English book-illustration of to-day; appreciations of the work of living English illustrators, with lists of their books

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ENGLISH BOOK-ILLUSTRATION
OF TO-DAY

English Book-Illustration
of To-day

APPRECIATIONS OF THE WORK OF LIVING

english illustrators with
lists of their books

By R. E. D. SKETCHLEY

WITH AN INTRODUCTION

By ALFRED W. POLLARD

LONDON

KEGAN PAUL, TRENCH, TRUBNER AND CO., Ltd.

PATERNOSTER HOUSE, CHARING CROSS ROAD, W.C.

1903

CHISWICK PRESS : CHARLES WHITTINGHAM AND CO.
TOOKS COURT, CHANCERY LANE, LONDON.

NOTE.

The four articles and bibliographies contained in
this volume originally appeared in "The Library."
In connection with the bibliographies, I desire
to express cordial thanks to the authorities and
attendants of the British Museum, without whose
courtesy and aid, extending over many weeks, it
would have been impossible to bring together the
particulars. Most of the artists, too, have kindly
checked and supplemented the entries relating to
their work, but even with the help given me I
cannot hope to have produced exhaustive lists.
My thanks are due to the publishers with whom
arrangements have been made for the use of blocks.

R. E. D. Sketchley.

CONTENTS.

BIBLIOGRAPHIES.

I. Some Decorative Illustrators .
II. Some Open-Air Illustrators

III. Some Character Illustrators .

IV. Some Children's-Book Illustrations

Index of Artists

PAGE

Note v

Introduction xi

I. Some Decorative Illustrators . . i

II. Some Open-Air Illustrators ... 30

III. Some Character Illustrators ... 56

IV. Some Children's-Books Illustrators . 94

121
132
144
158

174

LIST OF ILLUSTRATIONS

FROM PAGE

" Les Quinze Joies de Mariage " xii

The " Dialogus Creaturarum " xiii

A Venetian Chapbook xvii

The *' Rappresentazione di un Miracolo del Corpo

di Gesu " xviii

The " Rappresentazione di S. Cristina " ... xix

" La Nencia da Barberino " xxi

The "Storia di IppoHto Buondelmonti e Dianora

Bardi" xxii

Ingold's " Guldin Spiel " xxiv

The Malermi Bible xxv

A French Book of Hours xxvii

FROM BY

" A Farm in Fairyland." . Laurence Housman . . xxx

Grimm's '* Household Walter Crane ... 5

Stories."

" Undine." Heywood Sumner . . 7

" Keats' Poems." . . . R. Anning Bell . . 9

" Stories and Fairy Tales." A. J. Gaskin ...11

" The Field of Clover." . Laurence Housman 10 and 21

" Cupide and Psyches." . Charles Ricketts . . 22

" Daphnis and Chloe." . . Charles Ricketts and

C. H. Shannon . . 23

" The Centaur." . . . . T. Sturge Moore . . 25

" Royal Edinburgh." . . Sir George Reid facing 35

'* The Warwickshire Avon." Alfred V arsons . . . 37

" The Cinque Ports." . . William Hyde ... 42

X LIST OF ILLUSTRATIONS

FROM BY PAGE

** Italian Journeys." . . . Joseph Pennell facing 45

" The Holyhead Road." . C. G. Harper ... 49

"The Formal Garden." . F. Inigo 'Thomas . . 51
'' The Natural History of

Selborne." E. H. New .... 53

'* British Deer and their

Horns." J. G. Millais . . . SS

" Death and the Plough-
man's Wife." .... William Strang . . . 61
" The Bride of Lammer-

moor." Fred Pegram . . .71

'* Shirley." F. H. Townsend . . 73

" The Heart of Midlothian." Claude J. Shepperson . 75
" The School for Scandal." E.J.Sullivan ... 78
" The Ballad of Beau Bro-
cade." Hugh Thomson . . .82

" The Essays of Elia." . . C. E. Brock ... 85

" The Talk of the Town." Sir Harry Furniss . . 89

" Hermy." Lewis Baumer . . .100

" To tell the King the Sky

is falling." Alice B. Woodward . 105

" Fairy Tales of the Brothers

Grimm." Arthur Rackham . .109

" Indian Fairy Tales." . . J. B. Batten . . .111

" The Pink Fairy Book." . H. J. Ford . . . .113

" Fairy Tales by Q." . . H.R.Millar . . .115

INTRODUCTION.

SOME PRESENT-DAY LESSONS FROM
OLD WOODCUTS.

By Alfred W. Pollard.

[OME explanation seems needed for
the intrusion of a talk about the wood-
cuts of the fifteenth century into a
book dealing with the work of the
illustrators of our own day, and the
explanation, though no doubt discred-
itable, is simple enough. It was to a mere biblio-
grapher that the idea occurred that lists of contem-
porary illustrated books, with estimates of the work
found in them, might form a useful record of the
state of English book-illustration at the end of a
century in which for the first time (if we stretch
the century a little so as to include Bewick) it had
competed on equal terms with the work of foreign
artists. Fortunately the bibliographer's scanty
leisure was already heavily mortgaged, and so the
idea was transferred to a special student of the subject,
much better equipped for the task. But partly for
the pleasure of keeping a finger in an interesting pie,
partly because there was a fine hobby-horse waiting
to be mounted, the bibliographer bargained that he
should be allowed to write an introduction in which

FROM 'LES QUINZE JOIES DE MARIAGE,'
PARIS, TREPEREL, C. 150O.

INTRODUCTION.

Xlll

his hobby should have free play, and the reader,
who has got a much better book than he was
intended to have, must acquiesce in this meddling,
or resort to his natural rights and skip.

It is well to ride a hobby with at least a semblance
of moderation, and the thesis which this introduction
is written to maintain does not assert that the wood-
cuts of the fifteenth century are better than the
illustrations of the present day, only that our modern

FROM THE 'dIALOGUS CREATURARUM.' GOUDA, I480.

artists, if they will condescend, may learn some useful
lessons from them. At the outset it may frankly be
owned that the range of the earliest illustrators was
limited. They had no landscape art, no such out-
of-door illustrations as those which furnish the
subjeft for one of Miss Sketchley's most interesting
chapters. Again, they had little humour, at least
of the voluntary kind, though this was hardly their
own fault, for as the admission is made the thought
at once follows it that of all the many deficiencies

xiv INTRODUCTION.

of fifteenth-century literature the lack of humour is
one of the most striking. The rough horseplay of
the Life of Aesop prefixed to editions of the Fables
can hardly be counted an exception ; the wit combats
of Solomon and Marcolphus produced no more than
a title-cut showing king and clown, and outside the
' Dialogus Creaturarum ' I can think of only a
single valid exception, itself rather satirical than
funny, this curious pi6ture of a family on the move
from a French treatise on the Joys of Marriage. On
the ' Dialogus ' itself it seems fair to lay some
stress, for surely the picture here shown of the Lion
and the Hare who applied for the post of his
secretary may well encourage us to believe that in
two other departments of illustration from which
also they were shut out, those of Caricature (for
which we must go back to thirteenth-century prayer-
books) and Christmas Books for Children, the
fifteenth-century artist would have made no mean
mark. It is, indeed, our Children's Gift-Books that
come nearest both to his feeling and his style.

What remains for us here to consider is the
achievement of the early designers and woodcutters
in the field of Decorative and Character Illustrations
with which Miss Sketchley deals in her first and third
chapters. Here the first point to be made is that by
an invention of the last twenty years they are brought
nearer to the possible work of our own day than to
that of any previous time. It has been often enough
pointed out that, not from preference, but from in-
ability to devise any better plan, the art of woodcut
illustration began on wholly wrong lines. Starting, as
was inevitable, from the colour-work of illuminated

INTRODUCTION. xv

manuscripts, the illustrators could think of no other
means of simplification than the reduction of piftures
to their outlines. With a piece of plank cut, not
across the grain of the wood, but with it, as his
material, and a sharp knife and, perhaps, a gouge
as his only tools, the woodcutter had to reproduce
these outlines as best he could, and it is little to be
wondered at if his lines were often scratchy and
angular, and many a good design was deplorably ill
handled. After a time, soft metal, presumably
pewter, was used as an alternative to wood, and
perhaps, though probably slower, was a little easier
to work successfully. But save in some Florentine
pi6tures and a few designs by GeofFroy Tory, the
craftsman's work was not to cut the lines which
the artist had drawn, but to cut away everything
else. This inverted method of work continued
after the invention of crosshatching to represent
shading, and was undoubtedly the cause of the rapid
supersession of woodcuts by copper engravings
during the sixteenth century, the more natural
method of work compensating for the trouble caused
when the illustrations no longer stood in relief like
the type, but had to be printed as incised plates,
either on separate leaves, or by passing the sheet
through a different press. The eighteenth-century
invention of wood-engraving as opposed to wood-
cutting once again caused pictures and text to be
printed together, and the amazing dexterity of
successive schools of wood-engravers enabled them
to produce, though at the cost of immense labour,
work which seemed to compete on equal terms with
engravings on copper. At its best the wood-en-

b

xvi INTRODUCTION.

graving of the nineteenth century was almost
miraculously good ; at its worst, in the wood-en-
gravings of commerce — the wood-engravings of the
weekly papers, for which the artist's drawing might
come in on a Tuesday, to be cut up into little
squares and worked on all night as well as all day,
in the engravers' shops — it was unequivocally and
deplorably, but hardly surprisingly, bad.

Upon this strange medley of the miraculously
good and the excusably horrid came the invention
of the process line-block, and the problem which
had baffled so many fifteenth-century woodcutters,
of how to preserve the beauty of simple outlines
was solved at a single stroke. Have our modern
artists made anything like adequate use of this
excellent invention ? My own answer would be
that they have used it, skilfully enough, to save
themselves trouble, but that its artistic possibilities
have been allowed to remain almost unexplored.
As for the trouble-saving — and trouble-saving is
not only legitimate but commendable — the photo-
grapher's camera is the most obliging of craftsmen.
Only leave your work fairly open and you may draw
on as large a scale and with as coarse lines as you
please, and the camera will photograph itdown for you
to the exad: space the illustration has to fill and will
win you undeserved credit for delicacy and fineness
of touch as well. Thus to save trouble is well, but
to produce beautiful work is better, and what use
has been made of the fidelity with which beautiful
and gracious line can now be reproduced ? The
caricaturists, it is true, have seen their opportunity.
Cleverness could hardly be carried further than it is

La Le^ Fa<5la Nouamcntc a Morte e D cftrucJlione
de !i Franrofi 8i fuoi SeguacI,

r"^ M-M

XVlll

INTRODUCTION.

FROM THE RAPPRESENTAZIONE DI UN MIRACOLO DEL CORPO
DI GESU, 1572. JAC. CHITI.

by Mr. Phil May, and a caricaturist of another sort,
the late Mr. Aubrey Beardsley, degenerate and
despicable as was almost every figure he drew, yet
saw and used the possibilities which artists of happier
temperament have negleded. With all the dis-
advantages under which they laboured in the re-
produdion of fine line the craftsmen of Venice and
Florence essayed and achieved more than this.
Witness the fine rendering into pure line of a picture
by Gentile Bellini of a tall preacher preceded by
his little crossbearer in the ' Doftrina ' of Lorenzo
Giustiniano printed at Venice in 1494, or again the
impressiveness, surviving even its little touch of the
grotesque, of this armed warrior kneeling at the feet

INTRODUCTION.

XIX

FROM THE RAPPRESENTAZIONE DI S. CRISTINA, 1 555.

of a pope, which I have unearthed from a favourite
volume of Venetian chapbooks at the British
Museum. A Florentine pi6ture of Jacopone da
Todi on his knees before a vision of the Blessed
Virgin (from Bonacorsi's edition of his ' Laude,'
1490) gives another instance of what can be done
by simple line in a different style. We have yet
other examples in many of the illustrations to the
famous romance, the ' Hypnerotomachia Poliphili,'
printed at Venice in 1499. Of similar cuts on a
much smaller scale, a specimen will be given later.
Here, lest anyone should despise these fifteenth-
century efforts, I would once more recall the fa6t
that at the time they were made the execution of
such woodcuts required the greatest possible dexter-

XX INTRODUCTION.

ity, in cutting away on each side so as to leave the
line as the artist drew it with any semblance of its
original grace. In many illustrated books which
have come down to us what must have been
beautiful designs have been completely spoilt,
rendered even grotesque, by the fine curves of the
drawing being translated into scratchy angularities.
But draw he never so finely no artist nowadays need
fear that his work will be made scratchy or angular
by photographic process. It is only when he
crowds lines together, from inability to work simply,
that the process block aggravates his defefts.

I pass on to another point as to which I think
the Florentine woodcutters have something to teach
us. If we put pictures into our books, why should
not the piftures be framed .? A hard single line
round the edge of a woodcut is a poor set-ofi^ to it,
often confli6ling with the lines in the pi(flure itself,
and sometimes insufficiently emphatic as a frame
to make us acquiesce in what seems a mere cutting
away a portion from a larger whole. Our Florentine
friends knew better. Here (pp. xiv-xv), for instance,
are two scenes, from some unidentified romance,
which in 1572 and 1555 respe6lively (by which time
they must have been about fifty and sixty years old)
appeared in Florentine religious chapbooks, with
which they have nothing to do. The little borders
are simple enough, but they are sufficiently heavy
to carry off^ the blacks which the artist (according
to what is the true method of woodcutting) has left
in his pidiure, and we are much less inclined to
grumble at the window being cut in two than we
should be if the cut were made by a simple line

INTRODUCTION.

XXI

instead of quite firmly and with determination by a
frame.

I have given these tv^o Florentine cuts, much the

FROM LORENZO DE MEDICI S LA NENCIA DA BARBERINO, S.A.

worse for wear though they be, with peculiar
pleasure, because I take them to be the exa6l
equivalents of the piftures in our illustrated novels
of the present day of which Miss Sketchley gives
several examples in her third paper. They are good

XXll

INTRODUCTION.

examples of what may be called the diffused charac-
terization in which our modern illustrators excel.
Every single figure is good and has its own individ-

FROM THE STORIA DI IPPOLITO BUONDELMONTI E DIANORA
BARDI, S.A.

uality, but there is no attempt to illustrate a central
character at a decisive moment. Decisive moments,
it may be obje6led, do not occur (except for epicures)
at polite dinner parties, or during the 'mauvais

INTRODUCTION. xxiii

quart d'heure,' which might very well be the
subjedl of our first picture. But it seems to me
that modern illustrators often deliberately shun
decisive moments, preferring to illustrate their
characters in more ordinary moods, and perhaps the
Florentines did this also. Where the illustrator is
not a great artist the discretion is no doubt a wise
one. What for instance could be more charming,
more completely successful than this little picture
of a messenger bringing a lady a flower, no doubt
with a pleasing message with it ? In our next cut
the artist has been much more ambitious. Preceded
by soldiers with their long spears, followed by the
hideously masked ' Battuti ' who ministered to the
condemned, Ippolito is being led to execution. As
he passes her door, Dianora flings herself on him in
a last embrace. The lady's attitude is good, but the
woodcutter, alas, has made the lover look merely
bored. In book-illustration, as in life, who would
avoid failure must know his limitations.

Whatever shortcomings these Florentine pictures
may have in themselves, or whatever they may lose
when examined by eyes only accustomed to modern
work, I hope that it will be conceded that as charac-
ter-illustrations they are far from being despicable.
Nevertheless the true home of character-illustration
in the fifteenth century was rather in Germany than
in Italy. Inferior to the Italian craftsmen in delicacy
and in producing a general impression of grace
(partly, perhaps, because their work was intended
to be printed in conjunction with far heavier type)
the German artists and woodcutters often showed
extraordinary power in rendering facial expression.

XXIV

INTRODUCTION.

My favourite example of this is a little pi6lure from
the ' De Claris Mulieribus ' of Boccaccio printed
at Ulm in 1473, ^" ^'^^ ^^^^ ^^ which the Roman
general Scipio is shown with uplifted finger bidding
the craven Massinissa put away his Carthaginian

FROM INGOLd's * GULDIN SPIEL.' AUGSBURG, I472.

wife, while on the other Sophonisba is watched by
a horror-stricken messenger as she drains the poison
her husband sends her. But there is a naivete about
the figure of Scipio which has frequently provoked
laughter from audiences at lantern-leftures, so my
readers must look up this illustration for themselves

INTRODUCTION.

XXV

at the British Museum, or elsewhere. I fall back
on a picture of a card-party from a ' Guldin Spiel '
printed at Augsburg in 1472, in which the hesita-
tion of the woman whose turn it is to play, the
rather supercilious interest of her vis-a-vis, and the
calm confidence of the third hand, not only ready
to play his best, but sure that his best will be good
enough, are all shown with absolute simplicity, but
in a really masterly manner. Facial expression such

FROM THE MALERMI BIBLE. VENICE, GIUNTA, I49O.

as this in modern work seems entirely confined to
children's books and caricature, but one would
sacrifice a good deal of our modern prettiness for a
few more touches of it.

The last point to which I would draw attention
is that a good deal more use might be made of quite
small illustrations. The full-pagers are, no doubt,
impressive and dignified, but I always seem to see
written on the back of them the artist's contraft to
supply so many drawings of such and such size at

xxvi INTRODUCTION.

so many guineas apiece, and to hear him groaning
as he runs through his text trying to pick out the
full complement of subje6ls. The little sketch is
more popular in France than in England, and there
is a suggestion of joyous freedom about it which is
very captivating. Such small pidtures did not suit
the rather heavy touch of the German woodcutters;
in Italy they were much more popular. At Venice
a whole series of large folio books were illustrated in
this way in the last decade of the fifteenth century,
two editions of Malermi's translation of the Bible,
Lives of the Saints, an Italian Livy, the Decamer-
one of Boccaccio, the Novels of Masuccio, and other
works, all in the vernacular. At Ferrara, under
Venetian influence, an edition of the Epistles of S.
Jerome was printed in 1497, with upwards of one
hundred and eighty such little cuts, many of them
illustrating incidents of monastic life. Both at
Venice and Ferrara the cuts are mainly in outline,
and when they are well cut and two or three come
together on a page the effect is delightful. In
France the vogue of the small cut took a very special
form. By far the most famous series of early French
illustrated books is that of the Hours of the Blessed
Virgin (with which went other devotions, making
fairly complete prayer-books for lay use), which
were at their best for some fifteen years reckoning
from 1488. These Hour-Books usually contained
some fifteen large illustrations, but their most notable
features are to be found in the borders which
surround every page. On the outer and lower
margins these borders are as a rule about an inch
broad, sometimes more, so that they can hold four

FROM A FRENCH BOOK OF HOURS. PARIS, KERVER, 1498.

xxviii INTRODUCTION.

or five little pi6lures of about an inch by an
inch and a half on the outer margin, and one
rather larger one at the foot of the page. The
variety of the pi6tures designed to fill these spaces
is almost endless. Figures of the Saints and their
emblems and illustrations of the games or occupations
suited to each month fill the margins of the Calendar.
To surround the text of the book there is a long
series of pictures of incidents in the life of Christ,
with parallel scenes from the Old Testament, scenes
from the lives of Joseph and Job, representations of
the Virtues, the Deadly Sins being overcome by
the contrary graces, the Dance of Death, and for
pleasant relief woodland and pastoral scenes and even
grotesques. The popularity of these prayer-books
was enormous, new editions being printed almost
every month, with the result that the illustrations
were soon worn out and had frequently to be
replaced. I have often wished, if only for the sake
of small children in sermon time, that our English
prayer-books could be similarly illustrated. An
attempt to do this was made in the middle of the
last century, but it was pretentious and unsuccessful.
The great difficulty in the way of a new essay lies
in the popularity of very small prayer-books, with
so little margin and printed on such thin paper as
hardly to admit of border cuts. The difficulty is
real, but should not be insuperable, and I hope that
some bold illustrator may soon try his hand afresh.
I should not be candid if I closed this paper
without admitting that my fifteenth-century friends
anticipated modern publishers in one of their worst
faults, the dragging in illustrations where they are

INTRODUCTION. xxix

not wanted. In the fifteenth century the same cuts
were repeated over and over again in the same book
to serve for different subjects. Modern publishers
are not so simple-hearted as this, but they add to
the cost of their books by unpleasant half-tone
reprodu6tions of unnecessary portraits and views,
and I do not think that book-buyers are in the least
grateful to them. Miss Sketchley, I am glad to see,
has not concerned herself with illustrators whose
designs require to be produced by the half-tone
process. To condemn this process unreservedly
would be absurd. It gives us illustrations which
are really needed for the understanding of the text
when they could hardly be produced in any other
way, and while it does this it must be tolerated.
But by necessitating the use of heavily-loaded paper
— unpleasant to the touch, heavy in the hand,
doomed, unless all the chemists are wrong, speedily
to rot — it is the greatest danger to the excellence of
our English book-work which has at present to be
faced, while by wearying readers with endless
mechanically produced pictures it is injurious also
to the best interests of artistic illustration.

