, <a href="#Page_91">91</a>.<br />
<br />
Gosse, Edmund, <a href="#Page_xvi">xvi</a>.<br />
<br />
Gould, F. C., <a href="#Page_102">102</a>.<br />
<br />
Goupil, <a href="#Page_55">55</a>;<br />
<span style="margin-left: 1em;"><i>Les Lettres et les Arts</i>, <a href="#Page_56">56</a>.</span><br />
<br />
Gourget, A. F., <a href="#Page_61">61</a>.<br />
<br />
Goya, F., <a href="#Page_xiv">xiv</a>, <a href="#Page_8">8</a>, <a href="#Page_20">20</a>, <a href="#Page_79">79</a>, <a href="#Page_80">80</a>;<br />
<span style="margin-left: 1em;">"Caprices," <a href="#Page_80">80</a>;</span><br />
<span style="margin-left: 1em;">"Invasion," <a href="#Page_80">80</a>;</span><br />
<span style="margin-left: 1em;">Bull-fights, <a href="#Page_80">80</a>.</span><br />
<br />
Graham, Charles, <a href="#Page_90">90</a>, <a href="#Page_127">127</a>.<br />
<br />
<i>Graphic</i>, <a href="#Page_18">18</a>, <a href="#Page_34">34</a>, <a href="#Page_40">40</a>, <a href="#Page_65">65</a>, <a href="#Page_85">85</a>, <a href="#Page_92">92</a>, <a href="#Page_94">94</a>, <a href="#Page_96">96</a>, <a href="#Page_108">108</a>.<br />
<br />
<i>Graphischen Kunste Die</i>, <a href="#Page_78">78</a>.<br />
<br />
Grasset, E., <a href="#Page_63">63</a>, <a href="#Page_68">68</a>.<br />
<span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span><br />
Gray's, "Elegy," <a href="#Page_24">24</a>.<br />
<br />
Green, Charles, <a href="#Page_xxiv">xxiv</a>, <a href="#Page_86">86</a>, <a href="#Page_101">101</a>.<br />
<br />
Green, W. T., <a href="#Page_xxiv">xxiv</a>.<br />
<br />
Greenaway, Kate, <a href="#Page_86">86</a>;<br />
<span style="margin-left: 1em;">Children's Books, <a href="#Page_87">87</a>.</span><br />
<br />
Gregory, E. J., <a href="#Page_86">86</a>.<br />
<br />
Greiffenhagen, Maurice, <a href="#Page_104">104</a>.<br />
<br />
Greiner, Otto, <a href="#Page_77">77</a>.<br />
<br />
Greuze, <a href="#Page_7">7</a>.<br />
<br />
Griset, Ernest, "Grotesques," <a href="#Page_xxiv">xxiv</a>, <a href="#Page_87">87</a>.<br />
<br />
"Gulliver's Travels," <a href="#Page_93">93</a>.<br />
<br />
Guillaume, process and publisher, <a href="#Page_56">56</a>, <a href="#Page_66">66</a>.<br />
<br />
"Guillaume" Series, <a href="#Page_51">51</a>, <a href="#Page_62">62</a>.<br />
<br />
Guizot's "History of France," <a href="#Page_60">60</a>.<br />
<br />
<br />
Hackländer, F., <a href="#Page_78">78</a>.<br />
<br />
Haennen, T. von, <a href="#Page_65">65</a>.<br />
<br />
"Half-tone" process, <a href="#Page_40">40</a>.<br />
<br />
Halkett, G. R., <a href="#Page_102">102</a>.<br />
<br />
Hall, S. P., <a href="#Page_86">86</a>, <a href="#Page_101">101</a>, <a href="#Page_112">112</a>.<br />
<br />
Hallward, Reginald, <a href="#Page_108">108</a>.<br />
<br />
Hamerton, P. G., <a href="#Page_81">81</a>.<br />
<br />
Harburger, <a href="#Page_77">77</a>.<br />
<br />
Harding, J. D., <a href="#Page_38">38</a>, <a href="#Page_110">110</a>, <a href="#Page_111">111</a>.<br />
<br />
Hardy, Thos., "Tess of the D'Urbervilles," <a href="#Page_101">101</a>.<br />
<br />
Harper, C. G., <a href="#Page_81">81</a>.<br />
<br />
Harper's "Illuminated Bible," <a href="#Page_29">29</a>.<br />
<br />
<i>Harper's Magazine</i>, <a href="#Page_xix">xix</a>, <a href="#Page_29">29</a>, <a href="#Page_116">116</a>.<br />
<br />
Harral, H., <a href="#Page_xxiii">xxiii</a>.<br />
<br />
Harris's "Insects Injurious to Vegetation," <a href="#Page_30">30</a>, <a href="#Page_31">31</a>.<br />
<br />
Hartrick, A. S., <a href="#Page_104">104</a>.<br />
<br />
Harvey, William, <a href="#Page_xxiv">xxiv</a>, <a href="#Page_12">12</a>;<br />
<span style="margin-left: 1em;">Milton's "Poetical Works," <a href="#Page_15">15</a>, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>;</span><br />
<span style="margin-left: 1em;">"Gardens, etc., of Zoological Society," <a href="#Page_21">21</a>, <a href="#Page_24">24</a>;</span><br />
<span style="margin-left: 1em;">"Elegy" (Gray), <a href="#Page_24">24</a>;</span><br />
<span style="margin-left: 1em;">"Arabian Nights," <a href="#Page_24">24</a>;</span><br />
<span style="margin-left: 1em;">"Solace of Song," <a href="#Page_24">24</a>;</span><br />
<span style="margin-left: 1em;">"Dentatus," <a href="#Page_49">49</a>, <a href="#Page_88">88</a>, <a href="#Page_89">89</a>.</span><br />
<br />
Hassam, F. Childe, <a href="#Page_126">126</a>, <a href="#Page_127">127</a>.<br />
<br />
Hatherell, W. H., <a href="#Page_105">105</a>.<br />
<br />
Haug, Robert, <a href="#Page_75">75</a>.<br />
<br />
Haydon's "Dentatus," <a href="#Page_49">49</a>.<br />
<br />
Hendriksen, <a href="#Page_48">48</a>, <a href="#Page_73">73</a>.<br />
<br />
Hengler, <a href="#Page_77">77</a>.<br />
<br />
Henley, W. E., <a href="#Page_xvi">xvi</a>.<br />
<br />
Hennessy, W. J., <a href="#Page_xvi">xvi</a>.<br />
<br />
"Herbals," The, <a href="#Page_37">37</a>.<br />
<br />
Herford, Oliver, <a href="#Page_127">127</a>.<br />
<br />
Herkomer, Prof. H., <a href="#Page_86">86</a>;<br />
<span style="margin-left: 1em;">Hardy's "Tess," <a href="#Page_101">101</a>.</span><br />
<br />
"Histoire de Mobilier," <a href="#Page_51">51</a>.<br />
<br />
"Histoire du Roi de Bohème," <a href="#Page_18">18</a>.<br />
<br />
"Historical and Legendary Ballads," <a href="#Page_94">94</a>, <a href="#Page_95">95</a>, <a href="#Page_102">102</a>.<br />
<br />
<i>Hobby Horse, The</i>, <a href="#Page_108">108</a>.<br />
<br />
Hogarth, W., <a href="#Page_7">7</a>.<br />
<br />
Holbein, Hans, <a href="#Page_4">4</a>, <a href="#Page_7">7</a>;<br />
<span style="margin-left: 1em;">"Dance of Death," <a href="#Page_34">34</a>, <a href="#Page_36">36</a>.</span><br />
<br />
Hole, W., <a href="#Page_72">72</a>, <a href="#Page_111">111</a>.<br />
<br />
Holl, F., <a href="#Page_86">86</a>.<br />
<br />
Homer, Winslow, <a href="#Page_29">29</a>.<br />
<br />
Hooper, W. H., <a href="#Page_xvi">xvi</a>, <a href="#Page_28">28</a>, <a href="#Page_48">48</a>, <a href="#Page_109">109</a>.<br />
<br />
Horne, Herbert, <a href="#Page_108">108</a>.<br />
<br />
Horsley, G. C., <a href="#Page_111">111</a>.<br />
<br />
Houghton, A. Boyd, <a href="#Page_xvi">xvi</a>, <a href="#Page_27">27</a>, <a href="#Page_84">84</a>, <a href="#Page_86">86</a>, <a href="#Page_88">88</a>, <a href="#Page_90">90</a>;<br />
