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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..8f6350b --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #65994 (https://www.gutenberg.org/ebooks/65994) diff --git a/old/65994-0.txt b/old/65994-0.txt deleted file mode 100644 index 364dca7..0000000 --- a/old/65994-0.txt +++ /dev/null @@ -1,1892 +0,0 @@ -The Project Gutenberg eBook of Modern book illustrators and their work, by -Charles Geoffre Holme - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Modern book illustrators and their work - -Author: M. C. Salaman - -Editor: Charles Geoffre Holme - -Contributor: Ernest G. Halton - -Release Date: August 5, 2021 [eBook #65994] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Chuck Greif and the Online Distributed Proofreading Team at - http://www.pgdp.net (This file was produced from images - available at The Internet Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK MODERN BOOK ILLUSTRATORS AND THEIR -WORK *** - - - - - MODERN BOOK - ILLUSTRATORS - AND THEIR WORK - - - - - MODERN BOOK - ILLUSTRATORS - AND THEIR WORK - - EDITED BY C. GEOFFREY HOLME - AND ERNEST G. HALTON - - TEXT - BY M. C. SALAMAN - - - MCMXIV - “THE STUDIO” LTD. - LONDON, PARIS, NEW YORK - - - - -PREFATORY NOTE - - -The Editors desire to express their thanks to the artists whose work is -represented for the valuable assistance they have rendered in the -preparation of this volume. They also wish to acknowledge the courtesy -of the following publishers who have kindly given permission for -illustrations from their books to appear: Messrs. B. T. Batsford; -Messrs. George Bell and Sons; Messrs. A. and C. Black; Messrs. Blackie -and Son; Messrs. Chatto and Windus; Messrs. Constable and Co.; Messrs. -J. M. Dent and Sons; Mr. T. N. Foulis; Messrs. George G. Harrap and Co.; -Mr. William Heinemann; Messrs. Hodder and Stoughton; Mr. John Lane; -Messrs. Sampson Low, Marston, and Co.; Messrs. Macmillan and Co.; -Messrs. Maunsel and Co.; Mr. David Nutt; Messrs. Alston Rivers; Messrs. -Otto Schulze and Co.; and Mr. Philip Lee Warner. The title of the book -and the name of the publisher are given under each of these -illustrations. - -[Illustration: _BY EDMUND J. SULLIVAN. FROM “SARTOR RESARTUS”_ (_G. BELL -& SONS_)] - -[Illustration: _BY R. ANNING BELL. FROM “POEMS BY JOHN KEATS” (GEORGE -BELL & SONS)_] - - - - -LIST OF ARTISTS WHOSE WORK IS REPRODUCED IN THIS VOLUME - - -PAGE - -Armfield, Maxwell.....13 - -Ball, F. H......14 - -Batten, J. D......15-19 - -Bell, R. Anning, A.R.A., R.W.S......vi, viii, 20-25 - -Brangwyn, Frank, A.R.A., R.E., P.R.B.A......26-29 - -Brickdale, Eleanor Fortescue-, A.R.W.S......30-33 - -Brock, C. E......34-38 - -Brock, H. M., R.I......39-44 - -Bull, René.....45-48 - -Calthrop, Dion Clayton.....49-51 - -Cameron, D. Y., A.R.A., A.R.S.A., A.R.W.S......52 - -Campbell, John P......53-55 - -Clarke, Harry.....56, 57 - -Crane, Walter, R.W.S......58-60 - -Dulac, Edmund.....61-63 - -Elvery, Beatrice.....64 - -Flint, W. Russell, A.R.W.S......65 - -Griggs, F. L......67-70 - -Hankey, W. Lee, R.E......71-73 - -Hargrave, John.....74, 75 - -Henderson, Keith.....76 - -Hill, Vernon.....77-80 - -Horton, W. T......81-83 - -Jones, A. Garth.....84, 85 - -Jones, Sydney R......86-88 - -King, Jessie M......89-91 - -Maxwell, Donald.....92 - -Metcalfe, Gerald.....93-97 - -Nelson, Harold.....98-100 - -New, Edmund H......101-106 - -Orr, Monro S......107-109 - -Orr, Stewart.....110, 111 - -Park, Carton Moore.....112-116 - -Payne, Dorothy M......117, 118 - -Rackham, Arthur, R.W.S......119-124 - -Reynolds, Frank, R.I......125-128 - -Robertson, W. Graham, R.B.A......129-132 - -Robinson, Charles.....133-144 - -Robinson, W. Heath.....145-153 - -Rose, R. T......154, 155 - -Rountree, Harry.....156 - -Shaw, Byam, A.R.W.S......157-165 - -Sinclair, Helen M......166, 167 - -Southall, Joseph E......168 - -Sullivan, Edmund J., A.R.W.S......v, 169-174 - -Thomson, Hugh.....175-181 - -Wade, Charles.....182-184 - -Wiles, Frank.....185, 186 - -Williams, R. James.....187, 188 - -Yeats, Jack B., R.H.A......189-192 - -[Illustration: _BY R. ANNING BELL FROM “A MIDSUMMER NIGHT’S DREAM” (J. -M. DENT AND SONS)_] - - - - -BRITISH BOOK-ILLUSTRATION. BY MALCOLM C. SALAMAN - - -Who does not love a picture-book? Yet how few comparatively still love -it for anything but the pleasure of recognizing images mentally familiar -or readily suggested--personalities, incidents, scenes--irrespective of -any sensuous gratification from artistic qualities of presentation, of -design, of composition! How few, in short, appreciate the distinction -between illustration that is merely reproductive and illustration that -is both interpretative and decorative! This appreciation is certainly on -the increase, but, much as the artists and the makers of books are doing -to stimulate it, much remains to do. The appeal of the picture-book is -universal; but the Book Beautiful, in which the printed text and the -illustrative scheme are conceived as a decorative whole, is as yet a -rare thing. How much our joy in a book may be enhanced by pictorial -embellishment must depend, of course, upon our individual conception of -illustration in relation to the permanent elements of pictorial art. - -That most human of book-lovers, Charles Lamb, admitted that he preferred -to read Shakespeare, not in the First Folio, but in the common editions -with plates so execrably bad that they served as maps, or modest -remembrancers, to the text without pretending any supposable emulation -with it. But we must remember that Boydell’s Shakespeare Gallery -engravings were then the example--the awful example, one might say--of -the highest illustration of the poet, Sir John Gilbert’s vigorous -dramatic illustrative designs being, of course, of much later date. -Perhaps few of us would not have agreed with Lamb in his day. In our own -day, however, we have come to look in book-illustration for something -more than “maps, or modest remembrancers, to the text.” We are coming, -in fact, if we have not already come, to demand of illustration that it -shall not merely interpret for us the literary idea, or the mental image -suggested by it, but that it shall do this with decorative effect--that -it shall take its place upon the page with charm, dignity, and beauty. -We are thus aiming at a higher standard of artistic book-illustration, -which certain modern tendencies and achievements, as well as certain -wider developments in the crafts of reproduction, have enabled us to -conceive. - -I do not pretend, of course, that in all of the great mass of -book-illustration to-day there is any attempt to conform to this -artistic standard--though the general average is higher. Let us -therefore be clear as to what we mean by artistic illustration. To be -regarded as a work of art, I take it, any graphic illustration must be -composed of intrinsic decorative elements; its pictorial expression of -the visualized idea must be controlled by such qualities, with -harmonious balance, of form and tone as could in themselves give -satisfaction as design or pattern apart from any question of literary or -dramatic significance. When the expressive elements are perfectly fused -with the decorative, then we get great illustration which may outlive -all changes and fashions of taste. Thus, if we look with a sense of -pictorial art at William Blake’s illustrations to the Book of Job or his -own poems, at the noble woodcut designs of Millais, Sandys, Boyd -Houghton, and the other great illustrators of the “sixties,” or at -Aubrey Beardsley’s “Rape of the Lock” designs, we shall see why all -these illustrations are likely to live for their own sakes as works of -art, and we shall gather confidence in the permanent artistic value of -not a little of the book-illustration being done to-day. We shall also -understand why so much of the popular illustration of the period -immediately preceding the “sixties” has died with the literature that -called it forth; why even the immortal “Phiz” lives artistically chiefly -because the types and episodes he made visually familiar to us have long -been absorbed in our popular memories; why even the great George -Cruikshank, with his infinity of illustrative invention and wit, his -enormous range and facility of graphic expression, yet with his passion -for significant detail uncontrolled by the decorative instinct, seems -quite old-fashioned--old-fashioned as no drawing of Charles Keene’s, -whatever contemporary phase of life it presented, could ever become. - -The art of book-illustration in England has been of slow growth, and -till recent times its development has been sporadic. This has depended -largely on the mediums of reproduction which happened to be ready to the -designer’s hand, although on occasion men of genius, such as Blake and -Bewick, have found for themselves the means for their pictorial needs, -and have incidentally enriched the method’s possibilities. English -book-illustration can scarcely be said to have had any distinctive -existence before the eighteenth century, although the earliest printed -books had pictorial woodcuts upon their pages. These were of a more or -less primitive character, and bore little illustrative relation to the -literary text, being frequently of foreign origin and serving again and -again for various books. The printers would seem to have used them -without any definitely decorative or illustrative intention, and, as a -matter of fact, in the England of Caxton’s day, and for some decades -later, the graphic arts were not in a condition to offer much to the -service of the new art of printing. Native design had little artistic -significance, and English wood-engraving was still in the crudest -state, even at a time when in Germany Dürer, Burgkmair, Lucas -Cranach, and Holbein were using the woodcut for imperishable -illustration--imperishable because of its intrinsic artistic qualities. - -When, in the middle of the sixteenth century, copper-plate engraving was -belatedly introduced into this country it was soon employed to add to -the attractiveness of the printed book. Indeed, it is in the books of -the period that we must in a great measure trace the progress of the -engraver’s art in England, though the illustrator’s was still largely to -seek. Few books of any importance in the sixteenth and seventeenth -centuries were published without an engraved title-page or frontispiece, -or both, ornately designed, often with the author’s portrait set amid -allegorical or symbolic suggestions of the book’s contents. Many of -these pictorial title-pages and frontispieces have a quaint artistic -charm, though their significance is for the most part literary and -fantastic. Occasionally, as in the case of Elstrack’s ponderous -frontispiece to Sir Walter Raleigh’s “History of the World,” we find the -author thinking it necessary to explain “The Minde of the Front,” but, -as the engravers’ names only appeared on the plates, we must suppose -them to have been also the designers, and so we may associate with the -beginnings of book-illustration in this country the names of William -Hole, John Payne, William Marshall, Robert Vaughan, and others of the -early line-engravers. But illustration in any modern acceptance of the -term was not to be found in the books of the seventeenth century, -although occasionally among the pages would appear plates of a pictorial -character. - -The eighteenth century, however, saw a notable activity in the -illustrating of books, dating from the publication in 1726 of Hogarth’s -plates to Butler’s “Hudibras.” But perhaps the greatest stimulus to the -still groping art was the influence of the charming and fertile French -illustrator Gravelot, who lived and worked in London for some twenty -years in the first half of the century. His influence, sadly needed at -this time, was in the direction of grace and delicacy in visualizing the -mental image, and of the many English artists of the period who -addressed themselves to book-illustration none equalled the prolific -Thomas Stothard in the display of these qualities. The designs that -Stothard made in the course of his long career are practically -countless, and, with much work that was feeble or merely pretty, at his -best, as when illustrating the novels of Richardson, Sterne, and -Goldsmith, and certain poems of Samuel Rogers, his graphic fancy would -translate the author’s conceptions with sympathy into pictorial terms of -grace and persuasion. And the daintiness of his design would lend itself -as readily to stipple-engraving as to line. Stothard’s is one of the few -outstanding names in eighteenth-century book-illustration; another is -Flaxman’s, with his outline designs for Homer, Æschylus, and Dante; but -in the whole history of the art no name shines more brilliantly than -that of their great contemporary, William Blake. With that sublime and -original genius, it may be said, English printed book-illustration came -into being in its ideal condition as a work of art. Before Blake -produced his entrancing “Songs of Innocence” in 1787 nobody had -conceived the printed page as an harmonious combination of text, -illustration, and decoration, an ideal of beautiful book-making that has -proved the inspiration of some of our best modern artists. So we may -call Blake the first great English book-illustrator. Never were -expression and decoration more perfectly blended than in those pages of -Blake’s, all smelling of April, as Swinburne happily phrased it, with -their script and their illustrative designs, in decorative setting, -printed in tinted inks from plates etched in relief after a method of -his own devising, and their exquisite colour-harmonies built up by hand -upon the impressions. That Blake’s example was not followed in those -days of the popularity of the stippled colour-print is surprising, -although it would have argued an artistic sense of book-decoration that -was in Blake’s day, and for long afterwards, extremely rare, if not -almost non-existent. But absolutely unique and original as was Blake’s -genius, and slow as was his influence, we can trace in later -book-illustration, especially in some of to-day’s, something of the -influence not only of his colour-books but of his nobly beautiful -illustrations to the Book of Job and Blair’s “Grave,” and of those -wonderful little woodcut designs for Philips’s “Pastorals,” in which he -extended the capacity of the wood-engraver’s art for the suggestion of -colour, showing how far more pliable it may be in the hands of the -artist who cuts his own designs and gives his imagination play upon the -block. - -It was through the wood-engraver’s art, too, that, contemporary with -Blake, yet beginning earlier than he to handle the block, another man of -genius stamped himself on the history of English book-illustration, and -exerted an extraordinary influence. Indeed, in the hands of Thomas -Bewick the craft of wood-engraving awakened from a moribund condition to -new life, invigorated by his revival of the “white line,” used in a -pictorial way of his own, to serve the illustrator’s art through many a -year and one glorious decade, while Bewick’s inimitable vignettes and -tail-pieces gave English book-illustration fresh inspiration in the -direction of original fancy. And Bewick’s influence was splendidly -transmitted through his gifted disciples and followers, Luke Clennell, -William Harvey, and W. J. Linton. - -But book-illustration about the end of the eighteenth century and the -earlier years of the nineteenth had at its service reproductive methods -other than wood-engraving and the graven line. Innumerable books were -published with pictorial plates in coloured aquatint and etched -outlines, for the most part of merely topographical interest, and -therefore scarcely illustrations in the strictly artistic acceptance of -the term; yet it was through this medium that the illustrative genius of -Rowlandson was reproduced. Notably in his famous “Tours of Dr. Syntax,” -he represented a phase of book-illustration the influence of which in -more recent times we may trace in the delightful work of Randolph -Caldecott. - -One does not think of Turner strictly as an illustrator, although -countless books were “embellished” with his exquisite landscape drawings -and vignettes, translated to a nicety of reproductive art by a -remarkable school of line-engravers on copper and steel, trained by the -great artist himself to mix the etched with the graven line in a manner -never previously imagined. Glorious as he was in interpreting his own -visions, when Turner set himself to illustrate another man’s poems, such -as Campbell’s “Lord Ullin’s Daughter,” or “The Soldier’s Dream,” or “The -Last Man,” one can hardly regard his vignettes as impressive -illustration. But the Turner-illustrated book loomed large in its day, -and that was not yet the day of any distinguished ideal of -interpretative and decorative illustration, Blake’s remaining still -unique. - -However, amid an active period of book-illustration in which the -dominant idea was vivacious, scenic, and characteristic representation, -with the decorative instinct largely to seek, if not practically absent, -began suddenly the great period which we know as “the sixties.” Its -opening was marked by Moxon’s publication in 1857 of an edition of -Tennyson’s Poems. There was no attempt to make a beautiful book of it; -the format, the type, the paper, the binding, were all quite ordinary; -but among the illustrations happened to be masterpieces. For among the -noted artists engaged upon the work--including Mulready and Clarkson -Stanfield--were three young men who proved to be great illustrators, and -these, by their wonderful designs for this volume, drawn direct upon the -wood-blocks for facsimile engraving, initiated a movement that is -remarkable in the history of British Art. Millais, Rossetti, and Holman -Hunt brought to their task all the romantic and decorative pictorial -ideals of their Pre-Raphaelite Brotherhood, and no more inspiring matter -than Tennyson’s early poems could have been illustrated by such artists -with such ideals. No sooner was it seen that, in the hands of such -contemporary reproductive engravers as the Dalziels, Swain, Hooper, and -Linton, the wood-block could offer opportunities to the graphic artist -such as it had not offered since the age of Dürer, than most of the -leading painters of the more imaginative order turned to it as a medium -for expression. Book after book and magazine after magazine issued from -the press with illustrations which were remarkable for fine expressive -significance, true interpretative vision, and decorative -beauty--designs, in fact, which created a new tradition in English -book-illustration. To attempt any enumeration of these books and -magazines of that amazing period, in which one may find masterpieces -that would adorn the reputations of the greatest masters of design, were -beyond the scope of this article. There was no attempt to make the books -beautiful in themselves, with artistic relation between type and -illustration, and harmonious decoration of the page; the designs held in -themselves all that the books offered in the way of adornment. It must -therefore suffice here to call to memory just the most individual and -important of the artists whose work in line upon the wood-block made the -years, roughly speaking, between 1860 and 1870 so gloriously memorable. -Who shall say that John Everett Millais showed himself a greater artist -in his paintings than he did in his black-and-white designs for “The -Parables of Our Lord”--superb things--or his illustrations to Tennyson’s -poems and Anthony Trollope’s novels? With his unfailing gift of vital -interpretation, whether romantic or simply dramatic, allied to masterly -command of design, he was the ideal illustrator. How splendidly -effective, too, was the pictorial imagination of Dante Gabriel Rossetti -when expressed within the limitations of the decorative line, enriched -with poetic symbol artistically conceived! Then there was Frederick -Sandys, one of the greatest masters of black-and-white of any time, and -a living influence to-day, whose noble designs, with their beauty and -dignity of sweeping line and perfect balance of composition, are -instinct with fine dramatic vitality and emotional expression. If the -period had been artistically remarkable for nothing else, it would have -been memorable for the gift of Sandys’s designs, which have surely -influenced many later illustrators. Much these may owe, too, to Arthur -Boyd Houghton, a truly original illustrator, of the richest imagination -when happily inspired by his subject, as he certainly was in the most -extraordinary degree by the stories of the “Arabian Nights”; an artist -of extremely live and sensitive temperament, a master of design in which -vivacious line and white significant space were balanced with almost -magic felicity. Two other names that shone with particular lustre in the -book-illustration of the “sixties” were Frederick Walker and George John -Pinwell. There was an idyllic fragrance about Walker’s work; the charm -of Pinwell’s was its vivid pictorial