FROM MR. HOUSMAN S " A FARM IN FAIRYLAND.
BY LEAVE OF MESSRS. KEGAN PAUL.

ENGLISH BOOK-ILLUSTRA-
TION OF TO-DAY.

I. SOME DECORATIVE ILLUSTRATORS.

IF the famous ' Poems by Alfred Tenny-
son,' published in 1857 by Edward
Moxon, Mr. Gleeson White wrote in
1897: ' The whole modern school of
decorative illustrators regard it, rightly
enough, as the genesis of the modern
movement.' The statement may need some modi-
fication to touch exaft truth, for the ' modern
movement ' is no single-file, straightforward move-
ment. ' Kelmscott,' 'Japan,' the 'Yellow Book,'
black-and-white art in Germany, in France, in
Spain, in America, the influence of Blake, the style
of artists such as Walter Crane, have affefted the
present form of decorative book-illustration. Such
perfeft unanimity of opinion as is here ascribed to
a large and rather indefinitely related body of men
hardly exists among even the smallest and most
derided body of artists. Still, allowing for the im-
possibility of telling the whole truth about any
modern and ecledtic form of art in one sentence,
there is here a statement of fad;. What Rossetti
and Millais and Holman Hunt achieved in the
drawings to the 'Tennyson' of 1857, ^^^ ^ vital
change in the intention of English illustrative art,

B

2 ENGLISH BOOK-ILLUSTRATION

and whatever form decorative illustration may
assume, their ideal is effective while a personal
interpretation of the spirit of the text is the creative
impulse. The influence of technical mastery is
strong and enduring enough. It is constantly in
sight and constantly in mind. But it is in discover-
ing and making evident a principle in art that the
influence of spirit on spirit becomes one of the
illimitable powers.

To Rossetti the illustration of literature meant
giving beautiful form to the expression of delight,
of penetration, that had kindled his imagination as
he read. He illustrated the ' Palace of Art ' in the
spirit that stirred him to rhythmic translation into
words of the still music in Giorgione's ' Pastoral,'
or of the unpassing movement of Mantegna's
* Parnassus.' Not the words of the text, nor those
things precisely affirmed by the writer, but the
spell of significance and of beauty that held his
mind to the exclusion of other images, gave him
inspiration for his drawings. As Mr. William
Michael Rossetti says : ' He drew just what he
chose, taking from his author's text nothing more
than a hint and an opportunity.' It is said, indeed,
that Tennyson could never see what the St. Cecily
drawing had to do with his poem. And that is
strange enough to be true.

It is clear that such an ideal of illustration is for
the attainment of a few only. The ordinary illus-
trator, making drawings for cheap reproduction in
the ordinary book, can no more work in this mood
than the journalist can model his style on the prose
of Milton. But journalism is not literature, and

OF TO-DAY. 3

pidlured matter-of-fad: is not illustration, though it
is convenient and customary to call it so. How-
ever, here one need not consider this, for the decor-
ative illustrator has usually literature to illustrate,
and a commission to be beautiful and imaginative
in his w^ork. He has the opportunity of Rossetti,
the opportunity for significant art.

The ' Classics ' and children's books give greatest
opportunity to decorative illustrators. Those who
have illustrated children's books chiefly, or whose
best work has been for the playful classics of litera-
ture, it is convenient to consider in a separate
chapter, though there are instances where the
division is not maintainable : Walter Crane, for
example, whose influence on a school of decorative
design makes his position at the head of his follow-
ing imperative.

Representing the ' archite6tural ' sense in the
decoration of books, many years before the supreme
achievements of William Morris added that ideal
to generally recognized motives of book-decoration,
Walter Crane is the precursor of a large and pro-
lific school of decorative illustrators. Many fac^tors,
as he himself tells, have gone to the shaping of his
art. Born in 1846 at Liverpool, he came to Lon-
don in 1857, and there after two years was 'ap-
prenticed ' to Mr. W. J. Linton, the well-known
wood-engraver. His work began with ' the sixties,'
in contact with the enthusiasm and inspiration those
years brought into English art. The illustrated
'Tennyson,' and Ruskin's ' Elements of Drawing,'
were in his thoughts before he entered Mr. Lin-
ton's workshop, and the * Once a Week ' school had

4 ENGLISH BOOK-ILLUSTRATION.

a strong influence on his early contributions to
' Good Words,' ' Once a Week,' and other famous
magazines. In 1865 Messrs. Warne published the
first toy-book, and by 1869-70 the 'Walter Crane
Toy-book ' was a fad: in art. The sight of some
Japanese colour-prints during these years suggested
a finer decorative quality to be obtained with tint
and outline, and in the use of black, as well as in
a more delicate simplicity of colour, the later toy-
books show the first effe6t of Japanese art on the
decorative art of England. Italian art in England
and Italy, the prints of Diirer, the Parthenon sculp-
tures, these were influences that affedfed him
strongly. 'The Baby's Opera' (1877) and 'The
Baby's Bouquet' (1879) are classics almost impos-
sible to criticise, classics familiar from cover to
cover before one was aware of any art but the art
on their pages. So that if these delightful designs
seem less expressive of the Greece, Germany, and
Italy of the supreme artists than of the ' Crane '
countries by whose coasts ships ' from over the sea'
go sailing by with strange cargoes and strange crews,
it is not in their dispraise. As a decorative draughts-
man Mr. Crane is at his best when the use of colour
gives clearness to the composition, but some of his
most ' serious ' work is in the black-and-white pages
of ' The Sirens Three,' of ' The Shepheardes Calen-
dar,' and especially of ' The Faerie Queene.' The
number of books he has illustrated — upwards of
seventy — makes a detailed account impossible.
Nursery rhyme and fairy books, children's stories,
Spenser, Shakespeare, the myths of Greece, ' pa-
geant books ' such as ' Flora's Feast ' or ' Queen

FROM MR. WALTER CRANE's * GRIMm's HOUSEHOLD STORIES.'
BV LEAVE OF MESSRS. MACMILLAN

6 ENGLISH BOOK-ILLUSTRATION

Summer,' or the just published ' Masque of Days,'
his own writings, serious or gay, have given him
subjed:s, as the great art of all times has touched
the ideals of his art.

But whatever the subje6l, how strong soever his
artistic admirations, he is always Walter Crane,
unmistakable at a glance. Knights and ladies,
fairies and fairy people, allegorical figures, nursery
and school-room children, fulfil his decorative pur-
pose without swerving, though not always without
injury to their comfort and freedom and the life in
their limbs. An individual apprehension that sees
every situation as a conventional ' arrangement ' is
occasionally beside the mark in rendering real life.
But when his theme touches imagination, and is not
a supreme expression of it — for then, as in the
illustrations to ' The Faerie Queene,' an unusual
sense of subservience appears to dull his spirit — his
humorous fancy knows no weariness nor sameness
of device.

The work of most of Mr. Crane's followers
belongs to 'the nineties,' when the 'Arts and Crafts*
movement, the ' Century Guild,' the Birmingham
and other schools had attra6led or produced artists
working according to the canons of Kelmscott.
Mr. Heywood Sumner was earlier in the field.
The drawings to ' Sintram ' (1883) and to ' Undine '
(1888) show his art as an illustrator. Undine —
spirit of wind and water, flower-like in gladness —
seeking to win an immortal soul by submission to
the forms of life, is realized in the gracefully de-
signed figures of frontispiece and title-page. Where
Mr, Sumner illustrates incident he is ' factual '

OF TO-DAY.

without being matter-of-fa(5l. The small drawing
reproduced is hardly representative of his art, but
most of his work is adapted to a squarer page than
this, and has had to be rejected on that account.
Some of the most apt
decorations in ' The
English Illustrated' were
by Mr. Sumner, and
during the time when
art was represented in
the magazine Mr. Ry-
land and Mr. Louis
Davis were also frequent
contributors. The grace-
ful figures of Mr. Ry-
land, uninterested in
activity, a garden-world
set with statues around
them, and the carol-like
grace of Mr. Davis's de-
signs in that magazine,
represent them better
than the one or two
books they have illus-
trated.

Among those associ-
ated with the 'Arts and
Crafts ' who have given
more of their art to book-decoration, Mr. Anning
Bell is first. He has gained the approval even of
the most exigent of critics as an artist who under-
stands drawing for process. Since 1895, when the
'Midsummer Night's Dream' appeared, his win-

FROM MR. HEYWOOD SUMNER S
' UNDINE.'

BY LEAVE OF MESSRS. CHAPMAN
AND HALL.

8 ENGLISH BOOK-ILLUSTRATION

ning art has been praised with discrimination and
without discrimination, but always praised. Trained
in an architect's office, widely known as the re-
creator of coloured relief for architectural decora-
tion, Mr. Anning Bell's illustrations show con-
structive power no less than that fairy gift of seeming
to improvise without labour and without hesitancy,
which is one of its especial charms. In feeling, and
in many of his decorative forms, his drawings re-
call the art of Florentine bas-relief, when Agostino
di Duccio, or Rossellino or Mino da Fiesole, created
shapes of delicate sweetness, pure, graceful — so
graceful that their power is hardly realized. The
fairy by-play of the ' Midsummer Night's Dream '
is exactly to Mr. Anning Bell's fancy. He knows
better than to go about to expound this dream, and
it is not likely that a more delightful edition will
ever be put into the hands of children, or of anyone,
than this in the white and gold cover devised by the
artist.

Of his illustrations to the ' Poems by John
Keats' (1897), and to the 'English Lyrics from
Spenser to Milton ' of the following year — as
illustrations — not quite so much can be said, dis-
tinguished and felicitous as many of them are.
The simple profile, the demure type of beauty
that he affeCts, hardly suit with Isabella when she
hears that Lorenzo has gone from her, with Lamia
by the clear pool

"Wherein she passioned
To see herself escaped from so sore ills,"

or with Madeline, 'St. Agnes' charmed maid.' Mr.

OF TO-DAY. 9

Anning Bell's drawings to ' The Pilgrim's Pro-
gress' (1898) reveal him in a different mood, as
do those in ' The Christian Year ' of three years
earlier. His vision is hardly energetic enough, his
energy of belief sufficient, to make him a strong
illustrator of Bunyan, with his many moods, his
great mood. A little these designs suggest Howard
Pyle, and Anning Bell is better in a way of beauty
not Gothic.

FROM MR, ANNING BELLS 'KEATS,
BY LEAVE OF MESSRS, GEORGE BELL.

So if Mr. Anning Bell represents the ' Arts and
Crafts ' movement in the variety of decorative arts
he has pra6lised, and in the architectural sense
underlying all his art, his work does not agree
with the form in which the influence of William
Morris on decorative illustration has chiefly shown
itself. That form, of course, is Gothic, as the
ideal of Kelmscott was Gothic. The work of the
' Century Guild ' artists as decorative illustrators is

10 ENGLISH BOOK-ILLUSTRATION.

chiefly in the pages of ' The Hobby Horse.' Mr.
Selwyn Image and Mr. Herbert Home can hardly
be included among book illustrators, so in this con-
nection one may not stop to consider the decorative
strength of their ideal in art. The Birmingham
school represents Gothic ideals with determination
and rigidity. Morris addressed the students of the
school and prefaced the edition of ' Good King
Wenceslas,' decorated and engraved and printed by
Mr. A. J. Gaskin ' at the press of the Guild of
Handicraft in the City of Birmingham,' with cordial
words of appreciation for the pi(ftures. These illus-
trations are among the best Mr. Gaskin has done.
The commission for twelve full-page drawings to
'The Shepheardes Calendar' (Kelmscott Press,
1896) [marks Morris's pleasure in Mr. Gaskin's
work — especially in the illustrations to Andersen's
* Stories and Fairy Tales.' If not quite in tune
with Spenser's Elizabethan idyllism, these drawings
are distinctive of the definite convid:ions of the
artist.

These convictions represent a splendid tradition.
They are expressive, in their regard for the unity
of the page, for harmony between type and de-
coration, of the universal truth in all fine book-
making. Only at times, Birmingham work seems
rather heavy in spirit, rather too rigid for develop-
ment. Still, judging by results, a code that would
appear to be against individual expression is in-
spiring individual artists. Some of these — as Mr.
E. H. New — have turned their attention to archi-
tectural and 'open-air' illustration, in which con-
nection their work will be considered, and many

FROM MR. GASKIN S * HANS ANDERSEN.
PV LEAVE OF MR, GEORGE ALLEN,

12 ENGLISH BOOK-ILLUSTRATION

have illustrated children's books. Their quaint and
naive fancy has there, at times, produced a por-
tentous embodiment of the ' old-fashioned ' child
of li(5tion. Mr. Gere, though he has done little
book-illustration, is one of the strongest artists of
the school. His original wood engravings show
unmistakably his decorative power and his crafts-
manship. With Mr. K. Fairfax Muckley he was
responsible for 'The Quest' (1894-96). Mr. Fairfax
Muckley has illustrated and decorated a three-
volume edition of ' The Faerie Queene ' (1897),
wherein the forest branches and winding ways of
woodland and of plain are more happily conven-
tionalized than are Spenser's figures. Some of the
headpieces are especially successful. The artist
uses the * mixed convention ' of solid black and line
with less confusion than many modern draughts-
men. Once its dangers must have been evident,
but now the puzzle pattern, with solid blacks in
the foreground, background, and mid-distance —
only there is no distance in these drawings — is a
common form of black and white.

Miss Celia Levetus, Mr. Henry Payne, Mr. F.
Mason, and Mr. Bernard Sleigh, are also to the
credit of the school. Miss Levetus, in her later
work, shows that an inclination towards a more
flexible style is not incompatible with the training
in Gothic convention. Mr. Mason's illustrations
to ancient romances of chivalry give evidence of
conscientious craftsmanship, and of a spirit sym-
pathetic to themes such as ' Renaud of Montauban.'
Mr. Bernard Sleigh's original wood-engravings are
well known and justly appreciated. Strong in tra-

OF TO-DAY. 13

dition and logic as is the work of these designers, it
is, for many, too consistent with convention to be
deHghtful. Perhaps the best result of the Birming-
ham school will hardly be achieved until the formal
effe6t of its training is less patent.

The ' sixties ' might have been void of art, so
far as these designers are concerned, save that in
those days Morris and Burne-Jones and Walter
Crane, as well as Millais and Houghton and Sandys,
were about their work. Far other is the case with
artists such as Mr. Byam Shaw, or with the many
draughtsmen, including Messrs. P. V. Woodroffe,
Henry Ospovat, Philip Connard, and Herbert Cole,
whose art derives its form and intention from the
sixties. Differing in technical power and fineness
of invention, in all that distinguishes good from less
good, they have this in common — that the form of
their art would have been quite other if the illus-
trated books of that period were among things unseen.
Mr. Byam Shaw began his work as an illustrator in
1897 with a volume of' Browning's Poems,' edited
by Dr. Garnett. He proved himself in these draw-
ings, as in his pictures and later illustrations, an
artist with a definite memory for the forms, and a
genuine sympathy with the aims of pre-Raphaelite
art. Evidently, too, he admires the black-and-
white of Mr. Abbey. He has the gift of dramatic
conception, sees a situation at high pitch, and has
a pleasant way of giving side-lights, pi(5torial asides,
by means of decorative head and tailpieces. His
illustrations to the little green and gold volumes
of the ' Chiswick Shakespeare ' are more emphatic
than his earlier work, and in the decorations his

H ENGLISH BOOK-ILLUSTRATION

power of summarizing the chief motive is put to
good use. There is no need of his signature to dis-
tinguish the work of Byam Shaw, though he shows
himself under the influence of various masters.
Probably he is only an illustrator of books by the
way, but in the meantime, as the ' Boccaccio,'
' Browning,' and ' Shakespeare ' drawings show, he
works in black and white with vigorous intention.

Mr. Ospovat's illustrations to ' Shakespeare's
Sonnets' and to 'Matthew Arnold's Poems' are
interesting, if not very markedly his own. He
illustrates the Sonnets as a celebration of a poet's
passion for his mistress. As in these, so in the
Matthew Arnold drawings, he shows some genuine
creative power and an aptitude for illustrative de-
coration. Mr. Philip Connard has made spirited
and well-realized illustrations in somewhat the same
kind ; Miss Amelia Bauerle, and Mr. Bulcock,
who began by illustrating ' The Blessed Damozel '
in memory of Rossetti, have made appearance in
the * Flowers of Parnassus' series, and Mr. Herbert
Cole, with three of these little green volumes, pre-
pared one for more important work in ' Gulliver's
Travels ' (1900).

The work of Mr. WoodrofFe was, I think, first
seen in the ' Quarto ' — the organ of the Slade
School — where also Mr. A. Garth Jones, Mr. Cyril
Goldie, and Mr. Robert Spence, gave unmistakable
evidence of individuality. Mr. Woodroffe's wood-
engravings in the 'Quarto' showed strength, which
is apparent, too, in the delicately charad:erized
figures to 'Songs from Shakespeare's Plays' (1898),
with their borders of lightly-strung field flowers.

OF TO-DAY. 15

His drawings to ' The Confessions of S. Augustine,'
engraved by Miss Clemence Housman, are in keep-
ing with the text, not impertinent. Mr. A. Garth
Jones in the ' Quarto ' seemed much influenced by
Japanese grotesques ; but in illustrations to Milton's
' Minor Poems' (1898) he has shown development
towards the expression of beauty more austere,
classical, controlled to the presentment of Milton's
high thought. His recent ' Essays of Elia ' re-
mind one of the forcible work of Mr. E. J. Sulli-
van in ' Sartor Resartus.' Mr. Sullivan's * Sartor '
and ' Dream of Fair Women ' must be mentioned.
His mastery over an assertive use of line and solid
black, the unity of his efFe6ls, the humour and
imagination of his decorative designs, are not likely
to be forgotten, though the balance of his work in
illustrations to Sheridan, Marryat, Sir Walter Scott,
obliges one to class him with " character " illus-
trators, and so to leave a blank in this article.

Mr. Laurence Housman stands alone among
modern illustrators, though one may, if one will,
speak of him as representing the succession of the
sixties, or as connected with the group of artists
whose noteworthy development dates from the
publication of * The Dial' by Charles Ricketts and
Charles Shannon in 1889. To look at Mr. Hous-
man's art in either connection, or to record the
efFeft of Diirer, of Blake, of Edward Calvert, on
his technique, is only to come back to appreciation
of all that is his own. As an illustrator he has
hardly surpassed the spirit of the ' forty-four de-
signs, drawn and written by Laurence Housman,'
that express his idea of George Meredith's 'Jump

i6 ENGLISH BOOK-ILLUSTRATION

to Glory Jane' (1890). These designs were the
result of the appreciation which the editor, Mr.
Harry Quilter, felt for Mr. Housman's drawings
to ' The Green Gaffer ' in ' The Universal Review.'
Jane — the village woman with ' wistful eyes in
a touching but bony face,' leaping with counten-
ance composed, arms and feet * like those who
hang,' leaping in crude expression of the unity of
soul and body, making her converts, failing to
move the bishop, dying at last, though not in-
gloriously, by the wayside — this most difficult
conception has no ' burlesque outline ' in Mr.
Housman's work, inexperienced and unacademic
as is the drawing.

'Weird Tales from Northern Seas,' by Jonas Lie,
was the next book illustrated by Mr. Housman.
Christina Rossetti's * Goblin Market' ( 1893), offered
greater scope for freakish imagination than did
'Jane.' The goblins, pale-eyed, mole and rat and
weasel-faced; the sisters, whose simple life they
surround with hideous fantasy, are realized in har-
mony with the unique effect of the poem — an
effeft of simplicity, of naive imagination, of power,
of things stranger than are told in the cry of the
goblin merchants, as at evening time they invade
quiet places to traffic with their evil fruits for the
souls of maidens. The frail-bodied elves of ' The
End of Elfin Town,' moving and sleeping among
the white mushrooms and slender stalks of field
flowers, are of another land than that of the goblin
merchant-folk. Illustrations to * The Imitation of
Christ,' to ' The Sensitive Plant,' and drawings to
' The Were-Wolf,' by Miss Clemence Housman,

OF TO-DAY. 17

complete the list of Mr. Housman's illustrations
to writings not his own, with the exception of
frontispiece drawings to several books.

