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Index of Illustrators
Winter Number 1897-8
BATTEN, J. D 34
BELL, ROBT. ANNING . 42, and Supplement II.
BEWICK, THOMAS 7
BROOKE, L. LESLIE 67
BROWNE, GORDON .... 31,32,52,68
BRITTEN, W. E. F 44
CALVERT, E / . . 68
CLARK, J. B 44
CRANE, WALTER .... 23, 24, 25
CROWQUILL, A 13
CRUIKSHANK, GEORGE 10
DOYLE, RICHARD 15
FELL, GRANVILLE . . 42, and Supplement IV.
GASKIN, ARTHUR 63
GASKIN, MRS . 54
GERE, CM 49
GREENAWAY, KATE . . . . 26, 27
HALLS, ROBERT .... Supplement I.
HALLWARD, MRS 54
HAVERS, ALICE . . . . . 28, 29
HORSLEY, J. C, R.A 11
HUGHES, ARTHUR .... 17, 18, 19
KEENE, CHARLES 14
KEMP-WELCH, LUCY 66
PAGE
MACGREGOR, ARCHIE . . . . 41, 48
MAHONEY, J 18
MAURIER, G. DU 16
MONVEL, M. BOUTET DE . . . 61, 62
MARKS, H. S., R.A 21
MORGAN, W. DE 22
"NOBODY, A." 50,51,53
PAGET, WILL 33
PATON, SIR NOEL 21
PYLE, HOWARD .... 36, 37, 38
ROBINSON, CHARLES . . 63, 64, 65, and
[Supplement III.
SAMBOURNE, LINLEY 22
SMITH, WINIFRED 39
SOUTHALL, E 57
SPEED, LANCELOT .... 30, 31, 40
STRANG, W 45
SULLIVAN, J. F 46
SUMNER, HEYWOOD ....
TENNIEL, SIR JOHN ....
40
20
WIEGAND, W. J 20
WEIR, HARRISON 12
WOODROFFE, PAUL 58
WOODWARD, A. B 47, 48, 52
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AD. VIII
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AD. XIII
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AD, XV
BOOKS FOR CHILDREN.
WORKS BY THE LATE MRS. EWING.
Snapdragons: a Tale of Christmas Eve and Old Father
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boards, is.
The Peace HSgg, and a Christmas Mumming
PLAY. With Illustrations by Gordon Browne. Small 4to,
paper boards, is.
Mary's Meadow, and Letters from a Little Gar-
DEN. Illustrated by Gordon Browne. Small 4to, paper
boards, is.
Lob Lie-by-t.he-Fire; or, the Luck of Lingborough.
With Illustrations by the late R. Caldecott. Small 4to, paper
boards, is,
Story of a Short Life (The). With Illustrations by
Gordon Browne. Small 4to, paper boards, is.
Daddy Darwin's Dovecot. A Country Tale. With
numerous Illustrations by the late R. Caldecott. Small 4to,
paper boards, is.
Dandelion Clocks, and other Tales. With Illustrations
by Gordon Browne and other Artists. Small 4to, paper boards,
is.
Jackanapes. With Seventeen Illustrations by the late
Randolph Caldecott. Small 4to, paper boards, is.
Old-Fashioned Fairy Tales. Foolscap 4to, with
numerous Woodcuts, cloth boards, 3s. 6d.
Brothers of Pity, and other Tales of Beasts and Men.
Crown 8vo, with numerous Illustrations, cloth boards, 2s. 6d.
Juliana Horatia Ewing and Her Books. By
Horatia K. F. Gatty. With a Portrait by George Reid,
R.S.A. Illustrated by Facsimiles from Mrs. Ewing's sketches,
and a cover designed by the late R. Caldecott. Small 4to, paper
boards, is.
LIBRARY EDITION OF MRS. EWING'S WORKS.
Complete in Eighteen Uniform Volumes.
Crown Svo, half cloth, 2s. 6d. each.
The Complete Series, Volumes I. — XVIII., in a cloth case, 48s.
This is the only Complete Edition of Mrs. Eiuing^s Works.
TJte last two Volumes contain much new matter.
WORKS BY MRS. MOLESWORTH.
Friendly Joey, and other Stories. With Coloured Illus-
trations. Small4to. cloth boards, 2s. 6d.
Opposite Neighbours, and other Stories. Coloured
Illustrations. Small 410, cloth boards, 2s. 6d.
The Thirteen Little Black Pigs, and other Stories.
Illustrated in Colours. Small 4to, cloth boards, 2s. 6d.
The Man with the Pan Pipes, &c With Coloured
Illustrations. Small 410, cloth boards, 2s. 6d.
The Lucky Ducks, and other Tales. With Coloured
Illustrations. Small 4to, cloth boards, 2s. 6d.
Twelve Tiny Tales. With numerous Illustrations printed
in Colours. Small 4to, cloth boards, 2s. 6d.
A House to Let. With Coloured Illustrations. Small
4to, cloth boards, 2s. 6d.
Randolph Caldecott's Painting-Book, Small 4to,
paper boards, is.
A Selection of R. Caldecott's best Pictures, with Outlines opposite
each for Colouring.
Select Fables from La Fontaine. For the use of the
Young. Beautifully Illustrated in Colours by M. B. De Monvel.
Royal 4to, cloth boards, 6s.
Nursery Rhymes and Fables. With Sixty Page
Illustrations (Thirty in Colours and Thirty in Monochrome). By
W. J. Morgan. Small 4to, paper boards, is. 6d.
The Zoo. By the late Rev. J. G. Wood and the Rev. T.
Wood. Series I. to IV. in One Vol. Sm. 4to, cloth, bevelled bds., 6s.
Picture Book.— Animals. By the late Rev. C. A. Johns.
With numerous Woodcuts. Fcap 4to, ornamental paper bds., is. 6d.
The Days of the Pose, and other Stories. By Mrs.
Hallward. With coloured Illustrations. Sm. 4to, paper bds., 6d.
King Pepito, The Royal Progress of. By Beatrice
F. Cresswei.l. Illus.by Kate Greenawav. Sm.4to, paper bds., is.
GOLDEN SUNBEAMS. A Monthly Magazine for
Children on Church Lines. Small 4to, 16 pages. Illustrated by
Charles Robinson, id.
Edition de luxe, in red and black, on hand-made paper, 4d.
Volume for 1897, containing Nos. 1 to 12. Cloth boards is. 6d.
Edition de luxe, cloth boards, 4s.
London
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"THE HEIR TO FAIRY-LAND"
FROM A WATER-COLOUR BY
ROBERT HALLS
THE STUDIO
SPECIAL WINTER-NUMBER 1897-8
CHILDREN'S BOOKS AND
THEIR ILLUSTRATORS.
BY GLEESON WHITE.
There are some themes that by
their very wealth of suggestion appal
the most ready writer. The emotions which
they arouse, the mass of pleasant anecdote they
recall, the ghosts of far-off delights they summon,
are either too obvious to be worth the trouble of
description or too evanescent to be expressed in
dull prose. Swift, we are told (perhaps a little too
frequently), could write beautifully of a broom-
stick ; which may strike a common person as a
marvel of dexterity. After a while, the journalist
is apt to find that it is the perfect theme which
proves to be the hardest to treat adequately.
Clothe a broomstick with fancies, even of the
flimsiest tissue paper, and you get something more
or less like a fairy-king's sceptre ; but take the
Pompadour's fan, or the haunting effect of twilight
over the meadows, and all you can do in words
seems but to hide its original beauties. We know
that Mr. Austin Dobson was able to add graceful
wreaths even to the fan of the Pompadour, and
that another writer is able to impart to the misty
twilight not only the eerie fantasies it shows the
careless observer, but also a host of others that only
a poet feels, and that only a poet knows how to
prison within his cage of printed syllables. Indeed,
of the theme of the present discourse has not the
wonder-working Robert Louis Stevenson sung of
"Picture Books in Winter" and "The Land of
Story Books," so truly and clearly that it is
dangerous for lesser folk to attempt essays in their
praise ? All that artists have done to amuse the
THE "MONKEY-BOOK
[By permission of James H. Stone, Esq., J-P-)
A FAVOURITE IN THE NURSERY
Children's Books
august monarch "King Baby" (who, pictured by
Mr. Robert Halls, is fitly enthroned here by way
of frontispiece) during the playtime of his imma-
turity is too big a subject for our space, and can
but be indicated in rough outline here.
Luckily, a serious study of the evolution of the
child's book already exists. Since the bulk of
this number was in type, I lighted by chance
upon " The Child and his Book," by Mrs. E. M.
Field, a most admirable volume which traces its
subject from times before the Norman conquest to
this century. Therein we find full accounts of
MSS. designed for teaching purposes, of early
printed manuals, and of the mass of literature
intended to impress "the Fear of the Lord and of
the Broomstick." Did space allow, the present
chronicle might be enlivened with many an excerpt
which she has culled from out-of-the-way sources.
But the temptation to quote must be controlled.
It is only fair to add
that in that work there
is a very excellent
chapter to "Some Il-
lustrators of Children's
Books," although its
main purpose is the
text of the books. One
branch has found its
specialist and its ex-
haustive monograph,
in Mr. Andrew Tuer's
sumptuous volumes
devoted to " The
Horn Book."
Perhaps there is no
pleasure the modern
" grown-up " person
envies the youngsters
of the hour as he
envies them the shoals
" CRUSOE ANn XURY ESCAPING
FROM AN EIGHTEENTH-CENTURY CHAP-BOOI-
CRUSOE SETS SAU. ON HIS EVENTFUL VOYAGE
FROM AN EIGHTEENTH-CENTURY CHAP-BOOK
4
"ROBINSON CRUSOE. THE WRECK
FROM AN EIGHTEENTH-CENTURY CHAP-BOOK
of delightful books
which publishers pre-
pare for the Christ-
mas tables of lucky
children. If he be
old enough to remem-
ber Mrs. Trimmer's
" History of the
Robins," "The Fair-
child Family," or that
Poly-technically in-
spired romance, the
" Swiss Family Rob-
inson," he feels that
a certain half-hearted
approval of more
dreary volumes is
possibly due to the
glamour which middle
age casts upon the
past. It is said that
even Barbauld's " Evenings at Home " and " Sand-
ford and Merton " (the anecdotes only, I imagine)
have been found toothsome dainties by unjaded
youthful appetites ; but when he compares these
with the books of the last twenty years, he wishes
he could become a child again to enjoy their sweets
to the full.
Now nine-tenths of this improvement is due to
artist and publisher ; although it is obvious that
illustrations imply something to illustrate, and, as a
rule (not by any means without exception), the
better the text the better the pictures. Years
before good picture-books there were good stories,
and these, whether they be the classics of the
nursery, the laureates of its rhyme, the unknown
author of its sagas, the born story-tellers — whether
they date from prehistoric cave-dwellers, or are of
our own age, like Charles Kingsley or Lewis
Carroll — supply the text to spur on the artist to
his best achievements.
and their Illustrators
It is mainly a labour of love to infuse pic-
tures intended for childish eyes with qualities
that pertain to art. We like to believe that
Walter Crane, Caldecott, Kate Greenaway
and the rest receive ample appreciation from
the small people. That they do in some
cases is certain ; but it is also quite as evident
that the veriest daub, if its subject be attrac-
tive, is enjoyed no less thoroughly. There
are prigs of course, the children of the " prig-
norant," who babble of Botticelli, and profess
to disdain any picture not conceived with
" high art " mannerism. Yet even these will
forget their pretence, and roar over a Comic
Cuts found on the seat of a railway carriage,
or stand delighted before some unspeakable
poster of a melodrama. It is well to face the
plain fact that the most popular illustrated
books which please the children are not
always those which satisfy the critical adult.
As a rule it is the " grown-ups " who buy ;
therefore with no wish to
be-little the advance in
nursery taste, one must
own that at present its
improvement is chiefly
owing to the active ener-
gies of those who give,
and is only passively
tolerated by those who
accept. Children awak-
ing to the marvel that re-
creates a familiar object
by a few lines and
blotches on a piece of
TWO CHILDREN IN
EIGHTEENTH-CE
THE W
NTURY
OOD. FROM AN
CHAP-BOOK
' SIR RICHARD WHITTINGTON. FROM AN EIGHTEENTH-
CENTURY CHAP-BOOK
'THE TRUE TALE OF ROBIN HOOD. FROM AN
EIGHTEENTH-CENTURY CHAP-BOOK
paper, are not unduly
exigent. Their own
primitive diagrams, like
a badly drawn Euclidean
problem, satisfy their idea
of studies from the life.
Their schemes of colour
are limited to harmonies
in crimson lake, cobalt
and gamboge, their skies
are very blue, their grass
arsenically green, and
their perspective as erratic
as that of the Chinese.
In fact, unpopular though it may be to
project such a theory, one fancies that the
real educational power of the picture-book is
upon the elders, and thus, that it undoubt-
edly helps to raise the standard of domestic
taste in art. But, on the other hand, whether
his art is adequately appreciated or not, what
an unprejudiced and wholly spontaneous ac-
claim awaits the artist who gives his best to
the little ones ! They do not place his work
in portfolios or locked glass cases ; they
thumb it to death, surely the happiest of all
fates for any printed book. To see his
volumes worn out by too eager votaries, what
could an author or artist wish for more ?
The extraordinary devotion to a volume of
natural history, which after generations of use
has become more like a mop-head than a
book, may be seen in the reproduction of a
" monkey-book " here illustrated ; this curious
result being caused by sheer affectionate
thumbing of its leaves, until the dog-ears and
rumpled pages turned the cube to a globular
mass, since flattened by being packed away.
5
Children s Books
So children love picture-books, not as bibliophiles
would consider wisely, but too well.
To delight one of the least of these, to add a
new joy to the crowded miracles of childhood,
were no less worth doing than to leave a Sistine
Chapel to astound a somewhat bored procession of
tourists, or to have written a classic that sells by
thousands and is possessed unread by all save an
infinitesimal percentage of its owners.
When Randolph Caldecott died, a minor poet,
unconsciously paraphrasing Garrick's epitaph,
wrote : " For loss of him the laughter of the
children will grow less." I quote the line from
memory, perhaps incorrectly ; if so, its author will,
I feel sure, forgive the unintentional mangling.
Did the laughter of the children grow less?'"
Happily one can be quite sure it did not. So
long as any inept draughtsman can scrawl a few
lines which they accept as a symbol of an engine,
an elephant or a pussy cat, so long will the great
army of invaders who are our predestined con-
querors be content to laugh anew at the request of
any one, be he good or mediocre, who caters for
them.
It is a pleasant and yet a saddening thought
to remember that we were once recruits of this
omnipotent army that wins always our lands and
our treasures. Now, when grown up, whether we
are millionaires or paupers, they have taken fortress
by fortress with the treasures therein, our picture-
books of one sort are theirs, and one must yield
presently to the babies as they grow up, even our
criticism, for they will make their own standards of
worth and unworthiness despite all our efforts to
control their verdict.
If we are conscious of being "up-to-date" in 1900,
we may be quite sure that by 1925 we shall be ousted
by a newer generation, and by 2000 forgotten. Long-
before even that, the children we now try to amuse or
to educate, to defend at all costs, or to pray for as
we never prayed before — they will be the masters.
It is, then, not an ignoble thing to do one's very
best to give our coming rulers a taste of the
kingdom of art, to let them unconsciously discover
that there is something outside common facts,
intangible and not to be reduced to any rule,
which may be a lasting pleasure to those who
care to study it.
It is evident, as one glances back over the cen-
turies, that the child occupies a new place in the
world to-day. Excepting possibly certain royal
infants, we do not find that great artists of the past
addressed themselves to children. Are there any
children's books illustrated by Diirer, Burgmair,
Altdorfer, Jost Amman, or the little masters of
Germany ? Among the Florentine woodcuts do we
find any designed for children? Did Rembrandt etch
for them, or Jacob Beham prepare plates for their
amusement ? So far as I have searched, no single
instance has rewarded me. It is true that the
naivete of much early work tempts one to believe
6
"AN AMERICAN MAN AND WOMAN IN THEIR PROPER
HABITS." ILLUSTRATION FROM " A MUSEUM FOR YOUNG
GENTLEMEN AND LADIES " (s. CROWDER. 1790)
"THE WALLS OF BABYLON. ILLUSTRATION FROM
"A MUSEUM FOR YOUNG GENTLEMEN AND LADIES"
(S. CROWDER. 1790)
that it was designed for babies. But the context
shows that it was the unlettered adult, not the
juvenile, who was addressed. As the designs,
obviously prepared for children, begin to appear,
they are almost entirely educational and by no
means the work of the best artists of the period.
Even when they come to be numerous, their object
is seldom to amuse ; they are didactic, and as a
rule convey solemn warnings. The idea of a
draughtsman of note setting himself deliberately to
please a child would have been inconceivable not
so many years ago. To be seen and not heard
was the utmost demanded of the little ones even
as late as the beginning of this century, when
illustrated books designed especially for their in-
struction were not infrequent.
As Mr. Theodore Watts-Dunton pointed out in
his charming essay, " The New Hero," which ap-
peared in the English Illustrated Magazine (Dec.
1 883), the child was neglected even by the art of
literature until Shakespeare furnished portraits at
once vivid, engaging, and true in Arthur and in
and their Illustrators
Mamillus. In the same essay he goes on to say
of the child — the new hero :
" And in art, painters and designers are vying
with the poets and with each other in accommo-
dating their work to his well-known matter-of-fact
tastes and love of simple directness. Having dis-
covered that the New Hero's ideal of pictorial re-
presentation is of that high dramatic and business-
like kind exemplified in the Bayeux tapestry, Mr.
Caldecott, Mr. Walter Crane, Miss Kate Green-
away, Miss Dorothy Tennant, have each tried to
surpass the other in appealing to the New Hero's
love of real business in art — treating him, indeed, as
though he were Hotei, the Japanese god of enjoy-
ment— giving him as much colour, as much
dramatic action, and as little perspective as is
possible to man's finite capacity in this line. Some
generous art-critics have even gone so far indeed
as to credit an entire artistic movement, that of
pre-Raphaelism, with a benevolent desire to ac-
commodate art to the New Hero's peculiar ideas
upon perspective. But this is a ' soft impeach-
ment ' born of that loving kindness for which art-
critics have always been famous."
' mercury and the woodman." illustration
I'-rom "bewick's select fables." by thomas
BEWICK (17S4)
LITTLE ANTHONY." ILLUSTRATION FROM "THE
LOOKING-GLASS OF THE MIND." BY THOMAS
BEWICK (1792)
,. cr-^-'A. g-XtQh jVN^ y^>Li,
"the brother and sister." illustration
from " bewick's select fables." by thomas
BEWICK (17S4)
"LITTLE ADOLHIUS." ILLUSTRATION FROM "THE
LOOKING-GLASS OF THE MIND." BY THOMAS
BEWICK (1792)
It would be out of place here to project any
theory to account for this more recent homage
paid to children, but it is quite certain that a similar
number of The Studio could scarce have been
compiled a century ago, for there was practically no
material for it. In fact the tastes of children as a
factor to be considered in life are well-nigh as
modern as steam or the electric light, and far less
ancient than printing with movable types, which of
itself seems the second great event in the history of
humanity, the use of fire being the first.
To leave generalities and come to particulars, as
we dip into the stores of earlier centuries the
broadsheets reveal almost nothing intended for
children — the many Robin Hood ballads, for
example, are decidedly meant for grown-up people ;
and so in the eighteenth century we find its chap-
books of " Guy, Earl of Warwick," " Sir Bevis, of
Southampton," "Valentine and Orson," are still
addressed to the adult; while it is more than doubt-
ful whether even the earliest editions in chap-
book form of " Tom Thumb," and " Whining-
7
Children s Books
ton " and the rest, now the property of
the nursery, were really published for
little ones. That they were the " light
reading " of adults, the equivalent of to-
day's Ally Sloper or the penny dreadful,
is much more probable. No doubt
children who came across them had a
surreptitious treat, even as urchins of
both sexes now pounce with avidity
upon stray copies of the ultra-popular
and so-called comic papers. But you
could not call Ally Sloper, that Punchi-
nello of the Victorian era — who has
received the honour of an elaborate
article in the Nineteenth Century — a
child's hero, nor is his humour of a sort
always that childhood should understand
— " Unsweetened Gin," the " Broker's
Man," and similar subjects, for example.
It is quite possible that respectable
people did not care for their babies to
read the chap-books of the eighteenth
century any more than they like them
now to study " halfpenny comics " ; and
that they were, in short, kitchen litera-
ture, and not infantile. Even if the
intellectual standard of those days was
on a par in both domains, it does not
prove that the reading of the kitchen
and nursery was interchangeable.