truth to life, its dramatic -feeling. One must not forget the graces of Arthur Hughes’s designs, the -tender naturalness of Birket Foster’s and J. W. North’s. Who would think -now of Whistler as an illustrator of other men’s ideas? Yet even his -original genius lent itself to the prevailing fascination of -interpretative vision upon the wood-block. But if we take up any of the -illustrated books or periodicals of that period, especially any issued -under the auspices of the Dalziels, who did so much to encourage and -stimulate the art of illustration, we shall find famous names attached -to designs worth pondering over: Leighton, Burne-Jones, Ford Madox -Brown, Charles Keene, Tenniel, Du Maurier, Frederick Shields, Simeon -Solomon, John Gilbert--all these, besides those already named, were -expressing their pictorial inventions in line, and most of them drawing -direct upon the wood. - -A very charming phase of book-illustration followed close upon this -great black-and-white period, and it was a phase of colour. The flat -wood-block process was developed by the late Edmund Evans, the -colour-printer, and, encouraged by him, three gifted artists of -severally distinctive styles exploited its possibilities with -distinguished and popular success. Randolph Caldecott, Kate Greenaway, -and Walter Crane--their very names call to mind a captivating series of -picture-books in which their fancies made dainty frolic and revel for -the delight equally of children and grown-ups. With all three the fairy -tale and the nursery rhyme found fresh graces of pictorial expression -and vivacities of invention, and the children’s picture-book entered -upon a new era of artistic refinement and charm. Of the veteran Walter -Crane, and his influence on the decorative side of book-illustration, -one must speak presently, for happily he is represented in this volume. -Of Randolph Caldecott and Kate Greenaway, what is there fresh to say in -appreciation? Who has not laughed and rejoiced over Caldecott’s “John -Gilpin” and his inimitable Goldsmith and Washington Irving -illustrations, with their breezy humour, their happy, lively art? Is it -only the middle-aged children who recall affectionately the dainty -pictorial graces of Kate Greenaway’s world of little people? Anyhow, her -very name has become almost established as an adjective. The sweet, -tender simplicity of the colour-schemes of those books of Caldecott’s -and Kate Greenaway’s had an unforgettable fragrance, and one may feel -that without the influence of these artists many of the children’s books -of to-day might perhaps lack something of their charm. - -The photographic reproductive processes began now to change the spirit -of the illustrator’s dream. Both in black-and-white and colour the -artist had to readjust his methods and adapt them to the new mechanical -conditions--to the domination of the camera, in fact. Already the -photographer had become an intermediary between the artist and the -wood-engraver, though the designer’s lines were still at the mercy of -the craftsman’s knife. Now the artist made his designs with the camera -in view, knowing that his line would reproduce exactly as he drew it. -Naturally this change had a considerable influence on the character of -the designs made for book-illustration. But, meanwhile, there were -artists, individual and in groups, who, setting themselves against the -innovating photographic reproduction in book-illustration, sought by the -older methods to make books beautiful with pictorial adornment. Charles -Ricketts and Charles Shannon, two artists inspired always by high -ideals, to whose originality and initiative modern book-decoration owes -a great deal, issued _The Dial_ in 1889, and this was the beginning of -an important movement in the making of beautiful books. Among the pages -Mr. Shannon set those exquisite lithographs of his in which his -pictorial poetry is most eloquent; while from this publication we may -perhaps date the modern revival of original wood-engraving--Messrs. -Ricketts, Shannon, Sturge Moore, Reginald Savage, and Lucien Pissarro -cutting their lovely designs upon the wood. From the enthusiasm that -produced _The Dial_ grew the Vale Press, which, with its remarkable -series of beautiful books, has given so much joy to bibliophiles, a joy -that Mr. Pissarro continues to give with the delicately lovely books he -issues from his Eragny Press--the Vale’s successor--books in which the -ideal of harmonious decorative relation between the lettering of the -page and its pictorial adornment is logically realized with exquisite -results. How splendidly this ideal was realized by William Morris in his -books from the Kelmscott Press has already been shown in “The Art of the -Book” (the Special Spring Number of THE STUDIO, 1914); to speak further -of it here were beyond my province. I wish only to suggest its great -influence for beauty on the book-decoration of to-day and yesterday, an -influence one would wish to see still more widely extended. - -A more definite alliance between book-illustration and decoration -developed during the nineties of the last century, and the artistic -activities in this direction were of a distinguished and interesting -character. Several notable artists were at work, and among them one must -not forget Mr. William Strang with his illustrative etchings, for it -would be difficult to find a more intuitive pictorial interpreter of -Burns or of Stevenson. One remembers also the expressively decorative -designs of Mr. Laurence Housman and the graces of the so-called -Birmingham School; above all, one recalls the appearance of two great -original draughtsmen of widely different temperaments, both masters of -line, both vitally artistic, both of enduring influence--Phil May and -Aubrey Beardsley. And both of these were content to let their lines -speak through the photographic medium. _The Yellow Book_ and _The Savoy_ -came and passed away, but they left us Beardsley, and with him no fresh -pictorial understanding of life and character such as we got from the -humanly humorous genius of Phil May, but a new decorative value of line -and the balance of black and white masses. This is Beardsley’s -influence, quite distinct possibly from his fantastic manner of -conception, but it is the secret of the permanent artistic worth of his -graphic interpretations of Oscar Wilde’s “Salome” and Pope’s “Rape of -the Lock.” - -At the present moment book-illustration is in an interesting phase, with -its spreading tendencies towards page-decoration, and suggestive rather -than realistic pictorial treatment of the text. In the following pages a -fairly representative selection of drawings will show what many of our -leading illustrators have been doing of late. It will be noticed that, -with the clearness and precision possible to the modern photographic -process-block, pure line is favoured for black-and-white; while recent -developments of the three-colour process place within the possibilities -of the artist a very wide range of tones and harmonies. Indeed, it would -seem that, however the book-illustrator may wish to vary his manner in -sympathy with the character of the text he is illustrating, the present -mediums of reproduction will prove responsive to his need. - -I have already mentioned Mr. Walter Crane and the fanciful and -decorative charm of his colour-books. It was on the wood-block in the -“sixties” and “seventies” that he began his long and distinguished -career as a book-illustrator, and, with his delicate feeling for -expressive line and the harmoniously decorated page, he has produced -book after book, in which Shakespeare or Spenser, William Morris, the -beloved Grimm, or the anonymous authors of immortal fairy tale and -nursery rhyme, have inspired his graphic fancy to sweet and dainty -picturings, whether in colour or in black-and-white. Genuine -picture-books his, with the pictorial adornment extending from end-paper -to end-paper, and the pages bearing their pictures happily balanced with -their letterings amid decorative borders. To name even the best of his -books would involve quite a long catalogue. - -Turning from the veteran’s sweet and gracious simplicity of fancy to the -wizardry of Mr. Arthur Rackham’s alertly imaginative art, with its -wide-ranged flights of grotesque or romantic fantasy, is like going from -a field of daisies, daffodils, and bluebells into a garden of wonderful -exotics. Mr. Rackham stands apart from all the other illustrators of the -day; his genius is so thoroughly original. Scores of others have -depicted fairyland and wonderland, but who else has given us so -absolutely individual and persuasively suggestive a vision of their -marvels and allurements? Whose elves are so elfish, whose witches and -gnomes are so convincingly of their kind, as Mr. Rackham’s? His line, -with its distinctive accent, is his very own; so are his colour-tones; -and no little of the secret of his success lies in a subtly harmonious -intimacy between design and colour-scheme adapted with peculiarly -sympathetic understanding to the capacity and limitations of the -photographic mediums of reproduction. In the printed drawings of Mr. -Rackham we find the three-colour process never forced, but always at its -best, and his happily balanced tones seem to suggest the very atmosphere -of mystery and enchantment proper to those worlds of romance and faëry -which this fascinating artist delights to picture. But whether he -expresses his visions in colour or black-and-white, he gives always new -meanings to old tales. Looking at his drawings, one feels more at home -even in “A Midsummer Night’s Dream,” one wonders with Alice afresh and -more zestfully, frolics again with childish seriousness among the fairy -tales, and gives oneself up as readily to the romantic spell of the -“Nibelungen Ring” as to the whimsical supernaturalness of the beasts and -birds of Æsop and the nursery rhyme. With all this, Mr. Rackham’s -pictorial invention is essentially decorative. - -A gentle graciousness of line and decorative design, with simplicity of -expression, constitutes the peculiar charm of Mr. Robert Anning Bell’s -illustrated books. That he finds happy suggestion among the poets will -be seen in the drawings representing him here; but his “Midsummer -Night’s Dream” is a book to enjoy in its entirety, so harmonious is its -scheme, while the _Masque of Courteous Monsters_ in “The Tempest” is a -remarkable composition. The distinguished graphic fancy of Mr. W. Heath -Robinson has also been inspired to beautiful pictorial interpretation by -Shakespeare’s immortal fairy play, and it is interesting to compare his -more suggestive treatment with Mr. Anning Bell’s, the more definitely -decorative significance of his design. As a quaintly humorous -draughtsman Mr. Heath Robinson is also represented in these pages. - -There is no artist now devoting himself to book-decoration who has been -truer to the ideals of his art than Mr. Charles Robinson. From the time -when he proved himself the ideal illustrator of Stevenson’s “Child’s -Garden of Verses” to the present he has aimed always at treating the -book as an harmonious whole from cover to cover, providing decoration or -illustration just where the scheme seemed to call for it. This unity of -treatment may be noted particularly in his more recent books, “The -Sensitive Plant,” “The Four Gardens,” “The Happy Prince,” and “The Big -Book of Nursery Rhymes.” But Mr. Robinson is a man of original if -delicate imagination, as well as an exquisite interpretative artist, and -the double-page drawing given here, _The Dream_, will show him -graphically illustrating his own fanciful vision--carrying out his -pictorial ideas in a book of his own creation. “A Dream of St. Nicholas -in Heaven” is a sort of allegory on the modern aspect of maternity. - -A wonderful contrast is the robust interpretative imagination of Mr. -Edmund J. Sullivan, one of the greatest book-illustrators we have ever -had, as he is one of the finest living draughtsmen on the page. His -virility of mind and manner have found Carlyle wonderfully inspiring, -and in the “Sartor Resartus” drawings shown here, as in the still -greater “French Revolution” series, his certainty of expressive effect -is extraordinary. Mr. Sullivan’s pictorial sense of character and -incident is explicit also in the Goldsmith illustrations. - -Mr. W. Russell Flint, a very talented designer of rich pictorial -imagination and fine colour-sense, has, within the last few years, come -into the front rank of book-illustrators, and he has done this through -the medium of a number of beautiful books issued from the Riccardi -Press. Things of real beauty are many of the illustrations to the “Song -of Solomon,” “Marcus Aurelius,” “Le Morte D’Arthur,” Kingsley’s “Heroes” -(one of which is reproduced here), and the “Canterbury Tales.” Mr. Flint -adapts his expressive style artistically to the varying styles of the -books, and in his colour-schemes he gauges the powers of the -reproductive process to a nicety. - -Poetry, fantasy, and romance are seen pictorially interpreted here by a -group of artists who, though severally distinctive in conception and -manner, are linked by the common aim of imaginative expression in -orderly design for the purpose of page-decoration. Perhaps nothing more -characteristic of Mr. Edmund Dulac’s graces of invention in design and -colour could be shown than the charming frontispiece to his “Princess -Badoura,” with its engaging orientalism. His versatility is well seen in -the Poe drawings. If Beardsley ever lent Miss Jessie King the decorative -influence of his line she has made it all her own, as evidenced in these -three exquisite and original designs suggested by old romances. Tennyson -and Browning have furnished happy inspirations for the delicate art of -Miss Eleanor Fortescue-Brickdale; while Mr. Dion Clayton Calthrop shows -with graphic charm how thoroughly he is at home in Fairyland--being -himself the most reliable of guides. Mr. Maxwell Armfield has given all -lovers of Hans Andersen a new joy in his charming coloured illustrations -to the immortal stories, while in his “Flower Book” and “Sylvia’s -Travels” he shows a fascinating fancy; but here we see him only in two -distinguished little woodcuts. Mr. W. Graham Robertson is as delicious -as ever in his Blake-like simplicity of expression and design, whether -illustrating his own books or those of that kindred spirit of fantasy, -Mr. Algernon Blackwood. Mr. Byam Shaw’s fecundity of illustrative -invention is well represented, if not the wide range of his fertility, -which is from Shakespeare and Boccaccio to Flora Annie Steele in Akbar’s -India. Mr. Vernon Hill is a designer of remarkable imagination, and he -makes an ideal illustrator of “Ballads Weird and Wonderful.” -Imaginatively expressive and decorative, also, with the best influences, -perhaps, of the “sixties,” are Mr. Gerald Metcalfe’s illustrations to -Coleridge. So, too, but in a manner of their own, are Mr. Harry Clarke’s -to the “Ancient Mariner” and Mr. John P. Campbell’s designs for the -“Celtic Romances.” In this same category we may include the illustrative -drawings of Miss Dorothy Payne, Mr. Harold Nelson, Mr. Lee Hankey, Mr. -A. Garth Jones, Mr. Monro S. Orr, Miss Beatrice Elvery, and Mr. J. D. -Batten. Mr. R. T. Rose, however, must stand by himself. The three -drawings here show his strong individuality, but I wish it had been -possible to represent his high-water mark in the beautiful designs for -the Book of Job. - -There are no more facile and prolific illustrators than Mr. Hugh Thomson -and Messrs. C. E. and H. M. Brock, and all of them are most at home in -the humours of the eighteenth and early nineteenth centuries. So we have -Mr. Thomson sympathetically illustrating Jane Austen and Mrs. Gaskell, -as well as picturesque highways and byways; while Mr. C. E. Brock shows -us what pictorial suggestion he has found in the “Essays of Elia,” a -subject, by the way, that might supply an essay in itself; and Mr. H. M. -Brock’s multifarious illustration is represented also by clever designs -for essays, Leigh Hunt’s and Douglas Jerrold’s. Humorous character, -besides, we get from Mr. Frank Reynolds in his vivacious “Pictures of -Paris,” and his delightful “Pickwick” illustration in colour. The animal -whimsicalities of Mr. Stewart Orr, and Mr. Carton Moore Park’s -decorative suggestions of beast and bird life, are also illustrative -examples we would not be without. - -The Irish character-studies of Mr. Jack B. Yeats have an interest all -their own; they have life and atmosphere. Light and atmosphere -distinguish Mr. D. Y. Cameron’s two great little landscape drawings for -“The Tomb of Burns.” One does not otherwise think of the great etcher as -an illustrator. Mr. Frank Brangwyn is entirely himself in the two virile -pen-and-ink drawings for “The Book of Bridges,” and the colour -illustration to Kinglake’s “Eöthen.” Very charming, and worthy of their -theme, are Mr. F. L. Griggs’s illustrations to “The Sensitive Plant”; -nor is this accomplished artist less delightful in his designs for “The -Chronicles of a Cornish Garden.” But, then, how could he be with such a -title to inspire him? Mr. Edmund H. New is another artist of distinctive -style who never fails us, and in the “Compleat Angler” and White’s -“Selborne” he had, of course, subjects after his heart. The fanciful -landscape is Mr. W. T. Horton’s design; peaceful Bruges is Mr. Charles -Wade’s theme. FitzGerald’s “Omar” has suggested some quaintly fantastic -designs by Miss Helen Sinclair; Mr. René Bull’s facile pen has busied -itself with the “Arabian Nights”; while here also are characteristic -drawings by Mr. F. H. Ball, Mr. Keith Henderson, Mr. Sydney R. Jones, -Mr. Donald Maxwell, Mr. Harry Rountree, and Mr. Joseph Southall. - -[Illustration: MAXWELL ARMFIELD - -“THE SPOTTED STAG”--WOOD-ENGRAVING] - -[Illustration: MAXWELL ARMFIELD - -“GUINEA-FOWL”--WOOD-ENGRAVING] - -[Illustration: F. H. BALL - -“PRELUDE”] - -[Illustration: J. D. BATTEN - -“HASEN REJOINS HIS WIFE.” FROM “THE BOOK OF WONDER VOYAGES” (DAVID -NUTT)] - -[Illustration: J. D. BATTEN - -“CIRCE AND MEDEA.” FROM “THE BOOK OF WONDER VOYAGES” (DAVID NUTT)] - -[Illustration: J. D. BATTEN - -ILLUSTRATION FOR “MORE ENGLISH FAIRY TALES” (DAVID NUTT)] - -[Illustration: J. D. BATTEN - -ILLUSTRATION FOR “MORE FAIRY TALES FROM THE ARABIAN NIGHTS” (J. M. DENT -AND SONS)] - -[Illustration: J. D. BATTEN - -ILLUSTRATION FOR “MORE FAIRY TALES FROM THE ARABIAN NIGHTS” (J. M. DENT -AND SONS)] - -[Illustration: ILLUSTRATION FOR “A MIDSUMMER”] - -[Illustration: R. ANNING BELL, A.R.A., R.W.S. - -(J. M. DENT AND SONS)] - -[Illustration: R. ANNING BELL, A.R.A., R.W.S. - -ILLUSTRATION FOR “A MIDSUMMER NIGHT’S DREAM” (J. M. DENT AND SONS)] - -[Illustration: R. ANNING BELL, A.R.A., R.W.S. - -“HE PLAY’D AN ANCIENT DITTY, LONG SINCE MUTE, CLOSE TO HER EAR TOUCHING -THE MELODY.” FROM “POEMS BY JOHN KEATS” (GEORGE BELL AND SONS)] - -[Illustration: R. ANNING BELL, A.R.A., R.W.S. - -“AND THOU TWO SWEETER EYES SHALT SEE, THAN THOSE WHICH BY PENÉUS’ -STREAMS DID ONCE THY HEART SURPRISE.” FROM “ENGLISH LYRICS” (GEORGE BELL -AND SONS)] - -[Illustration: R. ANNING BELL, A.R.A., R.W.S. - -“AND, SINCE LOVE NE’ER WILL FROM ME FLEE, A MISTRESS MODERATELY FAIR.” -FROM “ENGLISH LYRICS” (GEORGE BELL AND SONS)] - -[Illustration: FRANK BRANGWYN, A.R.A., R.E., P.R.B.A. - -“THE OLD WAR-BRIDGE OF STIRLING.” FROM “A BOOK OF BRIDGES” (JOHN LANE)] - -[Illustration: FRANK BRANGWYN, A.R.A., R.E., P.R.B.A. - -“TURKISH SWEETMEAT SELLER.” FROM “EÖTHEN” - -(_By permission of the Publishers, Messrs. Sampson Low, Marston & -Co._)] - -[Illustration: FRANK BRANGWYN, A.R.A., R.E., P.R.B.A. - -“PONTE MAGGIORE, ASCOLI PICENO.” FROM “A BOOK OF BRIDGES” (JOHN LANE)] - -[Illustration: ELEANOR FORTESCUE-BRICKDALE, A.R.W.S. - -ILLUSTRATION FOR “POEMS BY ALFRED LORD TENNYSON” (GEORGE BELL AND -SONS)] - -[Illustration: ELEANOR FORTESCUE-BRICKDALE, A.R.W.S. - -“TO SUPPOSE ONE CHEAT CAN GULL ALL THESE, WERE MORE MIRACULOUS” FROM -“DRAMATIS PERSONÆ” - -(_By permission of the Publishers, Messrs. Chatto & Windus_)] - -[Illustration: ELEANOR FORTESCUE-BRICKDALE, A.R.W.S. - -ILLUSTRATION FOR “POEMS BY ALFRED LORD TENNYSON” (GEORGE BELL AND -SONS)] - -[Illustration: C. E. BROCK - -“THE TERROR OF THE LUCKLESS POACHER.” FROM “THE LAST ESSAYS OF ELIA” (J. -M. DENT AND SONS)] - -[Illustration: C. E. BROCK - -“KEEPING CLEAR OF SECULAR CONTACTS.” FROM “THE LAST ESSAYS OF ELLA” (J. -M. DENT AND SONS)] - -[Illustration: C. E. BROCK - -“THE PITIABLE INFIRMITIES OF OLD MEN.” FROM “THE LAST ESSAYS OF ELIA.” -(J. M. DENT AND SONS)] - -[Illustration: C. E. BROCK - -“A COMPLAINT OF THE DECAY OF BEGGARS IN THE METROPOLIS” FROM “THE ESSAYS -OF ELIA” (J. M. DENT AND SONS)] - -[Illustration: C. E. BROCK - -“THE POINT OF THE MATTER”] - -[Illustration: H. M. BROCK, R.I. - -ILLUSTRATION FOR “THE ESSAYS OF LEIGH HUNT” (J. M. DENT AND SONS)] - -[Illustration: H. M. BROCK, R.I. - -“FINE DAYS IN JANUARY AND FEBRUARY.” FROM “THE ESSAYS OF LEIGH HUNT” (J. -M. DENT AND SONS)] - -[Illustration: H. M. BROCK, R.I. - -“THE OLD LADY.” FROM “THE ESSAYS OF LEIGH