To explain Mr. Housman's vision of ' The
Sensitive Plant' would be as superfluous as it would
be ineffectual. In a note on the illustrations he
has told how the formal beauty, the exquisite
ministrations, the sounds and fragrance and sweet
winds of the garden enclosed, seem to him as ' a
form of beauty that springs out of modes and
fashions,' too graceful to endure. In his pidiures he
has realized the perfect ensemble of the garden, its
sunny lawns and rose-trellises, its fountains, statues,
and flower-sweet ways ; realized, too, the spirit of
the Sensitive Plant, the lady of the garden, and
Pan, the great god who never dies, who waits only
without the garden, till in a little while he enters,
' effacing and replacing with his own image and
superscription, the parenthetic grace ... of the
garden deity.'

Of a talent that treats always of enchanted
places, where ' reality ' is a long day's journey
down a dusty road, it is difficult to speak without
suggesting that it is all just a charming dalliance
with pretty fancies, lacking strength. Of the
strength of Mr. Housman's imagination, however,
his work speaks. His illustrations to his own
writings, fairy tales, and poems, cannot with any
force be discussed by themselves. The words be-
long to the pictures, the pictures to the words.
The drawings to 'The Field of Clover' are seen to
full advantage in the wood-engravings of Miss
Housman. Only so, or in reproduction by photo-

c

1 8 ENGLISH BOOK-ILLUSTRATION

gravure, is the full intention of Mr. Housman's
pen-drawings apparent.

One may group the names of Charles Ricketts,
C. H. Shannon, T. Sturge Moore, Lucien Pissarro,
and Reginald Savage together in memory of ' The
Dial,' where the activity of five original artists
first became evident, though, save in the case of
Mr. Ricketts and Mr. Shannon, no continuance of
the classification is possible. The first number of
'The Dial' (1889) had a cover design cut on wood
by Mr. C. H. Shannon — afterwards replaced by
the design of Mr. Ricketts. Twelve designs by
Mr. Ricketts may be said to represent the transi-
tional— or a transitional — phase of his art, from the
earlier work in magazines, which he disregards, to
the reticent expression of * Vale Press ' illustrations.
In 1 89 1 the first book decorated by these artists
appeared, ' The House of Pomegranates,' by Oscar
Wilde. There was, however, nothing in this book
to suggest the form their joint talent was to take.
Many delightful designs by Mr. Ricketts, somewhat
marred by heaviness of line, and full-page illustra-
tions by Mr. Shannon, printed in an almost invisible,
nondescript colour, contained no suggestion of
' Daphnis and Chloe.'

The second 'Dial' (1892) contained Mr. Ricketts'
first work as his own wood-engraver, and in the
following year the result of eleven months' joint
work by Mr. Ricketts and Mr. Shannon was shown
in the publication of ' Daphnis and Chloe,' with
thirty-seven woodcuts by the artists. Fifteen of
the pictures were sketched by Mr. Shannon and
revised and drawn on the wood by Mr. Ricketts,

OF TO-DAY. 19

who also engraved the initials. It is a complete
achievement of individuality subordinated to an
ideal. Here and there one can affirm that Mr.
Shannon drew this figure, composed this scene,
Mr. Ricketts that ; but generally the hand is not to
be known. The ideal of their inspiration — the im-
mortal ' Hypnerotomachia ' — seems equally theirs,
equally potent over their individuality. Speaking
with diffidence, it would seem as though Mr.
Shannon's idea of the idyll were more naive and
humorous. Incidents beside the main theme of
the pastoral loves of young Daphnis and Chloe —
the household animals, other shepherds — are
touched with humorous intent. Mr. Ricketts
shows more suavity, and, as in the charming double-
page design of the marriage feast, a more lyrical
realization of delight and shepherd joys.

The 'Hero and Leander ' of 1894 is a less
elaborate, and, on the whole, a finer produ6tion.
I must speak of the illustrations only, lest con-
sideration of Vale Press publications should fill
the remaining space at my disposal. Obviously
the attenuated type of these figures shows Mr.
Ricketts' ideal of the human form as a decora-
tion for a page of type. The severe reticence he
imposes on himself is in order to maintain the
balance between illustrations and text. One has
only to turn to illustrations to Lord de Tabley's
' Poems,' published in 1893, to see with what eager
imagination he realizes a subject, how strong a gift
he has for dramatic expression. That a more per-
suasive beauty of form was once his wont, much of
his early and transitional work attests. But I do

BY LEAVE OF MESSRS. KEGAN PAUL.

BY LEAVE OF MESSRS. KEGAN PAUL.

22 ENGLISH BOOK-ILLUSTRATION.

not think his power to achieve beauty need be de-
fended. After the pubHcation of ' Hero and
Leander,' Mr. Shannon prad:ically ceased wood-
engraving for the illustration of books, though, as
the series of roundel designs in the recent exhibi-

FROM MR. RICKETTS' ' CUPID , AND PSYCHES.'
REPRODUCED BY HIS PERMISSION.

tion of his work proved, he has not abandoned nor
ceased to go forward in the art.

' The Sphinx,' a poem by Oscar Wilde, ' built,
decorated and bound ' by Mr. Ricketts — but with-
out woodcuts — was published in 1894, just after
* Hero and Leander,' and designs for a magnificent
edition of 'The King's Quhair' were begun.

OF THE APPARITION OF THE THREE NYMPHS TO DAPHNIS
IN A DREAM.

from messrs. ricketts and shannon's ' daphnis and chloe.

(mathews and lane.)

reproduced by their leave and the publishers*.

24 ENGLISH BOOK-ILLUSTRATION

Some of these are in ' The Dial,' as are also designs
for William Adlington's translation of * Cupide and
Psyches' in ' The Pageant,' 'The Dial,' and 'The
Magazine of Art.' The edition of the work pub-
lished by the new Vale Press in 1897, is not that
projected at this time. It contains roundel designs
in place of the square designs first intended. These
roundels are, I think, the finest achievement of
Mr. Ricketts as an original wood-engraver. The
engraving reproduced shows of what quality are
both line and form, how successful is the placing
of the figure within the circle. On the page they
are what the artist would have them be. With
the beginning of the sequence of later Vale Press
books — books printed from founts designed by Mr.
Ricketts — a consecutive account is impossible, but
the frontispiece to the ' Milton' and the borders and
initials designed by Mr. Ricketts, must be mentioned.
As a designer of book-covers only one failure is set
down to Mr. Ricketts, and that was ten years ago,
in the cover to 'The House of Pomegranates.'

Mr. Reginald Savage's illustrations to some
tales from Wagner lack the force of designs in
' The Pageant,' and of woodcuts in Essex House
publications. Of M. Lucien Pissarro, in an article
overcrowded with English illustrators, I cannot
speak. His fame is in France as the forerunner of
his art, and we in England know his coloured wood-
engravings, his designs for ' The Book of Ruth and
Esther ' and for ' The Queen of the Fishes,' printed
at his press at Epping, but included among Vale
Press books.

*The Centaur,' 'The Bacchant,' 'The Meta-

OF TO-DAY. 25

morphoses of Pan,' ' Siegfried ' — young Siegfried,
wood-nurtured, untamed, setting his lusty strength
against the strength of the brutes, hearing the bird-
call then, and following the white bird to issues
remote from savage life — these are subjed:s realized
by the imagination of Mr. T. Sturge Moore.
There are few artists illustrating books to-day whose

FROM MR. STURGE MOORe's ' THE CENTAUR.'
REPRODUCED BY PERMISSION OF MR. RICKETTS.

work is more unified, imaginatively and technically.
It is some years since first Mr. Moore's wood-
engravings attracted notice in ' The Dial ' and
*The Pageant,' and the latest work from his graver
— finer, more rhythmic in composition though it
be — shows no change in ideals, in the direction of
his talent. He has said, I think, that the easiest
line for the artist is the true basis of that artist's

26 ENGLISH BOOK-ILLUSTRATION

work, and it would seem as though much delibera-
tion in finding that line for himself had preceded
any of the work by which he is known. The
wood-engraving of Mr. Sturge Moore is of some
importance. Always the true understanding of his
material, the unhesitating realization of his subjed:,
combine to produce the effect of inevitable line
and form, of an inevitable setting down of forms
in expression of the thought within. Only that
gives the idea of formality, and Mr. Moore's art
handles the strong impulse of the wild creatures
of earth, of the solitary creatures, mighty and
terrible, haunting the desert places and fearing the
order men make for safety. Designs to Words-
worth's ' Poems,' not yet published, represent with
innate perception the earth-spirit as Wordsworth
knew it, when the great mood of * impassioned
contemplation ' came upon his careful spirit, when
his heart leapt up, or when, wandering beneath the
wind-driven clouds of March, at sight of daffodils,
he lost his loneliness.

' The Evergreen,' that ' Northern Seasonal,' re-
presented the piftorial outlook of an interesting
group of artists — Robert Burns, Andrew K. Wom-
rath, John Duncan, and James Cadenhead, for
example — and the racial element, as well as their
own individuality, distinguishes the work of Mr.
W. B. Macdougall and Mr. J. J. Guthrie of *The
Elf.' Mr. Macdougall has been known as a book-
illustrator since 1896, when 'The Book of Ruth,'
with decorated borders showing the fertility of his
designing power, and illustrations that were no less
representative of a unique use of material, appeared.

OF TO-DAY. 27

The conventionalized landscape backgrounds, the
long, straightly-draped women, seemed strange
enough as a reading of the Hebrew pastoral, with
its close kinship to the natural life of the free
children of earth. Their unimpassioned faces, un-
spontaneous gestures, the artificiality of the whole
impression, were undoubtedly a new reading of the
ancient charm of the story. Two books in 1897,
and 'Isabella' and 'The Shadow of Love,' 1898,
showed beyond doubt that the manner was not
assumed, that it was the expression of Mr. Mac-
dougall's sense of beauty. The decorations to
' Isabella ' are more elaborate than to ' Ruth,' and
inventive handling of natural forms is as marked.
Again, the faces are de-charafterized in accordance
with the desire to make the whole figure the
symbol of passion, and that without emphasis.
Mr. J. J. Guthrie is hardly among book-illustrators,
since 'Wedding Bells' of 1895 does not represent
Mr. Guthrie, nor does the child's book of the
following year, while the illustrations to Edgar
Allan Poe's ' Poems ' are still, I think, being issued
from the Pear Tree Press in single numbers. His
treatment of landscape is inventive, his rhythmic
arrangements, his effefts of white line on black,
are based on a real sense of the beauty of earth, of
tall trees and wooded hills, of mysterious moon-
brightness and shade in the leafy depths of the
woodlands.

Mr. Granville Fell made his name known in
1896 by his illustrations to 'The Book of Job.'
In careful detail, drawn with fidelity, never ob-
trusive, his art is pre-Raphaelite. He touches

28 ENGLISH BOOK-ILLUSTRATION

Japanese ideals in the rendering of flower-growth
and animals, but the whole effeft of his decorative
illustrations is far enough away from the art of
Japan. In the ' Book of Job ' he had a subjed:
sufficient to dwarf a very vital imaginative sense
by its grandeur. In the opinion of competent
critics Mr. Granville Fell proved more than the
technical distinftion of his work by the manner in
which he fulfilled his purpose. The solid black
and white, the definite line of these drawings, were
laid aside for the sympathetic medium of pencil in
'The Song of Solomon' (1897). ^g^i") ^'^ con-
ception is invariably dramatic, and never crudely
dramatic, robust, with no trace of morbid or senti-
mental thought about it. The garden, the wealth
of vineyard and of royal pleasure ground, is used as
a background to comely and gracious figures. His
other work, illustrative of children's books and of
legend, the cover and title-page to Mr. W. B.
Yeats's ' Poems,' shows the same definite yet re-
strained imagination,

Mr. Patten Wilson is somewhat akin to Mr.
Granville Fell in the energy and soundness of his
conceptions. Each of these artists is, as we know,
a colourist, delighting in brilliant and iridescent
colour-schemes, yet in black and white they do not
seek to suggest colour. Mr. Patten Wilson's illus-
trations to Coleridge's * Poems ' have the careful
fulness of drawings well thought out, and worked
upon with the whole idea realised in the imagina-
tion. He has observed life carefully for the pur-
poses of his art. But it is rather in rendering the
circumstance of poems, such as ' The Ancient

OF TO-DAY. 29

Mariner,' or, in a Chaucer illustration — Constance
on the lonely ship — that he shows his grasp of
the subjeft, than by any expression of the spiritual
terror or loneliness of the one living man among
the dead, the solitary woman on strange seas.

Few decorative artists habitually use ' wash '
rather than line. Among these, however, is Mr.
Weguelin, who has illustrated Anacreon in a
manner to earn the appreciation of Greek scholars,
and his illustrations to Hans Andersen have had a
wider and not less appreciative reception. His
drawings have movement and atmosphere. Mr.
W. E. F. Britten also uses this medium with
fluency, as is shown by his successful illustrations
to Mr. Swinburne's ' Carols of the Year ' in the
'Magazine of Art' in 1892-3. Since that time
his version of ' Undine,' and illustrations to Tenny-
son's ' Early Poems,' have shown the same power of
graceful composition and sympathy with his subjedl.

II. SOME OPEN-AIR ILLUSTRATORS.

)PEN-AIR illustration is less in-
fluenced by the tradition of Rossetti
and of the romanticists of' the sixties'
than any other branch of illustrative
art. The reason is obvious. Of all
illustrators, the illustrator of open-
air books has least concern with the interpretation
of literature, and is most concerned with recording
fa6ts from observation. It is true that usually he
follows where a writer goes, and studies garden,
village or city, according to another man's inclina-
tion. But the road they take, the cities and way-
side places, are as obvious to the one as to the
other. The artist has not to realize the personal
significance of beauty conceived by another mind ;
he has to set down in black and white the aspe6t
of indisputable cities and palaces and churches, of
the actual highways and gardens of earth. No
fugitive light, but the light of common day shows
him his subje6l. So, although Stevenson's words,
that reaching romantic art one becomes conscious
of the background, are completely true in applica-
tion to the drawings of Rossetti, of Millais, Sandys
and Houghton, these ' backgrounds ' have had no

ENGLISH BOOK-ILLUSTRATION. 31

traceable effe6t on modern open-air illustration.
Nor are the landscape drawings in works such as
' Wayside Poesies,' or ' Pictures of English Land-
scape,' at the beginning of the style or styles —
formal or pi6turesque — most in vogue at present.
Birket Foster has no followers ; the pensive land-
scape is not suited to holiday excursion books ;
and, though Mr. J. W. North is among artists of
to-day, as a book-illustrator he has unfortunately
added little to his fine record of landscape drawings
made between 1864 and 1867. One cannot in-
clude his work in a study of contemporary illustra-
tion, though it is a pleasure passed over to leave
unconsidered drawings that in ' colour,' in effed:s
of winter-weather, of leaf-thrown light and shade
amid summer woods and over the green lanes of
English country, are delightfully remote from
obvious and paragraphic habits of rendering fa6ts.

With few exceptions the open-air illustrators
of to-day began their work and took their place
in public favour, and in the estimation of critics,
after 1890. Mr. Joseph Pennell, it is true, had
been making sketches in England, in France,
and in Italy for some years ; Mr. Railton had
made some preliminary illustrations ; Mr. Alfred
Parsons illustrated ' Old Songs * with Mr. Abbey
in 1889 ; and Mr. Fulleylove contributed to *The
Picturesque Mediterranean,' and published his
' Oxford ' drawings, in the same year. Still,
with a little elasticity, ' the nineties ' covers the
past aftivity of these men. The only important
exception is Sir George Reid, President of the
Royal Scottish Academy, much of whose illustra-

32 ENGLISH BOOK-ILLUSTRATION

tive work belongs to the years prior to 1890. The
one subject for regret in connection with Sir George
Reid's landscape illustrations is that the chapter is
closed. He makes no more drawings with pen-and-
ink, and the more one is content with those he has
made, the less does the quantity seem sufficient.
Those who know only the portraits on which Sir
George Reid's reputation is firmly based will find
in his landscape illustrations a new side to his art.
Here, as in portraiture, he sees distinftly and re-
cords without prejudice the characteristics of his
subject!. He renders what he sees, and he knows
how to see. His conception being clear to him-
self, he avoids vagueness and obscurity, finding,
with apparent ease, plain modes of expression. A
straight observer of men and of the country-side,
there is this dired:ness and perspicuity about his
work, whether he paints a portrait, or makes pen-
drawings of the village worthies of * Pyketillim '
parish, or draws Pyketillim Kirk, small and white
and plain, with the sparse trees beside it, or great
river or city of his native land.

But in these pen-stroke landscapes, while the
same clear-headed survey, the same logical re-
cord of fafts, is to be observed as in his work as
a portrait painter, there is besides a charm of
manner that brings the indefinable element into
one's appreciation of excellent work. Of course
this is not to estimate these drawings above the por-
traits of Sir George Reid. That would be absurd.
But he draws a country known to him all his life,
and unconsciously, from intimate memory, he sug-
gests more than ac^lual observation would discover

OF TO-DAY. 33

This identification of past knowledge with the
special scrutiny of a subje6l to be rendered is not
usually possible in portraiture. The * portrait in-
time ' is a question of occasion as well as of genius.

The first book in which his inimitable pen-
drawing of landscape can be properly studied is
the illustrated edition of 'Johnny Gibb of Gushet-
neuk, in the Parish of Pyketillim,' published in
1880. Here the illustrations are facsimile repro-
ductions by Amand-Durand's heliogravure process,
and their delicacy is perfectly seen. These draw-
ings are of the Aberdeenshire country-folk and
country, the native land of the artist ; though, as a
lad in Aberdeen, practising lithography by day, and
seizing opportunities for independent art when
work was over, the affairs and doings of Gushet-
neuk, of Smiddyward, of Pyketillim, or the quiet
of Benachie when the snow lies untrodden on its
slopes, were things outside the city of work.

It is as difficult to praise these drawings in-
telligibly to those who have not seen them, as it is
unnecessary to enforce their charm on those who
have. Unfortunately, a reproduction of one of
them is not possible, and admirable as is the draw-
ing from ' Royal Edinburgh,' it is in subjeCt and
in treatment distinct from the ' Gushetneuk ' and
' North of Scotland ' illustrations. The ' Twelve
Sketches of Scenery and Antiquities on the Great
North of Scotland Railway,' issued in 1883, were
made in 188 i, and have the same characteristics as
the ' Gushetneuk ' landscapes. The original draw-
ings for the engraved illustrations in ' The Life of
a Scotch Naturalist,' belonging to 1876 — drawings

D

34 ENGLISH BOOK-ILLUSTRATION

made because the artist was ' greatly interested ' in
the story of Thomas Edward — must have been of
the same delicate force, and the splendid volumes
of plates illustrating the ' River Clyde,' and the
' River Tweed,' issued by the Royal Association
for the Promotion of the Fine Arts in Scotland,
contain more of his fine work. It was this society,
that, in the difficult days following the artist's
abandonment of Aberdeen and lithography for
Edinburgh and painting, gave him the opportunity,
by the purchase of two of his early landscapes, for
study in Holland and in Paris. There is some-
thing of Bosboom in a rendering of a church in-
terior such as ' The West Kirk,' but of Israels, who
was his master at the Hague, there is nothing to be
seen in Sir George Reid's illustrations. They are
never merely picturesque, and when too many men
are ' freakish ' in their rendering of architefture,
the drawings of North of Scotland castles — well
founded to endure weather and rough times of war
— seem as real and true to Scottish romance as the
" pleasant seat," the martlet-haunted masonry of
Macbeth's castle set among the brooding wildness of
Inverness by the fine words of Duncan and Banquo.
The print-black of naked boughs against pale
sky, a snow-covered country where roofs are white,
and the shelter of the woods is thin after the
passing of the autumn winds — this black and white
is the black and white of most of Sir George Reid's
studies of northern landscape. To call it black and
white is to stretch the o6lave and omit all the
notes of the scale. Pure white of plastered masonry,
or of snow-covered roof or field in the bleak win-

'

OF TO-DAY. 35

ter light, pure black in some deep-set window, in
the figure of a passer-by, or in the bare trees, are
used with the finesse of a colourist. Look at the
' Pyketillim Kirk' drawing in * Johnny Gibb.'
Between the white of the long church wall, and
the black of the little groups of village folk in the
churchyard, how quiet and easy is the transition,
and how true to colour is the result. Of the
Edinburgh drawings the same may be said ; but,
except in facsimile reproduction, one has to know
the scale of tone used by Sir George Reid in order
to see the original efFedl where the printed page
shows unmodified black and white. In ' Holyrood
Castle ' the values are fairly well kept, and the
rendering of the ancient building in the deep
snow, without false emphasis, yet losing nothing of
emphatic effedl, shows the dominant intelledtual
quality of the artist's work.