<span style="margin-left: 1em;">"Arabian Nights," <a href="#Page_92">92</a>;</span><br />
<span style="margin-left: 1em;">Housman on his work, <a href="#Page_92">92</a>;</span><br />
<span style="margin-left: 1em;">"Home Thoughts and Home Scenes," <a href="#Page_92">92</a>;</span><br />
<span style="margin-left: 1em;">"Don Quixote," <a href="#Page_92">92</a>;</span><br />
<span style="margin-left: 1em;">"Kuloff's Fables," <a href="#Page_92">92</a>;</span><br />
<span style="margin-left: 1em;"><i>Graphic</i> drawings, <a href="#Page_92">92</a>;</span><br />
<span style="margin-left: 1em;">"National Nursery Rhymes," <a href="#Page_93">93</a>;</span><br />
<span style="margin-left: 1em;">"The North Coast," <a href="#Page_94">94</a>, <a href="#Page_95">95</a>, <a href="#Page_101">101</a>.</span><br />
<br />
Housman, Laurence, <a href="#Page_xvi">xvi</a>, <a href="#Page_92">92</a>;<br />
<span style="margin-left: 1em;">"Goblin Market," <a href="#Page_106">106</a>.</span><br />
<br />
Huertas, <a href="#Page_79">79</a>.<br />
<br />
Huet, Paul, <a href="#Page_17">17</a>, <a href="#Page_20">20</a>.<br />
<br />
Hughes, Arthur, illustrations to Christina Rossetti's "Sing Song," <a href="#Page_xxiv">xxiv</a>, <a href="#Page_88">88</a>, <a href="#Page_96">96</a>;<br />
<span style="margin-left: 1em;">"Tom Brown's School-days," <a href="#Page_96">96</a>.</span><br />
<br />
Hugo's, V., works, "Edition Nationale," <a href="#Page_64">64</a>.<br />
<br />
Hunt, Holman, "Lady of Shalott," <a href="#Page_88">88</a>, <a href="#Page_90">90</a>.<br />
<br />
"Hypnerotomachia," <a href="#Page_4">4</a>.<br />
<br />
<br />
Ibels, <a href="#Page_66">66</a>.<br />
<br />
Icke, H. J., <a href="#Page_72">72</a>.<br />
<span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span><br />
Illumination, <a href="#Page_3">3</a>.<br />
<br />
<i>Illustracion Artistica</i>, <a href="#Page_71">71</a>.<br />
<br />
<i>Illustracion Española y Americana</i>, <a href="#Page_71">71</a>.<br />
<br />
<i>Illustrated London News</i>, <a href="#Page_27">27</a>, <a href="#Page_108">108</a>.<br />
<br />
<i>Illustration, L'</i>, <a href="#Page_51">51</a>, <a href="#Page_65">65</a>.<br />
<br />
Illustration, definition of, <a href="#Page_1">1</a>;<br />
<span style="margin-left: 1em;">compared to art, <a href="#Page_1">1</a>, <a href="#Page_2">2</a>;</span><br />
<span style="margin-left: 1em;">the old illustrator, <a href="#Page_2">2</a>;</span><br />
<span style="margin-left: 1em;">the court painters, <a href="#Page_2">2</a>;</span><br />
<span style="margin-left: 1em;">the subject and landscape painters, <a href="#Page_2">2</a>;</span><br />
<span style="margin-left: 1em;">illumination of MSS., <a href="#Page_3">3</a>;</span><br />
<span style="margin-left: 1em;">French illustration, <a href="#Page_24">24</a>;</span><br />
<span style="margin-left: 1em;">modern development in, <a href="#Page_33">33</a>;</span><br />
<span style="margin-left: 1em;">application of photography to, <a href="#Page_34">34</a>;</span><br />
<span style="margin-left: 1em;">increase in its popularity, <a href="#Page_34">34</a>;</span><br />
<span style="margin-left: 1em;">production of before the introduction of photography, <a href="#Page_36">36</a>;</span><br />
<span style="margin-left: 1em;">French, <a href="#Page_50">50-57</a>;</span><br />
<span style="margin-left: 1em;">decline of French work, <a href="#Page_52">52</a>;</span><br />
<span style="margin-left: 1em;">decay due to publishers, <a href="#Page_54">54</a>;</span><br />
<span style="margin-left: 1em;">Spanish, <a href="#Page_71">71</a>;</span><br />
<span style="margin-left: 1em;">Dutch, <a href="#Page_71">71</a>, <a href="#Page_72">72</a>;</span><br />
<span style="margin-left: 1em;">Belgian, Austrian, and Hungarian, <a href="#Page_72">72</a>;</span><br />
<span style="margin-left: 1em;">Russian and Scandinavian, <a href="#Page_73">73</a>;</span><br />
<span style="margin-left: 1em;">Danish, <a href="#Page_73">73</a>, <a href="#Page_74">74</a>;</span><br />
<span style="margin-left: 1em;">German, <a href="#Page_74">74</a>, <a href="#Page_75">75</a>;</span><br />
<span style="margin-left: 1em;">English, <a href="#Page_82">82</a>, <a href="#Page_84">84</a>;</span><br />
<span style="margin-left: 1em;">revival in England, <a href="#Page_96">96</a>;</span><br />
<span style="margin-left: 1em;">editors' bad judgments on, <a href="#Page_97">97</a>;</span><br />
<span style="margin-left: 1em;">their bad influence, <a href="#Page_97">97</a>;</span><br />
<span style="margin-left: 1em;">their ignorance, <a href="#Page_90">90</a>, <a href="#Page_99">99</a>;</span><br />
<span style="margin-left: 1em;">evils of modern reproductions, <a href="#Page_99">99</a>;</span><br />
<span style="margin-left: 1em;">ignorance of printers, <a href="#Page_100">100</a>;</span><br />
<span style="margin-left: 1em;">modern copies of obsolete fads, <a href="#Page_100">100</a>;</span><br />
<span style="margin-left: 1em;">colour printing, <a href="#Page_109">109</a>;</span><br />
<span style="margin-left: 1em;">American, <a href="#Page_113">113</a>, <a href="#Page_130">130</a>;</span><br />
<span style="margin-left: 1em;">reasons for American advance in, <a href="#Page_116">116</a>;</span><br />
<span style="margin-left: 1em;">daily papers, <a href="#Page_117">117</a>;</span><br />
<span style="margin-left: 1em;">future of modern, <a href="#Page_131">131-134</a>.</span><br />
<br />
<i>Illustrazion Italiana, L'</i>, <a href="#Page_71">71</a>.<br />
<br />
<i>Illustrirte Zeitung</i>, <a href="#Page_75">75</a>.<br />
<br />
Image, Selwyn, <a href="#Page_108">108</a>.<br />
<br />
Indexing of artists' works, <a href="#Page_xix">xix</a>, <a href="#Page_xx">xx</a>.<br />
<br />
Ingelow, Jean, "Poems," <a href="#Page_94">94</a>.<br />
<br />
"International Society of Wood Engravers," <a href="#Page_109">109</a>.<br />
<br />
Isabey, E., <a href="#Page_17">17</a>, <a href="#Page_20">20</a>.<br />
<br />
Ispen, L. S., <a href="#Page_124">124</a>.<br />
<br />
Ives' method of engraving, <a href="#Page_40">40</a>.<br />
<br />
<br />
Jackson, Mason, "The Pictorial Press," <a href="#Page_xviii">xviii</a>, <a href="#Page_32">32</a>, <a href="#Page_115">115</a>.<br />
<br />
Jacobi, C. T., <a href="#Page_xvi">xvi</a>.<br />
<br />