HUNT” (J. M. DENT AND SONS)] - -[Illustration: H. M. BROCK, R.I. - -“THE FIFES AND DRUMS OF HER MAJESTY’S GRENADIERS” FROM “THE ESSAYS OF -DOUGLAS JERROLD” (J. M. DENT AND SONS)] - -[Illustration: H. M. BROCK, R.I. - -“REJOICING IN THE CAPTIVITY OF A SUIT OF CLOTHES STUFFED WITH HAY” FROM -“THE ESSAYS OF DOUGLAS JERROLD” (J. M. DENT AND SONS)] - -[Illustration: H. M. BROCK, R.I. - -“THE OLD MAN AT THE GATE.” FROM “THE ESSAYS OF DOUGLAS JERROLD” (J. M. -DENT AND SONS)] - -[Illustration: RENÉ BULL - -“THE SULTAN RECEIVED HIM WITH JOY.” FROM “THE ARABIAN NIGHTS” (CONSTABLE -AND CO.)] - -[Illustration: RENÉ BULL - -“HOLDING IN HIS HAND A FINE FISH.” FROM “THE ARABIAN NIGHTS” (CONSTABLE -AND CO.)] - -[Illustration: RENÉ BULL - -“HE TOOK A KNIFE AND OPENED IT.” FROM “THE ARABIAN NIGHTS” (CONSTABLE -AND CO.)] - -[Illustration: RENÉ BULL - -“WE SHALL ALL PERISH.” FROM “THE ARABIAN NIGHTS” (CONSTABLE AND CO.)] - -[Illustration: DION CLAYTON CALTHROP - -“THE SATYR.” FROM “PSYCHE” (ALSTON RIVERS)] - -[Illustration: DION CLAYTON CALTHROP - -“THE HOMES OF THE FOUR WINDS.” FROM “THE GUIDE TO FAIRYLAND” (ALSTON -RIVERS)] - -[Illustration: DION CLAYTON CALTHROP - -“THE PRINCESS AND THE SUITORS.” FROM “THE GUIDE TO FAIRYLAND” (ALSTON -RIVERS)] - -[Illustration: D. Y. CAMERON, A.R.A., A.R.S.A., A.R.W.S. - -“WHOSE FIELDS HE TILLED.” FROM “THE TOMB OF BURNS” (JOHN LANE)] - -[Illustration: D. Y. CAMERON, A.R.A., A.R.S.A., A.R.W.S. - -“WHERE EVENING TOUCHES GLEN AND BRAE WITH ROSY GLOOM” FROM “THE TOMB OF -BURNS” (JOHN LANE)] - -[Illustration: JOHN P. CAMPBELL - -“THE MEETING OF MÌDIR AND ETAIN.” FROM “CELTIC ROMANCES”] - -[Illustration: JOHN P. CAMPBELL - -“SABA APPEARS TO FINN.” FROM “CELTIC ROMANCES”] - -[Illustration: JOHN P. CAMPBELL - -“FINN DECLARES HIS LINKAGE TO KING CONNOR.” FROM “CELTIC ROMANCES”] - -[Illustration: HARRY CLARKE - -“AH! WELL A-DAY! WHAT EVIL LOOKS HAD I FROM OLD AND YOUNG! INSTEAD OF -THE CROSS, THE ALBATROSS ABOUT MY NECK WAS HUNG!” FROM “THE RIME OF THE -ANCIENT MARINER” (MAUNSEL AND CO.)] - -[Illustration] - -[Illustration] - -[Illustration: HARRY CLARKE - -“THE SOULS DID FROM THEIR BODIES FLY,--THEY FLED TO BLISS OR WOE! AND -EVERY SOUL, IT PASSED ME BY, LIKE THE WHIZZ OF MY CROSS-BOW!” FROM “THE -RIME OF THE ANCIENT MARINER” (MAUNSEL AND CO.)] - -[Illustration: WALTER CRANE, R.W.S. - -ILLUSTRATION FOR “GRIMM’S HOUSEHOLD STORIES” (MACMILLAN AND CO.)] - -[Illustration: WALTER CRANE, R.W.S. - -ILLUSTRATION FOR “GRIMM’S HOUSEHOLD STORIES” (MACMILLAN AND CO.)] - -[Illustration: WALTER CRANE, R.W.S. - -ILLUSTRATION FOR “THE TEMPEST” (J. M. DENT AND SONS)] - -[Illustration: EDMUND DULAC - -ILLUSTRATION FOR “PRINCESS BADOURA” - -(_By permission of the Publishers, Messrs. Hodder & Stoughton_)] - -[Illustration: EDMUND DULAC - -“THE CITY IN THE SEA”] - -[Illustration: “THE BELLS” - -ILLUSTRATIONS FOR “THE POEMS OF EDGAR ALLAN POE” (HODDER AND -STOUGHTON)] - -[Illustration: BEATRICE ELVERY - -“‘I AM THE CANDLE-HOLDER OF THE KING.’” FROM “HEROES OF THE DAWN” -(MAUNSEL AND CO.)] - -[Illustration: BEATRICE ELVERY - -“A DEEP CLEAR SPRING OF RUNNING WATER BUBBLED.” FROM “HEROES OF THE -DAWN” (MAUNSEL AND CO.)] - -[Illustration: W. RUSSELL FLINT, A.R.W.S. - -“THEY TOOK THE BOUGH AND CAME TO IOLCOS.” FROM “THE HEROES” - -(_By permission of Mr. Philip Lee Warner, Publisher to the Medici -Society_)] - -[Illustration: F. L. GRIGGS - -“THE SINUOUS PATHS OF LAWN AND MOSS.” FROM, “THE SENSITIVE PLANT” (JOHN -LANE)] - -[Illustration: F. L. GRIGGS - -“FOR WINTER CAME.” FROM “THE SENSITIVE PLANT” (JOHN LANE)] - -[Illustration: F. L. GRIGGS - -ILLUSTRATION FOR “THE CHRONICLES OF A CORNISH GARDEN” (JOHN LANE)] - -[Illustration: F. L. GRIGGS - -ILLUSTRATION FOR “THE CHRONICLES OF A CORNISH GARDEN” (JOHN LANE)] - -[Illustration: W. LEE HANKEY, R.E. - -ILLUSTRATION FOR “THE DESERTED VILLAGE” (CONSTABLE AND CO.)] - -[Illustration: W. LEE HANKEY, R.E. - -ILLUSTRATION FOR “THE DESERTED VILLAGE” (CONSTABLE AND CO.)] - -[Illustration: W. LEE HANKEY, R.E. - -ILLUSTRATION FOR “THE DESERTED VILLAGE” (CONSTABLE AND CO.)] - -[Illustration: JOHN HARGRAVE - -“THE MERCHANT AND HIS OIL-SKIN.” FROM “BLACK TALES FOR WHITE CHILDREN” -(CONSTABLE AND CO.)] - -[Illustration: JOHN HARGRAVE - -“AT LAST THEY MET AN OLD WOMAN, BENT WITH THE WEIGHT OF MANY YEARS.” -FROM “BLACK TALES FOR WHITE CHILDREN” (CONSTABLE AND CO.)] - -[Illustration: KEITH HENDERSON - -“BEHEMOTH IN HELL.” FROM “THE OPEN WINDOW” (CHATTO AND WINDUS) - -(_From the original drawing in the possession of Geoffrey Whitworth, -Esq._)] - -[Illustration: VERNON HILL - -“TRUE THOMAS.” FROM “BALLADS WEIRD AND WONDERFUL” (JOHN LANE)] - -[Illustration: VERNON HILL - -ILLUSTRATION FROM “THE ARCADIAN CALENDAR” (JOHN LANE)] - -[Illustration: W. T. HORTON - -“THE LAKE”] - -[Illustration: W. T. HORTON - -“THE MOSQUE”] - -[Illustration: W. T. HORTON - -“FROM THE TERRACE”] - -[Illustration: A. GARTH JONES - -“ZEPHYR WITH AURORA PLAYING, AS HE MET HER ONCE A-MAYING.” FROM “THE -MINOR POEMS OF JOHN MILTON” (GEORGE BELL AND SONS)] - -[Illustration: A. GARTH JONES - -“THERE IN CLOSE COVERT BY SOME BROOK, WHERE NO PROFANER EYE MAY LOOK” -FROM “THE MINOR POEMS OF JOHN MILTON” (GEORGE BELL AND SONS)] - -[Illustration: SYDNEY R. JONES - -“BAKEWELL, DERBYSHIRE.” FROM “OLD ENGLISH COUNTRY COTTAGES” (“THE -STUDIO” SPECIAL WINTER NUMBER, 1906-7)] - -[Illustration: SYDNEY R. JONES - -“KNARESBOROUGH, YORKSHIRE.” FROM “THE VILLAGE HOMES OF ENGLAND” (“THE -STUDIO” SPECIAL SPRING NUMBER, 1912)] - -[Illustration: SYDNEY R. JONES - -“NIJMEGEN, GELDERLAND.” FROM “OLD HOUSES IN HOLLAND” (“THE STUDIO” -SPECIAL SPRING NUMBER, 1913)] - -[Illustration: JESSIE M. KING - -ILLUSTRATION FOR “AUCASSIN AND NICOLETTE”] - -[Illustration: JESSIE M. KING - -ILLUSTRATION FOR “THE ROMAUNT OF THE ROSE” (T. N. FOULIS)] - -[Illustration] - -[Illustration] - -[Illustration: JESSIE M. KING - -ILLUSTRATION FOR “THE HIGH HISTORY OF THE HOLY GRAAL” (J. M. DENT AND -SONS)] - -[Illustration: DONALD MAXWELL - -“THE WEAVERS, CANTERBURY.” FROM “ADVENTURES WITH A SKETCH BOOK” (JOHN -LANE)] - -[Illustration: GERALD METCALFE - -“ALONE, ALONE, ALL, ALL ALONE, ALONE ON A WIDE WIDE SEA!” FROM “THE -POEMS OF COLERIDGE” (JOHN LANE)] - -[Illustration: GERALD METCALFE - -“EVEN ON THE COLD GRAVE LIGHTS THE CHERUB HOPE!” FROM “THE POEMS OF -COLERIDGE” (JOHN LANE)] - -[Illustration: GERALD METCALFE - -“THE VASSAL’S SPEECH, HIS TAUNTING VEIN, IT THRILL’D LIKE VENOM THRO’ -HER BRAIN.” FROM “THE POEMS OF COLERIDGE” (JOHN LANE)] - -[Illustration: GERALD METCALFE - -“THE RIME OF THE ANCIENT MARINER.” FROM “THE POEMS OF COLERIDGE” (JOHN -LANE)] - -[Illustration: GERALD METCALFE - -ILLUSTRATION FOR “THE POEMS OF COLERIDGE” (JOHN LANE)] - -[Illustration: HAROLD NELSON - -ILLUSTRATION FOR “THE FAMOUS HISTORIE OF FRYER BACON” (OTTO SCHULZE AND -CO.)] - -[Illustration: HAROLD NELSON - -ILLUSTRATION FOR “THE FAMOUS HISTORIE OF FRYER BACON” (OTTO SCHULZE AND -CO.)] - -[Illustration: HAROLD NELSON - -ILLUSTRATION FOR “ROBIN HOOD” (OTTO SCHULZE AND CO.)] - -[Illustration: EDMUND H. NEW - -Grane Farm] - -[Illustration: The Wakes - -ILLUSTRATIONS FOR “THE NATURAL HISTORY OF SELBORNE” (JOHN LANE)] - -[Illustration: EDMUND H. NEW - -ILLUSTRATION FOR “THE NATURAL HISTORY OF SELBORNE” (JOHN LANE)] - -[Illustration: EDMUND H. NEW - -ILLUSTRATION FOR “THE NATURAL HISTORY OF SELBORNE” (JOHN LANE)] - -[Illustration: EDMUND H. NEW - -ILLUSTRATION FOR “THE COMPLEAT ANGLER” (JOHN LANE)] - -[Illustration: EDMUND H. NEW - -ILLUSTRATION FOR “THE COMPLEAT ANGLER” (JOHN LANE)] - -[Illustration: EDMUND H. NEW - -ILLUSTRATION FOR “THE COMPLEAT ANGLER” (JOHN LANE)] - -[Illustration: MONRO S. ORR - -“SNITCHEY AND CRAGGS.” FROM “THE BATTLE OF LIFE”] - -[Illustration: MONRO S. ORR - -“THE JACOBITES.” FROM “THE STORY OF EDINBURGH CASTLE” (GEORGE G. HARRAP -AND CO.)] - -[Illustration: MONRO S. ORR - -“THE AFFAIR OF THE WINE CASKS.” FROM “THE STORY OF EDINBURGH CASTLE” -(GEORGE G. HARRAP AND CO.)] - -[Illustration: STEWART ORR - -“THE BOGLE’S BOOK”] - -[Illustration: STEWART ORR - -“WEEL SAIPIT IS HALF SHAVEN”] - -[Illustration: STEWART ORR - -“THE DEALER”] - -[Illustration: STEWART ORR - -“FORWARD!”] - -[Illustration: CARTON MOORE PARK - -“THE DROMEDARY.” FROM “AN ALPHABET OF ANIMALS” (BLACKIE AND SON)] - -[Illustration: CARTON MOORE PARK - -“THE LEOPARD.” FROM “AN ALPHABET OF ANIMALS” (BLACKIE AND SON)] - -[Illustration: CARTON MOORE PARK - -ILLUSTRATION FOR “AN ALPHABET OF ANIMALS” (BLACKIE AND SON)] - -[Illustration: CARTON MOORE PARK - -“THE GUINEA FOWL.” FROM “A BOOK OF BIRDS” (BLACKIE AND SON)] - -[Illustration: CARTON MOORE PARK - -“THE MAGPIE.” FROM “A BOOK OF BIRDS” (BLACKIE AND SON)] - -[Illustration: DOROTHY M. PAYNE - -“LA BELLE DAME SANS MERCI”] - -[Illustration: DOROTHY M. PAYNE - -“JOAN OF ARC”] - -[Illustration: ARTHUR RACKHAM R.W.S. - -“THE CROOKED MEN.” FROM “MOTHER GOOSE” (WILLIAM HEINEMANN)] - -[Illustration: ARTHUR RACKHAM, R.W.S. - -“THE CAT RAN UP THE PLUM-TREE.” FROM “MOTHER GOOSE” (WILLIAM -HEINEMANN)] - -[Illustration: ARTHUR RACKHAM, R.W.S. - -“THE LITTLE PEOPLE’S MARKET.” FROM “ARTHUR RACKHAM’S BOOK OF PICTURES” - -(_By permission of the Publisher, Mr. William Heinemann_)] - -[Illustration: ARTHUR RACKHAM, R.W.S. - -“THE CAT AND THE COCK.” FROM “ÆSOP’S FABLES” (WILLIAM HEINEMANN)] - -[Illustration: ARTHUR RACKHAM, R.W.S. - -“THE OWL AND THE BIRDS.” FROM “ÆSOP’S FABLES” (WILLIAM HEINEMANN)] - -[Illustration: FRANK REYNOLDS, R.I. - -“VIVE L’ARMÉE!” FROM “PICTURES OF PARIS AND SOME PARISIANS” (A. AND C. -BLACK)] - -[Illustration: FRANK REYNOLDS, R.I. - -“TO THE RE-SEEING!” FROM “PICTURES OF PARIS AND SOME PARISIANS” (A. AND -C. BLACK)] - -[Illustration: FRANK REYNOLDS, R.I. - -“MR. JINGLE AND THE SPINSTER AUNT.” FROM “THE PICKWICK PAPERS” - -(_By permission of the Publishers, Messrs. Hodder & Stoughton_)] - -[Illustration: W. GRAHAM ROBERTSON, R.B.A. - -ILLUSTRATION FOR “PAN’S GARDEN” (MACMILLAN AND CO.)] - -[Illustration: W. GRAHAM ROBERTSON, R.B.A.] - -[Illustration: ILLUSTRATIONS FOR “PAN’S GARDEN” (MACMILLAN AND CO.)] - -[Illustration: W. GRAHAM ROBERTSON, R.B.A.] - -[Illustration: ILLUSTRATIONS FOR “PAN’S GARDEN” (MACMILLAN AND CO.)] - -[Illustration: W. GRAHAM ROBERTSON, R.B.A. - -“EVENSONG.” FROM “THE BABY’S DAY BOOK” (JOHN LANE)] - -[Illustration: W. GRAHAM ROBERTSON, R.B.A. - -“THE MOON AMONG THE WILLOWS.” FROM “A YEAR OF SONGS” (JOHN LANE)] - -[Illustration: CHARLES ROBINSON - -ILLUSTRATION FOR “THE PROLOGUE TO REPENTANCE”] - -[Illustration: CHARLES ROBINSON - -ILLUSTRATION FOR “A CHILD’S GARDEN OF VERSES” (JOHN LANE)] - -[Illustration: CHARLES ROBINSON - -ILLUSTRATION FOR “A CHILD’S GARDEN OF VERSES” (JOHN LANE)] - -[Illustration: CHARLES ROBINSON - -ILLUSTRATION FOR “KING LONGBEARD” (JOHN LANE)] - -[Illustration: CHARLES ROBINSON - -ILLUSTRATION FOR “KING LONGBEARD” (JOHN LANE)] - -[Illustration: CHARLES ROBINSON - -ILLUSTRATION FOR “KING LONGBEARD” (JOHN LANE)] - -[Illustration: CHARLES ROBINSON] - -[Illustration: ILLUSTRATIONS FOR “KING LONGBEARD” (JOHN LANE)] - -[Illustration: CHARLES ROBINSON] - -[Illustration: ILLUSTRATION FOR “A DREAM OF ST. NICHOLAS IN -HEAVEN”--AN ALLEGORY] - -[Illustration: W. HEATH ROBINSON - -ILLUSTRATION FOR “A MIDSUMMER NIGHT’S DREAM” (CONSTABLE AND CO.)] - -[Illustration: W. HEATH ROBINSON - -ILLUSTRATION FOR “A MIDSUMMER NIGHT’S DREAM” (CONSTABLE AND CO.)] - -[Illustration: W. HEATH ROBINSON - -ILLUSTRATION FOR “A MIDSUMMER NIGHT’S DREAM” (CONSTABLE AND CO.)] - -[Illustration: W. HEATH ROBINSON - -ILLUSTRATION FOR “A MIDSUMMER NIGHT’S DREAM” (CONSTABLE AND CO.)] - -[Illustration: W. HEATH ROBINSON - -ILLUSTRATION FOR “A MIDSUMMER NIGHT’S DREAM” - -(_By permission of the Publishers, Messrs. Constable & Co._)] - -[Illustration: W. HEATH ROBINSON - -“I SIGN ON AS CABIN BOY”] - -[Illustration: “FOR YEARS WE SAILED” - -ILLUSTRATIONS FOR “BILL THE MINDER” (CONSTABLE AND CO.)] - -[Illustration: W. HEATH ROBINSON - -ILLUSTRATION FOR “BILL THE MINDER” (CONSTABLE AND CO.)] - -[Illustration: W. HEATH ROBINSON - -ILLUSTRATION FOR “BILL THE MINDER” (CONSTABLE AND CO.)] - -[Illustration: R. T. ROSE - -“PRESTER JOHN” - -(_By permission of George Sandeman, Esq._)] - -[Illustration: R. T. ROSE - -“THE RETURN OF THE PALMER” - -(_By permission of George Sandeman, Esq._)] - -[Illustration: R. T. ROSE - -“TO DROWN HELL, AND BURN PARADISE” - -(_By permission of George Sandeman, Esq._)] - -[Illustration: HARRY ROUNTREE - -“THE LONG, LONG SHADOWS”] - -[Illustration: BYAM SHAW, A.R.W.S. - -“A POT OF SMALL ALE.” FROM “THE TAMING OF THE SHREW” (GEORGE BELL AND -SONS)] - -[Illustration: BYAM SHAW, A.R.W.S. - -“‘TIS NOW IN TUNE.” FROM “THE TAMING OF THE SHREW” (GEORGE BELL AND -SONS)] - -[Illustration: BYAM SHAW, A.R.W.S. - -“SEE WHERE SHE COMES.” FROM “THE TAMING OF THE SHREW” (GEORGE BELL AND -SONS)] - -[Illustration: BYAM SHAW, A.R.W.S. - -“AND TO YOU ALL, GOOD HEALTH.” FROM “KING HENRY VIII” (GEORGE BELL AND -SONS)] - -[Illustration: BYAM SHAW, A.R.W.S. - -“AS I HAVE A SOUL, SHE IS AN ANGEL.” FROM “KING HENRY VIII” (GEORGE BELL -AND SONS)] - -[Illustration: BYAM SHAW, A.R.W.S. - -“I’LL GO BURN SOME SACK.” FROM “TWELFTH NIGHT” (GEORGE BELL AND SONS)] - -[Illustration: BYAM SHAW, A.R.W.S. - -“IT LIKES US WELL; YOUNG PRINCES, CLOSE YOUR HANDS.” FROM “KING JOHN” -(GEORGE BELL AND SONS)] - -[Illustration: BYAM SHAW, A.R.W.S. - -ILLUSTRATION FOR “POEMS BY ROBERT BROWNING” (GEORGE BELL AND SONS)] - -[Illustration: BYAM SHAW, A.R.W.S. - -ILLUSTRATION FOR “POEMS BY ROBERT BROWNING” (GEORGE BELL AND SONS)] - -[Illustration: HELEN M. SINCLAIR - -“AND IF THE WINE YOU DRINK, THE LIP YOU PRESS, END IN THE NOTHING ALL -THINGS END IN--YES----” FROM “THE RUBÁIYÁT OF OMAR KHAYYÁM”] - -[Illustration: HELEN M. SINCLAIR - -“DRINK!--FOR ONCE DEAD YOU NEVER SHALL RETURN” FROM “THE RUBÁIYÁT OF -OMAR KHAYYÁM”] - -[Illustration: JOSEPH E. SOUTHALL - -“JAMES I OF SCOTLAND AND HIS LADY”] - -[Illustration: EDMUND J. SULLIVAN, A.R.W.S. - -“HIS TIME IS PRETTY MUCH TAKEN UP IN KEEPING HIS RELATION, WHO IS A -LITTLE MELANCHOLY, IN SPIRITS, AND IN LEARNING TO BLOW THE FRENCH HORN.” -FROM “THE VICAR OF WAKEFIELD” (CONSTABLE AND CO.)] - -[Illustration: EDMUND J. SULLIVAN, A.R.W.S. - -“I HAVE KNOWN A PIECE, WITH NOT ONE JEST IN THE WHOLE, SHRUGGED INTO -POPULARITY, AND ANOTHER SAVED, BY THE POET’S THROWING IN A FIT OF THE -GRIPES.” FROM “THE VICAR OF WAKEFIELD” (CONSTABLE AND CO.)] - -[Illustration: EDMUND J. SULLIVAN, A.R.W.S. - -ILLUSTRATION FOR “SARTOR RESARTUS” (GEORGE BELL AND SONS)] - -[Illustration: EDMUND J. SULLIVAN, A.R.W.S. - -ILLUSTRATION FOR “SARTOR RESARTUS” (GEORGE BELL AND SONS)] - -[Illustration: EDMUND J. SULLIVAN, A.R.W.S. - -ILLUSTRATION FOR “SARTOR RESARTUS” (GEORGE BELL AND SONS)] - -[Illustration: EDMUND J. SULLIVAN, A.R.W.S. - -ILLUSTRATION FOR “SARTOR RESARTUS” (GEORGE BELL AND SONS)] - -[Illustration: HUGH THOMSON - -“EMMA HUNG ABOUT HIM AFFECTIONATELY.” FROM “EMMA” (MACMILLAN AND CO.)] - -[Illustration: HUGH THOMSON - -“AIRING THE SEDAN CHAIR.” FROM “CRANFORD” (MACMILLAN AND CO.)] - -[Illustration: HUGH THOMSON - -“FRIERN BARNET CHURCH.” FROM “HIGHWAYS AND BYWAYS IN MIDDLESEX” -(MACMILLAN AND CO.)] - -[Illustration: HUGH THOMSON - -“SUTTON.” FROM “HIGHWAYS AND BYWAYS IN SURREY” (MACMILLAN AND CO.)] - -[Illustration: HUGH THOMSON - -“A BYWAY IN ASHFORD.” FROM “HIGHWAYS AND BYWAYS IN KENT” (MACMILLAN AND -CO.)] - -[Illustration: HUGH THOMSON - -“COBHAM CHURCH.” FROM “HIGHWAYS AND BYWAYS IN KENT” (MACMILLAN AND -CO.)] - -[Illustration: HUGH THOMSON - -“THE CHURCH.” FROM “HIGHWAYS AND BYWAYS IN DONEGAL AND ANTRIM” -(MACMILLAN AND CO.)] - -[Illustration: CHARLES WADE - -“THE PORTE D’OSTENDE.” FROM “BRUGES” (R. T. BATSFORD)] - -[Illustration: CHARLES WADE - -“WINDMILLS OUTSIDE THE PORTE STE. CROIX.” FROM “BRUGES” (B. T. -BATSFORD)] - -[Illustration: CHARLES WADE - -“THE BELFRY FROM RUE AUX LAINES.” FROM “BRUGES” (B. T. BATSFORD)] - -[Illustration: FRANK WILES - -“STELLA AND THE GREAT DANE.” FROM “STELLA MARIS” (JOHN LANE)] - -[Illustration: FRANK WILES - -“SHE LOOKED DOWN WITH A NEW AND LIFE-GIVING FEELING OF PITY UPON THE -BOWED GRAY HEADS.” FROM “STELLA MARIS” (JOHN LANE)] - -[Illustration: R. JAMES WILLIAMS - -“THE THREE LITTLE CRONES, EACH WITH SOMETHING”] - -[Illustration: R. JAMES WILLIAMS - -“OFF TO THE LAND OF MAZIKIN”] - -[Illustration: R. JAMES WILLIAMS - -“BE BOLD, BE BOLD, BUT NOT TOO BOLD”] - -[Illustration: JACK B. YEATS, R. H.A. - -“A WICKLOW VAGRANT.” FROM “IN WICKLOW, WEST KERRY AND CONNEMARA” -(MAUNSEL AND CO.)] - -[Illustration: JACK B. YEATS, R.H.A. - -“THE SLEEPERS.” FROM “LIFE IN THE WEST OF IRELAND” (MAUNSEL AND CO.)] - -[Illustration: JACK B. YEATS, R.H.A. - -“SINGING A POLITICAL BALLAD.” FROM “LIFE IN THE WEST OF IRELAND” -(MAUNSEL AND CO.)] - -[Illustration: JACK B. YEATS, R.H.A. - -“CARRYING SEAWEED FOR KELP.” FROM “THE ARAN ISLANDS” (MAUNSEL AND CO.)] - -*** END OF THE PROJECT GUTENBERG EBOOK MODERN BOOK ILLUSTRATORS AND THEIR -WORK *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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Salaman. -</title> -<style type="text/css"> - -a:link {background-color:#ffffff;color:blue;text-decoration:none;} - - link {background-color:#ffffff;color:blue;text-decoration:none;} - -a:visited {background-color:#ffffff;color:purple;text-decoration:none;} - -a:hover {background-color:#ffffff;color:#FF0000;text-decoration:underline;} - -big {font-size: 130%;} - -body{margin-left:4%;margin-right:6%;background:#ffffff;color:black;font-family:"Times New Roman", serif;font-size:medium;} - -.c {text-align:center;text-indent:0%;} - -.caption {font-weight:normal;page-break-before:avoid;} -.caption p{font-size:75%;text-align:center;text-indent:0%;} - -.figcenter {margin:3% auto 3% auto;clear:both; -text-align:center;text-indent:0%;page-break-before:always;} - - h1 {margin-top:5%;text-align:center;clear:both; -font-weight:normal;font-size:350%;} - - h2 {margin-top:4%;margin-bottom:2%;text-align:center;clear:both; - font-size:100%;font-weight:normal;} - - hr {width:90%;margin:2em auto 2em auto;clear:both;color:black;} - - hr.full {width: 60%;margin:2% auto 2% auto;border-top:1px solid black; -padding:.1em;border-bottom:1px solid black;border-left:none;border-right:none;} - - img {border:none;} - -.lftspc {margin-left:.25em;} - -.letra {font-size:250%;float:left; -margin-top:-.7%;} - -.nind {text-indent:0%;} - -.nonvis {display:inline;} -.x-bookmaker .nonvis {display: none;} - @media print, handheld - {.nonvis - {display: none;} - } - - p {margin-top:.5em;text-align:justify; -margin-bottom:.5em;text-indent:0%;} - -.pagenum {font-style:normal;position:absolute; -left:95%;font-size:55%;text-align:right;color:gray; -background-color:#ffffff;font-variant:normal;font-style:normal;font-weight:normal;text-decoration:none;text-indent:0em;} -.x-bookmaker .pagenum {display: none;} - -.rt {text-align:right;} - -small {font-size: 70%;} - -.smcap {font-variant:small-caps;font-size:120%;} - -table {margin-top:2%;margin-bottom:2%;margin-left:auto;margin-right:auto;border:none;} - -td.spc {padding-left:1em;padding-right:1em;} -</style> - </head> -<body> - -<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Modern book illustrators and their work, by Charles Geoffre Holme</div> - -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Modern book illustrators and their work</p> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: M. C. Salaman</div> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Editor: Charles Geoffre Holme</div> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Contributor: Ernest G. Halton</div> - -<div style='display:block; margin:1em 0'>Release Date: August 5, 2021 [eBook #65994]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images available at The Internet Archive)</div> - -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK MODERN BOOK ILLUSTRATORS AND THEIR WORK ***</div> -<hr class="full" /> - -<p class="figcenter"> -<a href="images/cover.jpg"> -<img src="images/cover.jpg" -height="550" alt="[Image of -the book's cover unavailable.]" /></a> -</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="deprecated" -style="border: 2px black solid;margin:auto auto;max-width:50%; -padding:1%;"> -<tr><td> -<p class="c">CONTENTS</p> - -<p class="c"><a href="#BRITISH_BOOK-ILLUSTRATION_BY_MALCOLM_C_SALAMAN"> -British Book-illustration. By Malcolm C. Salaman</a></p> - -<p class="c"><a href="#LIST_OF_ARTISTS_WHOSE_WORK_IS_REPRODUCED_IN_THIS_VOLUME"> -List of Artists Whose Work is Reproduced in This Volume</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers] -clicking on the image will bring up a larger version.)</span></p> - -<p class="c">(etext transcriber's note)</p></td></tr> -</table> - -<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span></p> - -<p class="c">MODERN BOOK<br /> -ILLUSTRATORS<br /> -<small>AND THEIR WORK</small></p> - -<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span></p> - -<h1> -MODERN BOOK<br /> -ILLUSTRATORS<br /> -<small>AND THEIR WORK</small></h1> - -<p class="c"> -EDITED BY C. GEOFFREY HOLME<br /> -AND ERNEST G. HALTON<br /> -<br /> -TEXT<br /> -BY M. C. SALAMAN<br /> -<br /> -<br /> -MCMXIV<br /> -“THE STUDIO” LTD.