It does not seem as though Sir George Reid as
an illustrator had any followers. He could hardly
have imitators. If a man had delicacy and patience
of observation and hand to produce drawings in this
' style,' his style would be his own and not an
imitation. The number of artists in black and
white who cannot plausibly be imitated is a small
number. Sir George Reid is one, Mr. Alfred
Parsons is another. Inevitably there are points of
similarity in the work of artists, the foundation of
whose black and white is colour, and who render
the country-side with the understanding of the
native, the understanding that is beyond know-
ledge. The difference between them only proves
the essential similarity in the elements of their art ;

36 ENGLISH BOOK-ILLUSTRATION.

but that, like most paradoxes, is a truism. Mr.
Parsons is, of course, thoroughly English in his
art. He has the particularity of English nature-
poets. Pastoral country is dear to him, and home-
steads and flowering orchards, or villages with
church tower half hidden by the elms, are part of
his home country, the country he draws best. It
is interesting to compare his drawings for ' The
Warwickshire Avon ' with the Scottish artist's
drawings of the northern rivers. The drawings
of Shakespeare's river show spring trees in a mist
of green, leafy summer trees, meadowsweet and
hayfields, green earth and blue sky, and a river of
pleasure watering a pleasant country. If a man can
draw English summer-time in colour with black
and white, he must rank high as a landscape pen-
draughtsman. Mr. Alfred Parsons has illustrated
about a dozen books, and his work is to be found
in ' Harper's Magazine,' and ' The English Illus-
trated ' in early days. Two books, the ' Old
Songs' and 'The Quiet Life,' published in 1887
and 1890, were illustrated by E, A. Abbey and
Alfred Parsons. The drawings of landscape, of
fruit and flowers, by Mr. Parsons, the Chippendale
people and rooms of Mr. Abbey, fill two charming
volumes with pictures whose pleasantness and happy
art accord with the dainty verses of eighteenth-
century sentiment. ' The Warwickshire Avon,'
and another river book, ' The Danube from the
Black Forest to the Sea,' illustrated in collaboration
with the author, Mr. F. D. Millet, belong to
1892. The slight sketches — passing-by sketches —
in these books, are among fortunate examples of a

ELMS BY BIDFORD GRANGE. BY ALFRED PARSONS.
REPRODUCED FROM QUILLER COUCH's *THE WARWICKSHIRE

AVON.'
BY LEAVE OF OSGOOD, M^ILVAINE AND CO,

38 ENGLISH BOOK-ILLUSTRATION

briefness that few men find compatible with grace
and significance. Sketches, mostly in wash, of a
farther and more decorated country — 'Japan, the
Far East, the Land of Flowers and of the Rising
Sun, the country which for years it had been my
dream to see and paint ' — illustrate the artist's
'Notes in Japan,' 1895. In the written notes are
memoranda of adlual colour, of the green harmony
of the Japanese summer — harmony culminating in
the vivid tint of the rice fields — of sunset and
butterflies, of delicate masses of azalea and drifts of
cherry-blossom and wisteria, while in the drawings
are all the flowers, the green hills and gray hamlets,
and the temples, shrines and bridges, that make
unspoilt Japan one of the perpetual motives of
decorative art. Illustrations to Wordsworth — to a
seled:ed Wordsworth — gave the artist fortunate op-
portunities to render the England of English descrip-
tive verse.

It is convenient to speak first of these painter-
illustrators, because, in a sense, they stand alone
among illustrative artists. Obviously, that is not to
say that their work is worth more than the work of
illustrators, who, conforming to the laws of ' pro-
cess,' make their drawings with brain and hand
that know how to win profit by concession. But
popularisers of an effective topographical or archi-
tectural style are indirectly responsible for a large
amount of work besides their own. In one sense
a leader does not stand alone, and cannot be con-
sidered alone. Before, then, passing on to a draughts-
man such as Mr. Joseph Pennell, again, to Mr.
Railton, or to Mr. New, whose successful and

OF TO-DAY. 39

unforgettable works have inspired many drawings in
the books whereby authors pay for their holiday
journeys, other artists, whose style is no convenience
to the industrious imitator, may be considered.
Another painter, known for his work in black and
white, is Mr. John Fulleylove, whose ' Pictures of
Classic Greek Landscape,' and drawings of ' Ox-
ford,' show him to be one of the few men who see
architecture steadily and whole, and who draw
beautiful buildings as part of the earth which they
help to beautify. Compare the Greek drawings
with ordinary archaeological renderings of pillared
temples, and the difference in beauty and interest
is apparent. In Mr. Fulleylove's drawings, the
relation between landscape and architecture is
never forgotten, and he draws both with the struc-
tural knowledge of a landscape painter, who is also
by training an archited:. In aim, his work is in
accord with classical traditions ; he discerns the
classical spirit that built temples and carved statues
in the beautiful places of the open-air, a spirit
which has nothing of the museum setting about it.
The ' Oxford ' drawings show that Mr. Fulleylove
can draw Gothic.

Though not a painter, Mr. William Hyde works
' to colour ' in his illustrations, and is generally
successful in rendering both colour and atmosphere.
He has done little with the pen, and it is in wash
drawings, reproduced by photogravure, that he is
best to be studied. Of his early training as an en-
graver there is little to be seen in his work, though
his appreciation of the range of tone existing between
black and white may have developed from working
within restrictions of monotone, when the colour

40 ENGLISH BOOK-ILLUSTRATION

sense was growing strong in him. At all events
he can gradate from black to white with remarkable
minuteness and ease. His earliest work of any im-
portance after giving up engraving, was in illustra-
tion of ' L'Allegro ' and 'II Penseroso,' 1895, and
shows his talent already well controlled. There
are thirteen illustrations, and the opportunities for
rendering aspe6ts of light, from the moment of the
lark's morning flight against the dappled skies of
dawn, to the passing of whispering night-winds over
the darkened country, given in the verse of a poet
sensitive as none before him to the gradations of
lightness and dark, are realized. So are the haw-
thorns in the dale, and the towered cities. But it
is as an illustrator of another towered city than that
imagined by Milton, that some of Mr. Hyde's most
individual work has been produced. In the etch-
ings and pictures in photogravure published with
Mrs. Meynell's ' London Impressions,' London
beneath the strange great sky that smoke and
weather make over the gray roofs, London when
the dawn is low in the sky, or when the glow of
lamps and lamp-lit windows turns the street dark-
ness to golden haze, is drawn by a man who has
seen for himself how beautiful the great city is in
' between lights.' His other work is superficially
in contrast with these studies of city light and
darkness ; but the same love for ' big ' skies, for
the larger aspefts of changing lights and cloud
movements, are expressed in the drawings of the
wide country that is around and beyond the Cinque
Ports, and in the illustrations to Mr. George
Meredith's ' Nature Poems.' The reproduction is

OF TO-DAY. 41

from a pen drawing in Mr. Hueffer's book, ' The
Cinque Ports.' There is no pettiness about it, and
the * phrasing ' of castle, trees and sky shows the
artist.

Mr. D. Y. Cameron has illustrated a book or
two with etchings — notably White's ' Selborne '
1902, — but to consider him as a book-illustrator
would be to stretch a point. A few of his etchings
are to be seen in books, and one would like to make
them the text for the consideration of other etchings
by him, but it would be a digression. He is not
among painter-illustrators, but among painters who
have illustrated, and that would bring more names
into this chapter than it could hold except in
catalogue arrangement.

Coming to artists who are illustrators, not on
occasion but always, there is no question with
whom to begin. It is true that Mr. Pennell is
American, but he is such an important figure in
English illustration that to leave him out would be
impossible. He has been illustrating Europe for
more than fifteen years, and the forcible fashion of
his work, and all that he represents, have influenced
black-and-white artists in this country, as his master
Rico influenced him. In range and facility, and in
getting to the point and keeping there, there is no
open-air illustrator to put beside Mr. Pennell.
Always interested and always interesting, he is
apparently never bewildered, always ready and able
to draw. Surely there was never a mind with a
greater faculty for quick study ; and he can apply
this power to the realization of an architectural
detail, or of a cathedral, of miles of country with

ENGLISH BOOK-ILLUSTRATION. 43

river curves and castles, trees, and hills and fields,
and a stretch of sky over all ; or of a great city-
street crowded with traffic, of new or old buildings,
of Tuscany or of the Stock Exchange, with equal
ease. To attempt a record of Mr. Pennell's work
would leave no room for appreciation of it. As
far as the English public is concerned, it began in
1885 with the publication of ' A Canterbury Pil-
grimage,' and since then each year has added to
Mr. Pennell's notes of the world at the rate of two
or three volumes. The highways and byways of
England — east, west, south and north — France
from Normandy to Provence, the cities and spaces
of Italy, the Saone and the Thames, the ' real '
Alps and the New Zealand Alps, London and
Paris, the Cathedrals of Europe, the gipsy encamp-
ment and the Ghetto, Chelsea and the Alhambra
— Mr. Pennell has been everywhere and seen most
things as he went, and one can see it in his
drawings.

He draws architedlure without missing anything
tangible, and his buildings belong to cities that
have life — and an individual life — in their streets.
But where he is unapproachable, or at all events
unapproached among pen-draughtsmen, is in draw-
ing a great scheme of country from a height. If
one could reproduce a drawing such as that of the
country of Le Puy in Mr. Wickham Flower's
* Aquitaine,' or, better still, the etching of the same
amazing country, one need say no more about Mr.
Pennell's art in this kind. Unluckily the page is
too small. This strange and lovely landscape,
where curving road and river and tree-bordered

44 ENGLISH BOOK-ILLUSTRATION

fields are dominated by two image-crowned rocks,
built about with close-set houses, looks like a de-
sign from a dream fantasy worked out by a master
of definite imagination. One knows it is not.
Mr. Pennell is concerned to give fadls in pidlur-
esque order, and here he has a theme that affe(5ls us
poetically, however it may have affected Mr. Pennell.
His eye measures a landscape that seems outside
the measure of observation, and his ability to grasp
and render the characteristics of actuality serves him
as ever. It is an unforgettable drawing, though
the skill displayed in the simplification and relation
of fad:s is no greater than in other drawings by the
artist. That power hardly ever fails him. The
'Devils of Notre Dame' again stands out in memory,
when one thinks generally of Mr. Pennell's draw-
ings. And again, though it seems as if he were
working above his usual pitch of conception, it is
only that he is using his keenness of sight, his
logical grasp of form and power of expression, on
matter that is expressive of mental passion. The
man who carved the devils, like those who crowned
the rocks of Le Puy with the haloed figures, created
fadts. The outrageous passion that made these evil
things made them in stone. You can measure
them. They are matter-of-fa6l. Mr. Pennell has
drawn them as they are, with so much trenchancy,
such assertion of their hideous decorativeness,
their isolation over modern Paris, that no drawings
could be better, and any others would be superfluous.
It is impossible to enumerate all that Mr. Pennell
has done and can do in black-and-white. He is a
master of so many methods. From the sheer black

.->'

THE HARBOUR, SORRENTO. BY JOSEPH PENNELL.
FROM HOWELl's "ITALIAN JOURNEYS."

BY LEAVE OF MR. HEINEMANN.

OF TO-DAY. 45

ink and white paper of the ' Devils,' to the light
broken line that suggests Moorish fantastic archi-
tecture under a hot sun in the ' Alhambra' drawings,
there is nothing he cannot do with a pen. Nor is
it only with a pen that he can do what he likes and
what we must admire. He covers the whole field
of black-and-white drawing.

After Mr. Pennell comes Mr. Herbert Railton.
No architectural drawings are more popular than
his, and no style is better known or more generally
' adopted ' by the illustrators of little guide-books
or of magazine articles. An architect's training and
knowledge of structure underlies the picturesque
dilapidation prevalent in his version of Anglo-
gothic architecture. His first traceable book-illus-
trations belong to 1888, though in 'The English
Illustrated,' in ' The Portfolio,' and elsewhere, he
had begun before then to formulate the style that
has served him so admirably in later work with
the pen. The illustrations to Mr. Loftie's ' West-
minster Abbey' (1890) show his manner much as
it is in his latest pen drawings. There is a lack of
repose. One would like to undecorate some of the
masonry, to reveal the austere lines under the pre-
valence of pattern. At the same time one realizes
that here is the style needed in illustration of pic-
turesquely written books about picturesque places,
and that the stone tracery of Westminster, or the
old brick and tiles of the Inns of Court, are more
interesting to many people in drawings such as
these than in aCtuality. But Rico's ' broken line '
is responsible for much, and not every draughtsman
who adopts it direCt, or through a mixed tradition.

46 ENGLISH BOOK-ILLUSTRATION

has the architeftural knowledge of Mr. Railton to
support his deviations from stabiHty. Mr. Railton
is the artist of the Cathedral Guide ; he has drawn
Westminster, St. Paul's, Winchester, Gloucester,
Peterborough, and many more cathedrals, inside and
out, within the last ten years. In illustrations to
books where a thread of story runs through his-
torical fa6t, books such as those written by Miss
Manning concerning Mary Powell, and the house-
hold of Sir Thomas More, the artist has collaborated
with Mr. Jellicoe, who has put figures in the streets
and country lanes.

There are so many names in the list of those
who, in the beginning, profited by the initiative
of Mr. Pennell or of Mr. Railton that generally
they may be set aside. Of artists who have made
some position for themselves, there are enough to
fill this chapter. Mr. Holland Tringham and
Mr. Hedley Fitton were at one time unmistakable
in their Railtonism. Mr. Fitton has illustrated
cathedral books, and in later drawings by Mr.
Tringham exaggeration of his copy has given place
to a more dired: record of beautiful buildings.
Miss Nelly Erichsen and Miss Helen James ^ are
two artists whose work is much in request for
illustrated series, such as Dent's ' Medieval Towns.*
Miss James' drawings to ' Rambles in Dickens'
Land' (1899) showed study of Mr. Railton, which
is also observable in other books, such as ' The
Story of Rouen.' At the same time, she carries
out her work from individual observation, and

^ Since this book was in type, I have learned with regret of the
death of Miss Helen James.

OF TO-DAY. 47

gets an effeft that belongs to study of the subjedl,
whether from a6tuality or from photographs. Miss
James and Miss Erichsen have collaborated in
certain books on Italian towns, but architectural
drawing is only part of Miss Erichsen's illustrative
work, though an important part, as the illustrations
to the recently-published ' Florentine Villas ' of
Mrs. Ross show. Illustrating stories, she works
with graceful distindlness, and many of the draw-
ings in the ' Story of Rome ' — though one re-
members that Rome is in Mr. Pennell's province —
show what she can do.

Mr. C. G. Harper and Mr. C. R. B. Barrett are
the most prominent among those writers of travel-
books who are also their own illustrators. They
belong, though with all the difference of time and
development, to the succession of Mr. Augustus
Hare. Mr. Hissey also has made many books out
of his driving tours through England, and may
be said to have first specialized the subject that
Mr. Harper and Mr. Barrett have made their own.
It is plain that the kind of book has nothing to do
with the kind of art that is used in its making.
Mr. Hare's famous ' Walks ' may be the prototypes
of later books, but each man makes what he can
out of an idea that has obvious possibilities in it.
Mr. Harper has taken to the ancient high-roads
of England, and has studied their historical and
legendary, past, present, and imagined aspects. Of
these he has written ; while his illustrations rank
him rather among illustrators who write than
among writers who illustrate. Since 1889 he has
published a dozen books and more. In ' Royal

48 ENGLISH BOOK-ILLUSTRATION.

Winchester ' — the first of these — he is illustrator
only. * The Brighton Road' of 1892 is the first
of the road-books, and the illustrations of the road
as it was and is, of town and of country, have
colour and open air in their black-and-white.
Since then Mr. Harper has been from Paddington
to Penzance, has followed Dick Turpin along the
Exeter road, and bygone fashion from London to
Bath, while accounts of the Dover road from
Southwark Bridge to Dover Castle, by way of
Dickens' country and hop-gardens, and of the
Great North Road of which Stevenson longed to
write, are written and drawn with spirited observa-
tion. His drawing is not so picturesque as his
writing. It has reticence and justness of expression
that would not serve in relating tales of the road, but
which, together with a sense of colour and of what is
pi(5lorial, combine to form an effedlive and fre-
quently distinctive style of illustration. The draw-
ing reproduced, chosen by the artist, is from Mr.
Harper's recent book on the Holyhead road.

Mr. Barrett has described and illustrated the
* highways and byways and waterways ' of various
English counties, as well as published a volume on
the battlefields of England, and studies of ancient
buildings such as the Tower of London. He is
always well informed, and illustrates his subject
fully from pen-and-ink drawings. Mr. F. G.
Kitton also writes and illustrates, though he has
written more than he has drawn. St. Albans is
his special town, and the old inns and quaint
streets of the little red city with its long cathedral,
are truthfully and dexterously given in his pen

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50 ENGLISH BOOK-ILLUSTRATION

drawings and etchings. Mr. Alexander Ansted,
too, as a draughtsman of English cathedrals and of
city churches, has made a steady reputation since
1894, when his etchings and drawings of Riviera
scenery showed ambition to render tone, and as
much as possible of colour and atmosphere, with
pen and ink. Since then he has simplified his style
for general purposes, though in books such as ' Lon-
don Riverside Churches' (1897), or 'The Romance
of our Ancient Churches' of two years later, many
of the drawings are more elaborate than is common
in modern illustration. The names of Mr. C. E.
Mallows and of Mr. Raffles Davison must be men-
tioned among architeftural draughtsmen, though
they are outside the scope of a study of book-illus-
tration. Some of Mr. Raffles Davison's work has
been reprinted from the ' British Architect,' but I
do not think either of them illustrates books. An
extension of architeftural art lies in the considera-
tion of the garden in relation to the house it sur-
rounds, and Mr. Reginald Blomfield's ' Formal
Garden ' treats of the first principles of garden de-
sign as distindl from horticulture. The drawings
by Mr. Inigo Thomas, whether one considers them
as illustrating principles or gardens, are worth
looking at, as * The Yew Walk ' sufficiently shows.
The sobriety and decorum of Mr. New's archi-
te6lural and landscape drawings are the antithesis of
the flagrantly pidluresque. I do not know whether
Mr. Gere or Mr. New invented this order of land-
scape and house drawing, but Mr. New is the chief
exponent of it, and has placed it among popular
styles of to-day. It has the effisft of sincerity, and

OF TO-DAY.

51

of respedful treatment of ancient buildings. Mr.
New does not lapse from the perpendicular, his

THE TEW "WMiK I MELBOURNE TJIEItBYSHIIiB

BY F. INIGO THOMAS.

FROM BLOMFIELd's 'tHE FORMAL GARDEN.'

BY LEAVE OF MESSRS, MACMILLAN.

hand does not tremble or break off when house-
walls or the ridge of a roof are to be drawn. His
is a convention that is frankly conventional, that
confines nature within decorous bounds, and makes

52 ENGLISH BOOK-ILLUSTRATION

formality a fundlion of art. But though a great
deal of Mr. New's work is mechanical and done to
pattern, so that sometimes little perpendicular
strokes to represent grass fill half the pi6lured
space, while little horizontal strokes to represent
brick-work, together with ' touches ' that represent
foliage, fill up the rest except for a corner left
blank for the sky, yet, at his best, he achieves an
effe6live and dignified way of treating landscape
for the decoration of books. Sensational skies that
repeat one sensation to monotony, scattered blacks
and emphasized trivialities, are set aside by those
who follow Mr. New. When they are trivial and
undiscriminating, they are unaffedledly tedious, and
that is almost pleasant after the hackneyed sparkle
of the inferior pifturesque.