Before noticing any pictures in detail
from old sources or new, it is well to
explain that as a rule only those show-
ing some attempt to adapt the drawing
to a child's taste have been selected.
Mere dull transcripts of facts please
children no less ; but here space forbids
their inclusion. Otherwise nearly all
modern illustration would come into our
scope. IIL
A search through the famous Rox-
burghe collection of broadsheets dis-
covered nothing that could be fairly
regarded as a child's publication. The chap-
books of the eighteenth century have been
adequately discussed in Mr. John Ashton's admir-
able monograph, and from them a few "cuts"
are here reproduced. Of course, if one takes the
standard of education of these days as the test,
many of those curious publications would appear
to be addressed to intelligence of the most juvenile
sort. Yet the themes as a rule show unmistakably
that children of a larger growth were catered for, as,
for instance, "Joseph and his Brethren," "The
Holy Disciple," " The Wandering Jew," and those
earlier pamphlets which are reprints or new versions
of books printed by Wynkyn de Worde, Pynson,
and others of the late fifteenth and early sixteenth
centuries.
In one, " The Witch of the Woodlands,"
appears a picture of little people dancing in a
t^rP .AtffWSte fit-'.
Jlenry quitting , ?tJtr><>? '.
ISTRATION EROM "SKETCHES OE JUVENILE CHARACTERS'
(E WALLIS. iiilS)
fairy ring, which might be supposed at first sight
to be an illustration of a nursery tale, but the text
describing a Witch's Sabbath, rapidly dispels the
idea. Nor does a version of the popular Faust
legend — " Dr. John Faustus " — appear to be edify-
ing for young people. This and " Friar Bacon "
are of the class which lingered the longest — the
magical and oracular literature. Even to-day it is
quite possible that dream-books and prophetical
pamphlets enjoy a large sale ; but a few years ago
many were to be found in the catalogues of pub-
lishers who catered for the million. It is not very
long ago that the Company of Stationers omitted
hieroglyphics of coming events from its almanacs.
Many fairy stories which to-day are repeated for
the amusement of children were regarded as part
of this literature — the traditional folk-lore which
often enough survives many changes ol the religious
and their Illustrators
faith of a nation, and outlasts much civilisation.
Others were originally political satires, or social
pasquinades ; indeed not a few nursery rhymes
mask allusions to important historical incidents.
The chap-book form of publication is well adapted
for the preservation of half-discredited beliefs, of
charms and prophecies, incantations and cures.
In "Valentine and Orson," of which a frag-
ment is extant of a version printed by Wynkyn
de Worde, we have unquestionably the real fairy
story. This class of story, however, was not
addressed directly to children until within the last
hundred years. That many of the cuts used in
these chap-books afterwards found their way into
little coarsely printed duodecimos of eight or six-
teen pages designed for children is no doubt a
fact. Indeed the wanderings of these blocks, and
the various uses to which they were applied, is far
too vast a theme to touch upon here. For this
peripatetic habit of old wood-cuts was not even
confined to the land of their production ; after
doing duty in one country, they were ready for
fresh service in another. Often in the chap-books
INTERJECTIOlSrS
,1/1 ' itfti.e ■' O.'/rr'.' />}■ / A n,,/, I /ir/i,>/rf /
TJ-f r ■
(■S7/;iifW nv/A /'V,j)i'r/:i')
OK
S////.,//r//,v/.
/':/,/.:./„,/ ,v,y,y, „,/,.,■ ■/.; '/' /,S'.V',
/r.ut/tfs ,,„;/ jvav,
TITLE-PAGE OF " THE PATHS OK LEARNING
(HARRIS AND SON. lS>20)
■NTllKJEC'LTOXS „r<- ,■.,;■/„,,„„»„„,<.
t/riirrfinr/ <(/it/ ,>•//, fr/r/i eniofion ,>r'
///<■ mriitf , eit/ief "/' pattt. n/ea-rtire
<•'/■ ..■//////•/iv .
PAGE FROM "THE PATHS OF LEARNING
(HARRIS AND SON. 1820)
we meet with the same block as an illustration of
totally different scenes.
The cut for the title-page of Robin Hood is a
fair example of its kind. The Norfolk gentleman's
"Last Will and Testament" turns out to be a
rambling rhymed version of the Two Children in
the Wood. In the first of its illustrations we see
the dying parents commending their babes to the
cruel world. The next is a subject taken from
these lines :
" Away then went these prily babes rejoycinj; at that tide,
Rejoycing with a merry mind they should on cock-horse
ride."
And in the last, here reproduced, we see them when
" Their prily lips with blackberries were all besmeared and
dyed,
And when they saw the darksome night, they sat them
down and cried."
But here it is more probable that it was the
tragedy which attracted readers, as the Police News
attracts to-day, and that it became a child's favourite
by the accident of the robins burying the babes.
9
CJiildreiis Books
The example from the " History of Sir Richard
Whittington " needs no comment.
A very condensed version of " Robinson Crusoe "
has blocks of distinct, if archaic, interest. The
three here given show a certain sense of decorative
treatment (probably the result of the artist's in-
ability to be realistic), which is distinctly amusing.
One might select hundreds of woodcuts of this
type, but those here reproduced will serve as well
as a thousand to indicate their general style.
Some few of these books have contributed to
later nursery folk-lore, as, for example, the well
known " Jack Horner," which is an extract from a
coarse account of the adventures of a dwarf.
One quality that is shared by all these earlier
pictures is their artlessness and often their absolute
ugliness. Quaint is the highest adjective that fits
them. In books of the later period not a few
hlocks of earlier date and of really fine design re-
appear ; but in the chap-books quite 'prentice
hands would seem to have been employed, and
the result therefore is only interesting for its age
and rarity. So far these pictures need no comment,
they foreshadow nothing and are derived from
nothing, so far as their design is concerned. Such
interest as they have is quite unconcerned with
art in any way; they are not even sufficiently
misdirected to act as warnings, but are merely
clumsy.
Children's books, as every collector knows, are
among the most short-lived of all volumes. This
is more especially true of those with illustrations,
for their extra attractiveness serves but to degrade
a comely book into a dog-eared and untidy thing,
with leaves sere and yellow, and with no
autumnal grace to mellow their decay. Long
before this period, however, the nursery artist has
marked them for his own, and with crimson lake
LOln^t ;,.-
ILLUSTRATION TROM "GERMAN POPULAR STORIES.
BY G. CRUIKSHANK (CHARLES TILT. 1S24)
10
ILLUSTRATION KR0M "GERMAN POrUI.AR STORIES.
BY G. CRUIKSHANK (CHARLES TILT. IS24)
and Prussian blue stained their pictures in all too
permanent pigments, that in some cases resist
every chemical the amateur applies with the vain
hope of effacing the superfluous colour.
Of course the disappearance of the vast majority
of books for children (dating from 1760 to 1830,
and even later) is no loss to art, although among
them are some fewwhich are interesting as the 'pren-
tice work of illustrators who became famous. But
these are the exceptions. Thanks to the kindness
of Mr. James Stone, of Birmingham, who has a
large and most interesting collection of the most
ephemeral of all sorts — the little penny and two-
penny pamphlets — it has been possible to refer at
first hand to hundreds of them. Yet, despite their
interest as curiosities, their art need not detain us
here. The pictures are mostly trivial or dull, and
look like the products of very poorly equipped
draughtsmen and cheap engravers. Some, in
pamphlet shape, contain nursery rhymes and little
stories, others are devoted to the alphabet and
arithmetic. Amongst them are many printed on
card, shaped like the cover of a bank-book. These
were called battledores, but as Mr. Tuer has dealt
with this class in " The Horn Book " so thoroughly,
it would be mere waste of time to discuss them
here.
Mr. Elkin Mathews also permitted me to run
through his interesting collection, and among them
were many noted elsewhere in these pages, but
the rest, so far as the pictures are concerned,
do not call for detailed notice. They do, indeed,
contain pictures of children — but mere "factual"
scenes, as a rule — without an)- real fun or real
imagination. Those who wish to look up early
examples will find a large and entertaining variety
and their Illustrators
among " The Pearson Collection " in the National
Art Library at South Kensington Museum.
Turning to quite another class, we find " A
Museum for Young Gentlemen and Ladies "
(Collins : Salisbury), a typical volume of its kind.
Its preface begins : " I am very much concerned
when I see young gentlemen of fortune and quality
so wholly set upon pleasure and diversions. . . .
The greater part of our British youth lose their
figure and grow out of fashion by the time they are
twenty-five. As soon as the natural gaiety and
amiableness of the young man wears off they have
nothing left to recommend, but lie by the rest of
their lives among the lumber and refuse of their
species " — a promising start for a moral lecture,
which goes on to implore those who are in the
flower of their youth to " labour at those accom-
plishments which may set off their persons when
their bloom is gone."
The compensations for old age appear to be,
according to this author, a little knowledge of
grammar, history, astronomy, geography, weights
and measures, the seven wonders of the world,
burning mountains, and dying words of great men.
But its delightful text must not detain us here. A
series of " cuts " of national costumes with which
it is embellished deserves to be described in detail.
An American Man and Woman in their proper
habits, reproduced on page 6, will give a better
idea of their style than any words. The blocks
evidently date many years earlier than the
thirteenth edition here referred to, which is about
Tilt F)inAtii->'(> «*mi CcuuoJii[SklaiAw. fcoUvt
niti, ■
) 6
ILLUSTRATION FROM "THE LITTLE PRINCESS. BY
J. C. HORSLEY, R.A. (JOSEPH CUNDALL. 1843)
ILLUSTRATION FROM " CHILD S PLAY. BY E. V. B.
(NOW PUBLISHED BY SAMPSON LOW)
1790. Indeed, those of the Seven Wonders are
distinctly interesting.
Here and there we meet with one interesting
as art. " An Ancestral History of King Arthur "
(H. Roberts, Blue Boar, Holborn, 1782), shown
in the Pearson collection at South Kensington, has
an admirable frontispiece ; and one or two others
would be worth reproduction did space permit.
Although the dates overlap, the next division of
the subject may be taken as ranging from the
publication of " Goody Two Shoes — otherwise
called Mrs. Margaret Two-shoes " — to the "Bewick
Books." Of the latter the most interesting is un-
questionably " A Pretty Book of Pictures for Little
Masters and Misses, or Tommy Trip's History of
Beasts and Birds," with a familiar description of
each in verse and prose, to which is prefixed " A
History of Little Tom Trip himself, of his dog
Towler, and of Coryleg the great giant," written
for John Newbery, ■ the philanthropic bookseller
of St. Paul's Churchyard. " The fifteenth edition
embellished with charming engravings upon wood,
from the original blocks engraved by Thomas
Bewick for T. Saint of Newcastle in 1779" — to
quote the full title from the edition reprinted by
Edwin Pearson in 1867. This edition contains
a preface tracing the history of the blocks, which
are said to be Bewick's first efforts to depict beasts
and birds, undertaken at the request of the New
Children's Books
castle printer, to illustrate
a new edition of " Tommy
Trip." As at this time
copyright was unknown, and
Newcastle or Glasgow pirated
a London success (as New
York did but lately), we
must not be surprised to find
that the text is said to be a
reprint of a "Newbery" pub-
lication. But as Saint was
called the Newbery of the
North, possibly the Bewick
edition was authorised. One
or two of the rhymes which
have been attributed to
Oliver Goldsmith deserve
quotation. Appended to a
cut of The Bison we find the
following delightful lines :
" The Bison, tho' neither
Engaging nor young,
Like a flatt'rer can lick you
To death with his tongue."
The astounding legend of
the bison's long tongue, with
which he captures a man who
has ventured too close, is
dilated upon in the accom-
panying prose. That Gold-
smith used " teeth " when
he meant " tusks " solely for
the sake of rhyme is a
depressing fact made clear
by the next verse :
ILLUSTRATION FROM
" The elephant wiLh trunk and
teeth
Threatens his foe with instant
death,
And should these not his ends avail
His crushing feet will seldom fail."
Nor are the rhymes as they stand peculiarly happy ;
certainly in the following example it requires an
effort to make " throw " and " now " pair off
harmoniously.
" The fierce, fell tiger will, they say,
Seize any man that's in the way,
And o'er his back the victim throw,
As you your satchel may do now."
Yet one more deserves to be remembered if but
for its decorative spelling :
" The cuccoo comes to chear the spring,
And early every morn does sing ;
The nightingale, secure and snug,
The evening charms witli Jug, jug, jug."
But these doggerel rhymes are not quite representa-
12
"the HONEY stew"
(JEREMIAH HOW.
If'1' ' if : i
liY HARRISON WEIR
1S46)
tive of the book, as the well-known " Three children
sliding on the ice upon a summer's day " appears
herein. The "cuts" are distinctively notable,
especially the Crocodile (which contradicts the
letterpress, that says " it turns about with diffi-
culty"), the Chameleon, the Bison, and the Tiger.
Bewick's " Select Fables of -F^sop and others "
(Newcastle: T. Saint, 1784) deserves fuller notice,
but yEsop, though a not unpopular book for chil-
dren, is hardly a children's book. With " The
Looking Glass for the Mind " (1792) we have the
adaptation of a popular French work, " L'Ami des
Enfans" (1749), with cuts by Bewick, which, if not
equal to his best, are more interesting from our
point of view, as they are obviously designed for
young people. The letterpress is full of " useful
lessons for my youthful readers," with morals pro-
vokingly insisted upon.
" Goody Two Shoes " was also published by
Newbery of St. Paul's Churchyard — the pioneer of
children's literature. His business — which after-
and their Illustrators
\-i
wards became Messrs. Griffith and
Farran — has been the subject of
several monographs and magazine
articles by Mr. Charles Welsh, a
former partner of that firm. The
two monographs were privately
printed for issue to members of the
Sette of Odde Volumes. The first
of these is entitled " On some
Books for Children of the last cen-
tury, with a few words on the
philanthropic publisher of St. Paul's
Churchyard. A paper read at a
meeting of the Sette of Odde
Volumes, Friday, January 8, 1886."
Herein we find a very sympathetic
account of John Newbery and
gossip of the clever and dis-
tinguished men who assisted him
in the production of children's
books, of which Charles Knight
said, " There is nothing more re-
markable in them than their origin-
ality. There have been attempts
to imitate its simplicity, its homeliness ; great
authors have tried their hands at imitating its clever
adaptation to the youthful intellect, but they have
failed " — a verdict which, if true of authors when
Charles Knight uttered it, is hardly true of the
present time. After Goldsmith, Charles Lamb, to
whom " Goody Two Shoes " is now attributed, was,
perhaps, the most famous contributor to Newbery's
{ — 0 — £_ -^
BLUE BEARD. ILLUSTRATION FROM " COMIC NURSERY
TALES." BY A. CROWQU1LL (g. ROUTLEDGE. 1S45)
ROBINSON CRUSOE." ILLUSTRATION FROM " COMIC NURSERY
TALES." BY A. CROWO.UILL (g. ROUTLEDGE. 1S45)
publications ; his " Beauty and the Beast " and
"Prince Dorus " have been republished in fac-
simile lately by Messrs. Field and Tuer. From
the London Chronicle, December 1 9 to January 1 ,
1765, Mr. Welsh reprinted the following advertise-
ment :
" The Philosophers, Politicians, Necromancers,
and the learned in every faculty are desired to
observe that on January 1, being New Year's Day
(oh that we may all lead new lives !), Mr. Newbery
intends to publish the following important volumes,
bound and gilt, and hereby invites all his little
friends who are good to call for them at the Bible
and Sun in St. Paul's Churchyard, but those who
are naughty to have none." The paper read by
Mr. Welsh scarcely fulfils the whole promise of its
title, for in place of giving anecdotes of Newbery
he refers his listeners to his own volume, " A Book-
seller of the Last Century," for fuller details ;
but what he said in praise of the excellent
printing and binding of Newbery's books is well
merited. They are, nearly all, comely productions,
some with really artistic illustrations, and all
marked with care and intelligence which had not
hitherto been bestowed on publications intended
for juveniles. It is true that most are distinguished
for " calculating morality " as the Athenceum called
it, in re-estimating their merits nearly a century
later. It was a period when the advantages of
dull moralising were over-prized, when people pro-
fessed to believe that you could admonish children
to a state of perfection which, in their didactic
addresses to the small folk, they professed to obey
themselves. It was, not to put too fine a point
on it, an age of solemn hypocrisy, not perhaps so
insincere in intention as in phrase ; but, all the
same, it repels the more tolerant mood of to-day.
13
Children's Books
Whether or not it be wise to confess to
the same frailties and let children know
the weaknesses of their elders, it is cer-
tainly more honest ; and the danger is
now rather lest the undue humility of
experience should lead children to be-
lieve that they are better than their
fathers. Probably the honest sympathy
now shown to childish ideals is not
likely to be misinterpreted, for children
are often shrewd judges, and can detect
the false from the true, in morals if not
in art.
By 1800 literature for children had be-
come an established fact. Large numbers
of publications were ostentatiously ad-
dressed to their amusement ; but nearly
all hid a bitter if wholesome powder in
a very small portion of jam. Books of
educational purport, like " A Father's
Legacy to his Daughter," with reprints of
classics that are heavily weighted with
morals — Dr. Johnson's " Rasselas " and
"Jssop's Fables," for instance — are in
the majority. "Robinson Crusoe" is
indeed among them, and Bunyan's " Pil-
grim's Progress," both, be it noted,
hooks annexed by the young, not de-
signed for them. 1LLl
The titles of a few odd books which
possess more than usually interesting
features may be jotted down. Of
these, " Little Thumb and the Ogre " (R.
Dutton, 1788), with illustrations by William
Blake, is easily first in interest, if not in other
respects. Others include "The Cries of Lon-
don" (1775), "Sindbad the Sailor" (Newbery,
1 798), "Valentine and Orson" (Mary Rhynd,
ILLUSTRATION FROM "COMIC NURbERY TALES'
(G. routledge. 1S46)
14
STRAT10N FROM " ROBINSON CRUSOE.'' BY CHARLES KEENE
(JAMES BURNS. 1S47)
Clerkenwell, 1S04), "Fun at the Fair" (with
spirited cuts printed in red), and Watts's " Divine
and Moral Songs," and "An Abridged New Testa-
ment," with still more effective designs also in red
(Lumsden, Glasgow), "Gulliver's Travels " (greatly
abridged, 1815), " Mother Gum" (1805), "Anec-
dotes of a Little Family" (1795), " Mirth without
Mischief," " King Pippin," " The Daisy" (caution-
ary stories in verse), and the "Cowslip," its com-
panion (with delightfully prim little rhymes that
have been reprinted lately). The thirty illustrations
in each are by Samuel Williams, an artist who yet
awaits his due appreciation. A large number of
classics of their kind, " The Adventures of Philip
Quarll," " Gulliver's Travels," Blake's " Songs of
Innocence," Charles Lamb's " Stories from Shakes-
peare," Mrs. Sherwood's " Henry and his Bearer,"
and a host of other religious stories, cannot even
be enumerated. But even were it possible to
compile a full list of children's books, it would be
of little service, for the popular books are in no
danger of being forgotten, and the unpopular, as
a rule, have vanished out of existence, and except
by pure accident could not be found for love or
money.
With the publications of Newbery and Harris,
early in the nineteenth century, we encounter
examples more nearly typical of the child's book
as we regard it to-day. Among them Harris's
and their Illustrators
" Cabinet " is noticeable. The first four volumes,
" The Butterfly's Ball," " The Peacock at Home,"
" The Lion's Masquerade," and " The Elephant's
Ball," were reprinted a few years ago, with the
original illustrations by Mulready carefully repro-
duced. A coloured series of sixty-two books,
priced at one shilling and sixpence each (Harris),
was extremely popular.
With the " Paths of Learning strewed with
Flowers, or English Grammar Illustrated " (rS2o),
we encounter a work not without elegance. Its
designs, as we see by the examples reproduced on
page 9, are the obvious prototype of Miss Green-
away, the model that inspired her to those dainty
trifles which conquered even so stern a critic of
modern illustration as Mr. Ruskin. On its cover
--a forbidding wrapper devoid of ornament — and
repeated within a wreath of roses inside, this pre-
amble occurs : " The purpose of this little book is
to obviate the reluctance children evince to the
irksome and insipid task of learning the names and
meanings of the component parts of grammar.
Our intention is to entwine roses with instruction,
TITLE-PAGE FROM "THE SCOURING OF THE WHITE HORSE.