<br /> -LONDON, PARIS, NEW YORK<br /> -<span class="pagenum"><a name="page_v" id="page_v">{v}</a></span><span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span></p> - -<h2><a name="PREFATORY_NOTE" id="PREFATORY_NOTE"></a>PREFATORY NOTE</h2> - -<p class="nind"><span class="letra">T</span>HE Editors desire to express their thanks to the artists whose work is -represented for the valuable assistance they have rendered in the -preparation of this volume. They also wish to acknowledge the courtesy -of the following publishers who have kindly given permission for -illustrations from their books to appear: Messrs. B. T. Batsford; -Messrs. George Bell and Sons; Messrs. A. and C. Black; Messrs. Blackie -and Son; Messrs. Chatto and Windus; Messrs. Constable and Co.; Messrs. -J. M. Dent and Sons; Mr. T. N. Foulis; Messrs. George G. Harrap and Co.; -Mr. William Heinemann; Messrs. Hodder and Stoughton; Mr. John Lane; -Messrs. Sampson Low, Marston, and Co.; Messrs. Macmillan and Co.; -Messrs. Maunsel and Co.; Mr. David Nutt; Messrs. Alston Rivers; Messrs. -Otto Schulze and Co.; and Mr. Philip Lee Warner. The title of the book -and the name of the publisher are given under each of these -illustrations.</p> - -<div class="figcenter"> -<a href="images/ill_001.jpg"> -<img src="images/ill_001.jpg" width="289" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>BY EDMUND J. SULLIVAN. FROM “SARTOR RESARTUS”</i> (<i>G. BELL -& SONS</i>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_002.jpg"> -<img src="images/ill_002.jpg" width="305" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>BY R. ANNING BELL. FROM “POEMS BY JOHN KEATS” (GEORGE -BELL & SONS)</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span></p> - -<h2><a name="LIST_OF_ARTISTS_WHOSE_WORK_IS_REPRODUCED_IN_THIS_VOLUME" id="LIST_OF_ARTISTS_WHOSE_WORK_IS_REPRODUCED_IN_THIS_VOLUME"></a>LIST OF ARTISTS WHOSE WORK IS REPRODUCED IN THIS VOLUME</h2> - -<table border="0" cellpadding="1" cellspacing="0" summary=""> -<tr><td> </td><td class="rt"><small>PAGE</small></td></tr> - -<tr><td>Armfield, Maxwell</td><td class="rt"><a href="#page_13">13</a></td></tr> - -<tr><td>Ball, F. H.</td><td class="rt"><a href="#page_14">14</a></td></tr> - -<tr><td>Batten, J. D.</td><td class="rt"><a href="#page_15">15</a>-<a href="#page_19">19</a></td></tr> - -<tr><td>Bell, R. Anning, A.R.A., R.W.S.</td><td class="rt"><a href="#page_vi">vi</a>, <a href="#page_viii">viii</a>, <a href="#page_20">20</a>-<a href="#page_25">25</a></td></tr> - -<tr><td>Brangwyn, Frank, A.R.A., R.E., P.R.B.A.</td><td class="rt"><a href="#page_26">26</a>-<a href="#page_29">29</a></td></tr> - -<tr><td>Brickdale, Eleanor Fortescue-, A.R.W.S.</td><td class="rt"><a href="#page_30">30</a>-<a href="#page_33">33</a></td></tr> - -<tr><td>Brock, C. E.</td><td class="rt"><a href="#page_34">34</a>-<a href="#page_38">38</a></td></tr> - -<tr><td>Brock, H. M., R.I.</td><td class="rt"><a href="#page_39">39</a>-<a href="#page_44">44</a></td></tr> - -<tr><td>Bull, René</td><td class="rt"><a href="#page_45">45</a>-<a href="#page_48">48</a></td></tr> - -<tr><td>Calthrop, Dion Clayton</td><td class="rt"><a href="#page_49">49</a>-<a href="#page_51">51</a></td></tr> - -<tr><td>Cameron, D. Y., A.R.A., A.R.S.A., A.R.W.S.</td><td class="rt"><a href="#page_52">52</a></td></tr> - -<tr><td>Campbell, John P.</td><td class="rt"><a href="#page_53">53</a>-<a href="#page_55">55</a></td></tr> - -<tr><td>Clarke, Harry</td><td class="rt"><a href="#page_56">56</a>, <a href="#page_57">57</a></td></tr> - -<tr><td>Crane, Walter, R.W.S.</td><td class="rt"><a href="#page_58">58</a>-<a href="#page_60">60</a></td></tr> - -<tr><td>Dulac, Edmund</td><td class="rt"><a href="#page_61">61</a>-<a href="#page_63">63</a></td></tr> - -<tr><td>Elvery, Beatrice</td><td class="rt"><a href="#page_64">64</a></td></tr> - -<tr><td>Flint, W. Russell, A.R.W.S.</td><td class="rt"><a href="#page_65">65</a></td></tr> - -<tr><td>Griggs, F. L.</td><td class="rt"><a href="#page_67">67</a>-<a href="#page_70">70</a></td></tr> - -<tr><td>Hankey, W. Lee, R.E.</td><td class="rt"><a href="#page_71">71</a>-<a href="#page_73">73</a></td></tr> - -<tr><td>Hargrave, John</td><td class="rt"><a href="#page_74">74</a>, <a href="#page_75">75</a></td></tr> - -<tr><td>Henderson, Keith</td><td class="rt"><a href="#page_76">76</a></td></tr> - -<tr><td>Hill, Vernon</td><td class="rt"><a href="#page_77">77</a>-<a href="#page_80">80</a></td></tr> - -<tr><td>Horton, W. T.</td><td class="rt"><a href="#page_81">81</a>-<a href="#page_83">83</a></td></tr> - -<tr><td>Jones, A. Garth</td><td class="rt"><a href="#page_84">84</a>, <a href="#page_85">85</a></td></tr> - -<tr><td>Jones, Sydney R.</td><td class="rt"><a href="#page_86">86</a>-<a href="#page_88">88</a></td></tr> - -<tr><td>King, Jessie M.</td><td class="rt"><a href="#page_89">89</a>-<a href="#page_91">91</a></td></tr> - -<tr><td>Maxwell, Donald</td><td class="rt"><a href="#page_92">92</a></td></tr> - -<tr><td>Metcalfe, Gerald</td><td class="rt"><a href="#page_93">93</a>-<a href="#page_97">97</a></td></tr> - -<tr><td>Nelson, Harold</td><td class="rt"><a href="#page_98">98</a>-<a href="#page_100">100</a></td></tr> - -<tr><td>New, Edmund H.</td><td class="rt"><a href="#page_101">101</a>-<a href="#page_106">106</a></td></tr> - -<tr><td>Orr, Monro S.</td><td class="rt"><a href="#page_107">107</a>-<a href="#page_109">109</a></td></tr> - -<tr><td>Orr, Stewart</td><td class="rt"><a href="#page_110">110</a>, <a href="#page_111">111</a></td></tr> - -<tr><td>Park, Carton Moore</td><td class="rt"><a href="#page_112">112</a>-<a href="#page_116">116</a></td></tr> - -<tr><td>Payne, Dorothy M.</td><td class="rt"><a href="#page_117">117</a>, <a href="#page_118">118</a></td></tr> - -<tr><td>Rackham, Arthur, R.W.S.</td><td class="rt"><a href="#page_119">119</a>-<a href="#page_124">124</a></td></tr> - -<tr><td>Reynolds, Frank, R.I.</td><td class="rt"><a href="#page_125">125</a>-<a href="#page_128">128</a></td></tr> - -<tr><td>Robertson, W. Graham, R.B.A.</td><td class="rt"><a href="#page_129">129</a>-<a href="#page_132">132</a></td></tr> - -<tr><td>Robinson, Charles</td><td class="rt"><a href="#page_133">133</a>-<a href="#page_144">144</a> -<span class="pagenum"><a name="page_viii" id="page_viii">{viii}</a></span></td></tr> - -<tr><td>Robinson, W. Heath</td><td class="rt"><a href="#page_145">145</a>-<a href="#page_153">153</a></td></tr> - -<tr><td>Rose, R. T.</td><td class="rt"><a href="#page_154">154</a>, <a href="#page_155">155</a></td></tr> - -<tr><td>Rountree, Harry</td><td class="rt"><a href="#page_156">156</a></td></tr> - -<tr><td>Shaw, Byam, A.R.W.S.</td><td class="rt"><a href="#page_157">157</a>-<a href="#page_165">165</a></td></tr> - -<tr><td>Sinclair, Helen M.</td><td class="rt"><a href="#page_166">166</a>, <a href="#page_167">167</a></td></tr> - -<tr><td>Southall, Joseph E.</td><td class="rt"><a href="#page_168">168</a></td></tr> - -<tr><td>Sullivan, Edmund J., A.R.W.S.</td><td class="rt"><a href="#page_v">v</a>, <a href="#page_169">169</a>-<a href="#page_174">174</a></td></tr> - -<tr><td>Thomson, Hugh</td><td class="rt"><a href="#page_175">175</a>-<a href="#page_181">181</a></td></tr> - -<tr><td>Wade, Charles</td><td class="rt"><a href="#page_182">182</a>-<a href="#page_184">184</a></td></tr> - -<tr><td>Wiles, Frank</td><td class="rt"><a href="#page_185">185</a>, <a href="#page_186">186</a></td></tr> - -<tr><td>Williams, R. James</td><td class="rt"><a href="#page_187">187</a>, <a href="#page_188">188</a></td></tr> - -<tr><td>Yeats, Jack B., R.H.A.</td><td class="rt"><a href="#page_189">189</a>-<a href="#page_192">192</a></td></tr> -</table> - -<div class="figcenter"> -<a href="images/ill_003.jpg"> -<img src="images/ill_003.jpg" width="246" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>BY R. ANNING BELL FROM “A MIDSUMMER NIGHT’S DREAM” (J. -M. DENT AND SONS)</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span></p> - -<h2><a name="BRITISH_BOOK-ILLUSTRATION_BY_MALCOLM_C_SALAMAN" id="BRITISH_BOOK-ILLUSTRATION_BY_MALCOLM_C_SALAMAN"></a>BRITISH BOOK-ILLUSTRATION. BY MALCOLM C. SALAMAN</h2> - -<p class="nind"><span class="letra"> -<img src="images/ltr_w.png" -width="100" -alt="W" /></span>HO does not love a picture-book? Yet how few comparatively still love -it for anything but the pleasure of recognizing images mentally familiar -or readily suggested—personalities, incidents, scenes—irrespective of -any sensuous gratification from artistic qualities of presentation, of -design, of composition! How few, in short, appreciate the distinction -between illustration that is merely reproductive and illustration that -is both interpretative and decorative! This appreciation is certainly on -the increase, but, much as the artists and the makers of books are doing -to stimulate it, much remains to do. The appeal of the picture-book is -universal; but the Book Beautiful, in which the printed text and the -illustrative scheme are conceived as a decorative whole, is as yet a -rare thing. How much our joy in a book may be enhanced by pictorial -embellishment must depend, of course, upon our individual conception of -illustration in relation to the permanent elements of pictorial art.</p> - -<p>That most human of book-lovers, Charles Lamb, admitted that he preferred -to read Shakespeare, not in the First Folio, but in the common editions -with plates so execrably bad that they served as maps, or modest -remembrancers, to the text without pretending any supposable emulation -with it. But we must remember that Boydell’s Shakespeare Gallery -engravings were then the example—the awful example, one might say—of -the highest illustration of the poet, Sir John Gilbert’s vigorous -dramatic illustrative designs being, of course, of much later date. -Perhaps few of us would not have agreed with Lamb in his day. In our own -day, however, we have come to look in book-illustration for something -more than “maps, or modest remembrancers, to the text.” We are coming, -in fact, if we have not already come, to demand of illustration that it -shall not merely interpret for us the literary idea, or the mental image -suggested by it, but that it shall do this with decorative effect—that -it shall take its place upon the page with charm, dignity, and beauty. -We are thus aiming at a higher standard of artistic book-illustration, -which certain modern tendencies and achievements, as well as certain -wider developments in the crafts of reproduction, have enabled us to -conceive.</p> - -<p>I do not pretend, of course, that in all of the great mass of -book-illustration to-day there is any attempt to conform to this -artistic standard—though the general average is higher. Let us -therefore be clear as to<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> what we mean by artistic illustration. To be -regarded as a work of art, I take it, any graphic illustration must be -composed of intrinsic decorative elements; its pictorial expression of -the visualized idea must be controlled by such qualities, with -harmonious balance, of form and tone as could in themselves give -satisfaction as design or pattern apart from any question of literary or -dramatic significance. When the expressive elements are perfectly fused -with the decorative, then we get great illustration which may outlive -all changes and fashions of taste. Thus, if we look with a sense of -pictorial art at William Blake’s illustrations to the Book of Job or his -own poems, at the noble woodcut designs of Millais, Sandys, Boyd -Houghton, and the other great illustrators of the “sixties,” or at -Aubrey Beardsley’s “Rape of the Lock” designs, we shall see why all -these illustrations are likely to live for their own sakes as works of -art, and we shall gather confidence in the permanent artistic value of -not a little of the book-illustration being done to-day. We shall also -understand why so much of the popular illustration of the period -immediately preceding the “sixties” has died with the literature that -called it forth; why even the immortal “Phiz” lives artistically chiefly -because the types and episodes he made visually familiar to us have long -been absorbed in our popular memories; why even the great George -Cruikshank, with his infinity of illustrative invention and wit, his -enormous range and facility of graphic expression, yet with his passion -for significant detail uncontrolled by the decorative instinct, seems -quite old-fashioned—old-fashioned as no drawing of Charles Keene’s, -whatever contemporary phase of life it presented, could ever become.</p> - -<p>The art of book-illustration in England has been of slow growth, and -till recent times its development has been sporadic. This has depended -largely on the mediums of reproduction which happened to be ready to the -designer’s hand, although on occasion men of genius, such as Blake and -Bewick, have found for themselves the means for their pictorial needs, -and have incidentally enriched the method’s possibilities. English -book-illustration can scarcely be said to have had any distinctive -existence before the eighteenth century, although the earliest printed -books had pictorial woodcuts upon their pages. These were of a more or -less primitive character, and bore little illustrative relation to the -literary text, being frequently of foreign origin and serving again and -again for various books. The printers would seem to have used them -without any definitely decorative or illustrative intention, and, as a -matter of fact, in the England of Caxton’s day, and for some decades -later, the graphic arts were not in a condition to offer much to the -service of the new art of printing. Native design had little artistic -significance, and English wood-engraving was still in the crudest -state,<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span> even at a time when in Germany Dürer, Burgkmair, Lucas Cranach, -and Holbein were using the woodcut for imperishable -illustration—imperishable because of its intrinsic artistic qualities.</p> - -<p>When, in the middle of the sixteenth century, copper-plate engraving was -belatedly introduced into this country it was soon employed to add to -the attractiveness of the printed book. Indeed, it is in the books of -the period that we must in a great measure trace the progress of the -engraver’s art in England, though the illustrator’s was still largely to -seek. Few books of any importance in the sixteenth and seventeenth -centuries were published without an engraved title-page or frontispiece, -or both, ornately designed, often with the author’s portrait set amid -allegorical or symbolic suggestions of the book’s contents. Many of -these pictorial title-pages and frontispieces have a quaint artistic -charm, though their significance is for the most part literary and -fantastic. Occasionally, as in the case of Elstrack’s ponderous -frontispiece to Sir Walter Raleigh’s “History of the World,” we find the -author thinking it necessary to explain “The Minde of the Front,” but, -as the engravers’ names only appeared on the plates, we must suppose -them to have been also the designers, and so we may associate with the -beginnings of book-illustration in this country the names of William -Hole, John Payne, William Marshall, Robert Vaughan, and others of the -early line-engravers. But illustration in any modern acceptance of the -term was not to be found in the books of the seventeenth century, -although occasionally among the pages would appear plates of a pictorial -character.</p> - -<p>The eighteenth century, however, saw a notable activity in the -illustrating of books, dating from the publication in 1726 of Hogarth’s -plates to Butler’s “Hudibras.” But perhaps the greatest stimulus to the -still groping art was the influence of the charming and fertile French -illustrator Gravelot, who lived and worked in London for some twenty -years in the first half of the century. His influence, sadly needed at -this time, was in the direction of grace and delicacy in visualizing the -mental image, and of the many English artists of the period who -addressed themselves to book-illustration none equalled the prolific -Thomas Stothard in the display of these qualities. The designs that -Stothard made in the course of his long career are practically -countless, and, with much work that was feeble or merely pretty, at his -best, as when illustrating the novels of Richardson, Sterne, and -Goldsmith, and certain poems of Samuel Rogers, his graphic fancy would -translate the author’s conceptions with sympathy into pictorial terms of -grace and persuasion. And the daintiness of his design would lend itself -as readily to stipple-engraving as to line. Stothard’s is one of the few -outstanding names in eighteenth-century book-illustration; another is -Flaxman’s,<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span> with his outline designs for Homer, Æschylus, and Dante; but -in the whole history of the art no name shines more brilliantly than -that of their great contemporary, William Blake. With that sublime and -original genius, it may be said, English printed book-illustration came -into being in its ideal condition as a work of art. Before Blake -produced his entrancing “Songs of Innocence” in 1787 nobody had -conceived the printed page as an harmonious combination of text, -illustration, and decoration, an ideal of beautiful book-making that has -proved the inspiration of some of our best modern artists. So we may -call Blake the first great English book-illustrator. Never were -expression and decoration more perfectly blended than in those pages of -Blake’s, all smelling of April, as Swinburne happily phrased it, with -their script and their illustrative designs, in decorative setting, -printed in tinted inks from plates etched in relief after a method of -his own devising, and their exquisite colour-harmonies built up by hand -upon the impressions. That Blake’s example was not followed in those -days of the popularity of the stippled colour-print is surprising, -although it would have argued an artistic sense of book-decoration that -was in Blake’s day, and for long afterwards, extremely rare, if not -almost non-existent. But absolutely unique and original as was Blake’s -genius, and slow as was his influence, we can trace in later -book-illustration, especially in some of to-day’s, something of the -influence not only of his colour-books but of his nobly beautiful -illustrations to the Book of Job and Blair’s “Grave,” and of those -wonderful little woodcut designs for Philips’s “Pastorals,” in which he -extended the capacity of the wood-engraver’s art for the suggestion of -colour, showing how far more pliable it may be in the hands of the -artist who cuts his own designs and gives his imagination play upon the -block.</p> - -<p>It was through the wood-engraver’s art, too, that, contemporary with -Blake, yet beginning earlier than he to handle the block, another man of -genius stamped himself on the history of English book-illustration, and -exerted an extraordinary influence. Indeed, in the hands of Thomas -Bewick the craft of wood-engraving awakened from a moribund condition to -new life, invigorated by his revival of the “white line,” used in a -pictorial way of his own, to serve the illustrator’s art through many a -year and one glorious decade, while Bewick’s inimitable vignettes and -tail-pieces gave English book-illustration fresh inspiration in the -direction of original fancy. And Bewick’s influence was splendidly -transmitted through his gifted disciples and followers, Luke Clennell, -William Harvey, and W. J. Linton.</p> - -<p>But book-illustration about the end of the eighteenth century and the -earlier years of the nineteenth had at its service reproductive methods -other than wood-engraving and the graven line. Innumerable books<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span> were -published with pictorial plates in coloured aquatint and etched -outlines, for the most part of merely topographical interest, and -therefore scarcely illustrations in the strictly artistic acceptance of -the term; yet it was through this medium that the illustrative genius of -Rowlandson was reproduced. Notably in his famous “Tours of Dr. Syntax,” -he represented a phase of book-illustration the influence of which in -more recent times we may trace in the delightful work of Randolph -Caldecott.</p> - -<p>One does not think of Turner strictly as an illustrator, although -countless books were “embellished” with his exquisite landscape drawings -and vignettes, translated to a nicety of reproductive art by a -remarkable school of line-engravers on copper and steel, trained by the -great artist himself to mix the etched with the graven line in a manner -never previously imagined. Glorious as he was in interpreting his own -visions, when Turner set himself to illustrate another man’s poems, such -as Campbell’s “Lord Ullin’s Daughter,” or “The Soldier’s Dream,” or “The -Last Man,” one can hardly regard his vignettes as impressive -illustration. But the Turner-illustrated book loomed large in its day, -and that was not yet the day of any distinguished ideal of -interpretative and decorative illustration, Blake’s remaining still -unique.