Mr. New's reputation as a book-illustrator was
first made in 1896, when an edition of * The Com-
pleat Angler ' with many drawings by him ap-
peared. The homely archited:ure of Essex villages
and small towns, the low meadows and quiet
streams, gave him opportunity for drawings that
are pleasant on the page. Two garden books, or
striftly speaking, one — for ' In the Garden of
Peace ' was succeeded by ' Outside the Garden ' —
contain natural history drawings similar to those
of fish in ' The Compleat Angler ' and of birds in
White's * Selborne.' The illustrations to ' Oxford
and its Colleges,' and ' Cambridge and its Colleges,'
are less representative of the best Mr, New can do
than books where village archite6lure, or the
irregular house-frontage of country high-streets
are his subjed:. Illustrating Shakespeare's country.

OF TO-DAY.

53

' Sussex,' and ' The Wessex of Thomas Hardy,'
brought him into regions of the country-town ;
but the most important of his recent drawings are

SiX&onrru. Street

BY E. H. NEW.

FROM white's 'sELEORNE.

BY LEAVE OF MR. LANE.

those in ' The Natural History of Selborne,' pub-
Hshed in 1900. The drawing of ' Selborne Street'
is from that volume.

With Mr. New, Mr. R. J. Williams and Mr.
H. P. Clifford illustrated Mr. Aymer Vallance's

54 ENGLISH BOOK-ILLUSTRATION.

two books on William Morris. Their illustrations
are fit records of the homes and working-places of
the great man who approved their art. Mr.
Frederick Griggs, who since 1900 has illustrated
three or four garden books, also follows the prin-
ciples of Mr. New, but with more variety in
detail, less formality in tree-drawing and in the
rendering of paths and roads and streams and sun-
shine, in short, with more of art outside the school,
than Mr. New permits himself.

The open-air covers so much that I have little
room to give to another aspedt of open-air illustra-
tion— drawings of bird and animal-life. The work
of Mr. Harrison Weir, begun so many years ago,
is chiefly in children's books ; but Mr. Charles
Whymper, who has an old reputation among
modern reputations, has illustrated the birds and
beasts and fish of Great Britain in books well
known to sportsmen and to natural historians, as
also books of travel and sport in tropical and ice-
bound lands. The work of Mr. John Guille
Millais is no less well known. No one else draws
animals in aftion, whether British deer or African
wild beast, from more intelligent and thorough
observation, and of his art the graceful rendering
of the play of deer in Cawdor Forest gives proof
that does not need words. Birds in flight, beasts
in action — Mr. Millais is undisputably master of
his subjed;. Many drawings show the humour
which is one of the charms of his work.

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III. SOME CHARACTER ILLUSTRATORS.

O far, in writing of decorative illus-
trators and of open-air illustrators,
the difference in scheme between a
study of book-illustration and of
' black-and-white ' art has not greatly
affefted the scale and order of fa6ts.
The intellectual idea of illustration, as a personal
interpretation of the spirit of the text, finds ex-
pression, formally at least, in the drawings of most
decorative black-and-white artists. The deliberate
and inventive charader of their art, the fadt
that such qualities are non-journalistic, and in-
effective in the treatment of ' day by day ' matters,
keeps the interpretative ideal, brought into English
illustration by Rossetti, and the artists whose
spirits he kindled, among working ideals for these
illustrators. For that reason, with the exception
of page-decorations such as those of Mr. Edgar
Wilson, the subjedt of decorative illustration is
almost co-extensive with the subjed: of decorative
black-and-white. The open-air illustrator repre-
sents another aspect of illustration. To interpret
the spirit of the text would, frequently, allow his
art no exercise. Much of his text is itinerary.

ENGLISH BOOK-ILLUSTRATION. 57

His subject is before his eyes in adluality, or in
photographs, and not in some phrase of words,
magical with suggested forms, creating by its gift
of delight desire to celebrate its beauty. Still,
if the artist be independent of the intelledlual and
imaginative qualities of the book, his is no in-
dependent form of black and white. It is illustra-
tion ; the author's subject is the subjed: of the
artist. Open-air fa6ts, those that are beautiful and
pleasurable, are too uneventful to make * news
illustration.' Unless as background for some event,
they have, for most people, no immediate interest.
So it happens that open-air drawings are usually
illustrations of text, text of a prad:ical guide-book
chara(fler, or of archaeological interest, or of the
gossiping, intimate kind that tells of possessions,
of journeys and pleasurings, or, again, illustrations
of the open-air classics in prose and verse.

But in turning to the work of those draughts-
men whose subjed: is the presentment of chara6ter,
of every man in his own humour, the illustration
of literature is a part only of what is noteworthy.
These artists have a subjeft that makes the oppor-
tunities of the book-illustrator seem formal ; a
subje6t, charming, poignant, splendid or atrocious,
containing all the ' situations ' of comedy, tragedy
or farce ; the only subjed at once realized by every-
one, yet whose opportunities none has ever compre-
hended. The writings of novelists and dramatists —
life narrowed to the perception of an individual —
are limitary notions of the matter, compared with
the illimitable variety of character and incident to
be found in the world that changes from day to

58 ENGLISH BOOK-ILLUSTRATION

day. And ' real ' life, purged of monotony by the
wit, discrimination or extravagance of the artist,
or — on a lower plane — by the combination only
of approved comical or sentimental or melodramatic
elements, is the most popular and marketable of
all subje6ls. The completeness of a work of art is
to some a refuge from the incompleteness of
a(fluality ; to others this completeness is more in-
complete than any incident of their own experience.
The first bent of mind — supposing an artist who
illustrates to 'express himself — makes an illustrator
of a draughtsman, the second makes literature seem
no more than la reste to the artist as an opportunity
for pictorial chara6terization.

Character illustration is then a subjeft within a
subject, and if it be impossible to consider it with-
out overseeing the limitations, yet a different point
of view gives a different order of impressions.
Caricaturists, political cartoonists, news-illustrators
and graphic humorists, the artists who pi6torialize
society, the stage, the slums or some other kind
of life interesting to the spectator, are outside
the scheme of this article — unless they be illus-
trators also. For instance, the illustrations of Sir
Harry Furniss are only part of his lively activities,
and Mr. Bernard Partridge is the illustrator of
Mr. Austin Dobson's eighteenth-century muse as
well as the 'J. B. P.' of ' socials ' in ' Punch.'

An illustrator of many books, and one whose
illustrations have unusual importance, both as inter-
pretations of literature and for their artistic force,
Mr. William Strang is yet so incongruous with con-
temporary black-and-white artists of to-day that he

OF TO-DAY. 59

must be considered first and separately. For the
traditions of art and of race that find a focus in the
illustrative etchings of this artist, the creative tradi-
tions, and instinctive modes of thought that are
represented in the forms and formation of his art,
are forces of intelled: and passion and insight not
previously, nor now, by more than the one artist,
associated with the prad:ice of illustration. To
consider his work in connection with modern
illustration is to speak of contrasts. It represents
nothing that the gift-book pidure represents,
either in technical dexterities, founded on the re-
quirements of process reproduction, or in its de-
corative ideals, or as expressive of the pleasures of
literature. One phase of Mr. Strang's illustrative
art is, indeed, distinCt from the mass of his work,
with which the etched illustrations are congruous,
and the line-drawings to three masterpieces of
imaginary adventure — to Lucian, to Baron Mun-
chausen and to Sindbad — show, perhaps, some in-
fusion of Aubrey Beardsley's spirit of fantasy into
the convictions of which Mr. Strang's art is com-
pounded. But these drawings represent an ex-
cursion from the serious purpose of the artist's
work. The element in literature expressed by
that epithet * weird ' — exiled from power to common
service — is lacking in the extravagances of these
voyages imaginaires^ and, lacking the shadows cast
by the unspeakable, the intellectual chiaroscuro of
Mr. Strang's imagination, loses its force. These
travellers are too glib for the artist, though his
comprehension of the grotesque and extravagant,
and his humour, make the drawings, expressive

6o ENGLISH BOOK-ILLUSTRATION.

of the text, if not of the complete personality of
the draughtsman. The ' types, shadows and meta-
phors ' of ' The Pilgrim's Progress,* with its poig-
nancies of mental experience and conflict, its tran-
scendent passages, its theological and naive moods,
gave the artist an opportunity for more realized
imagination. The etchings in this volume, pub-
lished in 1894, represent little of the allegorical
adlualities of the text. Not the encounters by the
way, the clash of blows, the ' romancing,' but the
' man cloathed with rags and a great Burden on his
back,' or Christiana his wife, when * her thoughts
began to work in her mind,' are the realities to the
artist. The pilgrims are real and credible, poor
folk to the outward sight, worn with toil, limited,
abused in the circumstances of their lives ; and
these peasant figures are to Mr. Strang, as to his
master in etching, Professor Legros, symbols of
endurance, significant protagonists in the drama of
man's will and the forces that strive to subdue its
strength. To both artists the peasant confronting
death is the climax of the drama. In the etchings
of Professor Legros death fells the woodman, death
meets the wayfarer on the high-road. There is no
outfacing the menace of death. But to Mr. Strang,
the sublimity of Bunyan's ' poor man,' who over-
comes all influences of mortality by the strength
of his faith, is a possible faft. His ballad illustra-
tions deal finely with various aspects of the theme.
In ' The Earth Fiend,' a ballad written and illus-
trated with etchings by Mr. Strang in 1892, the
peasant subdues and compels to his service the
spirit of destruction. He maintains his projefts

62 ENGLISH BOOK-ILLUSTRATION

of cultivation, conquers the adverse wildness of
nature, makes its force productive of prosperity
and order ; then, on a midday of harvest, sleeps,
and the * earth fiend,' finding his tyrant defence-
less, steals on him and kills him as he lies. ' Death
and the Ploughman's Wife' (1894) has a braver
ending. It interprets in an impressive series of
etchings how * Death that conquers a' ' is van-
quished by the mother whose child he has snatched
from its play. The title-page etching shows a
little naked child kicking a skull into the air,
while the peasant-mother, patient, vigilant, keeps
watch near by. In ' The Christ upon the Hill '
of the succeeding year, a ballad by Cosmo Monk-
house with etchings by Mr. Strang, the artist
follows, of course, the conception of the writer ;
but here, too, his work is expressive of the visionary
faith that discerns death as one of those ' base
things ' that ' usher in things Divine.'

The twelve etchings to 'Paradise Lost' (1896)
do not, as I think, represent Mr. Strang's imagina-
tion at its finest. It is in the representation of
rude forms of life, subjecfted to the immeasurable
influences of passion, love, sorrow, that the images
of Mr. Strang's art, at once vague and of intense
reality, primitive and complex, have most force.
Adam and Eve driven from Paradise by the angel
with the flaming sword, are not diredlly created
by the artist. They recall Masaccio, and are un-
done by the recolle6lion. Eve, uprising in the
darkness of the garden where Adam sleeps, the
speech of the serpent with the woman, the gather-
ing of the fruit, are traditionary in their pictorial

OF TO-DAY. 63

forms, and the tradition is too great, it imposes
itself between the version of Mr. Strang and our
admiration. But in the thirty etchings illustrative
of Mr. Kipling's works, as in the ballad etchings,
the imagination of the artist is unfettered by tradi-
tion. The stories he picftures deal, for all their
cleverness and definition, with themes that, trans-
lated out of Mr. Kipling's words into the large
imagination of Mr. Strang, have powerful purpose.
As usual, the artist makes his picture not of matter-
of-fa6t — and the etching called ' A Matter of Fad: '
is specially remote from any such matter — but of
more purposeful, more overpowering realities than
any particular instance of life would show. He
attempts to realize the value, not of an instance of
emotion or of endeavour, but of the quality itself.
He sets his mind, for example, to realize the
force of western militarism in the east, or the atti-
tude of the impulses of life towards contemplation,
and his soldiers, his * Purun Bhagat,' express his
observations or imaginations of these themes. Cer-
tainly ' a country's love ' never went out to this
kind of Tommy Atkins, and the India of Mr. Strang
is not the India that holds the Gadsbys, or of which
plain tales can be told. But he has imagined a
country that binds the contrasts of life together in
adlive operation on each other, and in thirty in-
stances of these schemed-out realities, or of dramatic
events resulting from the clash of racial and national
and chronological charafteristics, he has achieved
perhaps his most complete expression of insight
into essentials. Mr. Strang's etchings in the re-
cently published edition of ' The Compleat Angler,'

64 ENGLISPI BOOK-ILLUSTRATION

illustrated by him and by Mr. D. Y. Cameron, are
less successful. The charm of his subjed: seems
not to have entered into his imagination, whereas
forms of art seem to have oppressed him. The
result is oppressive, and that is fatal to the value
of his etchings as illustrations of the book that ' it
would sweeten a man's temper at any time to read.'
Intensity and large statement of dark and light ;
fine dramatizations of line ; an unremitting conflict
with the superfluous and inexpressive in form and
in thought ; an art based on the realities of life,
and without finalities of expression, inelegant, as
though grace were an affe6lation, an insincerity in
dealing with matters of moment : these are quali-
ties that detach the illustrations of Mr. Strang
from the generality of illustrations. Save that
Mr. Robert Bryden, in his ' Woodcuts of men of
letters ' and in the portrait illustrations to ' Poets
of the younger generation,' shows traces of study-
ing the portrait-frontispieces of Mr. Strang, there
is no relation between his art and the traditions
it represents and any other book-illustrations of
to-day.

Turning now to illustrators who are representa-
tive of the tendencies and chara6teristics of modern
book-illustration, and so are less conspicuous in a
general view of the subject than Mr. Strang, there
is little question with whom to begin. Mr. Abbey
represents at their best the qualities that belong to
gift-book illustration. It would, perhaps, be more
corred: to say that gift-book illustration represents
the qualities of Mr. Abbey's black and white with
more or less fidelity, so effective is the example of

OF TO-DAY. 65

his technique on the forms of pi6luresque charadter-
illustration. It is nearly a quarter of a century
since the artist, then a young man fresh from
Harper's drawing-office in New York, came to
England. That first visit, spent in studying the
reality of English pastoral life in preparation for
his ' Herrick ' illustrations, lasted for two years,
and after a few months' interval in the States he
returned to England. Resident here for nearly
all the years of his work, a member of the Royal
Academy, his art expressive of traditions of English
literature and of the English country to which
he came as to the adluality of his imaginings, one
may include Mr. Abbey among English book-
illustrators with more than a show of reason.
In 1882, when the ' Seleftions from the Poetry of
Robert Herrick ' was published, few of the men
whose work is considered in this chapter had been
heard of. Chronologically, Mr. Abbey is first of
contemporary charafter-illustrators, and nowhere
but first would he be in his proper place, for there
is no one to put beside him in his special fashion
of art, and in the effed: of his illustrative work on
his contemporaries. There is inevitable ease and
elegance in the pen-drawings of Mr. Abbey, and
for that reason it is easy to underestimate their
intellecflual quality. He is inventive. The spirit
of Herrick's muse, or of ' She Stoops to Conquer,'
or of the comedies of Shakespeare, is not a quality
for which he accepts any formula. He finds shapes
for his fancies, rejecting as alien to his purpose all
that is not the clear result of his own understanding
of the poet. Accordingly there is, in all his

F

66 ENGLISH BOOK-ILLUSTRATION

work, the expression of an intelle6lual conception.
He sees, too, with patience. If he isolates a figure,
one feels that figure has stepped forward into a
clear place of his imagination as he followed its
way through the crowd. If he sets a pageant on
the page, or some piece of turbulent action, or
moment of decision, the adtors have their indi-
vidual value. He thinks his way through pro-
cesses of gradual realization to the final pifture of
the charadlers in the play or poem. One writes
now with special reference to the illustrations of
the comedies of Shakespeare — so far, the illustra-
tive work most exigent to the intellectual powers
of the artist. Herrick's verse, full of sweet sounds
and suggestive of happy sights, ' She Stoops to
Conquer,' where all the mistakes are but for a
night, to be laughed over in the morning, the lilt
and measure of ' Old Songs,' and of the charming
verses in * The Quiet Life,' called for sensitive
appreciation of moods, lyrical, whimsical, humor-
ous, idyllic, but — intelleftually — for no more than
this. As to Mr. Abbey's technique, curious as he
is in the uses of antiquity as part of the pleasure of
a fresh realization, clothing his characters in tex-
tiles of the great weaving times, or of a dainty
simplicity, a student of architecture and of land-
scape, of household fittings, of armoury, of every
beautiful accessory to the business of living, his
clever pen rarely fails to render within the con-
vention of black and white the added point of
interest and of charm that these things bring into
adtuality. Truth of texture, of atmosphere, and of
tone, an alertness of vision most daintily expressed

OF TO-DAY. 67

— these qualities belong to all Mr. Abbey's work,
and in the Shakespearean drawings he shows with
greater force than ever his ' stage - managing *
power, and the correctness and beauty of his
' mounting.' The drawings are dramatic : the
women have beauty and individuality, while the
men match them, or contrast with them as in the
plays ; the rogues are vagabonds in spirit, and the
wise men have weight ; the world of Shakespeare
has been entered by the artist. But there are
gestures in the text, moments of glad grace, of
passion, of sudden amazement before the realities
of personal experience, that make these adlive,
dignified figures of Mr. Abbey ' merely players,'
his Isabella in the extremity of the scene with
Claudio no more than an image of cloistered
virtue, his Hermione incapable of her undaunted
eloquence and silence, his Perdita and Miranda
and Rosalind less than themselves.

As illustrations, the drawings of Mr. Abbey
represent traditions brought into English illustra-
tive art by the Pre-Raphaelites, and developed by
the freer school of the sixties. But, as drawings,
they represent ideas not efFeftive before in the
pradlice of English pen-draughtsmen ; ideas derived
from the study of the black and white of Spain, of
France, and of Munich, by American art students
in days when English illustrators were not given to
look abroad. Technically he has suggested many
things, especially to costume illustrators, and many
names might follow his in representation of the
place he fills in relation to contemporary art. But
to work out the effedt of a man's technique on

68 ENGLISH BOOK-ILLUSTRATION

those who are gaining power of expression is to
labour in vain. It adds nothing to the intrinsic
value of an artist's work, nor does it represent the
true relationship between him and those whom he
has influenced. For if they are mere imitators they
have no relation with any form of art, while to
insist upon derived qualities in work that has the
superscription of individuality is no true way of
apprehension. What a man owes to himself is the
substantial fa(5l, the fadl that relates him to other
men. The value of his work, its existence, is in
the little more, or the much more, that himself
adds to the sum of his directed industries, his
guided achievements. And to estimate that, to
attempt to express something of it, must be the
chief aim of a study, not of one artist and his
* times,' but of many artists practising a popular
art.

So that if, in consideration of their ' starting-
point,' one may group most charafter-illustrators,
especially of wig-and-powder subjed:s, as adherents
either of Mr. Abbey and the * American school,'
or of Mr. Hugh Thomson and the Caldecott-
Greenaway tradition, such grouping is also no more
than a starting-point, and everything concerning
the achievements of the individual artist has still
to be said.

Considering the intention of their technique, one
may permissibly group the names of Mr. Fred
Pegram, Mr. F. H. Townsend, Mr. Shepperson,
Mr. Sydney Paget, and Mr. Stephen Reid as
representing in different degrees the efFed: of
American black and white on English technique,

OF TO-DAY. 69

though, in the case of Mr. Paget, one alludes only
to pen-drawings such as those in ' Old Mortality,'
and not to his Sherlock Holmes and Martin Hewitt
performances. The art of Mr. Pegram and of Mr.
Townsend is akin. Mr. Pegram has, perhaps,
more sense of beauty, and his work suggests a more
complete vision of his subjeft than is realized in
the drawings of Mr. Townsend, while Mr. Town-
send is at times more successful with the aiflivities
of the story ; but the differences between them
seem hardly more than the work of one hand would
show. They really collaborate in illustration,
though, except in Cassell's survey of ' Living Lon-
don,' they have never, I think, made drawings for
the same book.