BY RICHARD DOYLE (MACMILLAN AND CO. 1S58)
and however humble our endeavour may appear,
let it be recollected that the efforts of a Mouse set
the Lion free from his toils." This oddly phrased
explanation is typical of the affected geniality of
the governess. Indeed, it might have been penned
by an assistant to Miss Pinkerton, " the Semiramis
of Hammersmith " ; if not by that friend of Dr.
Johnson, the correspondent of Mrs. Chapone her-
self, in a moment of gracious effort to bring her
intellect down to the level of her pupils.
To us, this hollow gaiety sounds almost cruel.
In those days children were always regarded as if, to
quote Mark Twain, " every one being born with an
equal amount of original sin, the pressure on the
square inch must needs be greater in a baby."
Poor little original sinners, how very scurvily the
world of books and picture-makers treated you
less than a century ago ! Life for you then was a
perpetual reformatory, a place beset with penalties,
and echoing with reproofs. Even the literature
planned to amuse your leisure was stuck full of
maxims and morals ; the most piquant story was
but a prelude to an awful warning ; pictures of
animals, places, and rivers failed
to conceal undisguised lessons.
The one impression that is left
by a study of these books is the
lack of confidence in their own
dignity which papas and mammas
betrayed in the early Victorian
era. This seems past all doubt
when you realise that the common
effort of all these pictures and
prose is to glorify the impeccable
parent, and teach his or her off-
spring to grovel silently before
the stern law-givers who ruled the
home.
Of course it was not really so,
literature had but lately come to
a great middle class who had not
learned to be easy ; and as worthy
folk who talked colloquially wrote
in stilted parody of Dr. Johnson's
stately periods, so the uncouth
address in print to the populace
of the nursery was doubtless for-
gotten in daily intercourse. But
the conventions were preserved,
and honest fun or full-bodied
romance that loves to depict
gnomes and hob-goblins, giants
and dwarfs in a world of adven-
ture and mystery, was unpopular.
Children's books were illustrated
entirely by the wonders of the
creation, or the still greater
wonders of so-called polite
society. Never in them, except
introduced purposely as an " aw-
ful example," do you meet an
'5
Children s Books
untidy, careless, normal child. Even the beggars
are prim, and the beasts and birds distinctly
genteel in their habits. Fairyland was shut to the
little ones, who were turned out of their own
domain. It seems quite likely that this continued
until the German mdrchen (the literary products of
Germany were much in favour at this period)
reopened the wonderland of the other world about
the time that Charles Dickens helped to throw
the door still wider. Discovering that the child
possessed the right to be amused, the imagination
of poets and artists addressed itself at last to the
most appreciative of all audiences, a world of new-
comers, with insatiable appetites for wonders real
and imaginary.
But for many years before the Victorian period
folklore was left to the peasants, or at least kept
out of reach of children of the higher classes. No
doubt old nurses prattled it to their charges, perhaps
weak-minded mothers occasionally repeated the
ancient legends, but the printing-press set its
ILLUSTRATION (REDUCED) FROM "MISUNDERSTOOD" BY GEORGE
DU MAURIER (RICHARD BENTLEY AND SON. 1S74)
16
ILLUSTRATION FROM "THE TRINCESS AND
THE GOBLIN." (STRAHAN. 187I. NOW
PUBLISHED BY BLACKIE AND SON')
face against fancy, and offered facts
in its stead. In the list of sixty-
two books before mentioned, if we
except a few nursery jingles such
as " Mother Hubbard " and " Cock
Robin," we find but two real fairy
stories, " Cinderella," " Puss-in-
Boots," and three old-world narra-
tives of adventure, " Whittington
and His Cat," " The Seven Cham-
pions of Christendom," and
" Valentine and Orson." The rest
are " Peter Piper's Practical Prin-
ciples of Plain and Perfect Pro-
nunciation," " The Monthly Moni-
tor," " Tommy Trip's Museum of
Beasts," " The Perambulations of a
Mouse," and so on, with a few
things like "The House that Jack
Built," and "A, Apple Pie," that
are but daily facts put into story
shape. Now it is clear that the
artists inspired by fifty of these
had no chance of displaying their
imagination, and every opportunity
of pointing a moral ; and it is
painful to be obliged to own that
they succeeded beyond belief in
their efforts to be dull. Of like
sort are " A Visit to the Bazaar "
(Harris, 1814), and "The Dandies'
Ball" (1820).
Nor must we forget a work very
popular at this period, " Keeper
and their Illustrators
in Search of His Master," although its illustrations
are not its chief point.
According to a very interesting preface Mr.
Andrew Tuer contributed to " The Leadenhall
Series of Reprints of Forgotten Books for Children
in 1813," "Dame Wiggins of Lee" was first
issued by A. K. Newman and Co. of the Minerva
Press. This book is perhaps better known than
any of its date owing to Mr. Ruskin's reprint with
additional verses by himself, and new designs by
Miss Kate Greenaway supplementing the original
cuts, which were re-engraved in facsimile by Mr.
Hooper. Mr. Tuer attributes the design of these
latter to R. Stennet (or Sinnet ?), who illustrated
also " Deborah Dent and her Donkey " and
" Madame Figs' Gala." Newman issued many of
these books, in conjunction with Messrs. Dean
and Mundy, the direct ancestors of the firm of
Dean and Son, still flourishing, and still engaged in
providing cheap and attractive books for children.
" The Gaping Wide-mouthed Waddling Frog " is
another book of about this period, which Mr. Tuer
ILLUSTRATION FROM " GUTTA PERCHA WILLIE."
BY ARTHUR HUGHES
(STRAHAN. 1870. NOW PUBLISHED BY ELACKIE AND SON)
ILLUSTRATION FROM "AT THE BACK OF THE
NORTH WIND." BY ARTHUR HUGHES
(STRAHAN. 1869. NOW PUBLISHED BY
BLACKIE AND SON)
included in his reprints. Among the
many illustrated volumes which bear
the imprint of A. K. Newman, and
Dean and Mundy, are " A, Apple
Pie," " Aldiborontiphoskyphorniosti-
kos," "The House that Jack Built,"
" The Parent's Offering for a Good
Child " (a very pompous and irritat-
ing series of dialogues), and others
that are even more directly educational.
In all these the engravings are in
fairly correct outline, coloured with four
to six washes of showy crimson lake,
ultramarine, pale green, pale sepia, and
gamboge.
Even the dreary text need not have
made the illustrators quite so dull, as we
know that Randolph Caldecott would
have made an illustrated " Bradshaw "
amusing ; but most of his earlier pre-
decessors show no less power in mak-
ing anything they touched " un-funny."
Nor as art do their pictures interest
you any more than as anecdotes.
Of course the cost of coloured en-
gravings prohibited their lavish use.
All were tinted by hand, sometimes
with the help of stencil plates, but
more often by brush. The print
colourers, we are told, lived chiefly in
the Pentonville district, or in some of
the poorer streets near Leicester
Square. A few survivors are still to
be found ; but the introduction first
'7
CJiildreris Books
ILLUSTRATION' FROM "AT THE BACK OF THE
NORTH WIND." BY ARTHUR HUGHES
(STRAHAN. 1S69. NOW PUBLISHED BY
BLACKIE AND SON)
of lithography, and later of photographic processes,
has killed the industry, and even the most
fanatical apostle of the old crafts cannot wish
the "hand-painter" back again. The outlines
were either cut on wood, as in the early days
of printing until the present, or else engraved
on metal. In each case all colour was painted
afterwards, and in scarce a single instance (not
even in the Rowlandson caricatures or patriotic
pieces) is there any attempt to obtain an harmonious
scheme such as is often found in the tinted mezzo-
tints of the same period.
Of works primarily intended for little people,
an " Hieroglyphical Bible " for the amusement
and instruction of the younger generation (1814)
may be noted. This was a mixture of picture-
puns and broken words, after the fashion of the
dreary puzzles still published in snippet weeklies.
It is a melancholy attempt to turn Bible texts to
picture puzzles, a book permitted by the unco'
guid to children on wet Sunday afternoons, as
some younger members of large families, whose
elder brothers' books yet lingered forty or even
fifty years after publication, are able to endorse
with vivid and depressed remembrance. Foxe's
" Book of Martyrs " and Bunyan's " Pilgrim's Pro-
gress " are of the same type, and calculated to fill a
nervous child with grim terrors, not lightened by
Watts's " Divine and Moral Songs," that gloated
on the dreadful hell to which sinful children were
doomed, "with devils in darkness, fire and chains."
But this painful side of the subject is not to be
discussed here. Luckily the artists — except in
18
the " grown-up " books referred to — disdained to
enforce the terrors of Dr. Watts, and pictured less
horrible themes.
With Cruikshank we encounter almost the first
glimpse of the modern ideal. His " Grimm's Fairy
Tales " are delightful in themselves, and marvellous
in comparison with all before, and no little after.
These famous illustrations to the first selection
of Grimm's "German Popular Stories" appeared
in 1824, followed by a second series in 1826.
Coming across this work after many days spent
in hunting up children's books of the period,
the designs flashed upon one as masterpieces, and
for the first time seemed to justify the great popu-
larity of Cruikshank. For their vigour and brilliant
invention, their diablerie and true local colour, are
amazing when contrasted with what had been pre-
viously. Wearied of the excessive eulogy bestowed
upon Cruikshank's illustrations to Dickens, and
unable to accept the artist as an illustrator of real
characters in fiction, when he studies his elfish
and other-worldly personages, the most grudging
critic must needs yield a full tribute of praise.
The volumes (published by Charles Tilt, of 82 Fleet
Street) are extremely rare ; for many years past
the sale-room has recorded fancy prices for all
Cruikshank's illustrations, so that a lover of
modern art has been jealous to note the amount
ILLUSTRATION FROM " THF. LITTLE WONDER HORN.
BY J. MAHONEY
(II. S. KING AND CO. 1S72. GRIFFITH AND FARRAN iSS?)
"IN NOOKS WITH BOOKS"
AN AUTO-LITHOGRAPH BY
R. ANNING BELL.
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ILLUSTRATION FROM "SPEAKING LIKENESSES. BY ARTHUR HUGHES
(MACMILLAN AND CO. 1874)
paid for many extremely poor pictures by this
artist, when even original drawings for the master-
pieces by later illustrators went for a song. In
Mr. Temple Scott's indispensable "Book Sales of
1896 " we find the two volumes (1823-6) fetched
;£l2 I2S.
These must not be confounded with Cruik-
shank's "Fairy Library" (1847-64), a series of
small books in paper wrappers, now exceedingly
rare, which are more distinctly prepared for juvenile
readers. The illustrations to these do not rise above
the level of their day, as did the earlier ones. But
this is owing largely to the fact that the standard had
risen far above its old average in the thirty years
that had elapsed. Amid the mass of volumes
illustrated by Cruikshank comparatively few are
for juveniles ; some of these are : " Grimm's
Gammer Grethel " ; "Peter Schlemihl " (1824);
"Christmas Recreation " (1825) ; "Hans of Ice-
land "(1825);" German Popular Stories " (1823);
"Robinson Crusoe" (1831);
"The Brownies" (1870); "Lob-
lie-by- the- Fire" (1874); "Tom
Thumb" (1830); and "John
Gilpin" (1828).
The works of Richard Doyle
(1824-1883) enjoy in a lesser
degree the scut of inflated popu-
larity which has gathered around
those of Cruikshank. With much
spirit and pleasant invention,
Doyle lacked academic skill, and
often betrays considerable weak-
ness, not merely in composition,
but in invention. Yet the qualities
which won him reputation are
by no means despicable. He evi-
dently felt the charm of fairyland,
and peopled it with droll little
folk who are neither too human
nor too unreal to be attractive.
He joined the staff of Punch when
but nineteen, and soon, by his
political cartoons, and his famous
" Manners and Customs of ye
English drawn from ye Quick,"
became an established favourite.
His design for the cover of
Punch is one of his happiest
inventions. So highly has he been
esteemed that the National Gal-
lery possesses one of his pictures,
The Triumphant Entry; a Fairy
Pageant. Children's books with
his illustrations are numerous ;
perhaps the most important are
"The Enchanted Crow " (1871),
"Feast of Dwarfs" (187 1), "For-
tune's Favourite" (18 71), "The
Fairy Ring " (1845), " In Fairy-
land " (1870), " Merry Pictures "
(1857), "Princess Nobody" (1884), "Mark
Lemon's Fairy Tales" (1868), "A Juvenile
Calendar" (1855), "Fairy Tales from all Na-
tions" (1849), "Snow White and Rosy Red"
(1871), Ruskin's "The King of the Golden
River " (1884), Hughes's " Scouring of the White
Horse" (1859), " Jack the Giant Killer " (1888),
" Home for the Holidays" (1887), "The Whyte
Fairy Book" (1893). The three last are, of
course, posthumous publications.
Still confining ourselves to the pre- Victorian
period, although the works in question were popular
several decades later, we find " Sandford and
Merton" (first published in 1783, and constantly
reprinted), " The Swiss Family Robinson," the
beginning of " Peter Parley's Annals," and a vast
number of other books with the same pseudonym
appended, and a host of didactic works, a large
number of which contained pictures of animals and
other natural objects, more or less well drawn. But
J9
Children s Books
Wj?*~
ILLUSTRATION' FROM " UNDINE." BY SIR JOHN TENNIEL
(JAMES BURNS. 1S45)
the pictures in these are not of any great conse-
quence, merely reflecting the average taste of the
day, and very seldom designed from a child's point
of view.
This very inadequate sketch of the books before
1837 is not curtailed for want of material, but
because, despite the enormous amount, very few
show attempts to please the child ; to warn, to
exhort, or to educate are their chief aims. Occa-
sionally a Bewick or an artist of real power is met
with, but the bulk is not only dull, but of small artistic
value. That the artist's name is rarely given must
not be taken as a sign that only inept draughtsmen
were employed, for in works of real importance
up to and even beyond this date we often find his
share ignored. After a time the engraver claims to
be considered, and by degrees the designer is also
recognised ; yet for the most part illustration was
looked upon merely as " jam " to conceal the pill.
The old Puritan conception of art as vanity had
something to do with this, no doubt ; for adults
often demand that their children shall obey a
sterner rule of life than that which they accept
themselves.
Before passing on, it is as well to summarise
this preamble and to discover how far children's
books had improved when her Majesty came to
the throne. The old woodcut, rough and ill-drawn,
had been succeeded by the masterpieces of
Bewick, and the respectable if dull achievements
of his followers. In the better class of books
were excellent designs by artists of some repute
fairly well engraved. Colouring by hand, in a
primitive fashion, was applied to these prints
and to impressions from copperplates. A cer-
tain prettiness was the highest aim of most of
the latter, and very few were designed only to
amuse a child. It seems as if all concerned were
bent on unbending themselves, careful to offer
grains of truth to young minds with an occasional
ILLUSTRATION FROM " ELLIOTT'S NURSERY RHYMES"
(novello, 1S70)
BY W. .1. WIEGAND
and their Illustrators
illustration from " elliott's nursery rhymes"
(novello. 1870)
BY II. STACY MARKS, R.A.
terrible falsity of their attitude ; indeed, its satire
and profound analysis make it superfluous to re-
open the subject. As one might expect, the litera-
ture, " genteel " and dull, naturally desired pictures
in the same key. The art of even the better class
of children's books was satisfied if it succeeded in
being " genteel," or, as Miss Limpenny would say,
"cumeelfo." Its ideal reached no higher, and
sometimes stopped very far below that modest
standard. This is the best (with the few excep-
tions already noted) one
can say of pre-Victorian
illustration for children.
If there is one opinion
deeply rooted in the
minds of the compara-
tively few Britons who
care for art, it is a dis-
trust of "The Cole Gang
of South Kensington ; "
and yet if there be one
fact which confronts any
student of the present
revival of the applied
arts, it is that sooner or
later you come to its
first experiments inspired
or actually undertaken
by Sir Henry Cole.
Under the pseudonym
of " Felix Summerley "
we find that the origina-
tor of a hundred revivals
of the applied arts, pro-
jected and issued a
series of children's books
which even to-day are
decidedly worth praise.
It is the fashion to trace
everything to Mr. Wil-
liam Morris, but in illus-
trations for children as in
a hundred others " Felix Summerley " was setting
the ball rolling when Morris and the members of
the famous firm were schoolboys.
To quote from his own words : " During this
period {i.e., about 1844), my young children be-
coming numerous, their wants induced me to
publish a rather long series of books, which con-
stituted ' Summerley's Home Treasury,' and I
had the great pleasure of obtaining the welcome
assistance of some of the first artists of the time in
ILLUSTRATION FROM
: THE WATER BABIES
(MACMILLAN AND CO. 1S63)
BY SIR R. NOEL PATON
Children s Books
illustrating them — Mulready, R.A., Cope, R.A., Horsley, R.A.,
Redgrave, R.A., Webster, R.A., Linnell and his three sons, John,
James, and William, H. J. Townsend, and others. . . . The
preparation of these books gave me practical knowledge in the
technicalities of the arts of type-printing, lithography, copper and
steel-plate engraving and printing, and bookbinding in all its
varieties in metal, wood, leather, &c."
Copies of the books in question appear to be very rare. It
is doubtful if the omnivorous British Museum has swallowed a
complete set ; certainly at the Art Library of South Kensington
Museum, where, if anywhere, we might expect to find Sir Henry
Cole completely represented, many gaps occur.
How far Mr. Joseph Cundall, the publisher, should be awarded
a share of the credit for the enterprise is not apparent, but his
publications and writings, together with the books issued later
by Cundall and Addey, are all marked with the new spirit,
which so far as one can discover was working in many minds
at this time, and manifested itself most conspicuously through
the Pre-Raphaelites and their allies. This all took place, it
must be remembered, long before 1851. We forget often that
if that exhibition has any important place in the art history of
Great Britain, it does but prove that much preliminary work had
been already accomplished. You cannot exhibit what does not
exist ; you cannot even call into being " exhibition specimens "
at a few months notice, if something of the same sort, worked for
ordinary commerce, has not already been in progress for years
previously.
Almost every book referred to has been examined anew
-^AVVW^R .L*
ILLUSTRATION FROM "THE ROYAL UMBRELLA." BY I.INI.EY
SAMBOURNE (GRIFFITH ANT) FARRAN. l88o)
22
ILLUSTRATION FROM ON A PIN-
CUSHION." BY WILLIAM DE MOR-
GAN (SEELEY, JACKSON AND
HALI.IDAY. 1877)
for the purposes of this article. As a
whole they might fail to impress a critic
not peculiarly interested in the matter.
But if he tries to project himself to the
period that produced them, and realises
fully the enormous importance of first
efforts, he will not estimate grudgingly
their intrinsic value, but be inclined to
credit them with the good things they
never dreamed of, as well as those they
tried to realise and often failed to
achieve. Here, without any prejudice
for or against the South Kensington
movement, it is but common justice to
record Sir Henry Cole's share in the
improvement of children's books ;
and later on his efforts on behalf of
process engraving must also not be
forgotten.
To return to the books in question,
some extracts from the original pros-
pectus, which speaks of them as " pur-
posed to cultivate the Affections, Fancy,
and their Illustrators
Imagination, and Taste of Children," are worth
quotation :
" The character of most children's books pub-
lished during the last quarter of a century, is
fairly typified in the name of Peter Parley, which
the writers of some hundreds of them have assumed.
The books themselves have been addressed after
a narrow fashion, almost entirely to the cultivation
of the understanding of children. The many tales
sung or said from time to time immemorial, which
appealed to the other, and certainly not less im-
portant elements of a little child's mind, its fancy,
imagination, sympathies, affections, are almost all
gone out of memory, and are scarcely to be
obtained. ' Little Red Riding Hood,' and other
fairy tales hallowed to children's use, are now
turned into ribaldry as satires for men ; as for the
creation of a new fairy tale or touching ballad,
such a thing is unheard of. That the influence of
all this is hurtful to children, the conductor of this
series firmly believes. He has practical experience
ILLUSTRATION FROM "THE NECKLACE OE PRINCESS FIORIMONDE.
BY WALTER CRANE (iMACMILLAN AND CO. l88o)
of it every day in his own family, and he doubts
not that there are many others who entertain the
same opinions as himself. He purposes at least
to give some evidence of his belief, and to produce
a series of works, the character of which may be
briefly described as anti-Peter Parleyism.