</p> - -<p>However, amid an active period of book-illustration in which the -dominant idea was vivacious, scenic, and characteristic representation, -with the decorative instinct largely to seek, if not practically absent, -began suddenly the great period which we know as “the sixties.” Its -opening was marked by Moxon’s publication in 1857 of an edition of -Tennyson’s Poems. There was no attempt to make a beautiful book of it; -the format, the type, the paper, the binding, were all quite ordinary; -but among the illustrations happened to be masterpieces. For among the -noted artists engaged upon the work—including Mulready and Clarkson -Stanfield—were three young men who proved to be great illustrators, and -these, by their wonderful designs for this volume, drawn direct upon the -wood-blocks for facsimile engraving, initiated a movement that is -remarkable in the history of British Art. Millais, Rossetti, and Holman -Hunt brought to their task all the romantic and decorative pictorial -ideals of their Pre-Raphaelite Brotherhood, and no more inspiring matter -than Tennyson’s early poems could have been illustrated by such artists -with such ideals. No sooner was it seen that, in the hands of such -contemporary reproductive engravers as the Dalziels, Swain, Hooper, and -Linton, the wood-block could offer opportunities to the graphic artist -such as it had not offered since the age of Dürer, than most of the -leading painters of the more imaginative order turned to it as a medium -for expression. Book after book and magazine after magazine issued from -the press<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> with illustrations which were remarkable for fine expressive -significance, true interpretative vision, and decorative -beauty—designs, in fact, which created a new tradition in English -book-illustration. To attempt any enumeration of these books and -magazines of that amazing period, in which one may find masterpieces -that would adorn the reputations of the greatest masters of design, were -beyond the scope of this article. There was no attempt to make the books -beautiful in themselves, with artistic relation between type and -illustration, and harmonious decoration of the page; the designs held in -themselves all that the books offered in the way of adornment. It must -therefore suffice here to call to memory just the most individual and -important of the artists whose work in line upon the wood-block made the -years, roughly speaking, between 1860 and 1870 so gloriously memorable. -Who shall say that John Everett Millais showed himself a greater artist -in his paintings than he did in his black-and-white designs for “The -Parables of Our Lord”—superb things—or his illustrations to Tennyson’s -poems and Anthony Trollope’s novels? With his unfailing gift of vital -interpretation, whether romantic or simply dramatic, allied to masterly -command of design, he was the ideal illustrator. How splendidly -effective, too, was the pictorial imagination of Dante Gabriel Rossetti -when expressed within the limitations of the decorative line, enriched -with poetic symbol artistically conceived! Then there was Frederick -Sandys, one of the greatest masters of black-and-white of any time, and -a living influence to-day, whose noble designs, with their beauty and -dignity of sweeping line and perfect balance of composition, are -instinct with fine dramatic vitality and emotional expression. If the -period had been artistically remarkable for nothing else, it would have -been memorable for the gift of Sandys’s designs, which have surely -influenced many later illustrators. Much these may owe, too, to Arthur -Boyd Houghton, a truly original illustrator, of the richest imagination -when happily inspired by his subject, as he certainly was in the most -extraordinary degree by the stories of the “Arabian Nights”; an artist -of extremely live and sensitive temperament, a master of design in which -vivacious line and white significant space were balanced with almost -magic felicity. Two other names that shone with particular lustre in the -book-illustration of the “sixties” were Frederick Walker and George John -Pinwell. There was an idyllic fragrance about Walker’s work; the charm -of Pinwell’s was its vivid pictorial truth to life, its dramatic -feeling. One must not forget the graces of Arthur Hughes’s designs, the -tender naturalness of Birket Foster’s and J. W. North’s. Who would think -now of Whistler as an illustrator of other men’s ideas? Yet even his -original genius lent itself to the prevailing fascination of -interpretative vision upon the wood-block. But if we take up<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> any of the -illustrated books or periodicals of that period, especially any issued -under the auspices of the Dalziels, who did so much to encourage and -stimulate the art of illustration, we shall find famous names attached -to designs worth pondering over: Leighton, Burne-Jones, Ford Madox -Brown, Charles Keene, Tenniel, Du Maurier, Frederick Shields, Simeon -Solomon, John Gilbert—all these, besides those already named, were -expressing their pictorial inventions in line, and most of them drawing -direct upon the wood.</p> - -<p>A very charming phase of book-illustration followed close upon this -great black-and-white period, and it was a phase of colour. The flat -wood-block process was developed by the late Edmund Evans, the -colour-printer, and, encouraged by him, three gifted artists of -severally distinctive styles exploited its possibilities with -distinguished and popular success. Randolph Caldecott, Kate Greenaway, -and Walter Crane—their very names call to mind a captivating series of -picture-books in which their fancies made dainty frolic and revel for -the delight equally of children and grown-ups. With all three the fairy -tale and the nursery rhyme found fresh graces of pictorial expression -and vivacities of invention, and the children’s picture-book entered -upon a new era of artistic refinement and charm. Of the veteran Walter -Crane, and his influence on the decorative side of book-illustration, -one must speak presently, for happily he is represented in this volume. -Of Randolph Caldecott and Kate Greenaway, what is there fresh to say in -appreciation? Who has not laughed and rejoiced over Caldecott’s “John -Gilpin” and his inimitable Goldsmith and Washington Irving -illustrations, with their breezy humour, their happy, lively art? Is it -only the middle-aged children who recall affectionately the dainty -pictorial graces of Kate Greenaway’s world of little people? Anyhow, her -very name has become almost established as an adjective. The sweet, -tender simplicity of the colour-schemes of those books of Caldecott’s -and Kate Greenaway’s had an unforgettable fragrance, and one may feel -that without the influence of these artists many of the children’s books -of to-day might perhaps lack something of their charm.</p> - -<p>The photographic reproductive processes began now to change the spirit -of the illustrator’s dream. Both in black-and-white and colour the -artist had to readjust his methods and adapt them to the new mechanical -conditions—to the domination of the camera, in fact. Already the -photographer had become an intermediary between the artist and the -wood-engraver, though the designer’s lines were still at the mercy of -the craftsman’s knife. Now the artist made his designs with the camera -in view, knowing that his line would reproduce exactly as he drew it. -Naturally this change had a considerable influence on the character of -the designs made for book-illustration. But,<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> meanwhile, there were -artists, individual and in groups, who, setting themselves against the -innovating photographic reproduction in book-illustration, sought by the -older methods to make books beautiful with pictorial adornment. Charles -Ricketts and Charles Shannon, two artists inspired always by high -ideals, to whose originality and initiative modern book-decoration owes -a great deal, issued <i>The Dial</i> in 1889, and this was the beginning of -an important movement in the making of beautiful books. Among the pages -Mr. Shannon set those exquisite lithographs of his in which his -pictorial poetry is most eloquent; while from this publication we may -perhaps date the modern revival of original wood-engraving—Messrs. -Ricketts, Shannon, Sturge Moore, Reginald Savage, and Lucien Pissarro -cutting their lovely designs upon the wood. From the enthusiasm that -produced <i>The Dial</i> grew the Vale Press, which, with its remarkable -series of beautiful books, has given so much joy to bibliophiles, a joy -that Mr. Pissarro continues to give with the delicately lovely books he -issues from his Eragny Press—the Vale’s successor—books in which the -ideal of harmonious decorative relation between the lettering of the -page and its pictorial adornment is logically realized with exquisite -results. How splendidly this ideal was realized by William Morris in his -books from the Kelmscott Press has already been shown in “The Art of the -Book” (the Special Spring Number of <span class="smcap">The Studio</span>, 1914); to speak further -of it here were beyond my province. I wish only to suggest its great -influence for beauty on the book-decoration of to-day and yesterday, an -influence one would wish to see still more widely extended.</p> - -<p>A more definite alliance between book-illustration and decoration -developed during the nineties of the last century, and the artistic -activities in this direction were of a distinguished and interesting -character. Several notable artists were at work, and among them one must -not forget Mr. William Strang with his illustrative etchings, for it -would be difficult to find a more intuitive pictorial interpreter of -Burns or of Stevenson. One remembers also the expressively decorative -designs of Mr. Laurence Housman and the graces of the so-called -Birmingham School; above all, one recalls the appearance of two great -original draughtsmen of widely different temperaments, both masters of -line, both vitally artistic, both of enduring influence—Phil May and -Aubrey Beardsley. And both of these were content to let their lines -speak through the photographic medium. <i>The Yellow Book</i> and <i>The Savoy</i> -came and passed away, but they left us Beardsley, and with him no fresh -pictorial understanding of life and character such as we got from the -humanly humorous genius of Phil May, but a new decorative value of line -and the balance of black and white masses. This is Beardsley’s -influence, quite distinct possibly from his fantastic manner<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> of -conception, but it is the secret of the permanent artistic worth of his -graphic interpretations of Oscar Wilde’s “Salome” and Pope’s “Rape of -the Lock.”</p> - -<p>At the present moment book-illustration is in an interesting phase, with -its spreading tendencies towards page-decoration, and suggestive rather -than realistic pictorial treatment of the text. In the following pages a -fairly representative selection of drawings will show what many of our -leading illustrators have been doing of late. It will be noticed that, -with the clearness and precision possible to the modern photographic -process-block, pure line is favoured for black-and-white; while recent -developments of the three-colour process place within the possibilities -of the artist a very wide range of tones and harmonies. Indeed, it would -seem that, however the book-illustrator may wish to vary his manner in -sympathy with the character of the text he is illustrating, the present -mediums of reproduction will prove responsive to his need.</p> - -<p>I have already mentioned Mr. Walter Crane and the fanciful and -decorative charm of his colour-books. It was on the wood-block in the -“sixties” and “seventies” that he began his long and distinguished -career as a book-illustrator, and, with his delicate feeling for -expressive line and the harmoniously decorated page, he has produced -book after book, in which Shakespeare or Spenser, William Morris, the -beloved Grimm, or the anonymous authors of immortal fairy tale and -nursery rhyme, have inspired his graphic fancy to sweet and dainty -picturings, whether in colour or in black-and-white. Genuine -picture-books his, with the pictorial adornment extending from end-paper -to end-paper, and the pages bearing their pictures happily balanced with -their letterings amid decorative borders. To name even the best of his -books would involve quite a long catalogue.</p> - -<p>Turning from the veteran’s sweet and gracious simplicity of fancy to the -wizardry of Mr. Arthur Rackham’s alertly imaginative art, with its -wide-ranged flights of grotesque or romantic fantasy, is like going from -a field of daisies, daffodils, and bluebells into a garden of wonderful -exotics. Mr. Rackham stands apart from all the other illustrators of the -day; his genius is so thoroughly original. Scores of others have -depicted fairyland and wonderland, but who else has given us so -absolutely individual and persuasively suggestive a vision of their -marvels and allurements? Whose elves are so elfish, whose witches and -gnomes are so convincingly of their kind, as Mr. Rackham’s? His line, -with its distinctive accent, is his very own; so are his colour-tones; -and no little of the secret of his success lies in a subtly harmonious -intimacy between design and colour-scheme adapted with peculiarly -sympathetic understanding to the capacity and limitations of the -photographic mediums of reproduction. In the printed draw<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span>ings of Mr. -Rackham we find the three-colour process never forced, but always at its -best, and his happily balanced tones seem to suggest the very atmosphere -of mystery and enchantment proper to those worlds of romance and faëry -which this fascinating artist delights to picture. But whether he -expresses his visions in colour or black-and-white, he gives always new -meanings to old tales. Looking at his drawings, one feels more at home -even in “A Midsummer Night’s Dream,” one wonders with Alice afresh and -more zestfully, frolics again with childish seriousness among the fairy -tales, and gives oneself up as readily to the romantic spell of the -“Nibelungen Ring” as to the whimsical supernaturalness of the beasts and -birds of Æsop and the nursery rhyme. With all this, Mr. Rackham’s -pictorial invention is essentially decorative.</p> - -<p>A gentle graciousness of line and decorative design, with simplicity of -expression, constitutes the peculiar charm of Mr. Robert Anning Bell’s -illustrated books. That he finds happy suggestion among the poets will -be seen in the drawings representing him here; but his “Midsummer -Night’s Dream” is a book to enjoy in its entirety, so harmonious is its -scheme, while the <i>Masque of Courteous Monsters</i> in “The Tempest” is a -remarkable composition. The distinguished graphic fancy of Mr. W. Heath -Robinson has also been inspired to beautiful pictorial interpretation by -Shakespeare’s immortal fairy play, and it is interesting to compare his -more suggestive treatment with Mr. Anning Bell’s, the more definitely -decorative significance of his design. As a quaintly humorous -draughtsman Mr. Heath Robinson is also represented in these pages.</p> - -<p>There is no artist now devoting himself to book-decoration who has been -truer to the ideals of his art than Mr. Charles Robinson. From the time -when he proved himself the ideal illustrator of Stevenson’s “Child’s -Garden of Verses” to the present he has aimed always at treating the -book as an harmonious whole from cover to cover, providing decoration or -illustration just where the scheme seemed to call for it. This unity of -treatment may be noted particularly in his more recent books, “The -Sensitive Plant,” “The Four Gardens,” “The Happy Prince,” and “The Big -Book of Nursery Rhymes.” But Mr. Robinson is a man of original if -delicate imagination, as well as an exquisite interpretative artist, and -the double-page drawing given here, <i>The Dream</i>, will show him -graphically illustrating his own fanciful vision—carrying out his -pictorial ideas in a book of his own creation. “A Dream of St. Nicholas -in Heaven” is a sort of allegory on the modern aspect of maternity.</p> - -<p>A wonderful contrast is the robust interpretative imagination of Mr. -Edmund J. Sullivan, one of the greatest book-illustrators we have ever<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> -had, as he is one of the finest living draughtsmen on the page. His -virility of mind and manner have found Carlyle wonderfully inspiring, -and in the “Sartor Resartus” drawings shown here, as in the still -greater “French Revolution” series, his certainty of expressive effect -is extraordinary. Mr. Sullivan’s pictorial sense of character and -incident is explicit also in the Goldsmith illustrations.</p> - -<p>Mr. W. Russell Flint, a very talented designer of rich pictorial -imagination and fine colour-sense, has, within the last few years, come -into the front rank of book-illustrators, and he has done this through -the medium of a number of beautiful books issued from the Riccardi -Press. Things of real beauty are many of the illustrations to the “Song -of Solomon,” “Marcus Aurelius,” “Le Morte D’Arthur,” Kingsley’s “Heroes” -(one of which is reproduced here), and the “Canterbury Tales.” Mr. Flint -adapts his expressive style artistically to the varying styles of the -books, and in his colour-schemes he gauges the powers of the -reproductive process to a nicety.</p> - -<p>Poetry, fantasy, and romance are seen pictorially interpreted here by a -group of artists who, though severally distinctive in conception and -manner, are linked by the common aim of imaginative expression in -orderly design for the purpose of page-decoration. Perhaps nothing more -characteristic of Mr. Edmund Dulac’s graces of invention in design and -colour could be shown than the charming frontispiece to his “Princess -Badoura,” with its engaging orientalism. His versatility is well seen in -the Poe drawings. If Beardsley ever lent Miss Jessie King the decorative -influence of his line she has made it all her own, as evidenced in these -three exquisite and original designs suggested by old romances. Tennyson -and Browning have furnished happy inspirations for the delicate art of -Miss Eleanor Fortescue-Brickdale; while Mr. Dion Clayton Calthrop shows -with graphic charm how thoroughly he is at home in Fairyland—being -himself the most reliable of guides. Mr. Maxwell Armfield has given all -lovers of Hans Andersen a new joy in his charming coloured illustrations -to the immortal stories, while in his “Flower Book” and “Sylvia’s -Travels” he shows a fascinating fancy; but here we see him only in two -distinguished little woodcuts. Mr. W. Graham Robertson is as delicious -as ever in his Blake-like simplicity of expression and design, whether -illustrating his own books or those of that kindred spirit of fantasy, -Mr. Algernon Blackwood. Mr. Byam Shaw’s fecundity of illustrative -invention is well represented, if not the wide range of his fertility, -which is from Shakespeare and Boccaccio to Flora Annie Steele in Akbar’s -India. Mr. Vernon Hill is a designer of remarkable imagination, and he -makes an ideal illustrator of “Ballads Weird and Wonderful.” -Imaginatively expressive and decorative, also, with the best influences, -per<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span>haps, of the “sixties,” are Mr. Gerald Metcalfe’s illustrations to -Coleridge. So, too, but in a manner of their own, are Mr. Harry Clarke’s -to the “Ancient Mariner” and Mr. John P. Campbell’s designs for the -“Celtic Romances.” In this same category we may include the illustrative -drawings of Miss Dorothy Payne, Mr. Harold Nelson, Mr. Lee Hankey, Mr. -A. Garth Jones, Mr. Monro S. Orr, Miss Beatrice Elvery, and Mr. J. D. -Batten. Mr. R. T. Rose, however, must stand by himself. The three -drawings here show his strong individuality, but I wish it had been -possible to represent his high-water mark in the beautiful designs for -the Book of Job.</p> - -<p>There are no more facile and prolific illustrators than Mr. Hugh Thomson -and Messrs. C. E. and H. M. Brock, and all of them are most at home in -the humours of the eighteenth and early nineteenth centuries. So we have -Mr. Thomson sympathetically illustrating Jane Austen and Mrs. Gaskell, -as well as picturesque highways and byways; while Mr. C. E. Brock shows -us what pictorial suggestion he has found in the “Essays of Elia,” a -subject, by the way, that might supply an essay in itself; and Mr. H. M. -Brock’s multifarious illustration is represented also by clever designs -for essays, Leigh Hunt’s and Douglas Jerrold’s. Humorous character, -besides, we get from Mr. Frank Reynolds in his vivacious “Pictures of -Paris,” and his delightful “Pickwick” illustration in colour. The animal -whimsicalities of Mr. Stewart Orr, and Mr. Carton Moore Park’s -decorative suggestions of beast and bird life, are also illustrative -examples we would not be without.