Jacque, C., <a href="#Page_17">17</a>, <a href="#Page_20">20</a>;<br />
<span style="margin-left: 1em;">"Vicar of Wakefield," <a href="#Page_21">21</a>.</span><br />
<br />
Jacquemart, Jules, <a href="#Page_51">51</a>.<br />
<br />
Jeanniot, P. G., <a href="#Page_60">60</a>.<br />
<br />
Job, <a href="#Page_66">66</a>.<br />
<br />
Johannot, Tony, <a href="#Page_25">25</a>.<br />
<br />
Johannots, the Brothers, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>.<br />
<br />
Johnson, T., <a href="#Page_129">129</a>.<br />
<br />
Johnstone, J. M., <a href="#Page_xxiv">xxiv</a>.<br />
<br />
<i>Judge</i>, <a href="#Page_129">129</a>.<br />
<br />
Jüngling, Frederick, <a href="#Page_48">48</a>, <a href="#Page_129">129</a>.<br />
<br />
<br />
Kaulbach, <a href="#Page_76">76</a>.<br />
<br />
Keene, C., <a href="#Page_28">28</a>, <a href="#Page_38">38</a>, <a href="#Page_39">39</a>, <a href="#Page_84">84</a>, <a href="#Page_89">89</a>, <a href="#Page_90">90</a>, <a href="#Page_104">104</a>.<br />
<br />
<i>Keepsake</i>, <a href="#Page_13">13</a>, <a href="#Page_34">34</a>.<br />
<br />
Kepler, F., <a href="#Page_129">129</a>.<br />
<br />
King, F. S., <a href="#Page_129">129</a>.<br />
<br />
Kingsley's "Water Babies," <a href="#Page_102">102</a>.<br />
<br />
Kingsley, Elbridge, <a href="#Page_47">47</a>, <a href="#Page_48">48</a>, <a href="#Page_129">129</a>.<br />
<br />
Klinger, Max, <a href="#Page_76">76</a>;<br />
<span style="margin-left: 1em;">his method, <a href="#Page_77">77</a>;</span><br />
<span style="margin-left: 1em;">his "Apuleius," <a href="#Page_77">77</a>.</span><br />
<br />
Knight, Charles, <a href="#Page_24">24</a>.<br />
<br />
Koehler, S. R., <a href="#Page_130">130</a>.<br />
<br />
Konewka, Paul, <a href="#Page_76">76</a>;<br />
<span style="margin-left: 1em;">"Faust," <a href="#Page_76">76</a>.</span><br />
<br />
Kreull, G., <a href="#Page_48">48</a>, <a href="#Page_129">129</a>.<br />
<br />
Kreitzschmar, <a href="#Page_25">25</a>.<br />
<br />
<i>Kunst für Alle</i>, <a href="#Page_78">78</a>.<br />
<br />
<br />
Lacour, O., <a href="#Page_xxiv">xxiv</a>.<br />
<br />
La Farge, John, <a href="#Page_29">29</a>.<br />
<br />
Lalauze, A., <a href="#Page_64">64</a>.<br />
<br />
Lameyer, <a href="#Page_79">79</a>.<br />
<br />
Lami, E., <a href="#Page_23">23</a>.<br />
<br />
Landseer, Sir E., <a href="#Page_24">24</a>.<br />
<br />
Lang, A., "The Library," <a href="#Page_xviii">xviii</a>, <a href="#Page_81">81</a>;<br />
<span style="margin-left: 1em;">"Fairy Books," <a href="#Page_106">106</a>.</span><br />
<br />
Langton, first use of photography for book illustration, <a href="#Page_34">34</a>.<br />
<span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span><br />
<i>Lanterne, La</i>, <a href="#Page_54">54</a>.<br />
<br />
Lathrop's "Spanish Vistas," <a href="#Page_124">124</a>.<br />
<br />
Laurens, Jean Paul, <a href="#Page_61">61</a>.<br />
<br />
Lautrec, H. T., <a href="#Page_68">68</a>.<br />
<br />
<i>La Vie Moderne</i>, <a href="#Page_51">51</a>.<br />
<br />
Lavoignat, <a href="#Page_15">15</a>, <a href="#Page_17">17</a>, <a href="#Page_21">21</a>, <a href="#Page_24">24</a>.<br />
<br />
Lawless, M. J., <a href="#Page_89">89</a>.<br />
<br />
Leech, John, <a href="#Page_83">83</a>, <a href="#Page_84">84</a>, <a href="#Page_88">88</a>, <a href="#Page_89">89</a>.<br />
<br />
"Legend of the Portent," <a href="#Page_89">89</a>.<br />
<br />
Legrand, L., <a href="#Page_66">66</a>.<br />
<br />
Lehers, Max, <a href="#Page_77">77</a>.<br />
<br />
Leighton, Brothers, <a href="#Page_109">109</a>.<br />
<br />
Leighton, Sir F., <a href="#Page_28">28</a>, <a href="#Page_89">89</a>;<br />
<span style="margin-left: 1em;"><i>Cornhill</i> "Gallery," <a href="#Page_94">94</a>, <a href="#Page_95">95</a>.</span><br />
<br />
Leloir, M., <a href="#Page_25">25</a>, <a href="#Page_61">61</a>.<br />
<br />
Lemaire, Mme., <a href="#Page_62">62</a>.<br />
<br />
Lepère, A., <a href="#Page_18">18</a>, <a href="#Page_47">47</a>, <a href="#Page_51">51</a>, <a href="#Page_69">69</a>.<br />
<br />
Le Sage's "Diable Boiteux," <a href="#Page_21">21</a>.<br />
<br />
<i>Les Lettres et les Arts</i>, <a href="#Page_56">56</a>.<br />
<br />
Leveille, <a href="#Page_16">16</a>, <a href="#Page_24">24</a>, <a href="#Page_51">51</a>.<br />
<br />
Lhermitte, L., "La Vie Rustique," <a href="#Page_61">61</a>.<br />
<br />
"Liber Studiorum," <a href="#Page_27">27</a>.<br />
<br />
<i>Lidia, La</i>, <a href="#Page_79">79</a>.<br />
<br />
<i>Life</i>, <a href="#Page_126">126</a>, <a href="#Page_129">129</a>.<br />
<br />
Linnells, The, <a href="#Page_10">10</a>, <a href="#Page_11">11</a>;<br />
<span style="margin-left: 1em;">"The National Gallery," <a href="#Page_14">14</a>.</span><br />
<br />
Linton's "Engraving," <a href="#Page_xviii">xviii</a>;<br />
<span style="margin-left: 1em;">on engraver and artist, <a href="#Page_24">24</a>, <a href="#Page_28">28</a>, <a href="#Page_48">48</a>, <a href="#Page_86">86</a>, <a href="#Page_109">109</a>.</span><br />
<br />
Lithography, <a href="#Page_38">38</a>;<br />
<span style="margin-left: 1em;">work by Prout, Harding, Roberts, Nash, <a href="#Page_38">38</a>;</span><br />
<span style="margin-left: 1em;">revival in, <a href="#Page_109">109</a>;</span><br />
<span style="margin-left: 1em;"><i>Vanity Fair</i> and chromo-lithography, <a href="#Page_109">109</a>;</span><br />
<span style="margin-left: 1em;">photo-lithography, <a href="#Page_109">109</a>.</span><br />
<br />
Low, Will. H., <a href="#Page_126">126</a>.<br />
<br />
Lucena, Jiminez, <a href="#Page_79">79</a>.<br />
<br />
Luders, Hermann, <a href="#Page_75">75</a>.<br />
<br />
Lunel, F., <a href="#Page_61">61</a>.<br />
<br />
Lungren, F., <a href="#Page_126">126</a>.<br />
<br />
Lynch, Albert, "La Dame aux Camélias," <a href="#Page_62">62</a>.<br />
<br />
<br />
Macbeth, R. W., <a href="#Page_72">72</a>, <a href="#Page_111">111</a>.<br />
<br />
"Madame Chrysanthème," <a href="#Page_62">62</a>.<br />
<br />
<i>Magazin Pittoresque</i>, <a href="#Page_21">21</a>.<br />
<br />
Mahoney, T., "Scrambles amongst the Alps," <a href="#Page_94">94</a>, <a href="#Page_101">101</a>.<br />
<br />
Mallows, C. E., <a href="#Page_111">111</a>.<br />
<br />
Marchetti, <a href="#Page_64">64</a>.<br />
<br />