" Some will be new works, some new combina-
tions of old materials, and some reprints carefully
cleared of impurities, without deterioration to the
points of the story. All will be illustrated, but
not after the usual fashion of children's books, in
which it seems to be assumed that the lowest kind
of art is good enough to give first impressions to
a child. In the present series, though the state-
ment may perhaps excite a smile, the illustrations
will be selected from the works of Raffaelle, Titian,
Hans Holbein, and other old masters. Some of
the best modern artists have kindly promised
their aid in creating a taste for beauty in little
children." Did space permit, a selection from the
reviews of the chief literary papers that welcomed
the new venture would be in-
structive. There we should find
that even the most cautious
critic, always " hedging " and
playing for safety, felt com-
pelled to accord a certain
amount of praise to the new
enterprise.
It is true that " Felix Sum-
merley " created only one type
of the modern book. Pos-
sibly the "stories turned into
satires " to which he alludes are
the entirely amusing volumes
by F. H. Bayley, the author of
" A New Tale of a Tub." As
it happened that these volumes
were my delight as a small boy,
possibly I am unduly fond of
them ; but it seems to me that
their humour — a la Ingoldsby,
it is true — and their exuberantly
comic drawings, reveal the first
glimpses of lighter literature
addressed specially to children,
that long after found its master-
pieces in the " Crane" and
" Greenaway " and " Caldecott "
Toy Books, in " Alice in Won-
derland," and in a dozen other
treasured volumes, which are
now classics. The chief claim
for the Home Treasury series
to be considered as the advance
guard of our present sumptuous
volumes, rests not so much
upon the quality of their designs
or the brightness of their litera-
ture. Their chief importance
is that in each of them we find
23
Children s Books
for the first time that the externals of a child's
book are most carefully considered. Its type is
■well chosen, the proportions of its page are
evidently studied, its binding, even its end-papers,
show that some one person was doing his best
to attain perfection. It is this conscious effort,
whatever it actually realised, which distinguishes
the result from all before.
It is evident that the series — the Home
Treasury — took itself seriously. Its purpose was
Art with a capital A — a discovery, be it noted, of
this period. Sir Henry Cole, in a footnote to the
very page whence the quotation above was ex-
*Ehl-THEqiRL WENT- BACK a^A"
ruTHE'WUL'NOT KNOWi Nl, -,-H/vr
TO- DO / AN DIN "THE ' DE_-jT»AIiV Of' Ml
HEAfcr'iHE'jUMPeo 'DOWN into
•the " well" the ' same- way'lh i
'Spindle ' mad • c;ome ."''
ILLUSTRATION 1-ROM
24
' HOUSEHOLD STORIES FROM GRIMM."
BY WALTERCRANE (MACMILLAN AND CO,
traded, discusses the first use of " Art " as an adjec-
tive denoting the Fine Arts.
Here it is more than ever difficult to keep to
the thread of this discourse. All that South
Kensington did and failed to do, the aesthetic
movement of the eighties, the new gospel of artistic
salvation by Liberty fabrics and De Morgan tiles,
the erratic changes of fashion in taste, the collapse
of Gothic architecture, the triumph of Queen
Anne, and the Arts and Crafts movement of the
nineties — in short, all the story of Art in the last
fifty years, from the new Law Courts to the Tate
Gallery, from Felix Summerley to a Hollyer photo-
graph, from the introduction
of glyptography to the pic-
tures in the Daily Chronicle,
demand notice. But the door
must be shut on the turbulent
throng, and only children's
books allowed to pass through.
The publications by " Felix
Summerley," according to the
list in " Fifty Years of Public
Work," by Sir Henry Cole,
K.C.B. (Bell, 1884), include :
" Holbein's Bible Events,"
eight pictures, coloured by
Mr. LinnelFs sons, 4s. 6d. ;
" Raffaelle's Bible Events,"
six pictures from the Loggia,
drawn on stone by Mr. Lin-
nell's children and coloured
by them, 5s. 6c.. ; " Albert
Uiirer's Bible Events," six
pictures from Diirer's " Small
Passion," coloured by the
brothers Linnell ; " Tradi-
tional Nursery Songs," con-
taining eight pictures ; " The
Beggars coming to Town," by
C. W. Cope, R.A. ; " By, O
my Baby ! " by R. Redgrave,
R.A. ; " Mother Hubbard,"
by T. Webster, R.A. ; " 1,
2, 3. 4. S>" " Sleepy Head,"
" Up in a Basket," " Cat
asleep by the Fire," by John
Linnell, 4s. 6d., coloured ;
"The Ballad of Sir Horn-
book," by Thos. Love Pea-
cock, with eight pictures by
H. Corbould, coloured, 4s. 6./.
(A book with the same title,
also described as a " gramma-
tico-allegorical ballad," was
published by N. Haites in
1 8 1 8.) " Chevy Chase," with
music and four pictures by
Frederick Tayler, President
of the Water-Colour Society,
1SS2) coloured, 4s. 6d. ; " Puck's
and their Illustrators
Reports to Oberon " ;
Four new Faery Tales :
" The Sisters," " Golden
Locks," " Grumble and
Cherry," " Arts and
Arms," by C. A. Cole,
with six pictures by J.
H. Townsend, R. Red-
grave, R.A., J. C. Hors-
ley, R.A., C. W. Cope,
R.A„ and F. Tayler;
" Little Red Riding
Hood," with four pic-
tures by Thos. Webster,
coloured, 3s. 6d. ;
"Beauty and the Beast,"
with four pictures by
J. C. Horsley, R.A.,
coloured, 3s. 6d.; " Jack
and the Bean Stalk,"
with four pictures by C.
W.Cope, R.A., coloured,
3s. 6d. ; " Cinderella,"
with four pictures by E.
H. Wehnert, coloured,
3s. 6d. ; "Jack the Giant
Killer," with four pic-
tures by C. W. Cope,
coloured, 3s. 6d. ; " The
Home Treasury Primer,"
printed in colours, with
drawing on zinc, by W.
Mulready, R.A. ; "Al-
phabets of Quadru-
peds," selected from the
works of Paul Potter,
Karl du Jardin, Teniers,
Stoop, Rembrandt, &c,
and drawn from nature ;
" The Pleasant History
of Reynard the Fox,"
with forty of the fifty-
seven etchings made by
Everdingen in 1752,
coloured, 31.*. 6d. ; "A
Century of Fables," with
pictures by the old
masters.
To this list should be added — if it is not by "Felix
Summerley," it is evidently conceived by the same
spirit and published also by Cundall — " Gammer
Gurton's Garland," by Ambrose Merton, with
illustrations by T. Webster and others. This
was also issued as a series of sixpenny books, of
which Mr. Elkin Mathews owns a nearly complete
set, in their original covers of gold and coloured
paper.
It would be very easy to over-estimate the in-
trinsic merit of these books, but when you con-
sider them as pioneers it would be hard to over-
rate the importance of the new departure. To
ILLUSTRATION FROM
' A WONDER BOOK FOR GIRLS AND BOYS.
BY WALTER CRANE (OSGOOD, MCILVAINE AND CO. 1S92)
enlist the talent of the most popular artists of
the period, and produce volumes printed in the
best style of the Chiswick Press, with bind-
ings and end-papers specially designed, and the
whole " get up " of the book carefully considered,
was certainly a bold innovation in the early forties.
That it failed to be a profitable venture one may
deduce from the fact that the " Felix Summerley "
series did not run to many volumes, and that the
firm who published them, after several changes,
seems to have expired, or more possibly was in-
corporated with some other venture. The books
themselves are forgotten by most booksellers to-
Children s Books
day, as I have discovered from many fruitless
demands for copies.
The little square pamphlets by F. H. Bayley,
to which allusion has already been made, include
" Blue Beard," " Robinson Crusoe," and " Red
Riding Hood," all published about 1845-6.
ILLUSTRATION FROM
"THE QUEEN OF THE PIRATE ISLE."
1SY KATE GREENAWAY (EDMUND EVANS. 1SS7)
Whether " The Sleeping Beauty," then announced
as in preparation, was published, I do not know.
Their rhyming chronicle in the style of the " In-
goldsby Legends " is neatly turned, and the topical
allusions, although out of date now, are not suffi-
ciently frequent to make it unintelligible. The
pictures (possibly by Alfred Crowquill) are con-
ceived in a spirit of burlesque, and are full of in-
genious conceits and no little grim vigour. The
design of Robinson Crusoe roosting in a tree —
And so he climbs up a very tall tree,
And fixes himself to his comfort and glee,
Hung up from the end of a branch by his breech,
Quite out of all mischievous quadrupeds' reach.
A position not perfectly easy 't is true,
But yet at the same time consoling and new —
reproduced on p. 13, shows the wilder humour of the
illustrations. Another of Blue Beard, and one ot
the wolf suffering from undigested grandmother,
are also given. They need no comment, except
to note that in the originals, printed on a coloured
tint with the high lights left white, the ferocity of
Blue Beard is greatly heightened. The wolf, "as
he lay there brimful of grandmother and guilt,"
is one of the best of the smaller pictures in the text.
Other noteworthy books which appeared about
this date are Mrs. Felix Summerley's " Mother's
Primer," illustrated by W. M[ulready?], Longmans,
1843; "Little Princess," by Mrs. John Slater,
1843, with six charming lithographs by J. C.
Horsley, R.A. (one of which is reproduced on
p. n); the "Honey Stew," of the Countess
Bertha Jeremiah How, 1846, with coloured plates
by Harrison Weir ; " Early Days of English
Princes," with capital illustrations by John Franklin;
and a series of Pleasant Books for Young Children,
6d. plain and is. coloured, published by Cundall
and Addey.
In 1846 appeared a translation of De La Motte
Fouque"s romances, " Undine " being illustrated
by John Tenniel, jun., and the following volumes
by J. Franklin, H. C. Selous, and other artists.
The Tenniel designs, as the frontispiece reproduced
on p. 20 shows clearly, are interesting both in
themselves and as the earliest published work of
the famous Punch cartoonist. The strong German
influence they show is also apparent in nearly all
the decorations. " The Juvenile Verse and
1 *G
ILLUSTRATION FROM "LITTLE FOLKS'
26
BY KAIL GREENAWAY
(CASSELL AND CO.)
and their Illustrators
ILLUSTRATION FROM "THE ITED 1'11'ER OK 11A.MEI.In"
(EDMUND EVANS)
BY KATE GREENAWAY
Picture Book" (1848), also contains designs by
Tenniel, and others by W. B. Scott and Sir
John Gilbert. The ideal they established is
maintained more or less closely for a long period.
" Songs for Children " (W. S. Orr, 1850); " Young
England's Little Library" (1851); Mrs. S. C.
Hall's " Number One," with pictures by John
Absolon (1854); "Stories about Dogs," with
"plates by Thomas Landseer" (Bogue, c. 1850) ;
"The Three Bears," illustrated by Absolon and
Harrison Weir (Addey and Co., no date) ; " Nursery
Poetry" (Bell and Daldy, 1859), may be noted as
typical examples of this period.
In " Granny's Story Box " (Piper, Stephenson,
and Spence, about 1855), a most delicious collec-
tion of fairy tales illustrated by J. Knight, we
find the author in his preface protesting against
the opinion of a supposititious old lady who
" thought all fairy tales were abolished years ago
by Peter Parley and the Penny Magazine." These
fanciful stories deserve to be republished, for they
are not old-fashioned, even if their pictures are.
To what date certain delightfully printed little
volumes, issued by Tabart and Co., 157 Bond
Street, may be ascribed I know not — probably
some years before the time we are considering,
but they must not be overlooked. The title of
one, " Mince Pies for Christmas," suggests that
it is not very far before, for the legend of Christmas
festivities had not long been revived for popular
use.
" The Little Lychetts," by the author of " John
Halifax," illustrated by Henry Warren, President
of the New Society of Painters in Water-Colours
(now the R.I.) is remarkable for the extremely
uncomely type of children it depicts ; yet that its
charm is still vivid, despite its " severe " illustra-
tions, you have but to lend it to a child to be
convinced quickly.
"Jack's Holiday," by Albert Smith (undated),
suggests a new field of research which might lead
us astray, as Smith's humour is more often
addressed primarily to adults. Indeed, the
effort to make this chronicle even representative,
27
CJiildreris Books
much less exhaustive, breaks down in the fifties,
when so much good yet not very exhilarating
material is to be found in every publisher's list.
John Leech in " The Silver Swan " of Mdme. de
Chatelaine ; Charles Keene in " The Adventures
of Dick Bolero " (Darton, no date), and " Robin-
son Crusoe " (drawn upon for illustration here),
and others of the Punch artists, should find their
works duly catalogued even in this hasty sketch ;
but space compels scant justice to many artists of
the period, yet if the most popular are left un-
noticed such omission will more easily right itself
to any reader interested in the subject.
Many show influences of the Gothic revival which
was then in the air, but only those which have
some idea of book decoration as opposed to in'
serted pictures. For a certain " formal " ornamen-
1LLUSTRATI0N FROM "CAPE TOWN DICKY"
(C. W. l'AULKNER AND CO.)
28
tation of the page was in fashion in the " forties "
and " fifties," even as it is to-day.
To the artists named as representative of this
period one must not forget to add Mr. Birket Foster,
who devoted many of his felicitous studies of
English pastoral life to the adornment of children's
books. But speaking broadly of the period from
the Queen's Accession to 1865, except that the
subjects are of a sort supposed to appeal to young
minds, their conception differs in no way from the
work of the same artists in ordinary literature. The
vignettes of scenery have childish instead of grown-
up figures in the foregrounds ; the historical or
legendary figures are as seriously depicted in the
one class of books as in the other. Humour is
conspicuous by its absence — or, to be more accu-
rate, the humour is more often in the accompany-
ing anecdote than in the
picture. Probably if the
authorship of hundreds of
the illustrations of " Peter
Parley's Annuals " and
other books of this period
could be traced, artists as
famous as Charles Keene
might be found to have
contributed. But, owing
to the mediocre wood-
engraving employed, or to
the poor printing, the
pictures are singularly un-
attractive. As a rule, they
are unsigned and appear
to be often mere pot-
boilers—some no doubt
intentionally disowned by
the designer — others the
work of 'prentice hands
who afterwards became
famous. Above all they
are, essentially, illustra-
tions to children's books
only because they
chanced to be printed
therein, and have some-
times done duty in
" grown-up " books first.
Hence, whatever their
artistic merits, they do not
appeal to a student of our
present subject. They are
accidentally present in
books for children, but
essentially they belong to
ordinary illustrations.
Indeed, speaking gene-
rally, the time between
" Felix Summerley " and
Walter Crane, which saw
by mice havers two Great Exhibitions and
witnessed many advances
and their Illustrators
ILLUSTRATION FROM
THE WHITE SWANS
(By permission of Mr. Albert Hildcshcimcr)
BY ALICE HAVERS
in popular illustration, was too much occupied
with catering for adults to be specially interested
in juveniles. Hence, notwithstanding the names of
" illustrious illustrators " to be found on their title-
pages, no great injustice will be done if we leave
this period and pass on to that which succeeded
it. For the Great Exhibition fostered the idea that
a smattering of knowledge of a thousand and one
subjects was good. Hence the chastened gaiety
of its mildly technical science, its popular manuals
by Dr. Dionysius Lardner, and its return in another
form to the earlier ideal that amusement should be
combined with instruction. All sorts of attempts
were initiated to make Astronomy palatable to
babies, Botany an amusing game for children, Con-
chology a parlour pastime, and so on through the
alphabet of sciences down to Zoology, which is
never out of favour with little ones, even if its pic-
tures be accompanied by a dull encyloptedia of fact.
Therefore, except so far as the work of certain
illustrators, hereafter noticed, touches this period, we
may leave it ; not because it is unworthy of most
serious attention, for in Sir John Gilbert, Birket
Foster, Harrison Weir, and the rest, we have men
to reckon with whenever a chronicle of English
illustration is in question, but only because they
did not often feel disposed to make their work
merely amusing. In saying this it is not suggested
that they should have tried to be always
humorous or archaic, still less to bring down their
talent to the supposed level of a child ; but only
to record the fact that they did not. For instance,
Sir John Gilbert's spirited compositions to a "Boy's
Book of Ballads " (Bell and Daldy) as you see them
mixed with other of the master's work in the refer-
ence scrap-books of the publishers, do not at once
separate themselves from the rest as "juvenile"
pictures.
Nor as we approach the year 1855 (of the
"Music Master"), and 1857 (when the famous
edition of Tennyson's Poems began a series of
superbly illustrated books), do we find any im-
mediate change in the illustration of children's
books. The solitary example of Sir Edward
Burne-Jones's efforts in this direction, in the
frontispiece and title-page to Maclaren's "The
Fairy Family" (Longmans, 1857), does not affect
this statement. But soon after, as the school of
Walker and Pinwell became popular, there is a
change in books of all sorts, and Millais and
Arthur Hughes, two of the three illustrators of
the notable " Music Master," come into our list of
children's artists. At this point the attempt to
weave a chronicle of children's books somewhat in
the date of their publication must give way to a
desultory notice of the most prominent illustrators.
29
Children's Books
For we have come to the beginning
of to-day rather than the end of
yesterday, and can regard the "sixties"
onwards as part of the present.
It is true that the Millais of the
wonderful designs to " The Para-
bles" more often drew pictures of
children than of children's pet
themes, but all the same they are
entirely lovable, and appeal equally
to children of all ages. But his
work in this field is scanty ; nearly
all will be found in " Little Songs
for me to Sing " (Cassell), or in
" Lilliput Levee " (1867), and these
latter had appeared previously in
Good Words. Of Arthur Hughes's
work we will speak later.
Another artist whose work bulks
large in our subject — Arthur Boyd
Houghton — soon appears in sight,
and whether he depicted babies at
play as in " Home Thoughts and
Home Scenes," a book of thirty-five
pictures of little people, or imagined
the scenes of stories dear to them in
" The Arabian Nights," or books
like "Ernie Elton" or "The Boy
Pilgrims," written especially for them, in each
he succeeded in winning their hearts, as every one
must admit who chanced in childhood to possess
his work. So much has been printed lately of
the artist and his work, that here a bare reference
will suffice.
Arthur Hughes, whose work belongs to many of
the periods touched upon in this rambling
ILLUSTRATION FROM "THE RED FAIRY HOOK. BY LANCELOT
SPEED (LONGMANS, GREEN AND CO.)
ILLUSTRATION FROM "THE RED FAIRY BOOK. BY
SPEED (LONGMANS, GREEN AND CO.)
chronicle, may be called the children's " black-and-
white " artist of the " sixties " (taking the date
broadly as comprising the earlier " seventies "
also), even as Walter Crane is their "limner in
colours." His work is evidently conceived with
the serious make-believe that is the very essence
of a child's imagination. He seems to put down
on paper the very spirit of fancy. Whether as an
artist he is fully entitled to the rank
some of his admirers (of whom I
am one) would claim, is a question
not worth raising here — the future
will settle that for us. But as a chil-
dren's illustrator he is surely illus-
trator-in-chief to the Queen of the
Fairies, and to a whole generation of
readers of " Tom Brown's School-
days " also. His contributions
to " Good Words for the Young "
would alone entitle him to high
eminence. In addition to these,
which include many stories per-
haps better known in book form,
such as : " The Boy in Grey " (H.
Kingsley), George Macdonald's
" At the Back of the North Wind,"
" The Princess and the Goblin,"
"Ranald Bannerman's Boyhood,"
" Gutta-Percha Willie " (these four
were published by Strahan, and
now may be obtained in reprints
issued by Messrs. Blackie), and
" Lilliput Lectures " (a book of
30
and their Illustrators
essays for children by Matthew
Browne), we find him as sole
illustrator of Christina Rossetti's
" Sing Song," " Five Days' Enter-
tainment at Wentworth Grange,"
" Dealings with the Fairies," by
George Macdonald (a very scarce
volume nowadays), and the chief
contributor to the first illustrated
edition of " Tom Brown's School-
days." In Novello's " National
Nursery Rhymes " are also several
of his designs.
This list, which occupies so small
a space, represents several hundred
designs, all treated in a manner
which is decorative (although it
eschews the Dttrer line), but marked
by strong " colour." Indeed, Mr.
Hughes's technique is all his own,
and if hard pressed one might own
that in certain respects it is not
impeccable. But if his textures
are not sufficiently differentiated,
or even if his drawing appears care-
less at times — both charges not to
be admitted without vigorous pro-
test— granting the opponent's view for the
it would be impossible to find the same
ILLUSTRATION FROM "DOWN THE SNOW STAIRS.
BROWNE (BLACKIE AND SON)
BY GORDON
moment,
peculiar
ILLUSTRATION FROM "THE RED FAIRY BOOK."