</p> - -<p>The Irish character-studies of Mr. Jack B. Yeats have an interest all -their own; they have life and atmosphere. Light and atmosphere -distinguish Mr. D. Y. Cameron’s two great little landscape drawings for -“The Tomb of Burns.” One does not otherwise think of the great etcher as -an illustrator. Mr. Frank Brangwyn is entirely himself in the two virile -pen-and-ink drawings for “The Book of Bridges,” and the colour -illustration to Kinglake’s “Eöthen.” Very charming, and worthy of their -theme, are Mr. F. L. Griggs’s illustrations to “The Sensitive Plant”; -nor is this accomplished artist less delightful in his designs for “The -Chronicles of a Cornish Garden.” But, then, how could he be with such a -title to inspire him? Mr. Edmund H. New is another artist of distinctive -style who never fails us, and in the “Compleat Angler” and White’s -“Selborne” he had, of course, subjects after his heart. The fanciful -landscape is Mr. W. T. Horton’s design; peaceful Bruges is Mr. Charles -Wade’s theme. FitzGerald’s “Omar” has suggested some quaintly fantastic -designs by Miss Helen Sinclair; Mr. René Bull’s facile pen has busied -itself with the “Arabian Nights”; while here also are characteristic -drawings by Mr. F. H. Ball, Mr. Keith Henderson, Mr. Sydney R. Jones, -Mr. Donald Maxwell, Mr. Harry Rountree, and Mr. Joseph Southall.<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_005.jpg"> -<img src="images/ill_005.jpg" width="551" height="332" alt="[Image unavailable.]" /></a> -<div class="caption"> -<table summary="deprecated"> -<tr><td class="c" colspan="3"><p>MAXWELL ARMFIELD</p></td></tr> -<tr><td><p>“THE SPOTTED STAG”—WOOD-ENGRAVING</p></td> -<td class="spc"> </td> -<td><p>“GUINEA-FOWL”—WOOD-ENGRAVING</p></td></tr> -</table> -</div> -</div> - -<p><span class="pagenum"><a name="page_14" id="page_14">{14}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_006.jpg"> -<img src="images/ill_006.jpg" width="488" height="481" alt="[Image unavailable.]" /></a> -<div class="caption"><p>F. H. BALL</p> - -<p>“PRELUDE<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_007.jpg"> -<img src="images/ill_007.jpg" width="402" height="517" alt="[Image unavailable.]" /></a> -<div class="caption"><p>J. D. BATTEN</p> - -<p>“HASEN REJOINS HIS WIFE.” FROM “THE BOOK OF WONDER VOYAGES” (DAVID -NUTT)</p></div> -</div> - -<p><span class="pagenum"><a name="page_16" id="page_16">{16}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_008.jpg"> -<img src="images/ill_008.jpg" width="406" height="479" alt="[Image unavailable.]" /></a> -<div class="caption"><p>J. D. BATTEN</p> - -<p>“CIRCE AND MEDEA.” FROM “THE BOOK OF WONDER VOYAGES” (DAVID NUTT)</p></div> -</div> - -<p><span class="pagenum"><a name="page_17" id="page_17">{17}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_009.jpg"> -<img src="images/ill_009.jpg" width="340" height="440" alt="[Image unavailable.]" /></a> -<div class="caption"><p>J. D. BATTEN</p> - -<p>ILLUSTRATION FOR “MORE ENGLISH FAIRY TALES” (DAVID NUTT)</p></div> -</div> - -<p><span class="pagenum"><a name="page_18" id="page_18">{18}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_010.jpg"> -<img src="images/ill_010.jpg" width="383" height="373" alt="[Image unavailable.]" /></a> -<div class="caption"><p>J. D. BATTEN</p> - -<p>ILLUSTRATION FOR “MORE FAIRY TALES FROM THE ARABIAN NIGHTS” (J. M. DENT -AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_19" id="page_19">{19}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_011.jpg"> -<img src="images/ill_011.jpg" width="358" height="396" alt="[Image unavailable.]" /></a> -<div class="caption"><p>J. D. BATTEN</p> - -<p>ILLUSTRATION FOR “MORE FAIRY TALES FROM THE ARABIAN NIGHTS” (J. M. DENT -AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_20" id="page_20">{20}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_012.jpg"> -<img src="images/ill_012.jpg" width="469" height="595" alt="[Image unavailable.]" /></a> -<div class="caption"><p>ILLUSTRATION FOR “A MIDSUMMER<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_013.jpg"> -<img src="images/ill_013.jpg" width="464" height="585" alt="[Image unavailable.]" /></a> -<div class="caption"><p>R. ANNING BELL, A.R.A., R.W.S.</p> - -<p>(J. M. DENT AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_22" id="page_22">{22}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_014.jpg"> -<img src="images/ill_014.jpg" width="418" height="529" alt="[Image unavailable.]" /></a> -<div class="caption"><p>R. ANNING BELL, A.R.A., R.W.S.</p> - -<p>ILLUSTRATION FOR “A MIDSUMMER NIGHT’S DREAM” (J. M. DENT AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_23" id="page_23">{23}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_015.jpg"> -<img src="images/ill_015.jpg" width="306" height="454" alt="[Image unavailable.]" /></a> -<div class="caption"><p>R. ANNING BELL, A.R.A., R.W.S.</p> - -<p>“HE PLAY’D AN ANCIENT DITTY, LONG SINCE MUTE, CLOSE TO HER EAR TOUCHING -THE MELODY.” FROM “POEMS BY JOHN KEATS” (GEORGE BELL AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_24" id="page_24">{24}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_016.jpg"> -<img src="images/ill_016.jpg" width="301" height="446" alt="[Image unavailable.]" /></a> -<div class="caption"><p>R. ANNING BELL, A.R.A., R.W.S.</p> - -<p>“AND THOU TWO SWEETER EYES SHALT SEE, THAN THOSE WHICH BY PENÉUS’ -STREAMS DID ONCE THY HEART SURPRISE.” FROM “ENGLISH LYRICS” (GEORGE BELL -AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_25" id="page_25">{25}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_017.jpg"> -<img src="images/ill_017.jpg" width="304" height="449" alt="[Image unavailable.]" /></a> -<div class="caption"><p>R. ANNING BELL, A.R.A., R.W.S.</p> - -<p>“AND, SINCE LOVE NE’ER WILL FROM ME FLEE, A MISTRESS MODERATELY FAIR.” -FROM “ENGLISH LYRICS” (GEORGE BELL AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_26" id="page_26">{26}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_018.jpg"> -<img src="images/ill_018.jpg" width="614" height="449" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FRANK BRANGWYN, A.R.A., R.E., P.R.B.A.</p> - -<p>“THE OLD WAR-BRIDGE OF STIRLING.” FROM “A BOOK OF BRIDGES” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_27" id="page_27">{27}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_019.jpg"> -<img src="images/ill_019.jpg" width="296" height="583" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FRANK BRANGWYN, A.R.A., R.E., P.R.B.A.</p> - -<p>“TURKISH SWEETMEAT SELLER.” FROM “EÖTHEN”</p> - -<p>(<i>By permission of the Publishers, Messrs. Sampson Low, Marston & -Co.</i>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_28" id="page_28">{28}</a></span> </p> - -<p><span class="pagenum"><a name="page_29" id="page_29">{29}</a></span> </p> - -<div class="figcenter"> -<a href="images/ill_020.jpg"> -<img src="images/ill_020.jpg" width="576" height="439" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FRANK BRANGWYN, A.R.A., R.E., P.R.B.A.</p> - -<p>“PONTE MAGGIORE, ASCOLI PICENO.” FROM “A BOOK OF BRIDGES” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_30" id="page_30">{30}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_021.jpg"> -<img src="images/ill_021.jpg" width="361" height="568" alt="[Image unavailable.]" /></a> -<div class="caption"><p>ELEANOR FORTESCUE-BRICKDALE, A.R.W.S.</p> - -<p>ILLUSTRATION FOR “POEMS BY ALFRED LORD TENNYSON” (GEORGE BELL AND -SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_31" id="page_31">{31}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_022.jpg"> -<img src="images/ill_022.jpg" width="330" height="496" alt="[Image unavailable.]" /></a> -<div class="caption"><p>ELEANOR FORTESCUE-BRICKDALE, A.R.W.S.</p> - -<p>“TO SUPPOSE ONE CHEAT CAN GULL ALL THESE, WERE MORE MIRACULOUS” FROM -“DRAMATIS PERSONÆ”</p> - -<p>(<i>By permission of the Publishers, Messrs. Chatto & Windus</i>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> </p> - -<p><span class="pagenum"><a name="page_33" id="page_33">{33}</a></span> </p> - -<div class="figcenter"> -<a href="images/ill_023.jpg"> -<img src="images/ill_023.jpg" width="348" height="558" alt="[Image unavailable.]" /></a> -<div class="caption"><p>ELEANOR FORTESCUE-BRICKDALE, A.R.W.S.</p> - -<p>ILLUSTRATION FOR “POEMS BY ALFRED LORD TENNYSON” (GEORGE BELL AND -SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_34" id="page_34">{34}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_024.jpg"> -<img src="images/ill_024.jpg" width="400" height="381" alt="[Image unavailable.]" /></a> -<div class="caption"><p>C. E. BROCK</p> - -<p>“THE TERROR OF THE LUCKLESS POACHER.” FROM “THE LAST ESSAYS OF ELIA” (J. -M. DENT AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_35" id="page_35">{35}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_025.jpg"> -<img src="images/ill_025.jpg" width="406" height="465" alt="[Image unavailable.]" /></a> -<div class="caption"><p>C. E. BROCK</p> - -<p>“KEEPING CLEAR OF SECULAR CONTACTS.” FROM “THE LAST ESSAYS OF ELLA” (J. -M. DENT AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_36" id="page_36">{36}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_026.jpg"> -<img src="images/ill_026.jpg" width="407" height="490" alt="[Image unavailable.]" /></a> -<div class="caption"><p>C. E. BROCK</p> - -<p>“THE PITIABLE INFIRMITIES OF OLD MEN.” FROM “THE LAST ESSAYS OF ELIA.” -(J. M. DENT AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_37" id="page_37">{37}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_027.jpg"> -<img src="images/ill_027.jpg" width="582" height="401" alt="[Image unavailable.]" /></a> -<div class="caption"><p>C. E. BROCK</p> - -<p>“A COMPLAINT OF THE DECAY OF BEGGARS IN THE METROPOLIS” FROM “THE ESSAYS -OF ELIA” (J. M. DENT AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_38" id="page_38">{38}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_028.jpg"> -<img src="images/ill_028.jpg" width="370" height="615" alt="[Image unavailable.]" /></a> -<div class="caption"><p>C. E. BROCK</p> - -<p>“THE POINT OF THE MATTER<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_029.jpg"> -<img src="images/ill_029.jpg" width="398" height="545" alt="[Image unavailable.]" /></a> -<div class="caption"><p>H. M. BROCK, R.I.</p> - -<p>ILLUSTRATION FOR “THE ESSAYS OF LEIGH HUNT” (J. M. DENT AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_40" id="page_40">{40}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_030.jpg"> -<img src="images/ill_030.jpg" width="400" height="352" alt="[Image unavailable.]" /></a> -<div class="caption"><p>H. M. BROCK, R.I.</p> - -<p>“FINE DAYS IN JANUARY AND FEBRUARY.” FROM “THE ESSAYS OF LEIGH HUNT” (J. -M. DENT AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_41" id="page_41">{41}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_031.jpg"> -<img src="images/ill_031.jpg" width="400" height="365" alt="[Image unavailable.]" /></a> -<div class="caption"><p>H. M. BROCK, R.I.</p> - -<p>“THE OLD LADY.” FROM “THE ESSAYS OF LEIGH HUNT” (J. M. DENT AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_42" id="page_42">{42}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_032.jpg"> -<img src="images/ill_032.jpg" width="581" height="420" alt="[Image unavailable.]" /></a> -<div class="caption"><p>H. M. BROCK, R.I.</p> - -<p>“THE FIFES AND DRUMS OF HER MAJESTY’S GRENADIERS” FROM “THE ESSAYS OF -DOUGLAS JERROLD” (J. M. DENT AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_43" id="page_43">{43}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_033.jpg"> -<img src="images/ill_033.jpg" width="579" height="413" alt="[Image unavailable.]" /></a> -<div class="caption"><p>H. M. BROCK, R.I.</p> - -<p>“REJOICING IN THE CAPTIVITY OF A SUIT OF CLOTHES STUFFED WITH HAY” FROM -“THE ESSAYS OF DOUGLAS JERROLD” (J. M. DENT AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_44" id="page_44">{44}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_034.jpg"> -<img src="images/ill_034.jpg" width="399" height="330" alt="[Image unavailable.]" /></a> -<div class="caption"><p>H. M. BROCK, R.I.</p> - -<p>“THE OLD MAN AT THE GATE.” FROM “THE ESSAYS OF DOUGLAS JERROLD” (J. M. -DENT AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_45" id="page_45">{45}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_035.jpg"> -<img src="images/ill_035.jpg" width="410" height="286" alt="[Image unavailable.]" /></a> -<div class="caption"><p>RENÉ BULL</p> - -<p>“THE SULTAN RECEIVED HIM WITH JOY.” FROM “THE ARABIAN NIGHTS” (CONSTABLE -AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_46" id="page_46">{46}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_036.jpg"> -<img src="images/ill_036.jpg" width="325" height="344" alt="[Image unavailable.]" /></a> -<div class="caption"><p>RENÉ BULL</p> - -<p>“HOLDING IN HIS HAND A FINE FISH.” FROM “THE ARABIAN NIGHTS” (CONSTABLE -AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_47" id="page_47">{47}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_037.jpg"> -<img src="images/ill_037.jpg" width="367" height="400" alt="[Image unavailable.]" /></a> -<div class="caption"><p>RENÉ BULL</p> - -<p>“HE TOOK A KNIFE AND OPENED IT.” FROM “THE ARABIAN NIGHTS” (CONSTABLE -AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_48" id="page_48">{48}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_038.jpg"> -<img src="images/ill_038.jpg" width="344" height="449" alt="[Image unavailable.]" /></a> -<div class="caption"><p>RENÉ BULL</p> - -<p>“WE SHALL ALL PERISH.” FROM “THE ARABIAN NIGHTS” (CONSTABLE AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_49" id="page_49">{49}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_039.jpg"> -<img src="images/ill_039.jpg" width="403" height="580" alt="[Image unavailable.]" /></a> -<div class="caption"><p>DION CLAYTON CALTHROP</p> - -<p>“THE SATYR.” FROM “PSYCHE” (ALSTON RIVERS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_50" id="page_50">{50}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_040.jpg"> -<img src="images/ill_040.jpg" width="471" height="627" alt="[Image unavailable.]" /></a> -<div class="caption"><p>DION CLAYTON CALTHROP</p> - -<p>“THE HOMES OF THE FOUR WINDS.” FROM “THE GUIDE TO FAIRYLAND” (ALSTON -RIVERS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_51" id="page_51">{51}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_041.jpg"> -<img src="images/ill_041.jpg" width="455" height="613" alt="[Image unavailable.]" /></a> -<div class="caption"><p>DION CLAYTON CALTHROP</p> - -<p>“THE PRINCESS AND THE SUITORS.” FROM “THE GUIDE TO FAIRYLAND” (ALSTON -RIVERS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_52" id="page_52">{52}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_042-a.jpg"> -<img src="images/ill_042-a.jpg" width="397" height="304" alt="[Image unavailable.]" /></a> -<div class="caption"><p>D. Y. CAMERON, A.R.A., A.R.S.A., A.R.W.S.</p> - -<p>“WHOSE FIELDS HE TILLED.” FROM “THE TOMB OF BURNS” (JOHN LANE)</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_042-b.jpg"> -<img src="images/ill_042-b.jpg" width="398" height="316" alt="[Image unavailable.]" /></a> -<div class="caption"><p>D. Y. CAMERON, A.R.A., A.R.S.A., A.R.W.S.</p> - -<p>“WHERE EVENING TOUCHES GLEN AND BRAE WITH ROSY GLOOM” FROM “THE TOMB OF -BURNS” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_53" id="page_53">{53}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_043.jpg"> -<img src="images/ill_043.jpg" width="536" height="399" alt="[Image unavailable.]" /></a> -<div class="caption"><p>JOHN P. CAMPBELL</p> - -<p>“THE MEETING OF MÌDIR AND ETAIN.” FROM “CELTIC ROMANCES<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_044.jpg"> -<img src="images/ill_044.jpg" width="582" height="431" alt="[Image unavailable.]" /></a> -<div class="caption"><p>JOHN P. CAMPBELL</p> - -<p>“SABA APPEARS TO FINN.” FROM “CELTIC ROMANCES<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_045.jpg"> -<img src="images/ill_045.jpg" width="575" height="435" alt="[Image unavailable.]" /></a> -<div class="caption"><p>JOHN P. CAMPBELL</p> - -<p>“FINN DECLARES HIS LINKAGE TO KING CONNOR.” FROM “CELTIC ROMANCES<span class="pagenum"><a name="page_56" id="page_56">{56}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_046.jpg"> -<img src="images/ill_046.jpg" width="590" height="399" alt="[Image unavailable.]" /></a> -<div class="caption"><p>HARRY CLARKE</p> - -<p>“AH! WELL A-DAY! WHAT EVIL LOOKS HAD I FROM OLD AND YOUNG! INSTEAD OF -THE CROSS, THE ALBATROSS ABOUT MY NECK WAS HUNG!” FROM “THE RIME OF THE -ANCIENT MARINER” (MAUNSEL AND CO.)</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_047.jpg"> -<img src="images/ill_047.jpg" width="582" height="398" alt="[Image unavailable.]" /></a> -<div class="caption"><p>HARRY CLARKE</p> - -<p>“THE SOULS DID FROM THEIR BODIES FLY,—THEY FLED TO BLISS OR WOE! AND -EVERY SOUL, IT PASSED ME BY, LIKE THE WHIZZ OF MY CROSS-BOW!” FROM “THE -RIME OF THE ANCIENT MARINER” (MAUNSEL AND CO.)</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_048.jpg"> -<img src="images/ill_048.jpg" width="321" height="517" alt="[Image unavailable.]" /></a> -<div class="caption"><p>WALTER CRANE, R.W.S.</p> - -<p>ILLUSTRATION FOR “GRIMM’S HOUSEHOLD STORIES” (MACMILLAN AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_57" id="page_57">{57}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_049.jpg"> -<img src="images/ill_049.jpg" width="315" height="504" alt="[Image unavailable.]" /></a> -<div class="caption"><p>WALTER CRANE, R.W.S.</p> - -<p>ILLUSTRATION FOR “GRIMM’S HOUSEHOLD STORIES” (MACMILLAN AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_58" id="page_58">{58}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_050.jpg"> -<img src="images/ill_050.jpg" width="433" height="591" alt="[Image unavailable.]" /></a> -<div class="caption"><p>WALTER CRANE, R.W.S.</p> - -<p>ILLUSTRATION FOR “THE TEMPEST” (J. M. DENT AND SONS)</p> -</div></div> - -<p><span class="pagenum"><a name="page_59" id="page_59">{59}</a></span></p> - -<p><span class="pagenum"><a name="page_60" id="page_60">{60}</a></span></p> - -<p><span class="pagenum"><a name="page_61" id="page_61">{61}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_051.jpg"> -<img src="images/ill_051.jpg" width="486" height="626" alt="[Image unavailable.]" /></a> -<div class="caption"><p>EDMUND DULAC</p> - -<p>ILLUSTRATION FOR “PRINCESS BADOURA”</p> - -<p>(<i>By permission of the Publishers, Messrs. Hodder & Stoughton</i>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_62" id="page_62">{62}</a></span> </p> - -<p><span class="pagenum"><a name="page_63" id="page_63">{63}</a></span> </p> - -<div class="figcenter"> -<a href="images/ill_052-a.jpg"> -<img src="images/ill_052-a.jpg" width="380" height="254" alt="[Image unavailable.]" /></a> -<div class="caption"><p>EDMUND DULAC</p> - -<p>“THE CITY IN THE SEA”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_052-b.jpg"> -<img src="images/ill_052-b.jpg" width="383" height="249" alt="[Image unavailable.]" /></a> -<div class="caption"><p>“THE BELLS”</p> - -<p>ILLUSTRATIONS FOR “THE POEMS OF EDGAR ALLAN POE” (HODDER AND -STOUGHTON)</p></div> -</div> - -<p><span class="pagenum"><a name="page_64" id="page_64">{64}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_053.jpg"> -<img src="images/ill_053.jpg" width="600" alt="[Image unavailable.]" /></a> -<div class="caption"> -<table summary="deprecated"> -<tr><td class="c" colspan="3"> -<p>BEATRICE ELVERY</p> -</td></tr> -<tr><td> -<p>“<span class="lftspc">‘</span>I AM THE CANDLE-HOLDER OF THE KING.’<span class="lftspc">”</span> FROM “HEROES OF THE DAWN” -(MAUNSEL AND CO.)</p> -</td> -<td class="spc"> </td> -<td> -<p>“A DEEP CLEAR SPRING OF RUNNING WATER BUBBLED.” FROM “HEROES OF THE -DAWN” (MAUNSEL AND CO.)</p> -</td></tr> -</table> -</div> -</div> - -<p><span class="pagenum"><a name="page_65" id="page_65">{65}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_054.jpg"> -<img src="images/ill_054.jpg" width="341" height="417" alt="[Image unavailable.]" /></a> -<div class="caption"><p>W. RUSSELL FLINT, A.R.W.S.</p> - -<p>“THEY TOOK THE BOUGH AND CAME TO IOLCOS.” FROM “THE HEROES”</p> - -<p>(<i>By permission of Mr. Philip Lee Warner, Publisher to the Medici -Society</i>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_66" id="page_66">{66}</a></span> </p> - -<p><span class="pagenum"><a name="page_67" id="page_67">{67}</a></span> </p> - -<div class="figcenter"> -<a href="images/ill_055.jpg"> -<img src="images/ill_055.jpg" width="397" height="528" alt="[Image unavailable.]" /></a> -<div class="caption"><p>F. L. GRIGGS</p> - -<p>“THE SINUOUS PATHS OF LAWN AND MOSS.” FROM, “THE SENSITIVE PLANT” (JOHN -LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_68" id="page_68">{68}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_056.jpg"> -<img src="images/ill_056.jpg" width="410" height="545" alt="[Image unavailable.]" /></a> -<div class="caption"><p>F. L. GRIGGS</p> - -<p>“FOR WINTER CAME.” FROM “THE SENSITIVE PLANT” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_69" id="page_69">{69}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_057.jpg"> -<img src="images/ill_057.jpg" width="380" height="582" alt="[Image unavailable.]" /></a> -<div class="caption"><p>F. L. GRIGGS</p> - -<p>ILLUSTRATION FOR “THE CHRONICLES OF A CORNISH GARDEN” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_70" id="page_70">{70}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_058.jpg"> -<img src="images/ill_058.jpg" width="376" height="590" alt="[Image unavailable.]" /></a> -<div class="caption"><p>F. L. GRIGGS</p> - -<p>ILLUSTRATION FOR “THE CHRONICLES OF A CORNISH GARDEN” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_71" id="page_71">{71}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_059.jpg"> -<img src="images/ill_059.jpg" width="424" height="568" alt="[Image unavailable.]" /></a> -<div class="caption"><p>W. LEE HANKEY, R.E.