Marie, Adrian, <a href="#Page_65">65</a>.<br />
<br />
Marold, L., <a href="#Page_57">57</a>, <a href="#Page_72">72</a>, <a href="#Page_78">78</a>.<br />
<br />
Mars, <a href="#Page_66">66</a>, <a href="#Page_68">68</a>.<br />
<br />
May, Phil, <a href="#Page_104">104</a>;<br />
<span style="margin-left: 1em;">"The Parson and the Painter," <a href="#Page_104">104</a>.</span><br />
<br />
Meadows, Kenny, <a href="#Page_88">88</a>.<br />
<br />
Meggendorfer, <a href="#Page_77">77</a>.<br />
<br />
Meisenbach process, <a href="#Page_40">40</a>.<br />
<br />
Meissonier, J. L. E., <a href="#Page_8">8</a>, <a href="#Page_17">17</a>, <a href="#Page_20">20</a>;<br />
<span style="margin-left: 1em;">"Deux Joueurs," <a href="#Page_21">21</a>;</span><br />
<span style="margin-left: 1em;">"Contes Remois," <a href="#Page_24">24</a>, <a href="#Page_25">25</a>, <a href="#Page_50">50</a>, <a href="#Page_57">57</a>, <a href="#Page_60">60</a>, <a href="#Page_73">73</a>, <a href="#Page_74">74</a>, <a href="#Page_79">79</a>.</span><br />
<br />
Menzel, Adolph, <a href="#Page_xx">xx</a>, <a href="#Page_8">8</a>, <a href="#Page_24">24</a>;<br />
<span style="margin-left: 1em;">comparison with Bewick, <a href="#Page_25">25</a>;</span><br />
<span style="margin-left: 1em;">"Life of Frederick the Great," <a href="#Page_25">25</a>;</span><br />
<span style="margin-left: 1em;">"Paul et Virginie," <a href="#Page_25">25</a>, <a href="#Page_73">73</a>, <a href="#Page_74">74</a>;</span><br />
<span style="margin-left: 1em;">his genius and work, <a href="#Page_74">74</a>, <a href="#Page_75">75</a>, <a href="#Page_76">76</a>, <a href="#Page_88">88</a>, <a href="#Page_126">126</a>.</span><br />
<br />
Merson, Luc Ollivier, <a href="#Page_64">64</a>.<br />
<br />
Metal, engraving on, <a href="#Page_37">37</a>.<br />
<br />
Metcalfe, W. L., Stevenson's "The Wreckers," <a href="#Page_128">128</a>.<br />
<br />
Métivet, L., <a href="#Page_65">65</a>.<br />
<br />
Millais, Sir J. E., <a href="#Page_28">28</a>;<br />
<span style="margin-left: 1em;">"St. Agnes' Eve," <a href="#Page_88">88</a>, <a href="#Page_89">89</a>;</span><br />
<span style="margin-left: 1em;">"Parables," <a href="#Page_90">90-92</a>;</span><br />
<span style="margin-left: 1em;"><i>Cornhill</i> "Gallery," <a href="#Page_94">94</a>;</span><br />
<span style="margin-left: 1em;">Strahan's "Portfolio," <a href="#Page_94">94</a>.</span><br />
<br />
Millar, H. R., <a href="#Page_104">104</a>.<br />
<br />
Mitchell, G. C., <a href="#Page_111">111</a>.<br />
<br />
Mitchell, J. A., <i>Life</i>, <a href="#Page_129">129</a>.<br />
<br />
"Modern Painters," <a href="#Page_85">85</a>.<br />
<br />
<i>Monde Illustré, Le</i>, <a href="#Page_51">51</a>.<br />
<br />
Monnier, H., <a href="#Page_17">17</a>, <a href="#Page_23">23</a>.<br />
<br />
Montalti, "Cera una Volta," <a href="#Page_71">71</a>.<br />
<br />
Montbard, A., <a href="#Page_108">108</a>.<br />
<br />
Monvel, Boutet de, <a href="#Page_66">66</a>.<br />
<br />
Moran, Mrs. Mary Nimmo, <a href="#Page_130">130</a>.<br />
<br />
Moran, Thomas and Peter, <a href="#Page_30">30</a>, <a href="#Page_127">127</a>, <a href="#Page_128">128</a>, <a href="#Page_130">130</a>.<br />
<br />
Morin, Louis, <a href="#Page_63">63</a>.<br />
<br />
Morris, William, <a href="#Page_xvi">xvi</a>, <a href="#Page_108">108</a>.<br />
<span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span><br />
Morton, T., "Gulliver's Travels," <a href="#Page_93">93</a>.<br />
<br />
Moxon's "Tennyson," <a href="#Page_28">28</a>, <a href="#Page_88">88</a>;<br />
<span style="margin-left: 1em;">Macmillan's re-issue, <a href="#Page_101">101</a>.</span><br />
<br />
Muckley, L. F., <i>The Quest</i>, <a href="#Page_108">108</a>.<br />
<br />
Mulready, W., <a href="#Page_24">24</a>.<br />
<br />
Murray, C. O., <a href="#Page_111">111</a>.<br />
<br />
Myrbach, <a href="#Page_54">54</a>, <a href="#Page_62">62</a>, <a href="#Page_72">72</a>.<br />
<br />
<br />
Nash, <a href="#Page_38">38</a>.<br />
<br />
Nast, Thomas, <a href="#Page_30">30</a>.<br />
<br />
Nesbit, <a href="#Page_12">12</a>.<br />
<br />
<i>Neue Lithographem</i>, <a href="#Page_77">77</a>.<br />
<br />
New, E. H., <a href="#Page_108">108</a>.<br />
<br />
Newell, P., <a href="#Page_127">127</a>.<br />
<br />
Newspapers, illustrated, <a href="#Page_116">116</a>, <a href="#Page_117">117</a>.<br />
<br />
<i>New York Daily Graphic</i>, <a href="#Page_117">117</a>.<br />
<br />
Niepce, <a href="#Page_40">40</a>.<br />
<br />
North, J. W., <a href="#Page_35">35</a>, <a href="#Page_93">93</a>;<br />
<span style="margin-left: 1em;">"Wayside Posies" and Ingelow's "Poems," <a href="#Page_94">94</a>.</span><br />
<br />
Novello's "National Nursery Rhymes," <a href="#Page_93">93</a>.<br />
<br />
<br />
Oberländer, <a href="#Page_77">77</a>.<br />
<br />
"Odes and Sonnets," <a href="#Page_91">91</a>.<br />
<br />
"Old Christmas," <a href="#Page_86">86</a>.<br />
<br />
"Old Songs," <a href="#Page_106">106</a>.<br />
<br />
"Omar Khayyam," <a href="#Page_126">126</a>.<br />
<br />
<i>Once a Week</i>, <a href="#Page_xix">xix</a>, <a href="#Page_28">28</a>, <a href="#Page_84">84</a>, <a href="#Page_88">88-90</a>.<br />
<br />
Orrinsmith, H., <a href="#Page_xvi">xvi</a>, <a href="#Page_12">12</a>, <a href="#Page_57">57</a>.<br />
<br />
Overbeck, <a href="#Page_76">76</a>.<br />
<br />
Overend, W. H., <a href="#Page_108">108</a>.<br />
<br />
Overlays used by Bewick, <a href="#Page_xvi">xvi</a>, <a href="#Page_20">20</a>, <a href="#Page_21">21</a>.<br />
<br />
<br />
"Pablo de Ségovie," <a href="#Page_51">51</a>, <a href="#Page_54">54</a>, <a href="#Page_61">61</a>.<br />
<br />
Paget, Wal, <a href="#Page_105">105</a>.<br />
<br />
"Palace of Art, The," <a href="#Page_88">88</a>.<br />
<br />
<i>Pall Mall Gazette</i>, <a href="#Page_117">117</a>.<br />
<br />
<i>Pall Mall Magazine</i>, <a href="#Page_xix">xix</a>.<br />
<br />
Palmer, Samuel, <a href="#Page_xxiv">xxiv</a>.<br />
<br />
Pannemaker, <a href="#Page_32">32</a>, <a href="#Page_69">69</a>.<br />
<br />
Papier Gillot, <a href="#Page_71">71</a>.<br />
<br />
<i>Paris Illustré</i>, <a href="#Page_51">51</a>.<br />
<br />
Parrish, Stephen, <a href="#Page_130">130</a>.<br />
<br />
Parsons, Alfred, <a href="#Page_106">106</a>;<br />