(LONGMANS, GREEN AND CO.
BY LANCELOT SPEED
tenderness and naive fancy in the work of any
other artist. His invention seems inexhaustible
and his composition singularly
fertile : he can create " bogeys " as
well as " fairies."
It is true that his children are
related to the sexless idealised race
of Sir Edward Burne-Jones's heroes
and heroines ; they are purged of
earthy taint, and idealised perhaps
a shade too far. They adopt atti-
tudes graceful if not realistic, they
have always a grave serenity of
expression ; and yet withal they
endear themselves in a way wholly
their own. It is strange that a
period which has bestowed so much
appreciation on the work of the
artists of " the sixties " has seen
no knight-errant with " Arthur
Hughes " inscribed on his banner
— no exhibition of his black-and-
white work, no craze in auction-
rooms for first editions of books he
illustrated. He has, however, a
steady if limited band of very
faithful devotees, and perhaps — so
inconsistent are we all — they love
his work all the better because the
blast of popularity has not trum-
peted its merits to all and sundry.
Three artists, often coupled to-
gether— Walter Crane, Randolph
Caldecott, and Kate Greenaway
3i
Children s Books
■ — have really little in common, except that they
all designed books for children which were pub-
lished about the same period. For Walter Crane
is the serious apostle of art for the nursery, who
strove to beautify its ideal, to decorate its legends
with a real knowledge of architecture and costume,
and to "mount "the fairy stories with a certain
archaeological splendour, as Sir Henry Irving has set
himself to mount Shakespearean drama. Caldecott
was a fine literary artist, who was able to express
himself with rare facility in pictures in place of
words, so that his comments upon a simple text
reveal endless subtleties of thought. Indeed, he
continued to make a fairly logical sequence of
incidents out of the famous nonsense paragraph
invented to confound mnemonics by its absolute
irrelevancy. Miss Greenaway's charm lies in the"
ILLUSTRATION l'ROM
32
1 ROBINSON CRUSOE
(lH.ACKIE AND SON)
fact that she first recognised quaintness in what
had been considered merely " old fashion," and
continued to infuse it with a glamour that made it
appear picturesque. Had she dressed her figures
in contemporary costume most probably her work
would have taken its place with the average, and
never obtained more than common popularity.
But Mr. Walter Crane is almost unique in his
profound sympathy with the fantasies he imagines.
There is no trace of make-believe in his designs.
On the contrary, he makes the old legends become
vital, not because of the personalities he bestows
on his heroes and fairy princesses — his people
move often in a rapt ecstasy — but because the
adjuncts of his mise-en-scenes are realised inti-
mately. His prince is much more the typical hero
than any particular person ; his fair ladies might
exchange places, and few would
notice the difference ; but when
it comes to the environment,
the real incidents of the story,
then no one has more fully
grasped both the dramatic force
and the local colour. If his
people are not peculiarly alive,
they are in harmony with the
re-edified cities and woods that
sprang up under his pencil. He
does not bestow the hoary touch
of antiquity on his mediaeval
buildings ; they are all new and
comely, in better taste probably
than the actual buildings, but
not more idealised than are his
people. He is the true artist of
fairyland, because he recognises
its practical possibilities, and yet
does not lose the glamour which
was never on sea or land. No
artist could give more cultured
notions of fairyland. In his
work the vulgar glories of a pan-
tomime are replaced by well-
conceived splendour ; the tawdry
adjuncts of a throne-room, as re-
presented in a theatre, are ignored.
Temples and palaces of the early
Renaissance, filled with graceful
— perhaps a shade too suave —
figures, embody all the charm of
the impossible country, with
none of the sordid drawbacks
that are common to real life. In
modern dress, as in his pictures
to many of Mrs. Molesworth's
stories, there is a certain unlike-
ness to life as we know it, which
does not detract from the effect
of the design ; but while this is
perhaps distracting in stories of
contemporary life, it is a very
BY CORDON BROWNE
ifr-
~t£s>
(CASSELL AND CO.)
ILLUSTRATION FROM
"ROBINSON CRUSOE."
BY WILL PAGET.
CJiildixris Books
real advantage in those of folk-lore, which have
no actual date, and are therefore unafraid of
anachronisms of any kind. The spirit of his work
is, as it should be, intensely serious, yet the con-
ceits which are showered upon it exactly harmonise
with the mood of most of the stories that have
attracted his pencil. Grimm's " Household Stories,"
as he pictured them, are a lasting joy. The "Blue-
beard " and " Jack and the Beanstalk " toy books,
the " Princess Belle Etoile," and a dozen others
are nursery classics, and classics also of the other
nursery where children of a larger growth take
their pleasure.
Without a shade of disrespect towards all the
other artists represented in this special number,
ILLUSTRATION FROM "ENGLISH FAIRY TALES"
(DAVID nutt)
34
had it been devoted solely to Mr. Walter Crane's
designs, it would have been as interesting in every
respect. There is probably not a single illus-
trator here mentioned who would not endorse such
a statement. For as a maker of children's books,
no one ever attempted the task he fulfilled so
gaily, and no one since has beaten him on his
own ground. Even Mr. Howard Pyle, his most
worthy rival, has given us no wealth of colour-
prints. So that the famous toy books still retain
their well-merited position as the most delightful
books for the nursery and the studio, equally
beloved by babies and artists.
Although a complete iconography of Mr. Walter
Crane's work has not yet been made, the following
list of such of his
children's books as I
have been able to
trace may be worth
printing for the
benefit of those who
have not access to
the British Museum ;
where, by the way,
many are not in-
cluded in that section
of its catalogue de-
voted to " Crane,
Walter."
The famous series
of toy books by Wal-
ter Crane include :
" The Railroad A B
C," " The Farmyard
A B C," "Sing a
Song of Sixpence,"
" The Waddling
Frog," " The Old
Courtier," " Multipli-
cation in Verse,"
" Chattering Jack,"
" How Jessie was
Lost," " Grammar in
Rhyme," "Annie and
Jack in London,"
" One, Two, Buckle
my Shoe," " The
Fairy Ship," "Ad-
ventures of Puffy,"
" This Little Pig
went to Market,"
" King Luckieboy's
Party," " Noah's Ark
Alphabet," "My
Mother," "The
Forty Thieves,"
" The Three Bears,"
"Cinderella," "Val-
entine and Orson,"
" Puss in Boots,"
"Old Mother Hub-
IiY J. P. BATTEN
"SO LIGHT OF FOOT, SO
LIGHT OF SPIRIT." BY
CHARLES ROBINSON
.
•;
08 ,T(XH HO THOU 02"
Ytf "TItfl'Jri HO TlliJkl
'/lO^/llHOH ^HJflAHO
s
and their Ilhistrators
Three Rs," " Little Queen Anne "
(1885-6), Hawthorne's "A Won-
der Book," first published in
America, is a quarto volume with
elaborate designs in colour ; and
" The Golden Primer " (1884), two
vols., by Professor Meiklejohn
(Blackwood) is, like all the above,
in colour.
Of a series of stories by Mrs.
Molesworth the following volumes
are illustrated by Mr. Crane : —
"A Christmas Posy" (1888),
"Carrots" (1876), "A Christmas
Child "
Land "
Clock "
Farm "
Dear "
(1881),
(1887),
(1
(1884),
(1877),
(1887),
(1878),
" Little
ILLUSTRATION FROM "ENGLISH FAIRY TALES " BY J.
(DAVID NUTT)
bard," "The Absurd A B C," "Little Red
Riding Hood," " Jack and the Beanstalk," "Blue
Beard," " Baby's Own Alphabet," " The Sleeping
Beauty." All these were published at sixpence.
A larger series at one shilling includes : " The
Frog Prince," " Goody Two Shoes," " Beauty and
the Beast," "Alphabet of Old Friends," "The
Yellow Dwarf," "Aladdin," "The Hind in the
Wood," and "Princess Belle Etoile." All these
were published from 1873 onwards by Routledge,
and printed in colours by Edmund Evans.
A small quarto series Routledge published at five
shillings includes: "The Baby's Opera," "The
Baby's Bouquet," "The Baby's Own ^Esop."
Another and larger quarto, "Flora's Feast" (1889),
and "Queen Summer" (1891), were both pub-
lished by Cassells, who issued also " Legends for
Lionel" (1887). "Pan Pipes," an oblong folio
with music was issued by Routledge. Messrs.
Marcus Ward produced " Slate and Pencilvania,"
" Pothooks and Perseverance," " Romance of the
D. BATTEN
Christmas-tree
' The Cuckoo
' Four Winds
' Grandmother
Herr Baby "
Miss Peggy "
' The Rectory Children "
"Rosy" (1882), "The
Tapestry Room" (1879), "Tell
me a Story," " Two Little Waifs,"
"Us" (1885), and " Children of
the Castle " (1890). Earlier in
date are " Stories from Memel "
(1864), "Stories of Old," "Chil-
dren's Sayings " (1861), two series,
"Poor Match" (186 1), "The
Merry Heart," with eight coloured
plates (Cassell) ; " King Gab's
Story Bag " (Cassell), " Magic of
Kindness " (1869), " Queen of the
Tournament," " History of Poor
Match," " OurUncle's Old Home "
(1872), "Sunny Days" (1871),
" The Turtle Dove's Nest " (1890).
Later come " The Necklace of
Princess Fiorimonde " (1880), the
famous edition of Grimm's " Household Stories "
(1882), both published by Macmillan, and C. C.
Harrison's "Folk and Fairy Tales" (1885),
"The Happy Prince" (Nutt, 1888). Of these
the " Grimm " and " Fiorimonde " are perhaps
two of the most important illustrated books noted
in these pages.
Randolph Caldecott founded a school that still
retains fresh hold of the British public. But with
all respect to his most loyal disciple, Mr. Hugh
Thomson, one doubts if any successor has equalled
the master in the peculiar subtlety of his pictured
comment upon the bare text. You have but to
turn to any of his toy books to see that at times
each word, almost each syllable, inspired its own
picture ; and that the artist not only conceived
the scene which the text called into being, but each
successive step before and after the reported
incident itself. In " The House that Jack Built,"
" This is the Rat that Ate the Malt " supplies a
subject for five pictures. First the owner carrying
35
Children 's Books
in the malt, next the rat driven
away by the man, then the rat
peeping up into the deserted room,
next the rat studying a placard
upside down inscribed "four
measures of malt," and finally, the
gorged animal sitting upon an
empty measure. So " This is the
Cat that Killed the Rat " is ex-
panded into five pictures. The
dog has four, the cat three, and
the rest of the story is amplified
with its secondary incidents duly
sought and depicted. This literary
expression is possibly the most
marked characteristic of a facile
and able draughtsman. He studied
his subject as no one else ever
studied it — he must have played
with it, dreamed of it, worried it
night and day, until he knew it ten
times better than its author. Then
he portrayed it simply and with
irresistible vigour, with a fine
economy of line and colour ; when
colour is added, it is mainly as a
gay convention, and not closely
imitative of nature. The sixteen
toy books which bear his name are
ILLUSTRATION FROM THE WONDER CLOCK
(HARPER AND brothers)
BY HOWARD PYLE
ILLUSTRATION PROM
.36
'THE WONDER CLOCK '
(HARPER AND BROTHERS)
BY HOWARD PYLE
too well known to make a list of
their titles necessary. A few other
children's books — " What the
Blackbird Said " (Routledge,
1881), "Jackanapes," " Lob-lie-
by-the-Fire," " Daddy Darwin's
Dovecot," all by Mrs. Ewing
(S.P.C.K.), " Baron Bruno " (Mac-
millan), " Some of ^Esop's Fables "
(Macmillan), and one or two others,
are of secondary importance from
our point of view here.
It is no overt dispraise to say
of Miss Kate Greenaway that few
artists made so great a reputation
in so small a field. Inspired by
the children's books of 1820 (as a
reference to a design, " Paths of
Learning," reproduced on p. 9
will show), and with a curious
naivety that was even more un-
concerned in its dramatic effect
than were the " missal marge " pic-
tures of the illuminators, by her
simple presentation of the child-
ishness of childhood she won all
hearts. Her little people are the
bean -idea I of nursery propriety —
clean, good-tempered, happy small
(harper and brothers. 1S94)
ILLUSTRATION FROM
"THE WONDER CLOCK."
BY HOWARD PYLE
Children s Books
gentlefolk. For, though they
assume peasants' garb, they never
betray boorish manners. Their
very abandon is only that of nice
little people in play-hours, and in
their wildest play the penalties
that await torn knickerbockers or
soiled frocks are not absent from
their minds. Whether they really
interested children as they de-
lighted their elders is a moot point.
The verdict of many modern chil-
dren is unanimous in praise, and
possibly because they represented
the ideal every properly educated
child is supposed to cherish. The
slight taint of priggishness which
occasionally is there did not reveal
itself to a child's eye. Miss Green-
away's art, however, is not one to
analyse but to enjoy. That she is
a most careful and painstaking
worker is a fact, but one that would
not in itself suffice to arouse one's
praise. The absence of effort
which makes her work look happy
and without effort is not its least
charm. Her gay yet "cultured"
colour, her appreciation of green
ILLUSTRATION FROM " THE WONDER CLOCK " BY HOWARD PYLE
(HARPER AND brothers)
ILLUSTRATION FROM
' THE WONDER CLOCK
(HARPER AND brothers)
BY HOWARD PYLE
38
chairs and formal gardens, all came
at the right time. The houses by
a Norman Shaw found a Morris
and a Liberty ready with furniture
and fabrics, and all sorts of manu-
facturers devoting themselves to
the production of pleasant objects,
to fill them ; and for its drawing-
room tables Miss Greenaway pro-
duced books that were in the same
key. But as the architecture and
the fittings, at their best, proved to
be no passing whim, but the germ
of a style, so her illustration is
not a trifling sport, but a very real,
if small, item in the history of the
evolution of picture-books. Good
taste is the prominent feature of her
work, and good taste, if out of
fashion for a time, always returns,
and is treasured by future genera-
tions, no matter whether it be in
accord with the expression of the
hour or distinctly archaic. Time
is a very stringent critic, and much
that passed as tolerably good taste
when it fell in with the fashion,
looks hopelessly vulgar when the
tide of popularity has retreated.
ami their Illustrators
Miss Greenaway's work appears as refined ten
years after its " boom," as it did when it was at
the flood. That in itself is perhaps an evidence
of its lasting power ; for ten or a dozen years
impart a certain shabby and worn aspect that has
no flavour of the antique as a saving virtue to
atone for its shortcomings."
It seems almost superfluous to give a list of the
principal books by Miss Kate Greenaway, yet
for the convenience of collectors the names of
the most noteworthy volumes may be set down.
Those with coloured plates are : " A, Apple Pie "
(1886), "Alphabet" (1885), "Almanacs" (from
1882 yearly), "Birthday Book" (1880), "Book
of Games" (1889), "A Day in a Child's Life"
(1885), "King Pepito" (1889), "Language of
Flowers" (1S84), "Little Ann" (18S3), "Mari-
gold Garden" (1885), " Mayor's Spelling Book"
(1885), "Mother Goose" (1886), "The Pied
Piper of Hamelin" (1889), "Painting Books"
(1879 ar)d 1885), "Queen Victoria's Jubilee Gar-
land " (1887), " Queen of the Pirate Isle " (1886),
"Under the Window" (1879). Others with
black-and-white illustrations include " Child of
the Parsonage" (1874), "Fairy Gifts" (1875),
"Seven Birthdays" (1876), "Starlight Stories"
(1877), " Topo" (1878), "Dame Wiggins of Lee "
(Allen, 1885), "Stories from the Eddas " (1883).
Many designs, some in colour, are to be found
in volumes of Little Folks, Little Wideawake, Every
Girl's Magazine, Girl's Own Paper, and elsewhere.
The art of Miss Greenaway is part of the legend of
*®te®AGcREEN«tf GRAVEL^
Green gravel, green gravel , -l^j/^j/^i^ ■ 1 ? |
"O^b^Vl^N&T^-Ayour gra.ss is so green . -*> -* -o "~
ILLUSTRATION FROM "CHILDREN'S SINGING GAMES"
(DAVID NUTT. 1S94)
BY WINIFRED SMITH
39
Children s Books
ILLUSTRATION FROM " UNDINE "
(chapman and hall)
B\ HEYWOOD SUMNER
the festhetic craze, and while its storks and sun-
flowers have faded, and some of its eccentricities are
forgotten, the quaint little pictures on Christmas
cards, in toy books, and elsewhere, are safely in-
stalled as items of the art product of the century.
Indeed, many a popular Royal Academy picture
is likely to be forgotten before the illustrations
from her hand. Bric-a-brac they were, but more
than that, for they gave infinite pleasure to thou-
sands of children of all ages, and if they do not
rise up and call her blessed, they retain a very
ILLUSTRATION FROM "THE RED FAIRY HOOK
(LONGMANS, GREEN AND CO. 1 895)
40
warm memory of one who gave them so much
innocent pleasure.
Sir John Tenniel's illustrations, beginning as
they do with "Undine" (1845), already men-
tioned, include others in volumes for young people
that need not be quoted. But with his designs
for "Alice in Wonderland" (Macmillan, 1866),
and "Through the Looking Glass" (1872), we
touch the two most notable children's books of
the century. To say less would be inadequate
and to say more needless. For every one knows
the incomparable inventions which
" Lewis Carroll " imagined and
Sir John Tenniel depicted. They
are veritable classics, of which, as
it is too late to praise them, no
more need be said.
Certain coloured picture books
by J. E. Rogers were greeted with
extravagant eulogy at the time
they appeared " in the seventies."
" Worthy to be hung at the Aca-
demy beside the best pictures of
Millais or Sandys," one fatuous
critic observed. Looking over
their pages again, it seems strange
that their very weak drawing and
crude colour could have satisfied
people familiar with Mr. Walter
Crane's masterly work in a not
dissimiliar style. " Ridicula Redi-
viva " and " Mores Ridiculi" (both
Macmillan), were illustrations of
nursery rhymes. To " The Fairy
Book " (1870), a selection of old
stories re-told by the author of
" John Halifax," Mr. Rogers con-
HY I.. Sl'EHB
and their Illustrators
tributed many full pages in colour, and also to Mr.
F. C. Burnand's " Present Pastimes of Merrie Eng-
land " (1872). They are interesting as documents,
but not as art ; for their lack of academic knowledge
is not counterbalanced by peculiar " feeling " or
ingenious conceit. They are merely attempts to
do again what Mr. H. S. Marks had done better
previously. It seems ungrateful to condemn books
that but for renewed acquaintance might have kept
the glamour of the past ; and yet, realising how
much feeble effort has been praised since it was
ILLUSTRATION FROM
• KATAWAMI'US "
(DAVID NUTT)
" only for children," it is impossible to keep silence
when the truth is so evident.
Alfred Crowquill most probably contributed all
the pictures to " Robinson Crusoe," " Blue Beard,"
and " Red Riding Hood " told in rhyme by
F. W. N. Bayley, which have been noticed among
his books of the " forties." One of the full pages,
which appear to be lithographs, is clearly signed.
He also illustrated the adventures of " Master Tyll
Owlglass," an edition of " Baron Munchausen,"
" Picture Fables," " The Careless Chicken,"
" Funny Leaves for the
Younger Branches,"
" Laugh and Grow
Thin," and a host of
other volumes. Yet
the pictures in these,
amusing as they are
in their way, do not
seem likely to attract
an audience again at
any future time.
E. V. B., initials
which stand for the
Hon. Mrs. Boyle, are
found on many vol-
umes of the past
twenty-five years which
have enjoyed a special
reputation. Certainly
her drawings, if at
times showing much
of the amateur, have
also a curious
"quality," which ac-
counts for the very
high praise they have
won from critics of
some standing. " The
Story without an End,"
" Child's Play"(i858),
" The New Child's
Play," " The Magic
Valley," " Andersen
Fairy Tales " (Low,
1882), " Beauty and
the Beast " (a quarto
with colour-prints by
Leighton Bros.), are
the most important.
Looking at them
dispassionately now,
there is yet a trace of
some of the charm
that provoked ap-
plause a little more
than they deserve.
In British art this
curious fascination
exerted by the amateur
is always confronting
41
liY ARCHIE MACGREGOR
Children's Books
ILLUSTRATION FROM "THE SLEEPING BEAUTY.