</p> - -<p>ILLUSTRATION FOR “THE DESERTED VILLAGE” (CONSTABLE AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_72" id="page_72">{72}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_060.jpg"> -<img src="images/ill_060.jpg" width="422" height="442" alt="[Image unavailable.]" /></a> -<div class="caption"><p>W. LEE HANKEY, R.E.</p> - -<p>ILLUSTRATION FOR “THE DESERTED VILLAGE” (CONSTABLE AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_73" id="page_73">{73}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_061.jpg"> -<img src="images/ill_061.jpg" width="391" height="539" alt="[Image unavailable.]" /></a> -<div class="caption"><p>W. LEE HANKEY, R.E.</p> - -<p>ILLUSTRATION FOR “THE DESERTED VILLAGE” (CONSTABLE AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_74" id="page_74">{74}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_062.jpg"> -<img src="images/ill_062.jpg" width="330" height="433" alt="[Image unavailable.]" /></a> -<div class="caption"><p>JOHN HARGRAVE</p> - -<p>“THE MERCHANT AND HIS OIL-SKIN.” FROM “BLACK TALES FOR WHITE CHILDREN” -(CONSTABLE AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_75" id="page_75">{75}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_063.jpg"> -<img src="images/ill_063.jpg" width="289" height="426" alt="[Image unavailable.]" /></a> -<div class="caption"><p>JOHN HARGRAVE</p> - -<p>“AT LAST THEY MET AN OLD WOMAN, BENT WITH THE WEIGHT OF MANY YEARS.” -FROM “BLACK TALES FOR WHITE CHILDREN” (CONSTABLE AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_76" id="page_76">{76}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_064.jpg"> -<img src="images/ill_064.jpg" width="411" height="428" alt="[Image unavailable.]" /></a> -<div class="caption"><p>KEITH HENDERSON</p> - -<p>“BEHEMOTH IN HELL.” FROM “THE OPEN WINDOW” (CHATTO AND WINDUS)</p> - -<p>(<i>From the original drawing in the possession of Geoffrey Whitworth, -Esq.</i>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_77" id="page_77">{77}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_065.jpg"> -<img src="images/ill_065.jpg" width="377" height="581" alt="[Image unavailable.]" /></a> -<div class="caption"><p>VERNON HILL</p> - -<p>“TRUE THOMAS.” FROM “BALLADS WEIRD AND WONDERFUL” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_78" id="page_78">{78}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_066.jpg"> -<img src="images/ill_066.jpg" width="332" height="473" alt="[Image unavailable.]" /></a> -<div class="caption"><p>VERNON HILL</p> - -<p>ILLUSTRATION FROM “THE ARCADIAN CALENDAR” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_79" id="page_79">{79}</a></span> </p> - -<p><span class="pagenum"><a name="page_80" id="page_80">{80}</a></span> </p> - -<p><span class="pagenum"><a name="page_81" id="page_81">{81}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_067.jpg"> -<img src="images/ill_067.jpg" width="399" height="447" alt="[Image unavailable.]" /></a> -<div class="caption"><p>W. T. HORTON</p> - -<p>“THE LAKE<span class="pagenum"><a name="page_82" id="page_82">{82}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_068.jpg"> -<img src="images/ill_068.jpg" width="404" height="562" alt="[Image unavailable.]" /></a> -<div class="caption"><p>W. T. HORTON</p> - -<p>“THE MOSQUE<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_069.jpg"> -<img src="images/ill_069.jpg" width="403" height="548" alt="[Image unavailable.]" /></a> -<div class="caption"><p>W. T. HORTON</p> - -<p>“FROM THE TERRACE<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_070.jpg"> -<img src="images/ill_070.jpg" width="262" height="460" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A. GARTH JONES</p> - -<p>“ZEPHYR WITH AURORA PLAYING, AS HE MET HER ONCE A-MAYING.” FROM “THE -MINOR POEMS OF JOHN MILTON” (GEORGE BELL AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_85" id="page_85">{85}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_071.jpg"> -<img src="images/ill_071.jpg" width="323" height="466" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A. GARTH JONES</p> - -<p>“THERE IN CLOSE COVERT BY SOME BROOK, WHERE NO PROFANER EYE MAY LOOK” -FROM “THE MINOR POEMS OF JOHN MILTON” (GEORGE BELL AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_86" id="page_86">{86}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_072.jpg"> -<img src="images/ill_072.jpg" width="469" height="672" alt="[Image unavailable.]" /></a> -<div class="caption"><p>SYDNEY R. JONES</p> - -<p>“BAKEWELL, DERBYSHIRE.” FROM “OLD ENGLISH COUNTRY COTTAGES” (“THE -STUDIO” SPECIAL WINTER NUMBER, 1906-7)</p></div> -</div> - -<p><span class="pagenum"><a name="page_87" id="page_87">{87}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_073.jpg"> -<img src="images/ill_073.jpg" width="453" height="655" alt="[Image unavailable.]" /></a> -<div class="caption"><p>SYDNEY R. JONES</p> - -<p>“KNARESBOROUGH, YORKSHIRE.” FROM “THE VILLAGE HOMES OF ENGLAND” (“THE -STUDIO” SPECIAL SPRING NUMBER, 1912)</p></div> -</div> - -<p><span class="pagenum"><a name="page_88" id="page_88">{88}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_074.jpg"> -<img src="images/ill_074.jpg" width="440" height="668" alt="[Image unavailable.]" /></a> -<div class="caption"><p>SYDNEY R. JONES</p> - -<p>“NIJMEGEN, GELDERLAND.” FROM “OLD HOUSES IN HOLLAND” (“THE STUDIO” -SPECIAL SPRING NUMBER, 1913)</p></div> -</div> - -<p><span class="pagenum"><a name="page_89" id="page_89">{89}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_075.jpg"> -<img src="images/ill_075.jpg" width="591" height="378" alt="[Image unavailable.]" /></a> -<div class="caption"><p>JESSIE M. KING</p> - -<p>ILLUSTRATION FOR “AUCASSIN AND NICOLETTE<span class="pagenum"><a name="page_90" id="page_90">{90}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_076.jpg"> -<img src="images/ill_076.jpg" width="350" height="666" alt="[Image unavailable.]" /></a> -<div class="caption"><p>JESSIE M. KING</p> - -<p>ILLUSTRATION FOR “THE ROMAUNT OF THE ROSE” (T. N. FOULIS)</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_077.jpg"> -<img src="images/ill_077.jpg" width="525" height="332" alt="[Image unavailable.]" /></a> -<div class="caption"><p>JESSIE M. KING</p> - -<p>ILLUSTRATION FOR “THE HIGH HISTORY OF THE HOLY GRAAL” (J. M. DENT AND -SONS)]</p></div> -</div> - -<p><span class="pagenum"><a name="page_91" id="page_91">{91}</a></span></p> - -<p><span class="pagenum"><a name="page_92" id="page_92">{92}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_078.jpg"> -<img src="images/ill_078.jpg" width="373" height="528" alt="[Image unavailable.]" /></a> -<div class="caption"><p>DONALD MAXWELL</p> - -<p>“THE WEAVERS, CANTERBURY.” FROM “ADVENTURES WITH A SKETCH BOOK” (JOHN -LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_93" id="page_93">{93}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_079.jpg"> -<img src="images/ill_079.jpg" width="367" height="579" alt="[Image unavailable.]" /></a> -<div class="caption"><p>GERALD METCALFE</p> - -<p>“ALONE, ALONE, ALL, ALL ALONE, ALONE ON A WIDE WIDE SEA!” FROM “THE -POEMS OF COLERIDGE” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_94" id="page_94">{94}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_080.jpg"> -<img src="images/ill_080.jpg" width="389" height="593" alt="[Image unavailable.]" /></a> -<div class="caption"><p>GERALD METCALFE</p> - -<p>“EVEN ON THE COLD GRAVE LIGHTS THE CHERUB HOPE!” FROM “THE POEMS OF -COLERIDGE” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_95" id="page_95">{95}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_081.jpg"> -<img src="images/ill_081.jpg" width="363" height="584" alt="[Image unavailable.]" /></a> -<div class="caption"><p>GERALD METCALFE</p> - -<p>“THE VASSAL’S SPEECH, HIS TAUNTING VEIN, IT THRILL’D LIKE VENOM THRO’ -HER BRAIN.” FROM “THE POEMS OF COLERIDGE” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_96" id="page_96">{96}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_082.jpg"> -<img src="images/ill_082.jpg" width="410" height="436" alt="[Image unavailable.]" /></a> -<div class="caption"><p>GERALD METCALFE</p> - -<p>“THE RIME OF THE ANCIENT MARINER.” FROM “THE POEMS OF COLERIDGE” (JOHN -LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_97" id="page_97">{97}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_083.jpg"> -<img src="images/ill_083.jpg" width="415" height="429" alt="[Image unavailable.]" /></a> -<div class="caption"><p>GERALD METCALFE</p> - -<p>ILLUSTRATION FOR “THE POEMS OF COLERIDGE” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_98" id="page_98">{98}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_084.jpg"> -<img src="images/ill_084.jpg" width="404" height="520" alt="[Image unavailable.]" /></a> -<div class="caption"><p>HAROLD NELSON</p> - -<p>ILLUSTRATION FOR “THE FAMOUS HISTORIE OF FRYER BACON” (OTTO SCHULZE AND -CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_99" id="page_99">{99}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_085.jpg"> -<img src="images/ill_085.jpg" width="396" height="515" alt="[Image unavailable.]" /></a> -<div class="caption"><p>HAROLD NELSON</p> - -<p>ILLUSTRATION FOR “THE FAMOUS HISTORIE OF FRYER BACON” (OTTO SCHULZE AND -CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_100" id="page_100">{100}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_086.jpg"> -<img src="images/ill_086.jpg" width="402" height="538" alt="[Image unavailable.]" /></a> -<div class="caption"><p>HAROLD NELSON</p> - -<p>ILLUSTRATION FOR “ROBIN HOOD” (OTTO SCHULZE AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_101" id="page_101">{101}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_087-a.jpg"> -<img src="images/ill_087-a.jpg" width="289" height="205" alt="[Image unavailable.]" /></a> -<div class="caption"><p>EDMUND H. NEW</p> - -<p><i><big>Grane Farm</big></i></p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_087-b.jpg"> -<img src="images/ill_087-b.jpg" width="288" height="203" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i><big>The Wakes</big></i></p> - -<p>ILLUSTRATIONS FOR “THE NATURAL HISTORY OF SELBORNE” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_102" id="page_102">{102}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_088.jpg"> -<img src="images/ill_088.jpg" width="305" height="394" alt="[Image unavailable.]" /></a> -<div class="caption"><p>EDMUND H. NEW</p> - -<p>ILLUSTRATION FOR “THE NATURAL HISTORY OF SELBORNE” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_103" id="page_103">{103}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_089.jpg"> -<img src="images/ill_089.jpg" width="301" height="393" alt="[Image unavailable.]" /></a> -<div class="caption"><p>EDMUND H. NEW<br /><br /> -<i><big>A corner of Whites house</big></i></p> - -<p>ILLUSTRATION FOR “THE NATURAL HISTORY OF SELBORNE” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_104" id="page_104">{104}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_090.jpg"> -<img src="images/ill_090.jpg" width="303" height="391" alt="[Image unavailable.]" /></a> -<div class="caption"><p>EDMUND H. NEW</p> - -<p>ILLUSTRATION FOR “THE COMPLEAT ANGLER” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_105" id="page_105">{105}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_091.jpg"> -<img src="images/ill_091.jpg" width="285" height="409" alt="[Image unavailable.]" /></a> -<div class="caption"><p>EDMUND H. NEW</p> - -<p>ILLUSTRATION FOR “THE COMPLEAT ANGLER” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_106" id="page_106">{106}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_092.jpg"> -<img src="images/ill_092.jpg" width="298" height="399" alt="[Image unavailable.]" /></a> -<div class="caption"><p>EDMUND H. NEW</p> - -<p>ILLUSTRATION FOR “THE COMPLEAT ANGLER” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_107" id="page_107">{107}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_093.jpg"> -<img src="images/ill_093.jpg" width="399" height="464" alt="[Image unavailable.]" /></a> -<div class="caption"><p>MONRO S. ORR</p> - -<p>“SNITCHEY AND CRAGGS.” FROM “THE BATTLE OF LIFE<span class="pagenum"><a name="page_108" id="page_108">{108}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_094.jpg"> -<img src="images/ill_094.jpg" width="396" height="589" alt="[Image unavailable.]" /></a> -<div class="caption"><p>MONRO S. ORR</p> - -<p>“THE JACOBITES.” FROM “THE STORY OF EDINBURGH CASTLE” (GEORGE G. HARRAP -AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_109" id="page_109">{109}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_095.jpg"> -<img src="images/ill_095.jpg" width="389" height="580" alt="[Image unavailable.]" /></a> -<div class="caption"><p>MONRO S. ORR</p> - -<p>“THE AFFAIR OF THE WINE CASKS.” FROM “THE STORY OF EDINBURGH CASTLE” -(GEORGE G. HARRAP AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_110" id="page_110">{110}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_096-a.jpg"> -<img src="images/ill_096-a.jpg" width="210" height="267" alt="[Image unavailable.]" /></a> -<div class="caption"><p>STEWART ORR</p> - -<p>“THE BOGLE’S BOOK”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_096-b.jpg"> -<img src="images/ill_096-b.jpg" width="289" height="334" alt="[Image unavailable.]" /></a> -<div class="caption"><p>STEWART ORR</p> - -<p>“WEEL SAIPIT IS HALF SHAVEN<span class="pagenum"><a name="page_111" id="page_111">{111}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_097-a.jpg"> -<img src="images/ill_097-a.jpg" width="394" height="303" alt="[Image unavailable.]" /></a> -<div class="caption"><p>STEWART ORR</p> - -<p>“THE DEALER”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_097-b.jpg"> -<img src="images/ill_097-b.jpg" width="395" height="306" alt="[Image unavailable.]" /></a> -<div class="caption"><p>STEWART ORR</p> - -<p>“FORWARD!<span class="pagenum"><a name="page_112" id="page_112">{112}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_098.jpg"> -<img src="images/ill_098.jpg" width="394" height="425" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CARTON MOORE PARK</p> - -<p>“THE DROMEDARY.” FROM “AN ALPHABET OF ANIMALS” (BLACKIE AND SON)</p></div> -</div> - -<p><span class="pagenum"><a name="page_113" id="page_113">{113}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_099.jpg"> -<img src="images/ill_099.jpg" width="397" height="425" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CARTON MOORE PARK</p> - -<p>“THE LEOPARD.” FROM “AN ALPHABET OF ANIMALS” (BLACKIE AND SON)</p></div> -</div> - -<p><span class="pagenum"><a name="page_114" id="page_114">{114}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_100.jpg"> -<img src="images/ill_100.jpg" width="402" height="387" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CARTON MOORE PARK</p> - -<p>ILLUSTRATION FOR “AN ALPHABET OF ANIMALS” (BLACKIE AND SON)</p></div> -</div> - -<p><span class="pagenum"><a name="page_115" id="page_115">{115}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_101.jpg"> -<img src="images/ill_101.jpg" width="396" height="424" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CARTON MOORE PARK</p> - -<p>“THE GUINEA FOWL.” FROM “A BOOK OF BIRDS” (BLACKIE AND SON)</p></div> -</div> - -<p><span class="pagenum"><a name="page_116" id="page_116">{116}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_102.jpg"> -<img src="images/ill_102.jpg" width="396" height="464" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CARTON MOORE PARK</p> - -<p>“THE MAGPIE.” FROM “A BOOK OF BIRDS” (BLACKIE AND SON)</p></div> -</div> - -<p><span class="pagenum"><a name="page_117" id="page_117">{117}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_103.jpg"> -<img src="images/ill_103.jpg" width="410" height="563" alt="[Image unavailable.]" /></a> -<div class="caption"><p>DOROTHY M. PAYNE</p> - -<p>“LA BELLE DAME SANS MERCI<span class="pagenum"><a name="page_118" id="page_118">{118}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_104.jpg"> -<img src="images/ill_104.jpg" width="314" height="586" alt="[Image unavailable.]" /></a> -<div class="caption"><p>DOROTHY M. PAYNE</p> - -<p>“JOAN OF ARC<span class="pagenum"><a name="page_119" id="page_119">{119}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_105.jpg"> -<img src="images/ill_105.jpg" width="336" height="443" alt="[Image unavailable.]" /></a> -<div class="caption"><p>ARTHUR RACKHAM R.W.S.</p> - -<p>“THE CROOKED MEN.” FROM “MOTHER GOOSE” (WILLIAM HEINEMANN)</p></div> -</div> - -<p><span class="pagenum"><a name="page_120" id="page_120">{120}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_106.jpg"> -<img src="images/ill_106.jpg" width="376" height="504" alt="[Image unavailable.]" /></a> -<div class="caption"><p>ARTHUR RACKHAM, R.W.S.</p> - -<p>“THE CAT RAN UP THE PLUM-TREE.” FROM “MOTHER GOOSE” (WILLIAM -HEINEMANN)</p></div> -</div> - -<p><span class="pagenum"><a name="page_121" id="page_121">{121}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_107.jpg"> -<img src="images/ill_107.jpg" width="607" height="449" alt="[Image unavailable.]" /></a> -<div class="caption"><p>ARTHUR RACKHAM, R.W.S.</p> - -<p>“THE LITTLE PEOPLE’S MARKET.” FROM “ARTHUR RACKHAM’S BOOK OF PICTURES”</p> - -<p>(<i>By permission of the Publisher, Mr. William Heinemann</i>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_122" id="page_122">{122}</a></span> </p> - -<p><span class="pagenum"><a name="page_123" id="page_123">{123}</a></span> </p> - -<div class="figcenter"> -<a href="images/ill_108.jpg"> -<img src="images/ill_108.jpg" width="459" height="282" alt="[Image unavailable.]" /></a> -<div class="caption"><p>ARTHUR RACKHAM, R.W.S.</p> - -<p>“THE CAT AND THE COCK.” FROM “ÆSOP’S FABLES” (WILLIAM HEINEMANN)</p></div> -</div> - -<p><span class="pagenum"><a name="page_124" id="page_124">{124}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_109.jpg"> -<img src="images/ill_109.jpg" width="386" height="502" alt="[Image unavailable.]" /></a> -<div class="caption"><p>ARTHUR RACKHAM, R.W.S.</p> - -<p>“THE OWL AND THE BIRDS.” FROM “ÆSOP’S FABLES” (WILLIAM HEINEMANN)</p></div> -</div> - -<p><span class="pagenum"><a name="page_125" id="page_125">{125}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_110.jpg"> -<img src="images/ill_110.jpg" width="358" height="495" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FRANK REYNOLDS, R.I.</p> - -<p>“VIVE L’ARMÉE!” FROM “PICTURES OF PARIS AND SOME PARISIANS” (A. AND C. -BLACK)</p></div> -</div> - -<p><span class="pagenum"><a name="page_126" id="page_126">{126}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_111.jpg"> -<img src="images/ill_111.jpg" width="295" height="407" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FRANK REYNOLDS, R.I.</p> - -<p>“TO THE RE-SEEING!” FROM “PICTURES OF PARIS AND SOME PARISIANS” (A. AND -C. BLACK)</p></div> -</div> - -<p><span class="pagenum"><a name="page_127" id="page_127">{127}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_112.jpg"> -<img src="images/ill_112.jpg" width="582" height="457" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FRANK REYNOLDS, R.I.</p> - -<p>“MR. JINGLE AND THE SPINSTER AUNT.” FROM “THE PICKWICK PAPERS”</p> - -<p>(<i>By permission of the Publishers, Messrs. Hodder & Stoughton</i>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_128" id="page_128">{128}</a></span> </p> - -<p><span class="pagenum"><a name="page_129" id="page_129">{129}</a></span> </p> - -<div class="figcenter"> -<a href="images/ill_113.jpg"> -<img src="images/ill_113.jpg" width="266" height="471" alt="[Image unavailable.]" /></a> -<div class="caption"><p>W. GRAHAM ROBERTSON, R.B.A.</p> - -<p>ILLUSTRATION FOR “PAN’S GARDEN” (MACMILLAN AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_130" id="page_130">{130}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_114-a.jpg"> -<img src="images/ill_114-a.jpg" width="175" height="265" alt="[Image unavailable.]" /></a> -<div class="caption"><p>W. GRAHAM ROBERTSON, R.B.A.</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_114-b.jpg"> -<img src="images/ill_114-b.jpg" width="261" height="191" alt="[Image unavailable.]" /></a> -<div class="caption"><p>ILLUSTRATIONS FOR “PAN’S GARDEN” (MACMILLAN AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_131" id="page_131">{131}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_115-a.jpg"> -<img src="images/ill_115-a.jpg" width="149" height="294" alt="[Image unavailable.]" /></a> -<div class="caption"><p>W. GRAHAM ROBERTSON, R.B.A.