<span style="margin-left: 1em;">"Old Songs," "A Quiet Life," "Wordsworth's Sonnets," and "The Warwickshire Avon," <a href="#Page_106">106</a>, <a href="#Page_124">124</a>.</span><br />
<br />
Parsons, Charles, <a href="#Page_114">114</a>.<br />
<br />
Partridge, J. Bernard, <a href="#Page_106">106</a>.<br />
<br />
Paterson, R., <a href="#Page_xxiv">xxiv</a>.<br />
<br />
Paul, Rowland, <a href="#Page_111">111</a>.<br />
<br />
Pegram, F., <a href="#Page_104">104</a>.<br />
<br />
"Pen Drawing and Pen Draughtsmen," <a href="#Page_35">35</a>.<br />
<br />
<i>Penny Magazine</i>, <a href="#Page_24">24</a>.<br />
<br />
Perea, D., <a href="#Page_79">79</a>.<br />
<br />
Perugini, Carlo, <a href="#Page_109">109</a>.<br />
<br />
Perugino's "The Holy Family," <a href="#Page_10">10</a>.<br />
<br />
<i>Petit Journal, Le</i>, <a href="#Page_54">54</a>.<br />
<br />
Pettie, J., <a href="#Page_90">90</a>.<br />
<br />
"Phiz" (H. K. Browne), <a href="#Page_83">83</a>.<br />
<br />
Photography applied to book illustration, <a href="#Page_34">34</a>;<br />
<span style="margin-left: 1em;"><i>Art Student</i>, 1865, <a href="#Page_35">35</a>;</span><br />
<span style="margin-left: 1em;">fairly general in 1870, <a href="#Page_36">36</a>;</span><br />
<span style="margin-left: 1em;">photographing of drawings in line upon a metal plate or gelatine film, <a href="#Page_40">40</a>;</span><br />
<span style="margin-left: 1em;">"half-tone" process, <a href="#Page_40">40</a>;</span><br />
<span style="margin-left: 1em;">Meisenbach process, <a href="#Page_40">40</a>;</span><br />
<span style="margin-left: 1em;">Ives' method, <a href="#Page_40">40</a>.</span><br />
<br />
Piaud, <a href="#Page_17">17</a>.<br />
<br />
Pickering's "Alphabet," <a href="#Page_19">19</a>.<br />
<br />
"Pictures of English Landscape," <a href="#Page_91">91</a>.<br />
<br />
"Pictures in Words," <a href="#Page_91">91</a>.<br />
<br />
"Picturesque America," <a href="#Page_31">31</a>, <a href="#Page_127">127</a>.<br />
<br />
"Picturesque Europe," <a href="#Page_31">31</a>.<br />
<br />
Pille, Henri, <a href="#Page_61">61</a>.<br />
<br />
Pinturicchio, <a href="#Page_3">3</a>.<br />
<br />
Pinwell, G. J., <a href="#Page_27">27</a>, <a href="#Page_35">35</a>, <a href="#Page_39">39</a>, <a href="#Page_86">86</a>, <a href="#Page_88">88</a>, <a href="#Page_90">90</a>, <a href="#Page_92">92</a>;<br />
<span style="margin-left: 1em;">"Goldsmith's Works," <a href="#Page_93">93</a>;</span><br />
<span style="margin-left: 1em;">"Wayside Posies" and Ingelow's "Poems," <a href="#Page_94">94</a>;</span><br />
<span style="margin-left: 1em;">"English Rustic Pictures," <a href="#Page_95">95</a>.</span><br />
<br />
Piranesi, <a href="#Page_7">7</a>.<br />
<br />
Pisan, <a href="#Page_17">17</a>.<br />
<span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span><br />
Pissarro, L., <a href="#Page_105">105</a>.<br />
<br />
Pite, A. B., <a href="#Page_111">111</a>.<br />
<br />
Plantin Museum, <a href="#Page_36">36</a>.<br />
<br />
Platt, Charles A., <a href="#Page_130">130</a>.<br />
<br />
"Poets of the Nineteenth Century," <a href="#Page_xxiv">xxiv</a>.<br />
<br />
Poirret, <a href="#Page_17">17</a>.<br />
<br />
Poirson, V. A., <a href="#Page_61">61</a>.<br />
<br />
Pollard, A. W., <a href="#Page_xv">xv</a>.<br />
<br />
Pons, Angel, <a href="#Page_79">79</a>.<br />
<br />
Powell, Miss C. A., <a href="#Page_129">129</a>.<br />
<br />
Poynter, E. J., <a href="#Page_95">95</a>.<br />
<br />
Prado, The, <a href="#Page_80">80</a>.<br />
<br />
Pranishnikoff, <a href="#Page_73">73</a>.<br />
<br />
<i>Premières Illustrées, Les</i>, <a href="#Page_61">61</a>.<br />
<br />
Pre-Raphaelites, <a href="#Page_xxii">xxii</a>, <a href="#Page_76">76</a>, <a href="#Page_88">88</a>, <a href="#Page_98">98</a>.<br />
<br />
Prior, Melton, <a href="#Page_112">112</a>.<br />
<br />
"Process," art of, <a href="#Page_41">41</a>;<br />
<span style="margin-left: 1em;">Meisenbach, <a href="#Page_40">40</a>;</span><br />
<span style="margin-left: 1em;">comparison with wood-engraving, <a href="#Page_41">41-43</a>;</span><br />
<span style="margin-left: 1em;">method of, <a href="#Page_42">42</a>;</span><br />
<span style="margin-left: 1em;">application of photography, <a href="#Page_42">42</a>;</span><br />
<span style="margin-left: 1em;">for "line" work, <a href="#Page_42">42</a>;</span><br />
<span style="margin-left: 1em;">use of swelled gelatine, <a href="#Page_42">42</a>;</span><br />
<span style="margin-left: 1em;">photogravure of Amand Durand, <a href="#Page_44">44</a>;</span><br />
<span style="margin-left: 1em;">black-and-white drawings reproduced in, <a href="#Page_44">44</a>;</span><br />
<span style="margin-left: 1em;">wash reproductions by, <a href="#Page_44">44</a>;</span><br />
<span style="margin-left: 1em;">advantages of, over engraving, <a href="#Page_45">45</a>;</span><br />
<span style="margin-left: 1em;">flat washes, <a href="#Page_45">45</a>;</span><br />
<span style="margin-left: 1em;">objections to, <a href="#Page_45">45</a>;</span><br />
<span style="margin-left: 1em;">object of, <a href="#Page_46">46</a>;</span><br />
<span style="margin-left: 1em;">not a "mechanical makeshift," <a href="#Page_46">46</a>;</span><br />
<span style="margin-left: 1em;">answers to criticisms on, <a href="#Page_46">46</a>;</span><br />
<span style="margin-left: 1em;">bound to supersede wood-engraving, <a href="#Page_48">48</a>;</span><br />
<span style="margin-left: 1em;">Gillotage, <a href="#Page_51">51</a>;</span><br />
<span style="margin-left: 1em;">Guillaume half-tone process, <a href="#Page_62">62</a>;</span><br />
<span style="margin-left: 1em;">bad process work, <a href="#Page_96">96</a>.</span><br />
<br />
Proctor, J., <a href="#Page_102">102</a>.<br />
<br />
Prout, S., <a href="#Page_38">38</a>, <a href="#Page_110">110</a>, <a href="#Page_111">111</a>.<br />
<br />
<i>Puck</i>, <a href="#Page_129">129</a>.<br />
<br />
<i>Punch</i>, <a href="#Page_27">27</a>, <a href="#Page_106">106</a>, <a href="#Page_129">129</a>.<br />
<br />
Pyle, Howard, <a href="#Page_124">124</a>, <a href="#Page_125">125</a>.<br />
<br />
Pyle, Miss Katharine, <a href="#Page_127">127</a>.<br />
<br />
<br />
"Quatre fils d'Aymon," <a href="#Page_63">63</a>.<br />
<br />
<i>Quest, The</i>, <a href="#Page_108">108</a>.<br />
<br />