BY R. ANNING BELL (DENT AND CO.)
us. The work of E.V. B. has great qualities, yet any
pupil of a board school would draw better. Never-
theless it pleases more than academic technique of
high merit that lacks just that one quality which, for
want of a better word, we call " culture." In the
designs by Louisa, Marchioness of Waterford, one
encounters genius with absolutely faltering tech-
nique ; and many who know how rare is the
slightest touch of genius, forgive the equally
important mastery of material which must accom-
pany it to produce work of lasting value.
Mr. H. S. Marks designed two nursery books
for Messrs. Routledge, and contributed to many
others, including J. W. Elliott's " National Nursery
Rhymes " (Novello), whence our illustration has
been taken. Two series of picture books contain-
ing mediaeval figures with gold background, by J.
Moyr Smith, if somewhat lacking in the qualities
which appeal to children, may have played a good
part in educating them to admire conventional flat
treatment, with a decorative purpose that was
unusual in the " seventies," when most of them
appeared.
In later years, Miss Alice Havers in " The White
Swans," and " Cape Town Dicky " (Hildesheimer),
and many lady artists of less conspicuous ability, have
done a quantity of graceful and elaborate pictures
of children rather than for children. The art of
42
this later period shows better drawing, better
colour, better composition than had been the
popular average before ; but it generally lacks
humour, and a certain vivacity of expression which
children appreciate.
In the "sixties" and "seventies" were many illus-
trators of children's books who left no great mark
except on the memories of those who were young
enough at the time to enjoy their work thoroughly,
if not very critically. Among these may be placed
William Brunton, who illustrated several of the
Right Hon. G. Knatchbull-Hugessen's fairy stories,
" Tales at Tea Time " for instance, and was
frequent among the illustrators of Hood's Annuals.
Charles H. Ross (at one time editor of Judy) and
creator of " Ally Sloper," the British Punchinello,
produced at least one memorable book for chil-
dren. " Queens and Kings and other Things," a
folio volume printed in gold and colour, with
nonsense rhymes and pictures, almost as funny
as those of Edward Lear himself. " The Boy
Crusoe," and many other books of somewhat
ephemeral character are his, and Routledge's
" Every Boy's Magazine " contains many of his
designs. Just as these pages are being corrected
the news of his death is announced.
ILLUSTRATION FROM "HAIRY GUTS."
BY II. GRANVILLE FELL (UEN T AND CO.
(methuen and co. 1895)
ILLUSTRATION FROM
"A BOOK OF NURSERY
SONGS AND RHYMES"
BY MARY J. NEWILL
Children's Books
Others, like George Du Maurier, so rarely
touched the subject that they can hardly be
regarded as wholly belonging to our theme. Yet
" Misunderstood," by Florence Montgomery (1879),
illustrated by Du Maurier, is too popular to leave
unnoticed. Mr. A. W. Bayes, who has deservedly
won fame in other fields, illustrated " Andersen's
Tales " (Warne, 1865) probably his earliest work,
as a contemporary review speaks of the admir-
able designs "by an artist whose name is new
to us."
It is a matter for surprise and regret that Mr.
Howard Pyle's illustrated books are not as well
known in England as they deserve to be. And
ILLUSTRATION FROM
44
THIS ELF-ERRANT
(LAWRENCE AND UULLEN. l!>95)
this is the more vexing when you find that any one
with artistic sympathy is completely converted to
be a staunch admirer of Mr. Pyle's work by a
sight of " The Wonder Clock," a portly quarto,
published by Harper Brothers in 1894. It seems
to be the only book conceived in purely Dttrer-
esque line, which can be placed in rivalry with
Mr. Walter Crane's illustrated " Grimm," and wise
people will be only too delighted to admire both
without attempting to compare them. Mr. Pyle
is evidently influenced by Dtirer — with a strong
trace of Rossetti — but he carries both influences
easily, and betrays a strong personality throughout
all the designs. The " Merry Adventures of
Robin Hood" and
"Otto of the Silver Hand "
are two others of about
the same period, and the
delightful volume collect-
ed from Harper's Young
People for the most part,
entitled " Pepper and
Salt," may be placed with
them. All the illustra-
tions to these are in pure
line, and have the appear-
ance of being drawn not
greatly in excess of the
reproduced size. Of all
these books Mr. Howard
Pyle is author as well as
illustrator.
Of late he has changed
his manner in line, show-
ing at times, especially in
"Twilight Land" (Os-
good, Mcllvaine, 1896),
the influence of Vierge,
but even in that book the
frontispiece and many
other designs keep to his
earlier manner.
In " The Garden be-
hind the Moon " (issued
in London by Messrs.
Lawrence and Bullen) the
chief drawings are entirely
in wash, and yet are singu-
larly decorative in their
effect. The " Story of
Jack Bannister's For-
tunes " shows the artist's
" colonial " style, " Men
of Iron," " A Modern
Aladdin," Oliver Wendell
Holmes' " One - Horse
Shay," are other fairly
recent volumes. His illus-
trations have not been
confined to his own stories
as "In the Valley," by
BY \V. E. F. BRITTEN
< u
33 Pi
S S
3 a
W a
Q rvj
Children s Books
Harold Frederic, " Stops of Various
Quills" (poems byW. D. Howells),
go to prove.
It is strange that Mr. Heywood
Sumner, who, as his notable " Fitz-
roy Pictures " would alone suffice
to prove, is peculiarly well equipped
for the illustration of children's
books, has done but few, and of these
none are in colour. " Cinderella "
(1882), rhymes by H. S. Leigh, set
to music by J. Farmer, contains very
pleasant decoration by Mr. Sumner.
Next comes "Sintram " (1883), a
notable edition of De la Motte
Fouque"'s romance, followed by
"Undine" (in 1885). With a book
on the " Parables," by A.L.O.E.,
published about 1884 ; " The Besom
Maker" (1880), a volume of country
ditties with the old music, and
" Jacob and the Raven," with thirty-
nine illustrations (Allen, 1896), the
best example of his later manner, and
a book which all admirers of the more
severe order of " decorative illus-
tration " will do well to preserve, the
list is complete. Whether a certain
austerity of line has made publishers
timid, or whether the artist has de-
clined commissions, the fact remains
that the literature of the nursery has
not yet had its full share from Mr.
Heywood Sumner. Luckily, if its
shelves are the less full, its walls are
gayer by the many Fitzroy pictures
he has made so effectively, which
readers of The Studio have seen
reproduced from time to time in these pages.
Mr. H. J. Ford's work occupies so much space
in the library of a modern child, that it seems less
necessary to discuss it at length here, for he is
found either alone or co-operating with Mr.
Jacomb Hood and Mr. Lancelot Speed, in each of
the nine volumes of fairy tales and true stories
(Blue, Red, Green, Yellow, Pink, and the rest),
edited by Mr. Andrew Lang, and published by
Longmans. More than that, at the Fine Art
Society in May 1895, Mr. Ford exhibited seventy-
one original drawings, chiefly those for the " Yel-
low Fairy Book," so that his work is not only
familiar to the inmates of the nursery, but to
modern critics who disdain mere printed pictures
and care for nothing but autograph work. Cer-
tainly his designs have often lost much by their
great reduction, for many of the originals were
almost as large as four of these pages. His work
is full of imagination, full of detail ; perhaps at
times a little overcrowded, to the extent of con-
fusion. But children are not averse from a picture
that requires much careful inspection to reveal all
46
ILLUSTRATION FROM "THE FLAME FLOWER.
(dent and co. 1896)
BY J. F. SULLIVAN
its story; and Mr. Ford's accessories all help to
reiterate the main theme. As these eight volumes
have an average of 100 pictures in each, and Mr.
Ford has designed the majority, it is evident that,
although his work is almost entirely confined to
one series, it takes a very prominent place in
current juvenile literature. That he must by this
time have established his position as a prime
favourite with the small people goes without saying.
Mr. Leslie Brooke has also a long catalogue of
notable work in this class. For since Mr. Walter
Crane ceased to illustrate the long series of Mrs.
Molesworth's stories, he has carried on the
record. " Sheila's Mystery," " The Carved Lions,"
" Mary," " My New Home," " Nurse Heathcote's
Story," « The Girls and I," " The Oriel Window,"
and " Miss Mouse and her Boys " (all Macmillan),
are the titles of these books to which he has
contributed. A very charming frontispiece and
title to John Oliver Hobbs' " Prince Toto,"
which appeared in "The Parade," must not be
forgotten. The most fanciful of his designs are
undoubtedly the hundred illustrations to Mr.
and their Illustrators
Andrew Lang's delightful collection of "Nursery
Rhymes," just published by F.Warne & Co. These
reveal a store of humour that the less boisterous
fun of Mrs. Molesworth had denied him the
opportunity of expressing.
Mr. C. E. Brock, whose delightful compositions,
somewhat in the " Hugh Thomson " manner, em-
bellish several volumes of Messrs. Macmillan's
Cranford series, has illustrated also " The Para-
chute," and " English Fairy and Folk Tales," by
E. S. Hartland (1893), and also supplied two
pictures to that most fascinating volume prized by
all lovers of children, " W. V., Her Book," by
W. Canton. Perhaps " Westward Ho ! " should
also be included in this list, for whatever its first
intentions, it has long been annexed by bolder
spirits in the nursery.
A. B. Frost, by his cosmopo-
litan fun, " understanded of all
people," has probably aroused
more hearty laughs by his in-
imitable books than even Cal-
decott himself. " Stuff and
Nonsense," and "The Bull
Calf," T. B. Aldrich's " Story of
a Bad Boy," and many another
volume of American origin, that
is now familiar to every Briton
with a sense of humour, are the
most widely known. It is need-
less to praise the literally inimit-
able humour of the tragic series
"Our Cat took Rat Poison."
In Lewis Carroll's " Rhyme ?
and Reason ? " (1883), Mr. Frost
shared with Henry Holiday the
task of illustrating a larger
edition of the book first pub-
lished under the title of " Phan-
tasmagoria " (1869); he illus-
trated also " A Tangled Tale "
(1886), by the same author, and
this is perhaps the only volume
of British origin of which he is
sole artist. Mr. Henry Holiday
was responsible for the classic
pictures to " The Hunting of the
Snark " by Lewis Carroll (1876).
Mr. R. Anning Bell does not
appear to have illustrated many
books for children. Of these,
the two which introduced Mr.
Dent's " Banbury Cross" series
are no doubt the best known.
In fact, to describe " Jack the
Giant Killer " and the " Sleep-
ing Beauty " in these pages
would be an insult to " sub-
scribers from the first." A
story, " White Poppies," by May
Kendall, which ran through
Sylvia's Journal, is a little too grown-up to be in-
cluded ; nor can the " Heroines of the Poets,"
which appeared in the same place, be dragged in
to augment the scanty list, any more than the
" Midsummer Night's Dream " or " Keat's Poems."
It is singular that the fancy of Mr. Anning Bell,
which seems exactly calculated to attract a child
and its parent at the same time, has not been
more frequently requisitioned for this purpose. In
the two "Banbury Cross" volumes there is evidence
of real sympathy with the text, which is by no
means as usual in pictures to fairy tales as it
should be ; and a delightfully harmonious sense 'of
decoration rare in any book, and still more rare in
those expressly designed for small people.
The amazing number of Mr. Gordon Browne's
illustrations leaves a would-be iconographer
ILLUSTRATION FROM " RED APPLE AND SILVER BELLS.
BY ALICE B. WOODWARD. (BLACKIE AND SON. 1897)
47
Children s Books
appalled. So many thousand designs — and all so
good — deserve a lengthened and exhaustive eulogy.
But space absolutely forbids it, and as a large number
cater for older children than most of the books
here noticed, on that ground one may be forgiven
the inadequate notice. If an illustrator deserved
to attract the attention of collectors it is surely
this one, and so fertile has he been that a complete
set of all his work would take no little time to
get together. Here are the titles of a few
jotted at random : " Bonnie Prince Charlie," " For
Freedom's Cause," " St. George for England,"
" Orange and Green," " With Give in India,"
« With Wolfe in Canada," " True to the Old Flag,"
"By Sheer Pluck," "Held Fast for England,"
" For Name and Fame," " With Lee in Virginia,"
" Facing Death," " Devon Boys," " Nat the
Naturalist," " Bunyip Land," " The Lion of St.
Mark," "Under Drake's Flag," "The Golden
Magnet," " The Log of the Flying Fish," " In the
King's Name," " Margery Merton's Girlhood,"
" Down the Snow Stairs," " Stories of Old Re-
nown," " Seven Wise Scholars," " Chirp and
Chatter," " Gulliver's Travels," " Robinson
Crusoe," " Hetty Gray," "A Golden Age," " Muir
Fenwick's Failure," " Winnie's Secret " (all so far
are published by Blackie and Son). " National
Nursery Rhymes," " Fairy Tales from Grimm,"
ILLUSTRATION FROM " KATAWAMPUS.
BY ARCHIE MACGREGOR. (llAVID NUTT)
48
ILLUSTRATION FROM "TO TELL THE KING THE
SKY IS FALLING." BY ALICE WOODWARD
(BLACKIE AND SON. 1S96)
" Sintram, and Undine," " Sweetheart Travellers,"
" Five, Ten and Fifteen," " Gilly Flower," " Prince
Boohoo," "A Sister's Bye-hours," " Jim," and " A
Flock of Four," are all published by Gardner,
Darton & Co., and " Effie," by Griffith & Farran.
When one realises that not a few of these books
contain a hundred illustrations, and that the list is
almost entirely from two publishers' catalogues,
some idea of the fecundity of Mr. Gordon Browne's
output is gained. But only a vague idea, as his
" Shakespeare," with hundreds of drawings and a
whole host of other books, cannot be even mentioned.
It is sufficient to name but one — say the example
from " Robinson Crusoe " (Blackie), reproduced on
page 32 — to realise Mr. Gordon Browne's vivid and
picturesque interpretation of fact, or " Down the
Snow Stairs" (Blackie), also illustrated, with a
grotesque owl-like creature, to find that in pure
fantasy his exuberant imagination is no less equal
to the task. In " Chirp and Chatter " (Blackie),
fifty-four illustrations of animals masquerading as
human show delicious humour. At times his
technique appears somewhat hasty, but, as a rule,
the method he adopts is as good as the com-
position he depicts. He is in his own way the
leader of juvenile illustration of the non-1 Mirer
school.
and their Illustrators
Mr. Harry Furniss's coloured toy-books —
" Romps " — are too well known to need descrip-
tion, and many another juvenile volume owes its
attraction to his facile pencil. Of these, the two
later " Lewis Caroll's " — " Sylvia and Bruno," and
" Sylvia and Bruno, Concluded," are perhaps most
important. As a curious narrative, "Travels in the
Interior " (of a human body) must not be forgotten.
It certainly called forth much ingenuity on the part
of the artist. In " Romps," and in all his work
for children, there is an irrepressible sense of
movement and of exuberant vitality in his figures ;
but, all the same, they are more like Fred. Walker's
idyllic youngsters having romps than like real
everyday children.
Mr. Linley Samboume's most ingenious pen has
been all too seldom employed on children's books.
Indeed, one that comes first to memory, the " New
Sandford and Merton " (1872), is hardly entitled to
be classed among them, but the travesty of the
somewhat pedantic narrative, interspersed with
fairly amusing anecdotes, that Thomas Day pub-
lished in 1783, is superb. No matter how familiar
it may be, it is simply impossible to avoid laughing
anew at the smug little Harry, the sanctimonious
tutor, or the naughty Tommy, as Mr. Sambourne
has realised them. The " Anecdotes of the Croco-
dile " and "The Presumptuous Dentist" are no
less good. The way he has turned a prosaic hat-rack
into an instrument of torture would alone mark
Mr. Sambourne as a comic draughtsman of the
highest type. Nothing he has done in political
cartoons seems so likely to live as these burlesques.
A little known book, " The Royal Umbrella "
(1888), which contains the delightful " Cat Gar-
deners " here reproduced, and the very well-known
edition of Charles Kingsley's "Water Babies "
(1886), are two other volumes which well display
his moods of less unrestrained humour. "The
Real Robinson Crusoe" (1893) and Lord Bra-
bourne's (Knatchbull-Hugessen's) " Friends and
Foes of Fairyland " (1886), well-nigh exhaust the
list of his efforts in this direction.
Prince of all foreign illustrators for babyland is
M. Boutet de Monvel, whose works deserve an
exhaustive monograph. Although comparatively
few of his books are really well known in England,
" Little Folks " contains a goodly number of his
designs. La Fontaine's " Fables " (an English
edition of which is published by the Society for
Promoting Christian Knowledge) is (so far as I
have discovered) the only important volume re-
printed with English text. Possibly his " Jeanne
d'Arc " ought not to be named among children's
books, yet the exquisite drawing of its children and
the unique splendour the artist has imparted to
simple colour-printing, endear it to little ones no
less than adults. But it would be absurd to
suppose that readers of The Studio do not know
this masterpiece of its class, a book no artistic
ILLUSTRATION FROM " RUSSIAN FAIRY TALES "
(LAWRENCE AND BULLEN. 1893)
RY C. M. GERE
49
0
/££t^f,C/£ /L^2C
THE SINGING LESSON
No. i. FROM THE
ORIGINAL DRAWING
BY A. NOBODY
A-v Lstif-s^sCc
THE SINGING LESSON
—No. 2. FROM THE
ORIGINAL DRAWING
BY A. NOBODY
Children's Books
household can possibly afford to be
without. Earlier- books by M. de
Monvel, which show him in his most
engaging mood (the mood in the illus-
tration from " Little Folks " here re-
produced), are " Vieilles Chansons et
Rondes," by Ch. M. Widor, "La
Civilite Puerile et Honnete," and
" Chansons de France pour les Petits
Fran<jais." Despite their entirely
different characterisation of the child,
and a much stronger grasp of the
principles of decorative composition,
these delightful designs are more nearly
akin to those of Miss Kate Green-
away than are any others published
in Europe or America. Yet M. de
Monvel is not only absolutely French
in his types and costumes but in the
movement and expression of his
serious little people, who play with a
certain demure gaiety that those who
have watched French children in the
Gardens of the Luxembourg or Tui-
leries, or a French seaside resort,
know to be absolutely truthful. For
the Gallic be'be certainly seems less
" rampageous " than the English
urchin. A certain daintiness of
movement and timidity in the boys
especially adds a grace of its own to
the games of French children which
ILLUSTRATION KROM
" ADVENTU
(lil.ACKI
RKS IN TOY
E AND SON.
ILLUSTRATION FROM " PRINCE BOOHOO " BY CORDON BROWNE
(GARDNER, DARTON AND CO. 1897)
is not without its peculiar
charm. This is singularly well
caught in M. de Monvel's de-
licious drawings, where naively
symmetrical arrangement and
a most admirable simplicity
of colour are combined. In-
deed, of all non-English artists
who address the little people,
he alone has the inmost secret
of combining realistic drawing
with sumptuous effects in con-
ventional decoration.
The work of the Danish
illustrator, Lorenz Froelich, is
almost as familiar in English as
in Continental nurseries, yet
his name is often absent from
the title-pages of books con-
taining his drawings. Perhaps
those attributed to him formally
that are most likely to be
known by British readers are in
" When I was a Little Girl " and
" NineVears Old" (Macmillan),
LAND BY ALICE B, WOODWARD
1S97)
and their Illustrators
but, unless memory is treacherous, one remembers
toy-books in colours (published by Messrs. Nelson
and others), that were obviously from his designs.
A little known French book, " Le Royaume des
Gourmands," exhibits the artist in a more fanciful
aspect, where he makes a far better show than in
some of his ultra-pretty realistic studies. Other
French volumes, " Histoire d'un Bouchee de Pain,"
" Lili a la Campagne," " La Journe'e de Made-
moiselle Lili," and the " Alphabet de Mademoiselle
Lili," may possibly be the original sources whence
the blocks were borrowed and adapted to English
text. But the veteran illustrator has done far too
large a number of designs to be catalogued here.
For grace and truth, and at times real mastery of
his material, no notice of children's artists could
abstain from placing him very high in their ranks.
Oscar Pletsch is another artist — presumably a
German — whose work has been widely republished
in England. In many respects it resembles that
of Froelich, and is almost entirely devoted to the
daily life of the inmates of the nursery, with their
tiny festivals and brief tragedies. It would seem
to appeal more to children than their elders,
because the realistic transcript of their doings by
his hand often lacks the touch of pathos, or of
grown-up humour that finds favour with adults.