</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_115-b.jpg"> -<img src="images/ill_115-b.jpg" width="260" height="194" alt="[Image unavailable.]" /></a> -<div class="caption"><p>ILLUSTRATIONS FOR “PAN’S GARDEN” (MACMILLAN AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_132" id="page_132">{132}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_116.jpg"> -<img src="images/ill_116.jpg" width="560" height="379" alt="[Image unavailable.]" /></a> - -<div class="caption"> -<table summary="deprecated"> -<tr><td class="c" colspan="3"> -<p>W. GRAHAM ROBERTSON, R.B.A.</p> -</td></tr> -<tr><td> -<p>“EVENSONG.” FROM “THE BABY’S DAY BOOK” (JOHN LANE)</p> -</td> -<td class="spc"> </td> -<td> -<p>“THE MOON AMONG THE WILLOWS.” FROM “A YEAR OF SONGS” (JOHN LANE)</p> -</td></tr> -</table> -</div> -</div> - -<p><span class="pagenum"><a name="page_133" id="page_133">{133}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_117.jpg"> -<img src="images/ill_117.jpg" width="484" height="607" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES ROBINSON</p> - -<p>ILLUSTRATION FOR “THE PROLOGUE TO REPENTANCE<span class="pagenum"><a name="page_135" id="page_135">{135}</a></span><span class="pagenum"><a name="page_134" id="page_134">{134}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_118.jpg"> -<img src="images/ill_118.jpg" width="288" height="416" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES ROBINSON</p> - -<p>ILLUSTRATION FOR “A CHILD’S GARDEN OF VERSES” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_136" id="page_136">{136}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_119.jpg"> -<img src="images/ill_119.jpg" width="325" height="486" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES ROBINSON</p> - -<p>ILLUSTRATION FOR “A CHILD’S GARDEN OF VERSES” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_137" id="page_137">{137}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_120.jpg"> -<img src="images/ill_120.jpg" width="400" height="559" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES ROBINSON</p> - -<p>ILLUSTRATION FOR “KING LONGBEARD” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_138" id="page_138">{138}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_121.jpg"> -<img src="images/ill_121.jpg" width="410" height="575" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES ROBINSON</p> - -<p>ILLUSTRATION FOR “KING LONGBEARD” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_139" id="page_139">{139}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_122.jpg"> -<img src="images/ill_122.jpg" width="403" height="561" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES ROBINSON</p> - -<p>ILLUSTRATION FOR “KING LONGBEARD” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_140" id="page_140">{140}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_123.jpg"> -<img src="images/ill_123.jpg" width="325" height="371" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES ROBINSON</p> -<p>ILLUSTRATIONS FOR “KING LONGBEARD” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_141" id="page_141">{141}</a></span> </p> - -<p><span class="pagenum"><a name="page_142" id="page_142">{142}</a></span> </p> - -<div class="figcenter"> -<a href="images/ill_124.jpg"> -<img src="images/ill_124.jpg" width="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES ROBINSON</p></div> -</div> - -<p><span class="pagenum"><a name="page_143" id="page_143">{143}</a></span> </p> - -<p><span class="pagenum"><a name="page_145" id="page_145">{145}</a></span> </p> - -<p><span class="pagenum"><a name="page_144" id="page_144">{144}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_125.jpg"> -<img src="images/ill_125.jpg" width="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>ILLUSTRATION FOR “A DREAM OF ST. NICHOLAS IN -HEAVEN”—AN ALLEGORY</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_126.jpg"> -<img src="images/ill_126.jpg" width="495" height="282" alt="[Image unavailable.]" /></a> -<div class="caption"><p>W. HEATH ROBINSON</p> - -<p>ILLUSTRATION FOR “A MIDSUMMER NIGHT’S DREAM” (CONSTABLE AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_146" id="page_146">{146}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_127.jpg"> -<img src="images/ill_127.jpg" width="331" height="701" alt="[Image unavailable.]" /></a> -<div class="caption"><p>W. HEATH ROBINSON</p> - -<p>ILLUSTRATION FOR “A MIDSUMMER NIGHT’S DREAM” (CONSTABLE AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_147" id="page_147">{147}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_128.jpg"> -<img src="images/ill_128.jpg" width="501" height="685" alt="[Image unavailable.]" /></a> -<div class="caption"><p>W. HEATH ROBINSON</p> - -<p>ILLUSTRATION FOR “A MIDSUMMER NIGHT’S DREAM” (CONSTABLE AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_148" id="page_148">{148}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_129.jpg"> -<img src="images/ill_129.jpg" width="498" height="668" alt="[Image unavailable.]" /></a> -<div class="caption"><p>W. HEATH ROBINSON</p> - -<p>ILLUSTRATION FOR “A MIDSUMMER NIGHT’S DREAM” (CONSTABLE AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_149" id="page_149">{149}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_130.jpg"> -<img src="images/ill_130.jpg" width="428" height="553" alt="[Image unavailable.]" /></a> -<div class="caption"><p>W. HEATH ROBINSON</p> - -<p>ILLUSTRATION FOR “A MIDSUMMER NIGHT’S DREAM”</p> - -<p>(<i>By permission of the Publishers, Messrs. Constable & Co.</i>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_150" id="page_150">{150}</a></span> </p> - -<p><span class="pagenum"><a name="page_151" id="page_151">{151}</a></span> </p> - -<div class="figcenter"> -<a href="images/ill_131-a.jpg"> -<img src="images/ill_131-a.jpg" width="378" height="320" alt="[Image unavailable.]" /></a> -<div class="caption"><p>W. HEATH ROBINSON</p> - -<p>“I SIGN ON AS CABIN BOY”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_131-b.jpg"> -<img src="images/ill_131-b.jpg" width="340" height="255" alt="[Image unavailable.]" /></a> -<div class="caption"><p>“FOR YEARS WE SAILED”</p> - -<p>ILLUSTRATIONS FOR “BILL THE MINDER” (CONSTABLE AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_152" id="page_152">{152}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_132.jpg"> -<img src="images/ill_132.jpg" width="501" height="662" alt="[Image unavailable.]" /></a> -<div class="caption"><p>W. HEATH ROBINSON</p> - -<p>ILLUSTRATION FOR “BILL THE MINDER” (CONSTABLE AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_153" id="page_153">{153}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_133.jpg"> -<img src="images/ill_133.jpg" width="502" height="651" alt="[Image unavailable.]" /></a> -<div class="caption"><p>W. HEATH ROBINSON</p> - -<p>ILLUSTRATION FOR “BILL THE MINDER” (CONSTABLE AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_154" id="page_154">{154}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_134.jpg"> -<img src="images/ill_134.jpg" width="414" height="414" alt="[Image unavailable.]" /></a> -<div class="caption"><p>R. T. ROSE</p> - -<p>“PRESTER JOHN”</p> - -<p>(<i>By permission of George Sandeman, Esq.</i>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_155" id="page_155">{155}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_135-a.jpg"> -<img src="images/ill_135-a.jpg" width="395" height="210" alt="[Image unavailable.]" /></a> -<div class="caption"><p>R. T. ROSE</p> - -<p>“THE RETURN OF THE PALMER”</p> - -<p>(<i>By permission of George Sandeman, Esq.</i>)</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_135-b.jpg"> -<img src="images/ill_135-b.jpg" width="401" height="331" alt="[Image unavailable.]" /></a> -<div class="caption"><p>R. T. ROSE</p> - -<p>“TO DROWN HELL, AND BURN PARADISE”</p> - -<p>(<i>By permission of George Sandeman, Esq.</i>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_156" id="page_156">{156}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_136.jpg"> -<img src="images/ill_136.jpg" width="406" height="485" alt="[Image unavailable.]" /></a> -<div class="caption"><p>HARRY ROUNTREE</p> - -<p>“THE LONG, LONG SHADOWS<span class="pagenum"><a name="page_157" id="page_157">{157}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_137.jpg"> -<img src="images/ill_137.jpg" width="355" height="545" alt="[Image unavailable.]" /></a> -<div class="caption"><p>BYAM SHAW, A.R.W.S.</p> - -<p>“A POT OF SMALL ALE.” FROM “THE TAMING OF THE SHREW” (GEORGE BELL AND -SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_158" id="page_158">{158}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_138.jpg"> -<img src="images/ill_138.jpg" width="361" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>BYAM SHAW, A.R.W.S.</p> - -<p>“<span class="lftspc">’</span>TIS NOW IN TUNE.” FROM “THE TAMING OF THE SHREW” (GEORGE BELL AND -SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_159" id="page_159">{159}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_139.jpg"> -<img src="images/ill_139.jpg" width="349" height="542" alt="[Image unavailable.]" /></a> -<div class="caption"><p>BYAM SHAW, A.R.W.S.</p> - -<p>“SEE WHERE SHE COMES.” FROM “THE TAMING OF THE SHREW” (GEORGE BELL AND -SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_160" id="page_160">{160}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_140.jpg"> -<img src="images/ill_140.jpg" width="362" height="548" alt="[Image unavailable.]" /></a> -<div class="caption"><p>BYAM SHAW, A.R.W.S.</p> - -<p>“AND TO YOU ALL, GOOD HEALTH.” FROM “KING HENRY VIII” (GEORGE BELL AND -SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_161" id="page_161">{161}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_141.jpg"> -<img src="images/ill_141.jpg" width="359" height="540" alt="[Image unavailable.]" /></a> -<div class="caption"><p>BYAM SHAW, A.R.W.S.</p> - -<p>“AS I HAVE A SOUL, SHE IS AN ANGEL.” FROM “KING HENRY VIII” (GEORGE BELL -AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_162" id="page_162">{162}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_142.jpg"> -<img src="images/ill_142.jpg" width="352" height="523" alt="[Image unavailable.]" /></a> -<div class="caption"><p>BYAM SHAW, A.R.W.S.</p> - -<p>“I’LL GO BURN SOME SACK.” FROM “TWELFTH NIGHT” (GEORGE BELL AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_163" id="page_163">{163}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_143.jpg"> -<img src="images/ill_143.jpg" width="366" height="548" alt="[Image unavailable.]" /></a> -<div class="caption"><p>BYAM SHAW, A.R.W.S.</p> - -<p>“IT LIKES US WELL; YOUNG PRINCES, CLOSE YOUR HANDS.” FROM “KING JOHN” -(GEORGE BELL AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_164" id="page_164">{164}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_144.jpg"> -<img src="images/ill_144.jpg" width="370" height="528" alt="[Image unavailable.]" /></a> -<div class="caption"><p>BYAM SHAW, A.R.W.S.</p> - -<p>ILLUSTRATION FOR “POEMS BY ROBERT BROWNING” (GEORGE BELL AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_165" id="page_165">{165}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_145.jpg"> -<img src="images/ill_145.jpg" width="323" height="515" alt="[Image unavailable.]" /></a> -<div class="caption"><p>BYAM SHAW, A.R.W.S.</p> - -<p>ILLUSTRATION FOR “POEMS BY ROBERT BROWNING” (GEORGE BELL AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_166" id="page_166">{166}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_146.jpg"> -<img src="images/ill_146.jpg" width="416" height="549" alt="[Image unavailable.]" /></a> -<div class="caption"><p>HELEN M. SINCLAIR</p> - -<p>“AND IF THE WINE YOU DRINK, THE LIP YOU PRESS, END IN THE NOTHING ALL -THINGS END IN—YES——” FROM “THE RUBÁIYÁT OF OMAR KHAYYÁM<span class="pagenum"><a name="page_167" id="page_167">{167}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_147.jpg"> -<img src="images/ill_147.jpg" width="400" height="527" alt="[Image unavailable.]" /></a> -<div class="caption"><p>HELEN M. SINCLAIR</p> - -<p>“DRINK!—FOR ONCE DEAD YOU NEVER SHALL RETURN” FROM “THE RUBÁIYÁT OF -OMAR KHAYYÁM<span class="pagenum"><a name="page_168" id="page_168">{168}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_148.jpg"> -<img src="images/ill_148.jpg" width="400" height="580" alt="[Image unavailable.]" /></a> -<div class="caption"><p>JOSEPH E. SOUTHALL</p> - -<p>“JAMES I OF SCOTLAND AND HIS LADY<span class="pagenum"><a name="page_169" id="page_169">{169}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_149.jpg"> -<img src="images/ill_149.jpg" width="347" height="404" alt="[Image unavailable.]" /></a> -<div class="caption"><p>EDMUND J. SULLIVAN, A.R.W.S.</p> - -<p>“HIS TIME IS PRETTY MUCH TAKEN UP IN KEEPING HIS RELATION, WHO IS A -LITTLE MELANCHOLY, IN SPIRITS, AND IN LEARNING TO BLOW THE FRENCH HORN.” -FROM “THE VICAR OF WAKEFIELD” (CONSTABLE AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_170" id="page_170">{170}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_150.jpg"> -<img src="images/ill_150.jpg" width="341" height="408" alt="[Image unavailable.]" /></a> -<div class="caption"><p>EDMUND J. SULLIVAN, A.R.W.S.</p> - -<p>“I HAVE KNOWN A PIECE, WITH NOT ONE JEST IN THE WHOLE, SHRUGGED INTO -POPULARITY, AND ANOTHER SAVED, BY THE POET’S THROWING IN A FIT OF THE -GRIPES.” FROM “THE VICAR OF WAKEFIELD” (CONSTABLE AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_171" id="page_171">{171}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_151.jpg"> -<img src="images/ill_151.jpg" width="402" height="534" alt="[Image unavailable.]" /></a> -<div class="caption"><p>EDMUND J. SULLIVAN, A.R.W.S.</p> - -<p>ILLUSTRATION FOR “SARTOR RESARTUS” (GEORGE BELL AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_172" id="page_172">{172}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_152.jpg"> -<img src="images/ill_152.jpg" width="403" height="400" alt="[Image unavailable.]" /></a> -<div class="caption"><p>EDMUND J. SULLIVAN, A.R.W.S.</p> - -<p>ILLUSTRATION FOR “SARTOR RESARTUS” (GEORGE BELL AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_173" id="page_173">{173}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_153.jpg"> -<img src="images/ill_153.jpg" width="371" height="585" alt="[Image unavailable.]" /></a> -<div class="caption"><p>EDMUND J. SULLIVAN, A.R.W.S.</p> - -<p>ILLUSTRATION FOR “SARTOR RESARTUS” (GEORGE BELL AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_174" id="page_174">{174}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_154.jpg"> -<img src="images/ill_154.jpg" width="404" height="418" alt="[Image unavailable.]" /></a> -<div class="caption"><p>EDMUND J. SULLIVAN, A.R.W.S.</p> - -<p>ILLUSTRATION FOR “SARTOR RESARTUS” (GEORGE BELL AND SONS)</p></div> -</div> - -<p><span class="pagenum"><a name="page_175" id="page_175">{175}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_155.jpg"> -<img src="images/ill_155.jpg" width="391" height="585" alt="[Image unavailable.]" /></a> -<div class="caption"><p>HUGH THOMSON</p> - -<p>“EMMA HUNG ABOUT HIM AFFECTIONATELY.” FROM “EMMA” (MACMILLAN AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_176" id="page_176">{176}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_156.jpg"> -<img src="images/ill_156.jpg" width="419" height="373" alt="[Image unavailable.]" /></a> -<div class="caption"><p>HUGH THOMSON</p> - -<p>“AIRING THE SEDAN CHAIR.” FROM “CRANFORD” (MACMILLAN AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_177" id="page_177">{177}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_157.jpg"> -<img src="images/ill_157.jpg" width="405" height="479" alt="[Image unavailable.]" /></a> -<div class="caption"><p>HUGH THOMSON</p> - -<p>“FRIERN BARNET CHURCH.” FROM “HIGHWAYS AND BYWAYS IN MIDDLESEX” -(MACMILLAN AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_178" id="page_178">{178}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_158.jpg"> -<img src="images/ill_158.jpg" width="427" height="554" alt="[Image unavailable.]" /></a> -<div class="caption"><p>HUGH THOMSON</p> -<p><span class="pagenum"><a name="page_179" id="page_179">{179}</a></span></p> -<p>“SUTTON.” FROM “HIGHWAYS AND BYWAYS IN SURREY” (MACMILLAN AND CO.)</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_159.jpg"> -<img src="images/ill_159.jpg" width="386" height="591" alt="[Image unavailable.]" /></a> -<div class="caption"><p>HUGH THOMSON</p> - -<p>“A BYWAY IN ASHFORD.” FROM “HIGHWAYS AND BYWAYS IN KENT” (MACMILLAN AND -CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_180" id="page_180">{180}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_160.jpg"> -<img src="images/ill_160.jpg" width="410" height="376" alt="[Image unavailable.]" /></a> -<div class="caption"><p>HUGH THOMSON</p> - -<p>“COBHAM CHURCH.” FROM “HIGHWAYS AND BYWAYS IN KENT” (MACMILLAN AND -CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_181" id="page_181">{181}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_161.jpg"> -<img src="images/ill_161.jpg" width="425" height="453" alt="[Image unavailable.]" /></a> -<div class="caption"><p>HUGH THOMSON</p> - -<p>“THE CHURCH.” FROM “HIGHWAYS AND BYWAYS IN DONEGAL AND ANTRIM” -(MACMILLAN AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_182" id="page_182">{182}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_162.jpg"> -<img src="images/ill_162.jpg" width="479" height="351" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES WADE</p> - -<p>“THE PORTE D’OSTENDE.” FROM “BRUGES” (R. T. BATSFORD)</p></div> -</div> - -<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_163.jpg"> -<img src="images/ill_163.jpg" width="510" height="311" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES WADE</p> - -<p>“WINDMILLS OUTSIDE THE PORTE STE. CROIX.” FROM “BRUGES” (B. T. -BATSFORD)</p></div> -</div> - -<p><span class="pagenum"><a name="page_184" id="page_184">{184}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_164.jpg"> -<img src="images/ill_164.jpg" width="336" height="508" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES WADE</p> - -<p>“THE BELFRY FROM RUE AUX LAINES.” FROM “BRUGES” (B. T. BATSFORD)</p></div> -</div> - -<p><span class="pagenum"><a name="page_185" id="page_185">{185}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_165.jpg"> -<img src="images/ill_165.jpg" width="295" height="448" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FRANK WILES</p> - -<p>“STELLA AND THE GREAT DANE.” FROM “STELLA MARIS” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_186" id="page_186">{186}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_166.jpg"> -<img src="images/ill_166.jpg" width="310" height="455" alt="[Image unavailable.]" /></a> -<div class="caption"><p>FRANK WILES</p> - -<p>“SHE LOOKED DOWN WITH A NEW AND LIFE-GIVING FEELING OF PITY UPON THE -BOWED GRAY HEADS.” FROM “STELLA MARIS” (JOHN LANE)</p></div> -</div> - -<p><span class="pagenum"><a name="page_187" id="page_187">{187}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_167.jpg"> -<img src="images/ill_167.jpg" width="403" height="550" alt="[Image unavailable.]" /></a> -<div class="caption"><p>R. JAMES WILLIAMS</p> - -<p>“THE THREE LITTLE CRONES, EACH WITH SOMETHING<span class="pagenum"><a name="page_188" id="page_188">{188}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_168-a.jpg"> -<img src="images/ill_168-a.jpg" width="401" height="200" alt="[Image unavailable.]" /></a> -<div class="caption"><p>R. JAMES WILLIAMS</p> - -<p>“OFF TO THE LAND OF MAZIKIN”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_168-b.jpg"> -<img src="images/ill_168-b.jpg" width="400" height="264" alt="[Image unavailable.]" /></a> -<div class="caption"><p>R. JAMES WILLIAMS</p> - -<p>“BE BOLD, BE BOLD, BUT NOT TOO BOLD<span class="pagenum"><a name="page_189" id="page_189">{189}</a></span>”</p></div> -</div> - -<div class="figcenter"> -<a href="images/ill_169.jpg"> -<img src="images/ill_169.jpg" width="294" height="454" alt="[Image unavailable.]" /></a> -<div class="caption"><p>JACK B. YEATS, R. H.A.</p> - -<p>“A WICKLOW VAGRANT.” FROM “IN WICKLOW, WEST KERRY AND CONNEMARA” -(MAUNSEL AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_190" id="page_190">{190}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_170.jpg"> -<img src="images/ill_170.jpg" width="337" height="492" alt="[Image unavailable.]" /></a> -<div class="caption"><p>JACK B. YEATS, R.H.A.</p> - -<p>“THE SLEEPERS.” FROM “LIFE IN THE WEST OF IRELAND” (MAUNSEL AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_191" id="page_191">{191}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_171.jpg"> -<img src="images/ill_171.jpg" width="338" height="493" alt="[Image unavailable.]" /></a> -<div class="caption"><p>JACK B. YEATS, R.H.A.</p> - -<p>“SINGING A POLITICAL BALLAD.” FROM “LIFE IN THE WEST OF IRELAND” -(MAUNSEL AND CO.)</p></div> -</div> - -<p><span class="pagenum"><a name="page_192" id="page_192">{192}</a></span></p> - -<div class="figcenter"> -<a href="images/ill_172.jpg"> -<img src="images/ill_172.jpg" width="345" height="418" alt="[Image unavailable.]" /></a> -<div class="caption"><p>JACK B. YEATS, R.H.A.</p> - -<p>“CARRYING SEAWEED FOR KELP.” FROM “THE ARAN ISLANDS” (MAUNSEL AND CO.)</p></div> -</div> - -<div class="figcenter"> -<img src="images/back.jpg" width="329" height="500" alt="" /> -</div> - -<hr class="full" /> -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK MODERN BOOK ILLUSTRATORS AND THEIR WORK ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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