Mr. Pegram served the usual apprenticeship to
book-illustration. He was a news-illustrator before
he turned to the illustration of literature ; but he
is an artist to whom the reality acquired by a
subjed: after study of it is more attractive than the
reality of a6tual impressions. Neither sensational
nor society events appeal to him. The necessity
to compose some sort of an impression from the
bare fad:s of a fa(5l, without time to make the best
of it, was not an inspiring necessity. That Mr.
Pegram is a book-illustrator by the inclination of
his art as well as by profession, the illustrations
to ' Sybil,' published in 1895, prove. In these
drawings he showed himself not only observant of
facial expression and of gesture, but also able to
interpret the glances and gestures of Disraeli's
society. From the completeness of the draughts-
man's realization of his subjeft, illustrable situations

70 ENGLISH BOOK-ILLUSTRATION

develop themselves with credibility, and his grace-
ful v^omen and thoughtful men represent the events
of the novel w^ith distinction. With ' Sybil' may
be mentioned the illustrations to ' Ormond,' wherein,
five years later, the same understanding of the ways
and activities of a bygone, yet not remote society,
found equally satisfactory expression, while the
technique of the artist had gained in completeness.
In 'The Last of the Barons' (1897), ^^- ^^S^^^
had a picturesque subjeCt with much strange
humanity in it, despite Lord Lytton's conventional
travesty of events and character. The names of
Richard and Warwick, of Hastings and Margaret
of Anjou, are names that break through conven-
tional romance, but the illustrator has to keep up
the fiction of the author, and, except that the
sham-mediaevalism of the novel did not prevent a
right study of costumes and accessories in the
pictures, the artist had to be content to ' Bulwerize.'
Illustrations to ' The Arabian Nights ' gave him
opportunity for rendering textures and atmosphere,
and movements charming or grave, and the
' Bride of Lammermoor ' drawings show a sweet-
faced Lucy Ashton, and a Ravenswood who is
more than melancholy and picturesque. Mr.
Pegram's drawings are justly dramatic within the
limits prescribed by a somewhat composed ideal of
bearing. A catastrophe is outside these limits, and
the discovery of Lucy after the bridal lacks real
illustration in the artist's version, skilful, neverthe-
less, as are all his drawings, and expressed without
hesitation. Averse to caricature, and keeping
within ideas of life that allow of unbroken expres-

OF TO-DAY.

71

sion, the novels of Marryat, where adion so bust-
ling that only caricatures of humanity can endure

But don't h ah^/y)
^ you Knon'jou mil ndt/iihl*

FROM MR. PEGRAM's ' THE BRIDE OF LAMMERMOOR.'
BY LEAVE OF MESSRS. NISBET.

its exigencies, and sentimental episodes of flagrant
insincerity, swamp the character-drawing, are hardly
suited to the art of Mr. Pegram. Still, he seledts,
and his selection is true to the time and circum-

72 ENGLISH BOOK-ILLUSTRATION

stance of Marryat's work. In itself it is always an
expression of a coherent and definite conception of
the story.

Mr. Townsend has illustrated Hawthorne and
Peacock, as well as Charlotte Bronte and Scott.
Hawthorne's men and women — embodiments
always of some essential quality, rather than of the
combination of qualities that make * character ' —
lend themselves to fine illustration as regards
gesture, and Mr. Townsend's drawings represent,
not insensitively, the movement and suggestion of
' The Blithedale Romance ' and * The House of
the Seven Gables.' In the Peacock illustrations
the artist had to keep pace with an essentially un-
English humour, an imagination full of shapes
that are opinions and theories and sarcasms mas-
querading under fantastic human semblances. Mr.
Townsend kept to humanity, and found occasions
for representing the eccentrics engaged in cheerful
open-air and society pursuits in the pauses of
paradoxical discussion. One realizes in the draw-
ings the pleasant asped: of life at Gryll Grange and
at Crotchet Castle, the courtesies and amusements
out of doors and within, while the subjects of
' Maid Marian,' of ' The Misfortunes of Elphin '
and of ' Rhododaphne ' declare themselves in ex-
cellent terms of romance and adventure. Mr.
Townsend has humour, and he is in sympathy
with the vigorous spirit in life ; whether the vig-
our is intelleftual as in Jane Eyre and in Shirley
Keeldar, or muscular as in ' Rob Roy,' in draw-
ings to a manual of fencing, and in Marryat's ' The
King's Own,' or eccentric as in the fantasies of

OF TO-DAY.

73

Peacock. His work is never languid and never
formal ; and if in technique he is sometimes ex-

-^^^ ooY 4 dt-g^;,^*^

FROM MR. TOWNSENd's ' SHIRLEY.'
BY LEAVE OF MESSRS. NISBET.

perimental, and frequently content v^ith ineffectual
accessories to his figures, his conception of the
situation, and of the charaders that fulfil the situa-
tion, is direct and effedive enough.

74 ENGLISH BOOK-ILLUSTRATION.

As an illustrator of current fiftion, Mr. Town-
send has also a considerable amount of dexterous
work to his name, but a record of drawings con-
tributed to the illustrated journals cannot even be
attempted within present limits of space.

Mr. Shepperson in his book-illustrations gener-
ally represents affairs with pi6turesqueness, and with
a nervous energy that takes the least mechanical
way of expressing forms and substances. Illus-
trating the modern novel of adventure, he is happy
in his intrigues and conspiracies, while in books of
more weight, such as 'The Heart of Midlothian'
or ' Lavengro,' he expresses graver issues of life
with un-elaborate and suggestive effeft. The
energy of his line, the dramatic quality of his
imagination, render him in his element as an
illustrator of events, but the vigour that proje6ts
itself into subjects such as the murder of Sir George
Staunton, or the fight with the Flaming Tinman, or
the alarms and stratagems of Mr. Stanley Weyman,
informs also his representation of moments when
there is no adiion. Technically Mr. Shepperson repre-
sents very little that is traditional in English black
and white, though the tradition seems likely to be
there for future generations of English illustrators.

In a recent work, illustrations to Leigh Hunt's
' Old Court Suburb,' Mr. Shepperson collaborates
with Mr. E. J. Sullivan and Mr. Herbert Railton,
to realize the associations, literary, historical and
gossiping, that have Kensington Palace and Holland
House as their principal centres. On the whole,
of the three artists, the subjed: seems least suggestive
to Mr. Shepperson. Mr. Sullivan contributes many

u4r>J {.Co/iyright.

" i'e are ill, Effu" were the first words Jennie could utter; " yc are very ill."

FROM MR. SHEPPERSON's *THE HEART OF MIDLOTHIAN.
BY LEAVE OK THE GRESHAM PUBLISHING COMPANY.

76 ENGLISH BOOK-ILLUSTRATION

portraits, and some subject drawings that show him
in his lightest and most dexterous vein. These
drawings of beaux and belles are as distincfl in their
happy flattery of faft from the rigid assertion of the
artist's ' Fair Women,' as they are from the un-
dehghtful reporting style that in the beginning
injured Mr. Sullivan's illustrations. One may
describe it as the ' Daily Graphic ' style, though
that is to recognize only the basis of convenience
on which the training of the ' Daily Graphic '
school was necessarily founded. Mr. Sullivan's
early work, the news-illustration and illustrations to
current fiftion of Mr. Reginald Cleaver and of his
brother Mr. Ralph Cleaver, the black and white
of Mr. A. 8. Boyd and of Mr. Crowther, show this
journalistic training, and show, too, that such a
training in reporting fa6ls direcflly is no hindrance
to the later achievement of an individual way of
art. Mr. A. S. Hartrick must also be mentioned
as an artist whose distinctive black and white
developed from the basis of piftorial reporting, and
how distinctive and well-observed that art is,
readers of the ' Pall Mall Magazine ' know. As a
book-illustrator, however, his landscape drawings
to Sorrow's ' Wild Wales ' represent another art
than that of the charader-illustrator. Nor can
one pass over the drawings of Mr. Maurice
Greiffenhagen, also a contributor to the ' Pall Mall
Magazine,' if better known in illustrations to fiCtion
in 'The Ladies' Pictorial,' though in an article
on book-illustration he has nothing like his right
place. As an admirable and original technician and
draughtsman of society, swift in sight, excellent in

OF TO-DAY. ^j

expression, he ranks high among black-and-white
artists, while as a painter, his reputation, if based on
different qualities, is not doubtful.

Mr. Sullivan's drawings to ' Tom Brown's School-
days' (1896) are mechanical and mostly with-
out charm of handling, having an appearance of
timidity that is inexplicable when one thinks of
the vigorous news-drawings that preceded them.
The wiry line of the drawings appears in the
' Compleat Angler,' and in other books, including
' The Rivals ' and ' The School for Scandal,' * Lav-
engro ' and ' Newton Forster,' illustrated by the
artist in '96 and '97 ; but the decorative pur-
pose of Mr. Sullivan's later work is, in all these
books, effe6tive in modifying its perversity. In-
creasing elaboration of manner within the limits of
that purpose marks the transition between the
starved reality of ' Tom Brown ' and the illus-
trations to 'Sartor Resartus ' (1898). These
emphatic decorations, and those illustrative of
Tennyson's ' Dream of Fair Women and other
Poems,' published two years later, are the drawings
most representative of Mr. Sullivan's intelledtual
ideals. They show him, if somewhat indifferent
to charm, and capable of out-facing beauty sug-
gested in the words with statements of the extreme
definiteness of his own fadt-conception, yet strongly
appreciative of the substance and purpose of the
text. Carlyle gives him brave opportunities, and
the dogmatism of the artist's line and form, his
speculative humour, working down to a definite
certainty in things, make these drawings unusually
interesting. Tennyson's ' Dream,' and his poems

FROM MR. E. J. Sullivan's 'school for scandal.

BY LEAVE OF MESSRS. MACMILLAN.

ENGLISH BOOK-ILLUSTRATION. 79

to women's names, are not so fit for the exercise of
Mr. Sullivan's talent. He imposes himself with
too much force on the forms that the poet suggests.
There is no delicacy about the drawings and no
mystery. They do not accord with the inspiration
of Tennyson, an inspiration that substitutes the ex-
quisite realities of memory and of dream for the
realities of experience. Mr. Sullivan's share of the
illustrations to White's ' Selborne ' and to the
' Garden Calendar,' are technically more akin to the
Carlyle and Tennyson drawings than to other ex-
amples by him. In these volumes he makes
fortunate use of the basis of exa6titude on which
his work is founded, exa6titude that includes por-
traiture among the functions of the illustrator. No
portrait is extant of Gilbert White, but the present-
ment of him is undertaken in a constructive spirit,
and, as in ' The Compleat Angler ' and * The Old
Court Suburb,' portraits of those whose names and
personalities are conned:ed with the books are re-
drawn by Mr. Sullivan.

Except Mr. Abbey, no charafter-illustrator of
the modern school has so long a record of work,
and so visible an influence on English contemporary
illustration, as Mr. Hugh Thomson. In popularity
he is foremost. The slight and apparently playful
fashion of his art, deriving its intention from the
irresistible gaieties of Caldecott, is a fashion to
please both those who like pretty things and those
who s'^an appreciate the more serious qualities that
are beneath. For Mr. Thomson is a student of
literature. He pauses on his subje6t, and though
his invention has always responded to the suggestions

8o ENGLISH BOOK-ILLUSTRATION

of the text, the lightness of his later work is the
outcome of a sele6ting judgment that has learned
what to omit by studying the details and fadls of
things. In rendering facial expression Mr. Thomson
is perhaps too much the follower of Caldecott, but
he goes much farther than his original master in
realization of the forms and manners of bygone
times. Some fashions of life, as they pass from
use, are laid by in lavender. The fashions of the
eighteenth century have been so laid by, and Mr.
Abbey and Mr. Thomson are alike successful in
giving a version of fa6t that has the farther charm
of lavender-scented antiquity.

When * Days with Sir Roger de Coverley,'
illustrated by Hugh Thomson, was published in
1886, the young artist was already known by his
drawings in the * English Illustrated,' and recog-
nized as a serious student of history and literature,
and a delightful illustrator of the times he studied.
His powers of realizing charad:er, time, and place,
were shown in this earliest work. Sir Roger is a
dignified figure ; Mr. Spectator, in the guise of
Steele, has a semblance of observation ; and if Will
Wimble lacks his own unique quality, he is repre-
sented as properly engaged about his * gentleman-
like manufacflures and obliging little humours.'
Mr. Thomson can draw animals, if not with the
possessive understanding of Caldecott, yet with
truth to the kind, knowledge of movement. The
country-side around Sir Roger's house — as, in a
later book, that where the vicarage of Wakefield
stands — is often delightfully drawn, while the lei-
surely and courteous spirit of the essays is repre-

OF TO-DAY. 8 1

sented, with an appreciation of its beauty. ' Coach-
ing Days and Coaching Ways ' ( 1 8 88) is a picturesque
book, where types and busthng a6tion pifturesquely
treated were the subjedls of the artist. The peopHng
of high-road and county studies with lively figures
is one of Mr. Thomson's successful achievements,
as he has shown in drawings of the cavalier exploits
of west-country history, illustrative of ' Highways
and Byways of Devon and Cornwall,* and in epi-
sodes of romance and warfare and humour in
similar volumes on Donegal, North Wales, and
Yorkshire. Here the presentment of types and
a6lion, rather than of charadter, is the aim, but
in the drawings to ' Cranford ' (1891), to 'Our
Village,' and to Jane Austen's novels, behaviour
rather than action, the gentilities and proprieties
of life and millinery, have to be expressed as a part
of the artistic sense of the books. That is, perhaps,
why Jane Austen is so difficult to illustrate. The
illustrator must be neither formal nor pi6luresque.
He must understand the ' parlour ' as a setting for
delicate human comedy. Mr. Thomson is better
in ' Cranford,' where he has the village as the
background for the two old ladies, or in ' Our
Village,' where the graceful pleasures of Miss
Mitford's prose have suggested delightful figures
to the illustrator's fancy, than in illustrating Miss
Austen, whose disregard of local colouring robs
the artist of background material such as interests
him. Three books of verses by Mr. Austin Dobson,
'The Ballad of Beau Brocade' (1892), 'The Story
of Rosina,' and ' Coridon's Song ' of the following
years, together with the illustrations to ' Peg

G

82 ENGLISH BOOK-ILLUSTRATION

Woffington,' show, in combination, the pifturesque
and the intelled:ual interests that Mr. Thomson

ih^-^t- -^ 'jy, 'M\r]\\ '

FROM MR. HUGH THOMSON'S ' BALLAD OF BEAU BROCADE.'

BY LEAVE OF MESSRS. KEGAN PAUL.

finds in life. The eight pieces that form the first of
these volumes were, indeed, chosen to be reprinted
because of their congruity in time and sentiment

OF TO-DAY. 83

with Mr. Thomson's art. And certainly he works
in accord with the measure of Mr. Austin Dobson's
verses. Both author and artist carry their eighteenth-
century learning in as easy a way as though ex-
perience of life had given it them without any
labour in libraries.

Mr. C. E. Brock and Mr. H. M. Brock are two
artists who to some extent may be considered as
followers of Mr. Thomson's methods, though Mr.
C. E. Brock's work in ' Punch,' and humorous
charafterizations by Mr. H. M. Brock in ' Living
London,' show how distinct from the elegant fancy
of Mr. Thomson's art are the latest developments
of their artistic individuality. Mr. C. E. Brock's
illustrations to Hood's 'Humorous Poems* (1893)
proved his indebtedness to Mr. Thomson, and his
ability to carry out Caldecott-Thomson ideas with
spirit and with invention. An aftive sense of fun,
and facility in arranging and expressing his subject,
made him an addition to the school he represented,
and, as in later work, his own qualities and the
qualities he has adopted combined to produce
spirited and graceful art. But in work preceding
the pen-drawing of 1893, and in many books illus-
trated since then, Mr. Brock at times has shown
himself an illustrator to whom matter rather than
a particular charm of manner seems of paramount
interest. In the illustrated Gulliver of 1894 there
is little trace of the daintiness and sprightliness of
Caldecott's illustrative art. He gives many par-
ticulars, and is never at a loss for forms and details,
representing with equal matter- of- faftness the
crowds, cities and fleets of Lilliput, the large de-

84 ENGLISH BOOK-ILLUSTRATION.

tails of Brobdingnagian existence, and the cere-
monies and spectacles of Laputa. In books of
more a6lual adventure, such as ' Robinson Crusoe '
or ' Westward Ho,' or of quiet particularity, such
as Gait's ' Annals of the Parish,' the same direft-
nessand unmannered expression are used, a diredtness
which has more of the journalistic than of the play-
ful-inventive quality. The Jane Austen drawings,
those to ' The Vicar of Wakefield,' and to a recent
edition of the ' Essays of Elia,' show the graceful
eighteenth-centuryist, while, whether he reports
or adorns, whether aftion or behaviour, adventure
or sentiment, is his theme, Mr. Brock is always an
illustrator who realizes opportunities in the text,
and works from a ready and observant intelligence.

Mr. Henry M. Brock is also an efFeftive illus-
trator, and his work increases in individuality and
in freedom of arrangement. 'Jacob Faithful '
(1895) was followed by 'Handy Andy' and
Thackeray's 'Songs and Ballads' in 1896. Less
influenced by Mr. Thomson than his brother, the
lively Thackeray drawings, with their versatility
and easy invention, have nevertheless much in
common with the work of Mr. Charles Brock.
On the whole, time has developed the differences
rather than the similarities in the work of these
artists. In the ' Waverley ' drawings and in those
of ' The Pilgrim's Progress,' Mr. H. M. Brock
represents adlion in a more picturesque mood than
Mr. Charles Brock usually maintains, emphasizing
with more dramatic effect the action and necessity
for action.

The illustrations of Mr. William C. Cooke,

Jjear.cir^tYcJ 6pi<>r>«f (

FROM MR. C. E. BROCK's * THE ESSAYS OF ELIA.
BY LEAVE OF MESSRS. DENT,

86 ENGLISH BOOK-ILLUSTRATION

especially those to ' Popular British Ballads' (1894),
and, with less value, those to 'John Halifax, Gentle-
man,' may be mentioned in relation to the Caldecott
tradition, though it is rather of the art of Kate
Greenaway that one is reminded in these tinted
illustrations. Mr. Cooke's wash-drawings to Jane
Austen's novels, to 'Evelina' and 'The Man of Feel-
ing,' as well as the pen-drawings to 'British Ballads,'
have more force, and represent with some distinc-
tion the stir of ballad romance, the finely arranged
situations of Miss Austen, and the sentiments of life,
as Evelina and Harley understood it.

In a study of English black-and-white art, not
limited to book-illustration, * Punch ' is an almost
inevitable and invaluable centre for fa6ls. Few
draughtsmen of notability are outside the scheme
of art conne6ted with * Punch,' and in this connec-
tion artists differing as widely as Sir John Tenniel
and Mr. Phil May, or Mr. Linley Sambourne
and Mr. Raven Hill, form a coherent group.
But, in this volume, ' Punch ' itself is outside the
limits of subje6t, and, with the exception of Mr.
Bernard Partridge in the present, and Sir Harry
Furniss in the past, the wits of the pencil who
gather round the ' mahogany tree ' are not among
charadler-illustrators of literature. Mr. Partridge
has drawn for 'Punch' since 1891, and has been
on the staff for nearly all that time. His draw-
ings of theatrical types in Mr. Jerome's ' Stage-
land ' (1889) — which, according to some critics,
made, by dedu6tion, the author's reputation as a
humorist — and to a first series of Mr. Anstey's
' Voces Populi,' as well as work in many of the

OF TO-DAY. 87

illustrated papers, were a substantial reason for
' Punch's ' invitation to the artist. From the ' Bishop
and Shoeblack' cut of 1891, to the 'socials' and
cartoons of to-day, Mr. Partridge's drawings, to-
gether with those of Mr. Phil May and of Mr.
Raven Hill, have brilliantly maintained the reputa-
tion of ' Punch ' as an exponent of the forms and
humours of modern life. His ad:ual and intimate
knowledge of the stage, and his ad:or's observation
of significant attitudes and expressions, vivify his in-
terpretation of the middle-class, and of bank-holiday
makers, of the ' artiste,' and of such a special type
as the 'Baboo Jabberjee' of Mr. Anstey's fluent
conception. If his ' socials ' have not the prestige
of Mr. Du Maurier's art, if his women lack charm
and his children delightfulness, he is, in shrewd-
ness and range of observation, a pi6lorial humorist
of unusual ability. As a book-illustrator, his most
' literary ' work is in the pages of Mr. Austin
Dobson's ' Proverbs in Porcelain.' Studied from the
model, the draughtsmanship as able and searching
as though these figures were sketches for an ' im-
portant ' work, there is in every drawing the com-
pleteness and fortunate eff^e6t of imagination. The
ease of an acStual society is in the pose and group-
ing of the costumed figures, while, in the repre-
sentation of their graces and gallantries, the artist
realizes ce superjiu si necessaire that distinguishes
dramatic adlion from the observed a(ftion of the
model. Problems of atmosphere, of tone, of
textures, as well as the presentment of life in
charad:er, adiion, and attitude, occupy Mr. Par-
tridge's consideration. He, like Mr. Abbey, has

88 ENGLISH BOOK-ILLUSTRATION.

the colourist's vision, and though the charm of
people, of circumstance, of accessories and of asso-
ciation is often less his interest than chara6leristic
fad:s, in non-conventional technique, in style that
is as un-selfconscious as it is individual, Mr. Abbey
and Mr. Partridge have many points in common.