The mass of children's toy-books published by
Messrs. Dean, Darton, Routledge, Warne, Marcus
Ward, Isbister, Hildesheimer and many others
cannot be considered exhaustively, if only from the
fact that the names of the designers are frequently
omitted. Probably Messrs. Kronheim & Co., and
other colour-printers, often supplied pictures de-
signed by their own staff. Mr. Edmund Evans,
to whom is due a very large share of the success
of the Crane, Caldecott, and Kate Greenaway (Rout-
ledge) books, more frequently reproduced the work
of artists whose names were considered sufficiently
important to be given upon the books themselves.
A few others of Routledge's toy-books besides those
mentioned are worth naming. Mr. H. S. Marks, R. A.,
designed two early numbers of their shilling series :
" Nursery Rhymes " and " Nursery Songs ; " and to
J. D. Watson may be attributed the " Cinderella "
in the same series. Other sixpenny and shilling
illustrated books were by C. H. Bennett, C. W.
Cope, A. W. Bayes, Julian Portch, Warwick
Reynolds, F. Keyl, and Harrison Weir.
The " Greedy Jim," by Bennett, is only second
ILLUSTRATION FROM ''NONSENSE
(GARDNER, DARTON AND CO.)
BY A. NOBODY
53
Children s Books
ILLUSTRATION (REDUCED) FROM "THE CHILD'S PIC-
TORIAL." BY MRS. R. HALLWARD (s.P.C.K.)
to " Struwwlpeter " itself, in its lasting power to
delight little ones. If out of print it deserves to
be revived.
Although Mr. William de Morgan appears to
have illustrated but a single volume, " On a Pin-
cushion," by Mary de Morgan (Seeley, 1877), yet
that is so interesting that it must be noticed. Its
interest is double — first in the very " decorative "
quality of its pictures, which are full of " colour "
and look like woodcuts more than process blocks ;
and next in* the process itself, which was the artist's
own invention. So far as I gather from Mr. De
Morgan's own explanation, the drawings were
made on glass coated with some yielding sub-
stance, through which a knife or graver cut the
" line." Then an electro was taken. This process,
it is clear, is almost exactly parallel with that of
wood-cutting — i.e., the " whites " are taken out,
and the sweep of the tool can be guided by the
worker in an absolutely untrammelled way. Those
who love the qualities of a woodcut, and have not
time to master the technique of wood-cutting or
engraving, might do worse than experiment with
Mr. De Morgan's process. A quantity of proofs
of designs he executed — but never published —
show that it has many possibilities worth develop-
ing.
The work of Reginald Hallward deserves to be
discussed at greater length than is possible here.
His most important book (printed finely in gold
and colours by Edmund Evans), is " Flowers of
54
Paradise," issued by Macmillan some years
The drawings for this beautiful quarto we
shown at one of the early Arts and Craft.
Exhibitions. Some designs, purely decorative,
are interspersed among the figure subjects.
" Quick March," a toy-book (Warne), is also
full of the peculiar "quality" which distinguishes
Mr. Hallward's work, and is less austere than
certain later examples. The very notable magazine,
The Child's Pictorial, illustrated almost entirely in
colours, which the Society for Promoting Christian
Knowledge published for ten years, contains work
by this artist, and a great many illustrations by
Mrs. Hallward, which alone would serve to impart
value to a publication that has (as we have
pointed out elsewhere) very many early examples
by Charles Robinson, and capital work by W. J.
Morgan. Mrs. Hallward's work is marked by
strong Pre-Raphaelite feeling, although she does
not, as a rule, select old-world themes, but depicts
children of to-day. Both Mr. and Mrs. Hallward
eschew the " pretty-pretty " type, and are bent on
M FOR THE MOON
J WITH HER SOFT
SILVERY LIGHT OH HOW
KIND SHE IS TO LIGHT
THE WORLD AT NIGHT
ILLUSTRATION FROM "A, B, c" BY MRS. GASKIN
(ELKIN mathews)
"KING LOVE. A CHRISTMAS
GREETING." BY H. GRANVILLE
FELL
icmillan s<
beautifu
also
than
I
not
B : , ; . H Hi
bent on
I FROM
" itself, in its lasting power to
it deserves to
Morgan, appears to
;le volume, "On a
' by Mary de Morgan (
in the very "decorati
which are full of »
• ess blocks-
:,nd If, which was the an
rgan'i
clear, is aim
of
love the qualities
■
U A M T a l>IU.i A $ 7 U . [ OM J >1
iLUIVHA-JID II YM
His ■ ■ "JJilH
and colour
54
THE MOON
TH HER SOFT
KY LIGHT OH HOW
S SHE ISTO LIGHT
THE WORLD AT NIGHT
D A I T if a hd!
and their Illustrators
producing really " decorative " pages. So that
to-day, when the ideal they so long championed
has become popular, it is strange to find that their
work is not better known.
The books illustrated by past or present students
of the Birmingham School will be best noticed in
a group, as, notwithstanding some distinct indi-
viduality shown by many of the artists, especially
in their later works, the idea that links the group
together is sufficiently similar to impart to all a
certain resemblance. In other words, you can
nearly always pick out a " Birmingham " illustration
at a glance, even if it would be impossible to
confuse the work of Mr. Gaskin with that of Miss
Levetus.
Arthur Gaskin's illustrations to Andersen's
" Stories and Fairy Tales " (George Allen) are
beyond doubt the most important volumes in any
way connected with the school. Mr. William Morris
ILLUSTRATION FROM "THE STORY OF BLUEBEARD"
(LAWRENCE AND BULLEN. 1895)
ranked them so highly that Mr. Gaskin was com-
missioned to design illustrations for some of the
Kelmscott Press books, and Mr. Walter Crane has
borne public witness to their excellence. This alone
is sufficient to prove that they rise far above the
average level. " Good King Wenceslas " (Cornish
Bros.) is another of Mr. Gaskin's books — his best
in many ways. He it is also who illustrated and
decorated Mr. Baring-Gould's "A Book of Fairy
Tales " (Methuen).
Mrs. Gaskin (Georgie Cave France) is also
familiar to readers of The Studio. Perhaps her
"A, B, C," (published by Elkin Mathews), and
" Horn Book Jingles " (The Leadenhall Press), a
unique book in shape and style, contain the best
of her work so far.
Miss Levetus has contributed many illustrations
to books. Among the best are " Turkish Fairy
Tales " (Lawrence and Bullen), and " Verse Fancies "
(Chapman and Hall).
" Russian Fairy Tales " (Law-
rence and Bullen) is distin-
guished by the designs of C. M.
Gere, who has done compara-
tively little illustration ; hence
the book has more than usual
interest, and takes a far higher
artistic rank than its title might
lead one to expect.
Miss Bradley has illustrated
one of Messrs. Blackie's hap-
piest volumes this year. " Just
Forty Winks " (from which one
picture is reproduced here),
shows that the artist has steered
clear of the " Alice in Wonder-
land " model, which the author
can hardly be said to have
avoided. Miss Bradley has also
illustrated the prettily decorated
book of poems, " Songs for Some-
body," by Dollie Radford (Nutt).
The two series of " Children's
Singing Games" (Nutt) are
among the most pleasant vol-
umes the Birmingham school
has produced. Both are deco-
rated by Winifred Smith, who
shows considerable humour as
well as ingenuity.
Among volumes illustrated,
each by the members of the Bir-
mingham school, are " A Book of
Pictured Carols " (George Allen),
and Mr. Baring-Gould's " Nur-
sery Rhymes " (Methuen). Both
these volumes contain some of
the most representative work of
Birmingham, and the latter, with
its rich borders and many pic-
tures, is a book that consistently
57
BY E. SOUTHALL
Children's Books
ILLUSTRATION FROM "NURSERY RHYMES
KY PAUL WOODROFFE
(GEORGE ALLEN.
■897)
maintains a very fine ideal, rare at any time, and
perhaps never before applied to a book for the
nursery. Indeed were it needful to choose a
single book to represent the school, this one would
stand the test of selection.
In Messrs. Dent's " Banbury Cross " series, the
Misses Violet and Evelyn Holden illustrated " The
House that Jack Built"; Sidney Heath was re-
sponsible for "Aladdin," and Mrs. H. T. Adams
decorated " Tom Thumb, &c."
Mr. Laurence Housman is more than an illus-
trator of fairy tales ; he is himself a rare creator of
such fancies, and has, moreover, an almost unique
power of conveying his ideas in the medium. His
" Farm in Fairyland " and " A House of Joy "
(both published by Kegan Paul and Co.) have
often been referred to in The Studio. Yet, at
the risk of reiterating what nobody of taste doubts,
one must place his work in this direction head
and shoulders above the crowd — even the crowd
of excellent illustrators — because its amazing
fantasy and caprice are supported by cunning
58
technique that makes the whole work a " picture,"
not merely a decoration or an interpretation of the
text. As a spinner of entirely bewitching stories,
that hold a child spell-bound, and can be read and
re-read by adults, he is a near rival of Andersen
himself.
H. Granville Fell, better known perhaps from
his decorations to " The Book of Job," and certain
decorated pages in the English Illustrated Maga-
zine, illustrated three of Messrs. Dent's " Banbury
Cross" series — "Cinderella, &c," "AH Baba,"
and " Tom Hickathrift." His work in these is
full of pleasant fancy and charming types.
A very sumptuous setting of the old fairy tale,
" Beauty and the Beast," in this case entitled
"Zelinda and the Monster" (Dent, 1895), with
ten photogravures after paintings by the Countess
of Lovelace, must not be forgotten, as its text may
bring it into our present category.
Miss Rosie Pitman, in " Maurice and the Red
Jar " (Macmillan), shows much elaborate effort
and a distinct fantasy in design. "Undine"
and their Illustrators
(Macmillan, 1897) is a still more successful achieve-
ment.
Richard Heighway is one of the " Banbury
Cross" illustrators in "Blue Beard," &c. (Dent),
and has also pictured ^Esop's " Fables," with 300
designs (in Macmillan 's Cranford series).
Mr. J. F. Sullivan — who must not be con-
fused with his namesake — is one who has rarely
illustrated works for little children, but in the
famous " British Workman " series in Fan, in
dozens of Tom Hood's " Comic Annuals," and
elsewhere, has provoked as many hearty laughs
from the nursery as from the drawing-room. In
" The Flame Flower " (Dent) we find a side-
splitting volume, illustrated with 100 drawings by
the author. For this only Mr. J. F. Sullivan has
plunged readers deep in debt, and when one recalls
the amazing number of his delicious absurdities
in the periodical literature of at least twenty years
past, it seems astounding to find that the name of
so entirely well-equipped a draughtsman is yet not
the household word it should be.
E. J. Sullivan, with eighty illustrations to the
Cranford edition of "Tom Brown's Schooldays,"
comes for once within our present limit.
J. D. Batten is responsible for the illustra-
tion of so many important collections of fairy tales
that it is vexing not to be able to reproduce a
selection of his drawings, to show the fertility of
his invention and his consistent improvement in
technique. The series, " Fairy Tales of the
British Empire," collected and edited by Mr.
Jacobs, already include five volumes — English,
More English, Celtic, More Celtic, and Indian, all
liberally illustrated by J. D. Batten, as are " The
Book of Wonder Voyages," by J. Jacobs (Nutt),
and "Fairy Tales from the Arabian Nights,"
edited by E. Dixon, and a second series, both
published by Messrs. J. M. Dent and Co. "A
Masque of Dead Florentines" (Dent) can hardly
be brought into our subject.
Louis Davis has illustrated far too few children's
books. His Fitzroy pictures show how delight-
fully he can appeal to little people, and in " Good
Night Verses," by Dollie Radford (Nutt), we have
forty pages of his designs that are peculiarly dainty
in their quality, and tender in their poetic inter-
pretation of child-life.
"Wymps" (Lane, 1896), with illustrations by
Mrs. Percy Dearmer, has a quaint straightfor-
wardness, of a sort that exactly wins a critic of the
nursery.
J. C. Sowerby, a designer for stained glass,
in "Afternoon Tea" (Warne, 1880), set a
new fashion for " aesthetic " little quartos costing
five or six shillings each. This was followed by
"At Home" (1881), and "At Home Again"
(1886, Marcus Ward), and later by " Young Maids
and Old China." These, despite their popularity,
display no particular invention. For the real fancy
and " conceit " of the books you have to turn to
their decorative borders by Thomas Crane. This
artist, collaborating with Ellen Houghton, con-
tributed two other volumes to the same series,
"Abroad" (1882), and "London Town" (1883),
both prime favourites of their day.
Lizzie Lawson, in many contributions for
Little Folks and a volume in colours, " Old
Proverbs " (Cassell), displayed much grace in
depicting children's themes.
Nor among coloured books of the "eighties"
must we overlook " Under the Mistletoe " (Griffith
and Farran, 1886), and " When all is Young"
(Christmas Roses, 1886); "Punch and Judy," by
F. E. Weatherley, illustrated by Patty Townsend
(1885); "The Parables of Our Lord," really
dignified pictures compared with most of their
class, by W. Morgan ; " Puss in Boots," illus-
trated by S. Caldwell ; " Pets and Playmates "
(1888); "Three Fairy Princesses," illustrated by
Paterson (1885); "Picture Books of the Fables
of /Esop," another series of quaintly designed
picture books, modelled on Struwwlpeter ; " The
Robbers' Cave," illustrated by A. M. Lockyer,
and "Nursery Numbers" (1884), illustrated by
an amateur named Bell, all these being published
by Messrs. Marcus Ward and Co., who issued
later, " Where Lilies Grow," a very popular volume,
illustrated in the " over-pretty " style by Mrs.
Stanley Berkeley. The attractive series of toy-
books in colours, published in the form of a
Japanese folding album, were probably designed
by Percy Macquoid, and published by the same
firm, who issued an oblong folio, " Herrick's
Content," very pleasantly decorated by Mrs.
Houghton. R. Andre was (and for all I know is
still) a very prolific illustrator of children's coloured
books. " The Cruise of the Walnut Shell " (Dean,
1881) ; " A Week Spent in a Glass Pond " (Gard-
ner, Darton and Co.) ; " Grandmother's Thimble "
(Warne, 1882); "Pictures and Stories" (Warne,
1882); "Up Stream" (Low, 1884); "A Lilli-
putian Opera " (Day, 1885); the Oakleaf Library
(six shilling volumes, Warne) ; and Mrs. Ewing's
Verse Books (six vols. S.P.C.K.) are some of the
best known. T. Pym, far less well-equipped as a
draughtsman, shows a certain childish naivete in
his (or was it her ?) " Pictures from the Poets "
(Gardner, Darton and Co.) ; " A, B, C " (Gard-
ner, Darton and Co.) ; " Land of Little People "
(Hildesheimer, 1886); " We are Seven" (1880);
" Children Busy " (1881) ; " Snow Queen " (Gard-
ner, Darton and Co.) ; " Child's Own Story Book "
(Gardner, Darton and Co.).
Ida Waugh in " Holly Berries " (Griffith and
Farran, 1881) ; "Wee Babies" (Griffith and
Farran, 1882); "Baby Blossoms," " Tangles and
Curls," and many other volumes mainly devoted
to pictures of babies and their doings, pleased a
very large audience both here and in the United
States. " Dreams, Dances and Disappointments,"
and " The Maypole," both by Konstan and
59
Children s Books
Castella, are gracefully decorated books issued by
Messrs. De La Rue in 1882, who also published
" The Fairies," illustrated by [H ?] Allingham in
1 88 1. Major Seccombe in "Comic Sketches
from History" (Allen, 1884), and "Cinderella"
(Warne, 1882), touched our theme ; a large number
of more or less comic books of military life and
social satire hardly do so. Coloured books of
which I have failed to discover copies for reference,
are : A. Blanchard's " My Own Dolly " (Griffith
and Farran, 1882); "Harlequin Eggs," by
Civilly (Sonnenschein, 1884); "The Nodding
Mandarin," by L. F. Day (Simpkin, 1883) ; "Cats-
cradle," by C. Kendrick (Strahan, 1886); "The
Kitten Pilgrims," by A. Ballantyne (Nisbet, 1887) ;
"Ups and Downs " (1880), and "At his Mother's
Knee" (1883), by M. J. Tilsey. "A Winter
Nosegay" (Sonnenschein, 1881); " Pretty Peggy,"
by Emmet (Low, 1881); "Children's Kettle-
drum," by M. A. C. (Dean, 1881); "Three Wise
Old Couples," by Hopkins (Cassell, 188 1) ; " Puss
in Boots," by E. K. Johnson (Warne) ; " Sugar
and Spice and all that's Nice " (Strahan, 1881);
" Fly away, Fairies," by Clarkson (Griffith and
Farran, 1882); "The Tiny Lawn Tennis Club"
(Dean, 1882); "Little Ben Bate," by M. Browne
(Simpkin, 1882); " Nursery Night," by E. De-
wane (Dean, 1882); "New Pinafore Pictures"
(Dean, 1882); " Rumpelstiltskin " (De la Rue,
1882); "Baby's Debut," by J. Smith (De la
Rue, 1883); "Buckets and Spades" (Dean,
1883); "Childhood" (Warne, 1883); "Dame
Trot" (Chapman and Hall, 1883); "In and
Out," by Ismay Thorne (Sonnenschein, 1884);
" Under Mother's Wing," by Mrs. Clifford (Gard-
ner, Darton, 1883); "Quacks" (Ward and Lock,
1883); "Little Chicks" (Griffith and Farran,
1883); "Talking Toys," "The Talking Clock,"
H. M. Bennett ; " Four Feet by Two," by Helena
Maguire ; " Merry Hearts," " Cosy Corners," and
" A Christmas Fairy," by Gordon Browne (all
published by Nisbet).
Among many books elaborately printed by
Messrs. Hildesheimer, are two illustrated by M.
E. Edwards and J. C. Staples, " Told in the
Twilight" (1883); and "Song of the Bells"
(1884); and one by M. E. Edwards only, "Two
Children " ; others by Jane M. Dealy, " Sixes and
Sevens" (1882), and "Little Miss Marigold"
( 1S84) ; "Nursery Land," by H. J. Maguire (1888),
and " Sunbeams," by E. K. Johnson and Ewart
Wilson (1887).
F. D. Bedford, who illustrated and decorated
" The Battle of the Frogs and Mice " (Methuen),
has produced this year one of the most satisfactory
books with coloured illustrations. In " Nursery
Rhymes " (Methuen), the pictures, block-printed
in colour by Edmund Evans, are worthy to be
placed beside the best books he has produced.
Of all lady illustrators — the phrase is cumbrous,
but we have no other — Miss A. B. Woodward
60
stands apart, not only by the vigour of her work,
but by its amazing humour, a quality which is
certainly infrequent in the work of her sister-
artists. The books she has illustrated are not
very many, but all show this quality. " Banbury
Cross," in Messrs. Dent's Series is among the
first. In "To Tell the King the Sky is Falling"
(Blackie, 1896) there is a store of delicious
examples, and in " The Brownies " (Dent, 1896),
the vigour of the handling is very noticeable.
In " Eric, Prince of Lorlonia " (Macmillan, 1896),
we have further proof that these characteristics are
not mere accidents, but the result of carefully
studied intention, which is also apparent in the
clever designs for the covers of Messrs. Blackie's
Catalogue, 1896-97. This year, in " Red Apple
and Silver Bells," Miss Woodward shows marked
advance. The book, with its delicious rhymes by
Hamish Hendry, is one to treasure, as is also her
" Adventures in Toy Land," designs marked by
the diablerie of which she, alone of lady artists,
seems to have the secret. In this the wooden,
inane expression of the toys contrasts delightfully
with the animate figures.
Mr. Charles Robinson is one of the youngest
recruits to the army of illustrators, and yet his few
years' record is both lengthy and kept at a singu-
larly high level. In the first of his designs which
attracted attention we find the half-grotesque, half-
real child that he has made his own — fat, merry
little people, that are bubbling over with the joy of
mere existence. " Macmillan's Literary Primers "
is the rather ponderous title of these booklets
which cost but a few pence each, and are worth
many a half-dozen high-priced nursery books.
Stevenson's " Child's Garden of Verse," his first
important book, won a new reputation by reason
of its pictures. Then came " .^Esop's Fables," in
Dent's " Banbury Cross " Series. The next year
saw Mr. Gabriel Setoun's book of poems,
"Child World," Mrs. Meynell's "The Children,"
Mr. H. D. Lowry's " Make Believe," and two
decorated pages in " The Parade " (Henry and
Co.). The present Christmas will see several
books from his hand.
" Old World Japan " (George Allen) has thirty-
four, and " Legends from River and Mountain,"
forty-two, pictures by T. H. Robinson, which must
not be forgotten. " The Giant Crab " (Nutt), and
" Andersen " (Bliss, Sands), are among the best
things W. Robinson has yet done.