"Quiet Life," <a href="#Page_106">106</a>.<br />
<br />
<i>Quotidien Illustré</i>, <a href="#Page_117">117</a>.<br />
<br />
<br />
Raffaëlli, J. F., <a href="#Page_65">65</a>.<br />
<br />
Raffet, <a href="#Page_17">17</a>, <a href="#Page_60">60</a>.<br />
<br />
Railton, Herbert, <a href="#Page_105">105</a>.<br />
<br />
Rainey, W., <a href="#Page_108">108</a>.<br />
<br />
Ramos, F. Garcia y, "La Tierra di Maria Santissima," <a href="#Page_79">79</a>.<br />
<br />
Ratdolt, E., <a href="#Page_5">5</a>.<br />
<br />
Raven-Hill, L., <a href="#Page_104">104</a>, <a href="#Page_115">115</a>.<br />
<br />
Read, S., <a href="#Page_88">88</a>, <a href="#Page_112">112</a>.<br />
<br />
Redwood, A. C., <a href="#Page_126">126</a>, <a href="#Page_128">128</a>.<br />
<br />
Reed, E. T., <a href="#Page_106">106</a>.<br />
<br />
Régamey, Felix, <a href="#Page_65">65</a>.<br />
<br />
Reid, Sir George, <a href="#Page_106">106</a>;<br />
<span style="margin-left: 1em;">"Johnny Gibb," "The River Tweed and the River Clyde," <a href="#Page_107">107</a>.</span><br />
<br />
Reinecke, René, <a href="#Page_78">78</a>.<br />
<br />
Reinhart, G. S., "Spanish Vistas," <a href="#Page_124">124</a>.<br />
<br />
Rembrandt, <a href="#Page_2">2</a>, <a href="#Page_3">3</a>;<br />
<span style="margin-left: 1em;">Etchings of, <a href="#Page_4">4</a>, <a href="#Page_88">88</a>.</span><br />
<br />
Remington, F., "Hunting Trips of a Ranchman," <a href="#Page_126">126</a>.<br />
<br />
Renouard, Paul, <a href="#Page_65">65</a>.<br />
<br />
Répine, <a href="#Page_73">73</a>.<br />
<br />
Retzche's "Shakespeare," <a href="#Page_76">76</a>.<br />
<br />
<i>Revue Illustré, La</i>, <a href="#Page_51">51</a>.<br />
<br />
Ricketts, Charles, <a href="#Page_105">105</a>;<br />
<span style="margin-left: 1em;">"Daphnis and Chloe," <a href="#Page_105">105</a>.</span><br />
<br />
Rico, <a href="#Page_50">50</a>, <a href="#Page_71">71</a>, <a href="#Page_79">79</a>, <a href="#Page_126">126</a>.<br />
<br />
Riou, <a href="#Page_65">65</a>.<br />
<br />
Roberts, C., <a href="#Page_xxiii">xxiii</a>.<br />
<br />
Roberts, D., <a href="#Page_38">38</a>.<br />
<br />
Robida, "Rabelais," <a href="#Page_63">63</a>.<br />
<br />
Rochegrosse, G., <a href="#Page_61">61</a>.<br />
<br />
Roehle, <a href="#Page_18">18</a>.<br />
<br />
Rogers' "Italy," <a href="#Page_38">38</a>;<br />
<span style="margin-left: 1em;">"Poems," <a href="#Page_11">11</a>, <a href="#Page_12">12</a>, <a href="#Page_18">18</a>.</span><br />
<br />
Rops, Félicien, <a href="#Page_63">63</a>.<br />
<br />
Rossetti, C., "Goblin Market," <a href="#Page_106">106</a>.<br />
<br />
Rossetti, D. G., <a href="#Page_xvii">xvii</a>, <a href="#Page_27">27</a>, <a href="#Page_35">35</a>, <a href="#Page_85">85</a>;<br />
<span style="margin-left: 1em;">"The Palace of Art," "Sir Galahad," <a href="#Page_88">88</a>, <a href="#Page_98">98</a>;</span><br />
<span style="margin-left: 1em;">his influence and motives, <a href="#Page_98">98</a>.</span><br />
<br />
Rossi, <a href="#Page_54">54</a>, <a href="#Page_62">62</a>, <a href="#Page_128">128</a>.<br />
<span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span><br />
Rowlandson, <a href="#Page_84">84</a>.<br />
<br />
Rubens, sketches for title-pages, <a href="#Page_4">4</a>, <a href="#Page_11">11</a>.<br />
<br />
Ruskin, J., <a href="#Page_28">28</a>, <a href="#Page_85">85</a>, <a href="#Page_93">93</a>.<br />
<br />
Russell, W. W., <a href="#Page_104">104</a>.<br />
<br />
Ryland, Henry, <a href="#Page_108">108</a>.<br />
<br />
<br />
Sala, G. A., <a href="#Page_89">89</a>.<br />
<br />
Sambourne, Linley, <a href="#Page_101">101</a>;<br />
<span style="margin-left: 1em;">"Water Babies," <a href="#Page_102">102</a>;</span><br />
<span style="margin-left: 1em;"><i>Punch</i> work, <a href="#Page_102">102</a>.</span><br />
<br />
Sandys, Frederick, <a href="#Page_xv">xv</a>, <a href="#Page_27">27</a>;<br />
<span style="margin-left: 1em;">"Amor Mundi," <a href="#Page_35">35</a>, <a href="#Page_39">39</a>, <a href="#Page_84">84</a>, <a href="#Page_88">88-90</a>;</span><br />
<span style="margin-left: 1em;"><i>Cornhill</i> "Gallery," <a href="#Page_94">94</a>;</span><br />
<span style="margin-left: 1em;">"Legendary Ballads," <a href="#Page_95">95</a>, <a href="#Page_101">101</a>, <a href="#Page_108">108</a>.</span><br />
<br />
Savage, Reginald, <a href="#Page_105">105</a>.<br />
<br />
Schlittgen, H., <a href="#Page_78">78</a>.<br />
<br />
Schwæbe, C., <a href="#Page_63">63</a>, <a href="#Page_77">77</a>.<br />
<br />
"Scrambles amongst the Alps," <a href="#Page_94">94</a>, <a href="#Page_101">101</a>.<br />
<br />
<i>Scribner's Magazine</i>, <a href="#Page_116">116</a>.<br />
<br />
Séon, <a href="#Page_64">64</a>.<br />
<br />
Seymour, G. L., <a href="#Page_105">105</a>.<br />
<br />
Shannon, C. H., <a href="#Page_105">105</a>;<br />
<span style="margin-left: 1em;">"Daphnis and Chloe," <a href="#Page_105">105</a>.</span><br />
<br />
Shepherd, W. L., <a href="#Page_30">30</a>, <a href="#Page_126">126</a>.<br />
<br />
Shields, Frederick, <a href="#Page_xvi">xvi</a>, <a href="#Page_39">39</a>, <a href="#Page_84">84</a>;<br />
<span style="margin-left: 1em;">Defoe's "Plague," <a href="#Page_101">101</a>.</span><br />
<br />
<i>Shilling Magazine</i>, <a href="#Page_28">28</a>, <a href="#Page_35">35</a>, <a href="#Page_84">84</a>, <a href="#Page_88">88</a>, <a href="#Page_90">90</a>.<br />
<br />
Short, Frank, <a href="#Page_72">72</a>, <a href="#Page_111">111</a>.<br />
<br />
Simpson, William, <a href="#Page_112">112</a>.<br />
<br />
Singer, Dr. Hans, <a href="#Page_xv">xv</a>.<br />
<br />
Small, W., <a href="#Page_27">27</a>, <a href="#Page_101">101</a>, <a href="#Page_103">103</a>.<br />
<br />
Smedley, W. T., "Sketches of American Watering-places," <a href="#Page_124">124</a>.<br />
<br />
Smeeton, <a href="#Page_18">18</a>.<br />
<br />
Smillie, J. D., <a href="#Page_130">130</a>.<br />
<br />
Smith, F. Hopkinson, <a href="#Page_127">127</a>.<br />
<br />
"Sociétés Anonymes," <a href="#Page_54">54</a>.<br />
<br />
"Solace of Song," <a href="#Page_24">24</a>.<br />
<br />
Solomon, S., <a href="#Page_95">95</a>.<br />
<br />
Sourel, "Insects Injurious to Vegetation," <a href="#Page_31">31</a>.<br />
<br />