Sir Harry Furniss, alone of caricaturists, has, in
the many-sided activity of his career, applied
his powers of characterization to charafters of
fiction, though he has illustrated more nonsense-
books and wonder-books than books of serious
narrative. Sir John Tenniel and Mr. Linley Sam-
bourne among cartoonists, Sir Harry Furniss, Mr.
E. T. Reed, and Mr. Carruthers Gould among
caricaturists, mark the strong connection between
politics and political individualities, and the irre-
sponsible developments and creatures of nonsense-
adventures, as a theme for art. To summarize
Sir Harry Furniss' career would be to give little
space to his work as a charaCter-illustrator, but his
charaCter-illustration is so representative of the
other directions of his skill, that it merits con-
sideration in the case of a draughtsman as effective
and ubiquitous in popular art as is ' Lika Joko.' The
pen-drawings to Mr. James Payn's ' Talk of the
Town,' illustrated by Sir Harry Furniss in 1885,
have, in restrained measure, the qualities of flexi-
bility, of imagination so lively as to be contortion-
istic, of emphasis and pugnacity of expression, of
pantomimic fun and drama, that had been signalized
in his Parliamentary antics in ' Punch ' for the pre-
ceding five years. His connection with ' Punch '
lasted from 1880 to 1894, and the 'Parliamentary

FROM SIR HARRY FURNISS' * THE TALK OF THE TOWN.'
BY LEAVE OK MESSRS. SMITH, ELDER.

90 ENGLISH BOOK-ILLUSTRATION

Views,' two series of ' M.P.s in Session,' and the
' Salisbury Parliament/ represent experience gained
as the illustrator of' Toby M.P.' His high spirits
and energy of sight also found scope in caricaturing
academic art, ' Pidlures at Play ' (1888), being fol-
lowed by ' Academy Antics ' of no less satirical
and brilliant purpose. As caricaturist, illustrator,
le(5turer, journalist, traveller, the style and idio-
syncrasies of Sir Harry Furniss are so public and
familiar, and so impossible to emphasize, that a
brief mention of his insatiable energies is perhaps as
adequate as would be a more detailed account.

Other book-illustrators whose connection with
' Punch ' is a fa(5t in the record of their work are
Mr. A. S. Boyd and Mr. Arthur Hopkins. Mr.
Jalland, too, in drawings to Whyte-Melville used
his sporting knowledge on a congenial subjed:.
Mr. A. S. Boyd's * Daily Graphic ' sketches pre-
pared the way for ' canny ' drawings of Scottish
types in Stevenson's * Lowden Sabbath Morn,'
in ' Days of Auld Lang Syne,' and in * Horace in
Homespun,' and for other observant illustrations to
books of pleasant experiences written by Mrs. Boyd.
Mr. Arthur Hopkins, and his brother Mr. Everard
Hopkins, are careful draughtsmen of some distinc-
tion. Without much spontaneity or charm of
manner, the pretty girls of Mr. Arthur Hopkins,
and his well-mannered men, fill a place in the pages
of ' Punch,' while illustrations to James Payn's
' By Proxy,' as far back as 1878, show that the un-
elaborate style of his recent work is founded on past
prad:ice that has the earlier and truer Du Maurier
technique as its standard of thoroughness. Mr. E. J.

OF TO-DAY. 91

Wheeler, a regular contributor to ' Punch ' since
1880, has illustrated editions of Sterne and of
' Masterman Ready,' other books also containing
characteristic examples of his rather precise, but
not uninteresting, work.

Save by stringing names of artists together on the
thread of their connection with someone of the illus-
trated papers or magazines, it would be impossible
to include in this chapter mention of the enormous
amount of capable black-and-white art produced in
illustration of ' serial ' fi6tion. Such name-string-
ing, on the connection — say — of ' The Illustrated
London News,' ' The Graphic,' or ' The Pall Mall
Magazine,' would fill a page or two, and represent
nothing of the quality of the work, the attainment
of the artist. Neither is it practicable to summarize
the illustration of current fiction. One can only
attempt to give some account of illustrated litera-
ture, except where the current illustrations of an
artist come into the subjeCt * by the way.' Mr.
Frank Brangwyn may be isolated from the group
of notable painters, including Mr. Jacomb Hood,
Mr. Seymour Lucas and Mr. R. W. Macbeth,
who illustrate for ' The Graphic,' by reason of his
illustrations to classics of fiCtion such as ' Don
Quixote ' and ' The Arabian Nights,' as well as to
Michael Scott's two famous sea-stories. To some ex-
tent his illustrations are representative of the large-
phrased construction of Mr. Brangwyn's painting,
especially in the drawings of the opulent orientalism
of ' The Arabian Nights,' with its thousand and one
opportunities for vivid art. Mr. Brangwyn's east
is not the vague east of the stay-at-home artist, nor

92 ENGLISH BOOK-ILLUSTRATION

of the conventional traveller ; his imagination works
on fad:s of memory, and both memory and imagina-
tion have strong colour and concentration in a mind
bent towards adventure. One should not, however,
narrow the scope of Mr. Brangwyn's art within the
limits of his work in black and white, and what is
no more than an aside in the expression of his in-
dividuality, cannot, with justice to the artist, be
considered by itself. Other ' Graphic ' illustrators —
Mr. Frank Dadd, Mr. John Charlton, Mr. William
Small, and Mr. H. M. Paget, to name a few only —
represent the various qualities of their art in black-
and-white drawings of events and of fiftion, and the
' Illustrated,' with artists including Mr. Caton
Woodville, Mr. Seppings Wright, Mr. S. Begg,
M. Amedee Forestier and Mr. Ralph Cleaver, fills
a place in current art to which few of the more
recently established journals can pretend. Mr.
Frank Dadd and Mr. H. M. Paget made drawings
for the ' Dryburgh ' edition of the Waverleys. In this
edition, too, is the work of well-known artists such as
Mr. William Hole, whose Scott and Stevenson illus-
trations show his inbred understanding of northern
romance, and together with the charafter etchings
to Barrie, shrewd and valuable, represent with some
justice the vigour of his art; of Mr. Walter
Paget, an excellent illustrator of 'Robinson Crusoe,'
and of many boys' books and books of adventure, of
Mr. Lockhart Bogle, and of Mr. Gordon Browne.
In the same edition Mr. Paul Hardy, Mr. John
Williamson and Mr. Overend, showed the more
serious purpose of black and white that has
earned the appreciation of a public critical of any

OF TO-DAY. 93

failure in vigour and in realization — the public
that follows the tremendous activity of Mr. Henty's
pen, and for whom Dr. Gordon Stables, Mr. Man-
ville Fenn and Mr. Sydney Pickering write. Of M.
Amedee Forestier, whose illustrations are as popular
with readers of the ' Illustrated ' and with the larger
public of novel-readers as they are with students of
technique, one cannot justly speak as an English
illustrator. He, and Mr. Robert Sauber, con-
tributed to Ward Lock's edition of Scott illustrated
by French artists. Their work, M. Forestier's so
admirable in realization of episode and romance,
Mr. Sauber's, vivacious up to the pitch of ' The
Impudent Comedian ' — as his illustrations to Mr.
Frankfort Moore's version of Nell Gwynn's fascina-
tions showed — needs no introduction to an English
public. The black and white of Mr. Sauber and
of Mr. Dudley Hardy — when Mr. Hardy is in the
vein that culminated in his theatrical posters — has
many imitators, but it is not a style that is likely to
influence illustrators of literature. Mr. Hal Hurst
shows something of it, though he, and in greater
measure Mr. Max Cowper, also suggest the unfor-
gettable technique of Charles Dana Gibson.

IV. SOME CHILDREN'S-BOOKS ILLUS-
TRATORS.

iEIGH HUNT is one of many authors
gratefully to praise the best-praised
publisher of any day, Mr. Newbery,
who, at " The Bible and Sun " in St.
Paul's Churchyard, dispensed to long-
ago children ' Goody Two Shoes,'
' Beauty and the Beast,' and other less famous
little books, bound in gilt paper and rich with
many pictures. Charming memories prompt Leigh
Hunt's mention of the little penny books * radiant
with gold,' that 'never looked so well as in adorning
literature,' and if the radiance of his estimate of
these nursery volumes is from an actual memory
of gilt-paper binding, his words exemplify the
spirit that makes right appreciation of the newest
pi(5ture-books so difficult.

In no other part of the subjed: of book-illustra-
tion are the books of yesterday fraught with charm
so inimical to delight in the books of to-day. The
modern child's book — except, let us hope, to the
child-owner — is merely a book as other books are.
Its qualities are as patent as its size, or number of
illustrations. The piftures are to the credit or dis-
credit of a known and realized artist ; they are,

ENGLISH BOOK-ILLUSTRATION. 95

moreover, generally plain to see as a development
of the ideas of some 'school' or 'movement.'
One knows about them as examples of English
book- illustration of to-day. But the piftures
between the worn-out covers of the other child's
books were known with another kind of know-
ledge, discovered in a long intimacy, and related,
not to any artist, or fashion of art, but to all manner
of unreasonable and delightful things.

So it is well, perhaps, that the break between a
subje6l of enthralling associations and a subject
whose associations are unsentimental, should, by the
ordering of fa6ts, occur before the proper beginning
of a study of contemporary illustration in children's
books. For one reason or another, little work by
artists whose reputation is of earlier date than to-
day comes within present subje6t-limits. Some,
like Randolph Caldecott and Kate Greenaway, are
dead, some have ceased to draw, or draw no longer
for children. Happily, the witching drawings of
Arthur Hughes are still among nursery pid:ures,
in reprints of ' At the Back of the North Wind,'
and its companions — though the illustrator of these
books, of ' The Boy in Grey,' and of ' Tom
Brown's Schooldays,' has long ceased to weave his
fortunate dreams into pidlures to content a child.
The drawings of Robert Barnes, of Mrs. Allingham
and of Miss M. E. Edwards — illustrators of a
sound tradition — are known to the present nursery
generation ; and so are the outline and tinted
drawings of ' T. Pym,' who devised, so far back as
the seventies, the naive and sympathetic style of
illustration that is pleasantly unchanged in recent

96 ENGLISH BOOK-ILLUSTRATION

child-books, such as 'The Gentle Heritage'
(1893), ^"d 'Master Barthemy ' (1896). The
later work of Walter Crane is so bent to decorative
and allegorical purpose, that the creator of the best
nursery-rhyme pictures ever printed in colours —
Randolph Caldecott's are rather ballad than nursery-
rhyme pictures — is in his place among decorative
illustrators rather than in this connection. Sir John
Tenniel's neat, immortal little Alice, with her
ankle-strap shoes and pocketed apron, is still fol-
lowed to Wonderland by as many children as in
1866, when she and the splendid prototypes of the
degenerate jargon-beasts of to-day first captivated
attention. The drawings of these artists, and per-
haps also of ' E. V. B.'— for ' Child's Play,' though
published in 1858, is familiar to present children
in a reprint — are mentioned because of the place
they still take on nursery book-shelves. But from
such brief record of some among the books ' radiant
with gold ' that ' never looked so well as in adorn-
ing literature,' one must turn to work that has no
such radiance of sentiment and association over its
merits and defefts.

Since the eighties Mr. Gordon Browne has been
in the forefront of illustrators popular with story-
book publishers and with readers of story-books.
He is the son of Hablot Browne, but no trace
of the ' caricaturizations ' of ' Phiz ' is in Mr.
Gordon Browne's work. Probably his earliest
published work appeared in ' Aunt Judy's Maga-
zine ' some time in the seventies. These un-
enlivening drawings suggest nothing of the pic-
turesque and unhesitating invention that has shaped

OF TO-DAY. 97

his style to its present serviceableness in the rapid
producflion of effective illustrations. The range
and quantity of his work is best realized in the
bibliographical list, which records his illustrations
to Shakespeare and Henty, to fairy-tales and boys'
stories, girls' stories and toy-books, Gulliver, Cer-
vantes, and Sunday-school books, at the rate of six
or seven volumes a year. In addition, one must
remember unnumbered illustrations in domestic
magazines. And, on the whole, the stories illus-
trated by Gordon Browne are adequately illustrated.
It is true that as a general rule he illustrates stories
whose plan is within limits of familiarity, such as
those by Mrs. Ewing, Mrs. L. T. Meade, or, in a
different vein, the boys' stories of Henty, Manville
Fenn, or Ascott Hope. Romance and the clash of
swords engaged the artist in the pages of * Sin-
tram,' of Froissart, of Sir Walter Scott, and —
pre-eminently — in the illustrations to the ' Henry
Irving Shakespeare,' numbering nearly six hundred,
and representing the work of five years. Illustrating
these subjedls, though in varying degree, the vitality
and importance of an artist's conception of life
and of art is put to the test. So far as prompt and
definite representation of persons, places, and en-
counters, and unflagging facility in devising effective
forms of composition constitute interpretation, the
artist maintained the level of the undertaking. The
illustration of stories such as those collected by the
brothers Grimm, or those Andersen discovered in
his exile of dreams among the fa6ts of life, demands
a quality of thought differing from, yet hardly less
rare than, the thought needed to interpret Shake-

H

98 ENGLISH BOOK-ILLUSTRATION

speare. A fine aptitude for discerning and render-
ing * the mysterious face of common things,' a
fancy full of shapes, perception of the rationale of
magic, are essential to the writer or artist who
elects to send his fancy after the elusive forms of
fairyland. The recent drawings to Andersen, a
volume of tales from Grimm, published in 1894,
and illustrations to modern inventions, such as
'Down the Snow Stairs' (1886), and Mr. Andrew
Lang's ' Prince Prigio,' show that Mr. Gordon
Browne's ideas of fairyland, ancient and modern,
are no less brisk and picturesque than are his
ideas of everyday and of romance. His technique
is so familiar that it is surely unnecessary to make
even a brief disquisition on its merits in expressing
fafts as they exist in a popular scheme of reality
and imagination. It is a healthy style, the ideals
of beauty and of strength are never coarse, wanton
or listless, the humour is friendly, and if the pathos
occasionally verges on sentimentality, the writer,
perhaps, rather than the artist is responsible.

Mr. Gordon Browne draws the average child,
and represents fun, fancy and adventure as the
average child understands them. His art is un-
sophisticated. To him, the child is no motif in a
decorative fantasy, nor a quaint diagram figuring in
nursery-Gothic elements of design, nor a bold in-
vention among pi6ture-book monsters. The artists
whose basis of art is the unadapted child, may, per-
haps, be classed as the ' realists ' among children's
illustrators. Among these realists are the illus-
trators of Mrs. Molesworth — with the exception
of Walter Crane, first and chief of them.

OF TO-DAY. 99

Mr. Leslie Brooke succeeded Mr. Crane in 1891
as the illustrator of Mrs. Molesworth's stories, and
the careful un-selfconscious fashion of his drawing,
his understanding of child-life and home-life as
known to children such as those of whom and for
whom Mrs. Molesworth writes, make these pen-
drawings true illustrations of the text. His draw-
ings are the result of individual observation and ot
a sense of what is fit and pleasant, though neither
in his filling of a page, nor in the conception of
beauty, is there anything definitely inventive to be
marked. On the whole, his children and young
people are rather representative of a class that
maintains a standard of good looks among other
desirable things, than of a type of beauty ; and ir
they are not artistic types, neither are they strongly
individualized. In his ' everyday ' illustrations
Mr. Leslie Brooke does not idealize, but that his
talent has a range of fancy is proved in illustra-
tions to 'A School in Fairyland' (1896), and to
some imaginings by Roma White. Graceful, re-
gardful of an unspoilt ideal in the fairies, elves and
flower-spirits, there are also frequent hints in these
drawings of the humour that finds more complete
expression in 'The Nursery Rhyme Book* of
1897, and in the happy extravagance of 'The
Jumblies ' and ' The Pelican Chorus ' (1900).
Outside the scope of pi(5lure-book drawings are
the dainty tinted designs to Nash's * Spring Song,'
and the skilful pen-drawings to ' Pippa Passes.'

Mr. Lewis Baumer's drawings of children,
whether in ' The Boys and I ' and other stories by
Mrs. Molesworth, or in less known child-stories,

loo ENGLISH BOOK-ILLUSTRATION

have distinftion that is partly a development of an
admiration for Du Maurier, though Mr. Baumer
is too quick-sighted and appreciative of charm to
remain faithful to any model in art with the model
in life before his eyes. The children of Mr.
Baumer are of to-day. The effed: of the earlier

' Punch ' artist on
the work of the
younger man is
hardly more than
suggested in certain
felicities of pose and
expression added to
those that a delight-
ful kind of child
discovers to an ob-
server unusually
sensitive to the vivid
and engaging qual-
ities of his subject.
These children are
swift of movement
and of spirit, and
the verve of the ar-
tist's style is rarely
forced, and still more rarely inadequate to the
occasion.

The acceptance of a formula, rather than the
expression of a hitherto unexpressed order of form,
is the basis of page-decoration by members of the
Birmingham School, whose work in its wider
aspe6t has already been considered. Originality
finds exercise in modifying details, but, pre-eminent

FROM MR. LEWIS BAUMER's ' HERMY
BY LEAVE OF MESSRS. CHAMBERS.

OF TO-DAY. loi

over differences in style, is the similarity of style
that suggests 'Birmingham' before the variations
in detail suggest the work of an individual artist.
The influence of Kate Greenaway is strongly
marked in the work of many of these designers
for children's books. Indeed, Miss Winifred
Green's drawings to Charles and Mary Lamb's
' Poetry for Children,' and to ' Mrs. Leicester's
School,' contain figures that, if one allows for some
assertion necessary to justify their reappearance,
might have come direct from * Under the Win-
dow.'

The typical illustrative art of Birmingham is,
however, of another kind. The quaint propriety
of ' old-fashioned ' childhood, which Kate Green-
away's delicate pencil first represented at its artistic
value, is akin to the conception of the child that
prevails on the pages decorated by Mrs. Arthur
Gaskin, but the work of Mrs. Gaskin shows nothing
of the Stothard-like ideal that seems to have been
the suggesting cause of * Greenaway ' play-pi6tures.
In the arabesques of flowers and leaves which
decorate many pages designed by Mrs. Gaskin
one sees a freedom and fluency of line that are
checked to quaintness and naive angularity when
the child is the subjecS. Her conception of a
pi6lorial child is very definite, and in her later
work, one must confess, it is a conception hardly
corroborated by observation of faft. ' Horn Book
Jingles' and 'The Travellers' of 1897 ^^^ 1898
show the culmination of a style that had more
sympathetic charm in the tinted pages of the
*A. B. C (1895), or the 'Divine and Moral

I02 ENGLISH BOOK-ILLUSTRATION

Songs ' of the following year. Book-illustration
is with Mrs. Gaskin, as with many members of the
school, only a part of craftsmanship.

Miss Calvert's winsome drawings in ' Baby Lays'
and ' More Baby Lays ' are obviously related to the
drawings of Mrs. Gaskin, though observation of
real babies seems to have come between a rigid
adherence to the model. The decorative illustra-
tions by the Miss Holdens to 'Jack and the Bean-
stalk' (1895), and to 'The Real Princess,' show
evidence of fancy that finds expression while
nothing of Mr. Gaskin's teaching is forgotten.