" Nonsense," by A. Nobody, and " Some More
Nonsense," by A. Nobody (Gardner, Darton & Co.),
are unique instances of an unfettered humour.
That their apparently naive grotesques are from the
hand of a very practised draughtsman is evident
at a first glance ; but as their author prefers to re-
main anonymous his identity must not be revealed.
Specimens from the published work (which is,
however, mostly in colour), and facsimiles of
hitherto unpublished drawings, entitled " The
f^iB dc. A\cw =
Children s Books
itfi'toVK
*?*»-•.
Singing Lesson," kindly lent by Messrs. Gardner,
Darton & Co., are here to prove how merry our
anonym can be. By the way, it may be well to
add that the artist in question is not Sir Edward
Burne-Jones, whose caricatures, that are the
delight of children of all ages who know them, have
been so far strictly kept to members of the family
circle, for whom they were produced.
The editor of The Studio, to whose selection of
pictures for reproduction these pages owe their
chief interest, has spared no effort to show a good
working sample of the best of all classes, and
in the space available has certainly omitted few of
any consequence — except those so very well known,
as, for instance, Tenniel's " Alice " series, and the
Caldecott toy-books — which it would have been
superfluous to illustrate again, especially in black
and white after coloured originals.
In Mrs. Field's volume already mentioned, the
author says : " It has been well observed that
children do not desire, and ought not to be
furnished with purely realistic portraits of them-
selves ; the boy's heart craves a hero, and the
Johnny or Frank of the realistic story-book, the
62
ILLUSTRATION FROM " LITTLE FOLKS." BY MAURICE
BOUTET DE MONVEL. (CASSEI.L AND CO.)
little boy like himself, is not in this sense a hero."
This passage, referring to the stories themselves,
might be applied to their illustration with hardly
less force. To idealise is the normal impulse of
a child. True that it can " make believe " from
the most rudimentary hints, but it is much easier
to do so if something not too actual is the ground-
work. Figures which delight children are never
wholly symbolic, mere virtues and vices material-
ised as personages of the anecdote. Real nonsense
such as Lear concocted, real wit such as that which
sparkles from Lewis Carroll's pages, find their
parallel in the pictures which accompany each
text. It is the feeble effort to be funny, the mildly
punning humour of the imitators, which makes the
text tedious, and one fancies the artist is also in-
fected, for in such books the drawings very rarely
rise to a high level.
The "pretty-pretty " school, which has been too
popular, especially in anthologies of mildly enter-
taining rhymes, is sickly at its best, and fails to
retain the interest of a child. Possibly, in plead-
ing for imaginative art, one has forgotten that
everywhere is Wonderland to a child, who would
be no more astonished to find a real elephant drop-
ping in to tea, or a real miniature railway across
the lawn, than in finding a toy elephant or a toy
engine awaiting him. Children are so accustomed
to novelty that they do not realise the abnormal ;
and their Illustrators
nor do they always crave for unreality. As
coaches and horses were the delight of youngsters
a century ago, so are trains and steamboats to-day.
Given a pile of books and an empty floor space,
their imagination needs no mechanical models of
real locomotives ; or, to be more correct, they
enjoy the make-believe with quite as great a zest.
Hence, perhaps, in praising conscious art for chil-
dren's literature, one is unwittingly pleasing older
tastes ; indeed, it is not inconceivable that the
" prig " which lurks in most of us may be nurtured
by too refined diet. Whether a child brought up
wholly on the aesthetic toy-book would realise
the greatness of Rembrandt's etchings or other
masterpieces of realistic art more easily than one
who had only known the current pictures of cheap
magazines, is not a question to be decided off-hand.
To foster an artificial taste is not wholly unattended
with danger ; but if humour be present, as it is in
the works of the best artists for the nursery, then
all fear vanishes ; good wholesome laughter is the
deadliest bane to the prig-microbe, and will leave
no infant lisping of the preciousness of Cimabue,
or the wonder of Sandro Botticelli, as certain
children were reported to do in the brief days when
the aesthete walked his faded way among us. That
modern children's books will — some of them at
least — take an honourable place in an iconography
of nineteenth-century art, many of the illustrations
FAIRY ANDSPSgS
^STATSS! CHILD
ILLUSTRATION FROM "LULLABY LAND"
BY CHARLES ROBINSON. (JOHN LANE. 1897)
ILLUSTRATION FROM "GOULDS BOOK OF FAIRY TALES
BY ARTHUR GASKIN. (METHUEN AND CO.)
here reproduced are in themselves suffi-
cient to prove.
After so many pages devoted to the
subject, it might seem as if the mass of
material should have revealed very
clearly what is the ideal illustration
for children. But " children " is a col-
lective term, ranging from the tastes of
the baby to the precocious youngsters
who dip into Mudie books on the sly,
and hold conversations thereon which
astonish their elders when by chance
they get wind of the fact. Perhaps the
belief that children can be educated by
the eye is more plausible than well
supported. In any case, it is good
that the illustration should be well
drawn, well coloured ; given that,
whether it be realistically imitative or
wholly fantastic is quite a secondary
matter. As we have had pointed out
to us, the child is not best pleased by
mere portraits of himself; he prefers
idealised children, whether naughtier
and more adventurous, or absolute
heroes of romance. And here a
strange fact appears, that as a rule what
pleases the boy pleases the girl also ;
but that boys look down with scorn on
" girls' books." Any one who has had
63
Childrefts Books
too popular to-day. The illustrator when he
is at work often thinks more of the art critic
who may review his book than the readers
who are to enjoy it. Purely conventional
groups of figures, whether set in a landscape,
or against a decorative background, as a rule
fail to retain a child's interest. He wants
invention and detail, plenty of incident, melo-
drama rather than suppressed emotion. Some-
thing moving, active, and suggestive pleases
him most, something about which a story can
be woven not so complex that his sense is
puzzled to explain why things are as the artist
drew them. It is good to educate children
unconsciously, but if we are too careful that
all pictures should be devoted to raising their
standard of taste, it is possible that we may
soon come back to the Miss Pinkerton ideal of
amusement blended with instruction. Hence
one doubts if the " ultra-precious " school
really pleases the child ; and if he refuse the
jam the powder is obviously refused also.
ILLUSTRATION FROM MAKE BELIEVE. BY CHARLES
ROBINSON (JOHN LANE. 1S96)
to do with children knows how eagerly little sisters
pounce upon books owned by their brothers.
Now, as a rule, books for girls are confined to
stories of good girls, pictures of good girls, and
mildly exciting domestic incidents, comic or tragic.
The child may be half angel ; he is undoubtedly
half savage ; a Pagan indifference to other people's
pain, and grim joy in other people's accidents, bear
witness to that fact. Tender-hearted parents fear
lest some pictures should terrify the little ones ;
the few that do are those which the child himself
discovers in some extraordinary way to be fetishes.
He hates them, yet is fascinated by them. I
remember myself being so appalled by a picture
that is still keenly remembered. It fascinated me,
and yet was a thing of which the mere memory
made one shudder in the dark — the said picture
representing a benevolent negro with Eva on his
lap, from " Uncle Tom's Cabin," a blameless
Sunday-school inspired story. The horrors of an
early folio of Foxe's " Martyrs," of a grisly
" Bunyan," with terrific pictures of Apollyon ; even
a still more grim series by H. C. Selous, issued by
the Art Union, if memory may be trusted, were
merely exciting ; it was the mild and amiable repre-
sentation of " Uncle Tom " that I felt to be the
very incarnation of all things evil. This personal
incident is quoted only to show how impossible
it is for the average adult to foretell what will
frighten or what will delight a child. For children
are singularly reticent concerning the " bogeys "
of their own creating, yet, like many fanatics, it
is these which they really most fear.
Certainly it is possible that over-conscious art is
64
LLUSTRATION FROM "JUST FORTY WINKS " BY
GERTRUDE M. BRADLEY (BLACKIE AND SON. IS97)
(JOHN LANE. 1897)
ILLUSTRATION FROM "KING
LONGBEARD." BY CHARLES
ROBINSON
Children 's Boohs
ILLUSTRATION FROM "THE MAKING OF MATTHIAS
BY LUCY KEMP-WELCH. (JOHN LANE. 1897)
One who makes pictures for children, like one
who writes them stories, should have the knack of
entertaining them without any appearance of con-
descension in so doing. They will accept any detail
that is related to the incident, but are keenly alive
to discrepancies of detail or action that clash
with the narrative. As they do not demand fine
drawing, so the artist must be careful to offer
them very much more than academic accomplish-
ment. Indeed, he (or she) must be in sympathy
with childhood, and able to project his vision back
to its point of view. And this is just a mood in
accord with the feeling of our own time, when
men distrust each other and themselves, and keep
few ideals free from doubt, except the reverence
for the sanctity of childhood. Those who have
forsaken beliefs hallowed by centuries, and are the
66
most cynical and worldly-minded, yet
often keep faith in one lost Atalantis —
the domain of their own childhood and
those who still dwell in the happy
isle. To have given a happy hour to
one of the least of these is peculiarly
gratifying to many tired people to-day,
those surfeited with success no less
than those weary of failure. And such
labour is of love all compact ; for chil-
dren are grudging in their praise, and
seldom trouble to inquire who wrote
their stories or painted their pictures.
Consequently those who work for them
win neither much gold nor great fame ;
but they have a most enthusiastic
audience all the same. Yet when we
remember that the veriest daubs and
atrocious drawings are often welcomed
as heartily, one is driven to believe that
after all the bored people who turn to
amuse the children, like others who
turn to elevate the masses, are really,
if unconsciously, amusing if not elevat-
ing themselves. If children's books
please older people — and that they do
so is unquestionable — it would be well
to acknowledge it boldly, and to share
the pleasure with the nursery ; not to
take it surreptitiously under the pretence
of raising the taste of little people.
Why should not grown-up people avow
their pleasure in children's books if
they feel it ?
If a collector in search of a new
hobby wishes to start on a quest full of
disappointment, yet also full of lucky
possibilities, illustrated books for chil-
dren would give him an exciting theme.
The rare volume he hunted for in vain
at the British Museum and South Ken-
sington, for which he scanned the
shelves of every second-hand book-
seller within reach, may meet his eye
in a twopenny box, just as he has despaired
of ever seeing, much less procuring, a copy. At
least twice during the preparation of this number I
have enjoyed that particular experience, and have
no reason to suppose it was very abnormal. To
make a fine library of these things may be difficult,
but it is not a predestined failure. Caxtons and
Wynkyn de Wordes seem less scarce than some
of these early nursery books. Yet, as we know, the
former have been the quest of collectors for years,
and so are probably nearly all sifted out of the
great rubbish-heaps of dealers ; the latter have
not been in great demand, and may be unearthed
in odd corners of country shops and all sorts
of likely and unlikely places. Therefore, as a
hobby, it offers an exciting quest with almost
certain success in the end ; in short, it offers the
and their Illustrators
ideal conditions for collecting as a pastime, pro-
vided you can muster sufficient interest in the sub-
ject to become absorbed in its pursuit. So large is
it that, even to limit one's quest to books with
coloured pictures would yet require a good many
years' hunting to secure a decent "bag." Another
tempting point is that prices at present are mostly
nominal, not because the quarry is plentiful, but
because the demand is not recognised by the
general bookseller. Of course, books in good
condition, with unannotated pages, are rare ; and
some series — Felix Summerley's, for example —
which owe their chief interest to the " get-up " of
the volume considered as a whole, would be scarce
worth possessing if " rebound " or deprived of their
covers. Still, always provided the game attracts
him, the hobby-horseman has fair chances,
and is inspired by motives hardly less noble than
those which distinguish the pursuit of book-
plates (ex libris), postage-stamps and other
objects which have attracted men to devote not
only their leisure and their spare cash, but often
their whole energy and nearly all their
resources. Societies, with all the pomp of
officials, and members proudly arranging
detached letters of the alphabet after their
names, exist for discussing hobbies not
more important. Speaking as an inter-
ested but not infatuated collector, it
seems as if the mere gathering together
of rarities of this sort would soon be-
come as tedious as the amassing of
dull armorial ex libris, or sorting infi-
nitely subtle varieties of postage-stamps.
But seeing the intense passion such
things arouse in their devotees, the fact
that among children's books there are
not a few of real intrinsic interest, ought
not to make the hobby less attractive ;
except that, speaking generally, your true
collector seems to despise every quality
except rarity (which implies market
value ultimately, if for the moment
there are not enough rival collectors to
have started a " boom " in prices). Yet
all these " snappers up of unconsidered
trifles " help to gather together material
which may prove in time to be not
without value to the social historian
or the student interested in the progress
of printing and the art of illustration ;
but it would be a pity to confuse
ephemeral " curios " with lasting works
of fine art, and the ardour of collect-
ing need not blind one to the fact that
the former are greatly in excess of the
latter.
The special full-page illustrations
which appear in this number must not
be left without a word of comment. In
place of re-issuing facsimiles of actual
illustrations from coloured books of the past which
would probably have been familiar to many
readers, drawings by artists who are mentioned
elsewhere in this Christmas Number have been
specially designed to carry out the spirit of the
theme. For Christmas is pre-eminently the time
for children's books. Mr. Robert Halls' painting
of a baby, here called " The Heir to Fairyland "
— the critic for whom all this vast amount of
effort is annually expended — is seen still in the
early or destructive stage, a curious foreshadowing
of his attitude in a later development should he
be led from the paths of Philistia to the bye-ways
of art criticism. The portrait miniatures of child-
life by Mr. Robert Halls, if not so well known as
they deserve, cannot be unfamiliar to readers of
The Studio, since many of his best works have
been exhibited at the Academy and elsewhere.
The lithograph by Mr. R. Anning Bell, " In
Nooks with Books," represents a second stage of
the juvenile critic when appreciation in a very
acute form has set in, and picture-books are no
ILLUSTRATION FROM "MISS MOUSE AND HER BOYS. BY L.
LESLIE BROOKE. (MACMILLAN AND CO. 1897)
67
Children s Books and their Illustrators
style he has adopted from
the first. Studies by
M. de Monvel have ap-
peared before in The
Studio, so that it would
be merely reiterating the
obvious to call attention
to the exquisite truth of
character which he ob-
tains with rare artistry.
G. W.
The Editor 's best
thanks are due to all those
publishers who have so
kindly and readily come
forward with their assist-
ance in the compilation
of " Children's Books and
their Illustrators." Owing
to exigences of space re-
ference to several import-
ant new books has neces-
sarily been postponed.
ILLUSTRATION FROM
" baby's LAYS "
(ELKIN MATHEWS. 1897)
BY E. CALVERT
longer regarded as toys to de-
stroy, but treasures to be en-
joyed snugly with a delight in
their possession.
Mr. Granville Fell, with
" King Love, a Christmas
Greeting," turns back to the
memory of the birthday whose
celebration provokes the gifts
which so often take the form of
illustrated books, for Christmas
is to • Britons more and more
the children's festival. The
conviviality of the Dickens'
period may linger here and
there ; but to adults generally
Christmas is only a vicarious
pleasure, for most households
devote the day entirely to pleas-
ing the little ones who have
annexed it as their own special
holiday.
The dainty water-colour by
Mr. Charles Robinson, and the
charming drawing in line by M.
Boutet de Monvel, call for no
comment. Collectors will be
glad to possess such excellent
facsimiles of work by two illus-
trators conspicuous for their
work in this field. The figure
by Mr. Robinson, " So Light of
Foot, so Light of Spirit," is ex-
tremely typical of the personal
68
ILLUSTRATION
FROM " NATIONAL
RHYMES." BY
GORDON BROWNE
(GARDNER, DARTON
AND CO. 1897)
A SELECTION FROM
Frederick Warne & Co.'s New Publications.
NEW WORKS OF FICTION BY
MRS. FRANCES HODGSON BURNETT.
Crown 8vo, cloth gilt, 6s. eaeh.
HIS GRACE OF OSMOND: Being a Story of
that Nobleman's Life omitted from the Narrative given to
the World of Fashion under the title of "A Lady of
Quality."
With Title-page in Red and Black, and bound in cloth, uniform with
the Companion Volume, " A Lady of Quality."
A LADY OF QUALITY: Being a most Curious,
hitherto Unknown History, as related by Mr. Isaac Bicker-
staff, but not presented to the World of Fashion through
the pages of The Tcitler, and now for the first time written
down, by Frances Hodgson Burnett.
Title-page in Red and Black, with Vignette and Etched Frontispiece
from Original Drawings by Lancelot SfEED.
MRS. F. H. BURNETT'S CHILDREN'S
CLASSICS.
Little Lord Fauntleroy. Illustrated. Medium 8vo, cloth gilt, 3s. 6d.
Sarah Crewe. do. do. do. 3s. 6d.
(Little St. Elizabeth. do. do. do. 3s. 6d.
The One I Knew Best Of All. Illustrated. In medium crown
8vo, gilt, 3s. 6d.
The Captain's Youngest: Piccino and other Stories. Illustrated.
Square crown 8vo, cloth gilt, 5s.
TWO Little Pilgrims' Progress. Illustrated. Crown 8vo, gilt,
gilt edges, 6s.
EDITED BV ANDREW LANO.
ILLUSTRATED BY L. LESLIE BROOKE.
Medium 8vo, cloth gilt, gilt top, 6s.
The Nursery Rhyme Book.
With upwards of 100 Drawings by L. Leslie Brooke and an
Introduction and Notes by Andrew Lang.
" Mr. L. Leslie Brooke can draw for children as well as any one on
this side of the channel."— The World.
A NEW GIFT-BOOK FOR GIRLS.
WITH ILLUSTRATIONS.
In crown 8vo, cloth gilt, bevelled boards, price 3s. 6d.
Mona St. Claire.
By ANNIE E. ARMSTRONG.
With Original Illustrations by G. D. Hammond, R.I.
" There is a fine breeziness and open-air feeling about this story
that cannot fail to make the reader mightily refreshed after she has
finished the book; indeed, we dare wager that her brother, if he be
honest, will confess to a thorough enjoyment of its sparkling pages, for
it is one uf those rare girU' tales that even the supercilious boy can
read with genuine delight."— Glasgow Mail.
THE FAIRY TALE BOOK. FOR 1897 SEASON.
In large crown 8vo, cHth gilt, bevelled boards and art linen,
gilt top, price 3s. 6d.
Icelandic Fairy Tales.
By Mrs. M. HALL.
With 16 Original Illustrations from Drawings by E. A. Mason.
" A young reader could scarcely have a more promising introduc-
tion to the literature of the Sagas. Sigurd and Frithjof and Ingeborg
are not indeed such imposing creatures as they are in the sterner tales;
but they are always people whom every child ought to know, and the
giants are giants of the proper sort. ' — The Scotsman.
A COMPLETE CATALOGUE OF PRESENTATION" BOOKS MAY BE OBTAINED ON APPLICATION TO
FREDERICK WARNE & CO., Chandos House, Bedford Street, Strand.
. . Some New Books for Children from . .
MR. GRANT RICHARDS'S LIST.
A BOOK OF VERSES FOR CHILDREN.
Compiled by Edward Verrall Lucas. With Cover, Title-Page and End-Papers designed in
Colours by F. D. Bedford. Crown 8vo, cloth gilt, 6s.
THE GLOBE says : " 'A Book of Verses for Children ' is, we think, the best of its kind — partly because it is
so comprehensive and so catholic, partly because it consists of matter not too hackneyed, and partly because
that matter is so pleasantly arranged. . . . The book, which should be put into the hands of every child,
is lucky in a bright yet tasteful exterior, and in vignettes and end-papers designed by F. D. Bedford in the
happiest spirit"
The Dumpy Books for Children.
(i) THE FLAMP, THE AMELIORATOR, AND THE
SCHOOLBOY'S APPRENTICE.
By E. V. Lucas.
(ii) MRS. TURNER'S CAUTIONARY STORIES.
With an Introduction on Good and Bad Children. i8mo, cloth, is. 6d. each.
TOM, UNLIMITED. A Story for Children.
By Martin Leach Warborough. With 50 Illustrations by Gertrude Bradley. Globe 8vo,
cloth, 5s.
GRANT RICHARDS, 9 Henrietta Street, Covent Garden, London, W.C.
V
PRINTED FOR THE PROPRIETOR BY BALLANTYNE, HANSON AND CO., TAVISTOCK STREET, COVENT GARDEN, AND
PUBLISHED AT THE OFFICES OF "THE STUDIO," 5 HENRIETTA STREET, COVENT GARDEN, LONDON.
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