South Kensington Museum, <a href="#Page_xv">xv</a>, <a href="#Page_xix">xix</a>, <a href="#Page_xx">xx</a>, <a href="#Page_36">36</a>.<br />
<br />
"Spanish Scenes," <a href="#Page_79">79</a>.<br />
<br />
<i>Spectator</i>, <a href="#Page_xviii">xviii</a>.<br />
<br />
Speed, Lancelot, <a href="#Page_106">106</a>.<br />
<br />
Spielmeyer, W., <a href="#Page_xxiv">xxiv</a>.<br />
<br />
"Spy," <a href="#Page_109">109</a>.<br />
<br />
<i>St. Stephen's Review</i>, <a href="#Page_104">104</a>.<br />
<br />
Stacey, W. S., <a href="#Page_108">108</a>.<br />
<br />
Stainforth, M., <a href="#Page_xxiv">xxiv</a>.<br />
<br />
Staniland, C. J., <a href="#Page_108">108</a>.<br />
<br />
Stationers' Hall, Exhibition of Wood-Engravings, March, 1895, <a href="#Page_xxiii">xxiii</a>.<br />
<br />
Steinhausen, W., <a href="#Page_77">77</a>.<br />
<br />
Steinlen, <a href="#Page_57">57</a>, <a href="#Page_66">66</a>;<br />
<span style="margin-left: 1em;">Bruant's "Dans la Rue," <a href="#Page_68">68</a>.</span><br />
<br />
Stephens, Mrs. Alice B., <a href="#Page_127">127</a>.<br />
<br />
Sterne's "Sentimental Journey," <a href="#Page_61">61</a>.<br />
<br />
Stevenson's "The Wreckers," <a href="#Page_128">128</a>.<br />
<br />
"Stones of Venice," <a href="#Page_85">85</a>.<br />
<br />
Stothard, T., <a href="#Page_9">9</a>, <a href="#Page_10">10</a>;<br />
<span style="margin-left: 1em;">"The Pilgrim's Progress," <a href="#Page_11">11</a>;</span><br />
<span style="margin-left: 1em;">Richardson's "Novels," <a href="#Page_11">11</a>;</span><br />
<span style="margin-left: 1em;">Rogers' "Poems," <a href="#Page_11">11-13</a>, <a href="#Page_18">18</a>;</span><br />
<span style="margin-left: 1em;">"Alphabet," <a href="#Page_19">19</a>, <a href="#Page_24">24</a>.</span><br />
<br />
Strahan, A., <a href="#Page_xvi">xvi</a>.<br />
<br />
Strang, William, <a href="#Page_111">111</a>.<br />
<br />
Strange, E. F., <a href="#Page_xv">xv</a>.<br />
<br />
Stroebel, <a href="#Page_78">78</a>.<br />
<br />
Stück, Franz, <a href="#Page_77">77</a>.<br />
<br />
Sullivan, E. J., <a href="#Page_104">104</a>.<br />
<br />
Sullivan, J. F., <a href="#Page_102">102</a>.<br />
<br />
Sumner, Heywood, <a href="#Page_108">108</a>.<br />
<br />
<i>Sunday Magazine</i>, <a href="#Page_90">90</a>.<br />
<br />
<i>Supplement Littéraire et Artistique</i>, <a href="#Page_54">54</a>.<br />
<br />
Swain, J., <a href="#Page_28">28</a>, <a href="#Page_35">35</a>, <a href="#Page_90">90</a>, <a href="#Page_109">109</a>.<br />
<br />
<br />
"Tartarin de Tarascon," <a href="#Page_52">52</a>, <a href="#Page_61">61</a>.<br />
<br />
Taylor, Tom, <a href="#Page_83">83</a>;<br />
<span style="margin-left: 1em;">"Pictures in Words," <a href="#Page_91">91</a>.</span><br />
<br />
Tegner, Hans, <a href="#Page_73">73</a>;<br />
<span style="margin-left: 1em;">drawings for Holberg's "Comedies," <a href="#Page_73">73</a>.</span><br />
<span class='pagenum'><a name="Page_145" id="Page_145">[Pg 145]</a></span><br />
Tenniel, Sir J., <a href="#Page_28">28</a>, <a href="#Page_89">89</a>, <a href="#Page_92">92</a>;<br />
<span style="margin-left: 1em;">"Alice in Wonderland," "Legendary Ballads," <a href="#Page_102">102</a>.</span><br />
<br />
Thackeray, W. M., <a href="#Page_12">12</a>, <a href="#Page_83">83</a>, <a href="#Page_89">89</a>;<br />
<span style="margin-left: 1em;">"Roundabout Papers," <a href="#Page_90">90</a>.</span><br />
<br />
Thoma, H., <a href="#Page_77">77</a>.<br />
<br />
Thomas, G. H., <a href="#Page_xxiv">xxiv</a>.<br />
<br />
Thomas, W. L., <a href="#Page_115">115</a>.<br />
<br />
Thompson, Charles, <a href="#Page_14">14</a>, <a href="#Page_15">15</a>, <a href="#Page_16">16</a>.<br />
<br />
Thompson, John, Hogarth's Works, <a href="#Page_13">13</a>.<br />
<br />
Thompsons, the, <a href="#Page_12">12</a>;<br />
<span style="margin-left: 1em;">Cruikshank's Work, <a href="#Page_24">24</a>.</span><br />
<br />
Thomson, D. C., <a href="#Page_115">115</a>.<br />
<br />
Thomson, Hugh, <a href="#Page_105">105</a>.<br />
<br />
Thulstrup, T. de, <a href="#Page_127">127</a>.<br />
<br />
Thurston's Butler's "Hudibras," <a href="#Page_19">19</a>, <a href="#Page_20">20</a>;<br />
<span style="margin-left: 1em;">"Tasso," <a href="#Page_21">21</a>, <a href="#Page_24">24</a>.</span><br />
<br />
Tilt's, "Gardens and Menageries of the Zoological Society Delineated," <a href="#Page_21">21</a>.<br />
<br />
Tinkey, J., <a href="#Page_129">129</a>.<br />
<br />
"Tierra di Maria Santissima, La," <a href="#Page_79">79</a>.<br />
<br />
Titian's "Ariadne and Bacchus," <a href="#Page_14">14</a>.<br />
<br />
Tofani, <a href="#Page_64">64</a>.<br />
<br />
"Tom Brown's School-days," <a href="#Page_96">96</a>.<br />
<br />
Toudouze, Edouard, <a href="#Page_62">62</a>.<br />
<br />
Townsend, Horace, <a href="#Page_xvi">xvi</a>.<br />
<br />
Trevès, Fratelli, <a href="#Page_70">70</a>.<br />
<br />
Tristram's "Coaching Days and Coaching Ways," <a href="#Page_105">105</a>.<br />
<br />
<br />
<i>Ueber Land und Meer</i>, <a href="#Page_75">75</a>.<br />
<br />
Unger, J. F. G., <a href="#Page_75">75</a>.<br />
<br />
Unzelmann, <a href="#Page_25">25</a>, <a href="#Page_74">74</a>.<br />
<br />
Uzanne, Octave, <a href="#Page_56">56</a>, <a href="#Page_62">62</a>.<br />
<br />
<br />
Valloton, F., <a href="#Page_69">69</a>;<br />
<span style="margin-left: 1em;">"Enterrement en Province," <a href="#Page_69">69</a>.</span><br />
<br />
<i>Vanity Fair</i>, <a href="#Page_109">109</a>.<br />
<br />
Vebers, the, <a href="#Page_64">64</a>.<br />
<br />
Vedder, Elihu, "Omar Khayyam," <a href="#Page_126">126</a>.<br />
<br />
Velasquez, portraits of, <a href="#Page_2">2</a>, <a href="#Page_80">80</a>.<br />
<br />
Veronese, <a href="#Page_2">2</a>, <a href="#Page_3">3</a>.<br />
<br />
Vierge, Daniel, <a href="#Page_19">19</a>, <a href="#Page_51">51</a>, <a href="#Page_54">54</a>, <a href="#Page_61">61</a>, <a href="#Page_71">71</a>, <a href="#Page_79">79</a>, <a href="#Page_80">80</a>, <a href="#Page_126">126</a>.<br />
<br />
"Vie Rustique, La," <a href="#Page_61">61</a>.<br />
<br />
Villiers, F., <a href="#Page_112">112</a>.<br />
<br />
Vinne, Theodore de, <a href="#Page_120">120</a>.<br />
<br />
Vizetelly, H., <a href="#Page_27">27</a>.<br />
<br />
Vogels, the, <a href="#Page_25">25</a>, <a href="#Page_72">72</a>, <a href="#Page_74">74</a>, <a href="#Page_78">78</a>.<br />
<br />
<br />
Walker, Emery, <a href="#Page_xvi">xvi</a>.<br />
<br />
Walker, Fred., <a href="#Page_27">27</a>, <a href="#Page_39">39</a>, <a href="#Page_88">88</a>;<br />
<span style="margin-left: 1em;">"Adventures of Philip," <a href="#Page_90">90</a>, <a href="#Page_93">93</a>;</span><br />
<span style="margin-left: 1em;"><i>Cornhill</i> "Gallery," <a href="#Page_94">94</a>;</span><br />
<span style="margin-left: 1em;">"English Rustic Pictures," <a href="#Page_95">95</a>.</span><br />
<br />
War Correspondents and their work, <a href="#Page_112">112</a>.<br />
<br />
"Warwickshire Avon," <a href="#Page_106">106</a>.<br />
<br />
Watson, C. J., <a href="#Page_111">111</a>.<br />
<br />
Watson, J. D., <a href="#Page_92">92</a>.<br />
<br />
Watteau, <a href="#Page_7">7</a>.<br />
<br />
Way, Messrs., <a href="#Page_109">109</a>.<br />
<br />
"Wayside Posies," <a href="#Page_94">94</a>.<br />
<br />
Weir, Harrison, <a href="#Page_xv">xv</a>, <a href="#Page_xxiv">xxiv</a>, <a href="#Page_26">26</a>, <a href="#Page_30">30</a>, <a href="#Page_31">31</a>, <a href="#Page_103">103</a>.<br />
<br />
Whall, Christopher, <a href="#Page_108">108</a>.<br />
<br />
Whistler, J. M. N., <a href="#Page_xxii">xxii</a>;<br />
<span style="margin-left: 1em;">in <i>Daily Chronicle</i>, <a href="#Page_xxiii">xxiii</a>, <a href="#Page_84">84</a>, <a href="#Page_93">93</a>;</span><br />
<span style="margin-left: 1em;">"Legendary Ballads," <a href="#Page_95">95</a>;</span><br />
<span style="margin-left: 1em;">"Catalogue of Blue and White Nankin Porcelain," <a href="#Page_95">95</a>, <a href="#Page_101">101</a>.</span><br />
<br />
White, Gleeson, <a href="#Page_xiv">xiv</a>.<br />
<br />
Whittingham, C., <a href="#Page_21">21</a>.<br />
<br />
Whymper, <a href="#Page_90">90</a>;<br />
<span style="margin-left: 1em;">"Scrambles amongst the Alps," <a href="#Page_94">94</a>, <a href="#Page_101">101</a>.</span><br />
<br />
Wiles, Irving R., <a href="#Page_128">128</a>.<br />
<br />
Wilkie, Sir David, <a href="#Page_24">24</a>.<br />
<br />
Willette, A., <a href="#Page_66">66</a>, <a href="#Page_68">68</a>.<br />
<br />
Williamses, the, <a href="#Page_12">12</a>, <a href="#Page_15">15</a>, <a href="#Page_24">24</a>.<br />
<br />
Wilmot's, "Sacred Poetry," <a href="#Page_xxiv">xxiv</a>.<br />
<br />
Wilson, Edgar, <a href="#Page_104">104</a>.<br />
<br />
Wilson, Richard, <a href="#Page_11">11</a>.<br />
<br />
Wilson, T. Walter, <a href="#Page_108">108</a>.<br />
<br />
Wood-engraving, <a href="#Page_xvi">xvi</a>;<br />
<span style="margin-left: 1em;">early English, <a href="#Page_12">12-14</a>;</span><br />
<span style="margin-left: 1em;">French prize for, <a href="#Page_14">14</a>;</span><br />
<span style="margin-left: 1em;">rise of in France, <a href="#Page_16">16</a>;</span><br />
<span class='pagenum'><a name="Page_146" id="Page_146">[Pg 146]</a></span><span style="margin-left: 1em;">Bewick's influence, <a href="#Page_12">12</a>, <a href="#Page_17">17</a>;</span><br />
<span style="margin-left: 1em;">disappearance of, <a href="#Page_37">37</a>;</span><br />
<span style="margin-left: 1em;">methods of wood-engraving shops, <a href="#Page_38">38</a>;</span><br />
<span style="margin-left: 1em;">bad influence on the artists, <a href="#Page_39">39</a>;</span><br />
<span style="margin-left: 1em;">disappearance of the "wood-choppers" again, <a href="#Page_39">39</a>;</span><br />
<span style="margin-left: 1em;">replaced by photography, <a href="#Page_40">40</a>;</span><br />
<span style="margin-left: 1em;">progression of the art of, <a href="#Page_41">41</a>;</span><br />
<span style="margin-left: 1em;">advantages claimed for, <a href="#Page_41">41</a>;</span><br />
<span style="margin-left: 1em;">comparison to "process" work, <a href="#Page_41">41-43</a>;</span><br />
<span style="margin-left: 1em;">real duties of the engraver, <a href="#Page_47">47</a>;</span><br />
<span style="margin-left: 1em;">three great periods, <a href="#Page_47">47</a>;</span><br />
<span style="margin-left: 1em;">Japanese wood-cutting, <a href="#Page_48">48</a>;</span><br />
<span style="margin-left: 1em;">no danger in the hands of good artists, <a href="#Page_48">48</a>;</span><br />
<span style="margin-left: 1em;">modern facsimile wood-engraving, <a href="#Page_48">48</a>;</span><br />
<span style="margin-left: 1em;">bound to be superseded by "process" work, <a href="#Page_48">48</a>;</span><br />
<span style="margin-left: 1em;">bright outlook for, <a href="#Page_49">49</a>;</span><br />
<span style="margin-left: 1em;">revival in France, Germany, etc., <a href="#Page_57">57</a>, <a href="#Page_58">58</a>, <a href="#Page_75">75</a>;</span><br />
<span style="margin-left: 1em;">method of publication of the Dalziel books, <a href="#Page_91">91</a>;</span><br />
<span style="margin-left: 1em;">"International Society of Wood-Engravers," <a href="#Page_109">109</a>;</span><br />
<span style="margin-left: 1em;">American School of, <a href="#Page_114">114-116</a>;</span><br />
<span style="margin-left: 1em;">facsimile work in America, <a href="#Page_115">115</a>.</span><br />
<br />
Wolf, Henry, <a href="#Page_129">129</a>.<br />
<br />
Woods, H., <a href="#Page_86">86</a>.<br />
<br />
Woodville, R. Caton, <a href="#Page_108">108</a>.<br />
<br />
Woodward, J. D., "Picturesque Europe and America," <a href="#Page_31">31</a>, <a href="#Page_127">127</a>, <a href="#Page_128">128</a>.<br />
<br />
Wollen, W. B., <a href="#Page_108">108</a>.<br />
<br />
Wordsworth's "Sonnets," <a href="#Page_106">106</a>.<br />
<br />
Wolf, J., <a href="#Page_89">89</a>.<br />
<br />
Worf, A., <a href="#Page_xxiv">xxiv</a>.<br />
<br />
Wright, <a href="#Page_21">21</a>.<br />
<br />
Wyllie, W. L., <a href="#Page_108">108</a>.<br />
<br />
<br />
<i>Yellow Book</i>, <a href="#Page_xxii">xxii</a>, <a href="#Page_105">105</a>.<br />
<br />
<br />
Zogbaum, Rufus, <a href="#Page_128">128</a>.<br />
<br />
Zola's "Le Rêve," <a href="#Page_63">63</a>.<br />
</p>
<p> </p>
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</div>
<p class="center">
CHISWICK PRESS:—CHARLES WHITTINGHAM AND CO.<br />
TOOKS COURT, CHANCERY LANE, LONDON.
</p>
<div>*** END OF THE PROJECT GUTENBERG EBOOK 40322 ***</div>
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