As different in spirit from the drawings of the
Birmingham designers as is the Lambs' * Poetry for
Children ' from ' A Child's Garden of Verses,' the
captivating illustrations of Mr. Charles Robinson
seem a dire6l pictorial evocation of the mood of
Stevenson's child's rhymes, or of Eugene Field's
lullabies. Familiar now, and exaggerated in imi-
tations and in some of the artist's later work, the
children and child-fantasies of Mr. Robinson, as
they were realized in the first unspoilt freshness of
improvisation, are among the delightful surprises of
modern book-illustration. In the pages of * A
Child's Garden of Verses' (1896), of * The Child
World,' and of Field's * Lullaby Land,' the frolic
babes of his fancy play hide and seek wherever the
text leaves space for them, rioting, or attitudin-
izing with spritely ceremony, from cover to cover.
The mood of imaginative play, of daylight make-
believe with its realistic and romantic excesses, and
of the make-believe enforced by flickering fire-light,
and bytheshadowsinthedarkened house, is expressed

OF TO-DAY. 103

in Mr. Robinson's drawings. Not children, but
child's-play, and the unexplored shadows and mys-
teries that lie ' up the mountain side of dreams ' are
the motives of the fantasies he sets on the page
beside Stevenson's rhymes of old delights, and the
rhymes of the land of counterpane, where Wynken
Blynken and Nod, the Rockaby lady from Hushaby
Street, and all kind drowsy fancies close round and
shut away the crooked shadows into the night out-
side the nursery.

The three books mentioned represent, as I think,
the artist's work at its truest value. There is variety
of touch and of method, and the heavier fa6t-en-
forcing line of * Child Voices,' of ' Lilliput Lyrics,'
or of the coloured pictures to *Jack of all Trades'
is used, as well as the fanciful line of the by-the-
way drawings, and the arabesques and delicate detail
of the fantasy and dream pictures. A scheme of
solid black and white, connected and rendered fully
valuable by interweaving with line, white lines
telling against black masses, and black lines relieved
against white, with pattern as a resource to fill
spaces when plain black or plain white seem un-
interesting, is, of course, the scheme of the majority
of decorative illustrators. But of this scheme Mr.
Charles Robinson has made individual use. Whether
his lines trace a fairy's transparent wing on a back-
ground of night-sky, of drifting cloud or of dream
mountain-side, or make the child visible among
dream-buildings, or seated on the world of fancy in
the immensity of night, or passing in a sleep-ship
through faery seas, they have the quality of imagina-
tion, imagination in their disposition to form a de-

104 ENGLISH BOOK-ILLUSTRATION

corative effed, and in the forms they express. The
full-page drawings to ' King Longbeard ' have this
quality, and hardly a drawing to any theme of fancy,
whether in old or in new fairy tales, or in verses,
but is the result of a vision of charm and distinction.

It would seem that the imagination of Mr.
Charles Robinson realizes a subject with more de-
light when the text is suggestive, rather than im-
pressive with definite conceptions. The mighty
forms of * The Odyssey,' the chivalric symbolism of
' Sintram and Aslaugas Knight,' even the magical
particularity of Hans Andersen, are not, apparently,
supreme in his imagination, as is his vision of fairy-
seeing childhood. One is unenlightened by the
graceful drawings to ' The Adventures of Odyseus,'
or the romances of De la Motte Fouque.

That Miss Alice Woodward has, on occasion,
made one of the many illustrators who have profited
by the example of Mr. Charles Robinson, various
drawings seem to show, but few of these illustrators
have the originality and purpose that allow Miss
Woodward to enlarge her range of expression with-
out nullifying the spontaneity of her work. She
has illustrated over a dozen books, beginning with
'Banbury Cross' in 1895, and mostly she treats
her subjeft with humour and variety and with a
consistent idea of the pi6torial aspecft of things.
She has quick appreciation of unconscious humour
in attitude and in expression, though she seems
at times to rely too much on memory, thereby
diminishing vividness. When most successful she
can draw a pleasing child with lines almost as
few as those used by any modern artist. Miss

FROM MISS woodward's ' TO TELL THE KING THE SKY IS

FALLING.'

BY LEAVE OF MESSRS. BLACKIE.

io6 ENGLISH BOOK-ILLUSTRATION

Gertrude Bradley is another pleasant illustrator.
Her later drawings of children are modified from
the print-pinafore freshness of those in ' Songs for
Somebody' (1893), to a type that has evident
affinities with the Charles Robinson child, though
in 'Just Forty Winks' (1897) Miss Bradley proves
her individual sense of humour. The taking sim-
plicity of Miss Marion Wallace-Dunlop's illustra-
tions of elf-babies in ' Fairies, Elves and Flower
Babies,' and of the human twins who adventure in
'The Magic Fruit Garden' also suggests the in-
fluence of the fortunate inventor of an admirable
child.

The greater amount of Mr. Bedford's work for
children consists of coloured illustrations to nursery-
books, and, when the humour of half-penny paper
journalism is supposed to be entertainment for
babies, one may be thankful for the pleasant and
peaceful drawings of this artist. Little Miss Muffist,
Wee Willie Winkie, and the acflivities of town and
country, are a relief from the Jeunesse doree, and the
lethargy of the War Office as toy-book subje6ls,
while ' The Battle of the Frogs and Mice ' — though
Miss Barlow's version of Aristophanes, with Mr.
Bedford's effediive decorations, is hardly a nursery-
book — is a better child's subject than the punishable
pretensions of other nations.

In work hitherto noticed, the child may be re-
garded as the central figure of the design, whether
fad: or fancy be set about his little personality.
Besides the illustrators whose subject is childhood
in some aspeft or another, and those children's
illustrators who pid:orialize the wide imaginings of

OF TO-DAY. 107

the national fairy tales, there are others in whose
work the child figures incidentally, but not as the
central fa6l. In this connexion one may consider
those draughtsmen who illustrate modern wonder-
books with Zankiwanks, Krabs and Wallypugs.

Mr. Archie Macgregor should be classed, per-
haps, among artists of the child in wonderland,
but the personalities of Tomakin and his sisters,
though Judge Parry sets them forth in prose and
in verse with his usual high spirits, are not the
illustrator's first care. ' Katawampus,' ' The First
Book of Krab,' and ' Butterscotia,' have made Mr.
Macgregor's robust and strongly-defined drawings
familiar, and, within the limits of the author's
hearty imagination, his droll and unflagging repre-
sentations of adventures, ceremonies and humours,
are extremely apt. Children, goblins, animals and
queer monsters are drawn with unhesitating spirit
and humour, and with decorative invention that
would be even more successful if it were less fertile
in devising detail. More fortunate in rendering
adtion than facial expression, without the mystery
that is the atmosphere of the magical fairy-land, the
fa6t and fancy of Mr. Macgregor are so admirably
illustrative of Judge Parry's text that one is almost
inclined to attribute the absence of glamour to the
artist's strong conception of the function of an
illustrator.

Mr. Alan Wright's work, again, is inevitably
associated with the invention of an author, though
Mr. Farrow's ' Wallypug ' books have not all been
illustrated by one artist. Mr. Wright's drawings
are proof of an energetic and serviceable concep-

io8 ENGLISH BOOK-ILLUSTRATION

tion of all sorts of out-of-the-way things. His
humour is unelaborate, he goes straight to the
fad:, and, having expressed its extraordinary and
fantastic charafteristics, he does not linger to de-
velop his drawing into a decorative scheme.
Apparently he draws ' out of his head,' whether
his subjed: is fa6t or extravagance. The three
small humans who figure in 'The Little Panjan-
drum's Dodo,' and the ambassador's son of ' The
Mandarin's Kite,' are as briefly sketched as the
whimsicalities with whom they consort.

Mr. Arthur Rackham's illustrations to ' Two
Old Ladies, Two Foolish Fairies, and a Tom-Cat '
(1897), ^"^ ^° 'The Zankiwank and the Blether-
witch ' show inspiriting talent for nursery extra-
vaganza. The children, whirled from reality into
a phantasmagoria of adventure, are deftly and
happily drawn, the fairies have fairy grace, and the
rout of hobgoblins and grotesques fill their parts.
Drawing real animals, Mr. Rackham is equally
quick to note what is charafteristic, and his facility
in realizing fa6t and magic finds expression in the
illustrations to 'Grimm's Fairy Tales' (1900).
This is the most important work of Mr. Rackham
as a child's illustrator, and if the drawings are
somewhat calculated to impress the horrid horror
of witches and forest enchantments on uneasy minds,
the charm of princesses and peasant maids, the
sagacious humour of talking animals and the
grotesque enlivenment of cobolds and gnomes are
no less vividly represented. That Mr. Rackham
admires Mr. E. J. Sullivan's scheme of decor-
ative black-and-white is evident in these draw-

OF TO-DAY. 109

ings, but not to the detriment of their inventive
worth.

Mr. J. D. Batten, Mr. H. J. Ford, and Mr. H.
R. Millar represent, in various ways, the modern
art of fairy-tale illustration at its best. Mr. Batten's

FROM MR. ARTHUR RACKHAM's ' GRIMm's FAIRY TALES.'
BY LEAVE OF MESSRS. FREEMANTLE.

connection with Mr. Joseph Jacob's treasuries of
fairy-lore, Mr. Ford's long record of work in the
multicoloured fairy and true story books edited by
Mr. Lang, and the drawings of Mr. Millar in
various collections of fairy tales, entitle them to a
foremost place among contemporary illustrators of
the world's immortal wonder-stories.

no ENGLISH BOOK-ILLUSTRATION.

Mr. Batten knows the rules of chivalry, of senti-
ment, humour, and horridness, as they exist in the
magical convention of the real fairy-tales, and
w^hether their purpose be merry or sad, heroic or
grotesque, he illustrates the old tales of Celt and
Saxon, of India, Arabia and Greece with apprecia-
tion of the largeness and splendour of their con-
ception. One might wish for more vitality in his
women, and think that a representation of the
mournful beauty of Deirdre, the passion of Circe
or of Medea, should differ from the untroubled
sweetness of the King's daughter of faery. Still
one appreciates the dignity of these smooth-browed
women, and, after all, the passionate figures of
Greek and Celtic epics need translation before they
can figure in fairy-tale books. Mr. Batten's ideas
are never trite and never morbid. His giants are
gigantic, his monsters of true devastating breed, and
his drawings — especially the later ones — are as able
technically as they are apt to the occasion.

There can hardly be an existent fairy-story among
the hundreds told before the making of books that
Mr. Ford has not illustrated in one version or an-
other. The telling-house of every nation has yielded
stories for Mr. Lang's annual volumes ; and since
the appearance of ' The Blue Fairy Book' in 1888,
Mr. Ford, alone or in collaboration with Mr. Jacomb
Hood, Mr. Lancelot Speed and other well-known
artists, has illustrated the stories Mr. Lang has
gathered. Moreover, in addition to seven volumes
of fairy tales, and many true story and animal story
books, Mr. Ford has made drawings for JEsop, for
the ' Arabian Nights,' and for ' Early Italian Love

FROM MR. batten's 'INDIAN FAIRY TALES.'
BY LEAVE OF DAVID NUTf.

112 ENGLISH BOOK-ILLUSTRATION.

Stories.' His decorative and illustrative ideal has
never lacked distinction, and his recent w^ork is the
coherent development of that of fourteen years ago,
though he has gained in freedom and variety of
conception and in quality of expression. Mr. Ford's
art is obviously founded on that of Walter Crane,
but he looks at a subjeft with greater interest in its
dramatic possibilities, and in the fa6ts of place and
time than the later ' Crane ' convention admits.
An abundant fancy, familiarity v^^ith the fa6ls of
legendary, romantic and animal life, over a wide
traft of country and through long ages of time, fill
the decorative pages of the artist with a plentitude
of graceful, vigorous and persuasive forms. The
well-devised pages of Miss Emily J. Harding's
' Fairy Tales of the Slav Peasants and Herdsmen,'
are akin in form to the drawings of Mr. Batten and
of Mr. Ford, though regard for the national tone of
the stories gives these illustrations individuality and
interest.

The principles of art represented by the drawings
of Mr. Ford have little in common with those which
determine the scheme of Mr. Millar's many illustra-
tions. Vierge, and Gigoux, the master of Vierge,
are the indubitable suggesters of his style, and the
antitheses of sheer black and white, the audacities,
evasions and accentuations of these jugglers with line
and form, are dexterously handled by Mr. Millar.
He has not invented his convention, he has accepted
it, and begun original work within accepted limits.
A less original artist would thereby have doomed
himself to extinction, but Mr. Millar has a lively
apprehension of romance, especially in an oriental

FROM MR. ford's ' PINK FAIRY BOOK.'
BY LEAVE OF MESSRS. LONGMANS,

114 ENGLISH BOOK-ILLUSTRATION.

setting, and interest in subjeft is incompatible with
merely imitative work. Illustrations to ' Hajji Baba'
(1895), and to ' Eothen,' show how dramatic and
true to pi6turesque notions of the East are the con-
ceptions, and the same vigour proje6ts itself into
themes of western adventure in ' Frank Mildmay '
and ' Snarleyow.' But his right to be considered
here is determined by the rapid visions of fairy
romance realized in the pages of ' Fairy Tales by
Q/' (1895), of 'The Golden Fairy Book' with
its companions, and on the more concrete but not
less sufficient drawings to ' The Book of Dragons,'
and ' Nine Unlikely Tales for Children.'

The pen-drawings of Mr. T. H. Robinson in the
" Andersen " illustrated by the brother artists, show
ability to realize not only the incidents and ideas of
the stories, but also something of the national in-
spiration that is an element in all mdrchen. At times
determinedly decorative, his work is generally in
closer alliance with actuality than is the typical work
of Mr. Charles or of Mr. W. H. Robinson. Char-
after, action, costume, picturesque fafts of life and
scenery are suggested, and suggested with interest
in the aftual geographical and chronological cir-
cumstances of the stories, whether a poet's Denmark,
the Arabia of Scheherazade, the Greece of Kings-
ley's * The Heroes,' or the rivers and mountains of
Carmen Sylva's stories determine the fa6t-scheme
for his decorative invention. In addition to these
vigorous and generally harmonious illustrations, the
artist's drawings to ' Cranford,' ' The Scarlet Letter,'
' Lichtenstein,' ' The Sentimental Journey,' and
' Esmond,' prove his interest and inventive sense to

FROM MR. Millar's 'fairy tales by q^'

BY LEAVE OF MESSRS. CASSELLS.

ii6 ENGLISH BOOK-ILLUSTRATION

be effe6live in realizing actual historical and local
conditions. If Mr. W. H. Robinson is also an apt
illustrator of legends and of folk-tales, whose setting
demands attention to the fadts of life as they were
to story-tellers in far countries of once-upon-a-time,
the more individual side of his talent is discovered
in work of wilder and more intense fancy. Ander-
sen's ' Marsh King's Daughter,' the Snow Qu_een
with her frozen eyes, the picaresque mood of Little
Claus, or the doom of proud Inger, are to his mind,
and in illustrations to 'Don Quixote' (1897), ^^
'The Pilgrim's Progress,' and especially in the fully
decorated volume of Poe's ' Poems,' the forcible
conceptions of the text find pi6torial expression.

Mr. A. G. Walker, though a sculptor by pro-
fession, claims notice as an illustrator of various
children's books, notably ' The Lost Princess '
(1895), 'Stories from the Faerie Queene ' (1897),
and ' The Book of King Arthur.' His pen-draw-
ings are expressive of a thoughtful realization of the
subjeft in its aftual and moral beauty. The nobility
of Spenser's conceptions, the remote beauty of the
Arthurian legend, appeal to him, and the careful
rendering of costume, landscape and the aspeft of
things, is only part of a scheme of execution that
has as its complete intention the rendering of the
' mood ' of the narrative. These drawings are real-
izations rather than illuminations of the text, and
one appreciates their thoroughness, clearness, and
dignity.

Miss Helen Stratton published some pleasant but
not very vigorous drawings of children in ' Songs
for Little People' (1896), and illustrations to a

OF TO-DAY. 117

sele6tion from Andersen suggested the later direc-
tion of her abihty. This, as the copiously illustrated
' Fairy Tales from Hans Christian Andersen ' ( 1899),
and the large number of drawings contributed to
Messrs. Newnes' edition of 'The Arabian Nights,'
show, is in realizing themes less ad:ual than those of
Nursery Lyrics. A sense of drama in the pose and
grouping of the multitudes of figures on the pages
of the Danish and Arabian stories, and a sufficient
care for the background, as the poet's eyes might
have seen it behind the dream-figures that passed be-
tween him and reality, are qualities that give Miss
Stratton's competent work imaginative value.

The work of Miss R. M. M. Pitman comes within
the subje6l in her illustrations to Lady Jersey's fairy
tale, ' Maurice and the Red Jar,' and to ' The
Magic Nuts ' of Mrs. Molesworth. But though
their decorative intention and technique represent
the forms of the artist's work, the spirit of fantasy
that informs her illustrations to ' Undine ' finds only
modified expression. The symbolism of ' Undine '
is wrought into decorations of inventive elaborate-
ness. The technical ideal ol Miss Pitman suggests
study of Diirer's pen-drawing, and though at times
there is too much sweetness and luxury in her repre-
sentation of beauty, at her best she expresses free
fancy with distinction not common in modern book-
illustration.

Brief allusion only — where drawings of more
definitely illustrative purpose over-crowd the avail-
able space — can be made to the numerous animal
books, serious and comic. Mr. Percy J. Billinghurst's
full-page designs to 'A Hundred Fables of iEsop,'

ii8 ENGLISH BOOK-ILLUSTRATION

' A Hundred Fables of La Fontaine,' and ' A
Hundred Anecdotes of Animals ' deserve more than
passing mention for their decorative and observant
qualities and their enlivening humour. Another de-
corative draughtsman of animals for children's books
is Mr. Carton Moore Park, who, since 1899, when
the ' Alphabet of Animals' and 'The Book of Birds '
appeared, has published seven or eight volumes of
his strongly devised designs. One can hardly con-
clude without reference to Mr. Louis Wain, the cats'
artist of twenty years' standing, and to Mr. J. A.
Shepherd, chief caricaturist of animals ; but while
toy-book artists such as Mrs. Percy Dearmer, Mrs.
Farmiloe, Miss Rosamond Praeger, Mr. Aldin, and
Mr. Hassall (whose subject — the child — takes pre-
cedence of Zoological subjedls) must be left uncon-
sidered, the humourists of the Zoo can hardly be
included.

BIBLIOGRAPHY.

BIBLIOGRAPHY.

( To September, 1 9 o i .)

Some Decorative Illustrators.

Amelia Bauerle.

Happy-go-Lucky. Ismay Thorn. 8°. (Innes, 1894.) 3 f. p.
A Mere Pug. Nemo. 8°. (Long, 1897.) 6 f. p.
Allegories. Frederic W. Farrar. 8". (Longmans, 1898.)

20 f. p.
Sir Constant. W. E. Cule. 8". (Melrose, 1899.) 6 f. p.
Glimpses from Wonderland. 8°, J. Ingold. (Long, 1900.)

6 f. p.
The Day-Dreatn. Alfred Tennyson. 8". (Lane, 1901.

' Flowers of Parnassus.') 7 iliust. (5 f. p.)
R. Anning Bell.

Jack the Giant-Killer and Beauty and the Beast. Edited by

Grace Rhys. 32". (Dent, 1894. Banbury Cross Series.) 35

iliust. (13 f. p.)
The Sleeping Beauty and Dick JVhittington and his Cat. Edited

by Grace Rhys. 32". (Dent, 1894. Banbury Cross Series.)

35 iliust. (13 f. p.)
77;,? Christian Tear. 8°. (Methuen, 1895.) 5 f. p.
A Midsummer Night's Dream. 4". (Dent, 1895,) 59 iliust.

and decorations. (15 f. p.)
The Riddle. Walter Raleigh. 4°. (Privately printed, 1895.)

2 iliust. (i f. p.)
Jn Altar Book. Fol. (Merrymount Press, U.S.A., 1896.) 7 f. p.
Keats' Poems. Edited by Walter Raleigh. 8". (Bell, 1897.

Endymion Series.) 65 iliust. and decorations. (23 f. p.)
The Milan. Walter Raleigh. 4°. (Privately printed, 1 898.)

I f. p.
English Lyrics from Spenser to Milton. 8". (Bell, 1898. En-
dymion Series.) 57 iliust. and decorations. (20 f. p.)
Pilgrim's Progress. 8". (Methuen, 1898.) 39 iliust. (26 f. p.)

122 ENGLISH BOOK-ILLUSTRATION

La?nb's Tales from Shakespeare. 8". (Fremantle, 1899.) 15
f. p.
W, E. \. Britten.

The Elf- Errant. Moira O'Neill. 8". (Lawrence and Bullen,

1895.) 7 f. p.
Undine. Translated from the German of Baron de la Motte
Fouque by Edmund Gosse. 4". (Lawrence and Bullen,
1896.) 10 f. p., photogravure.
The Early Poems of Alfred Lord Tennyson. Edited by John
Churton-Collins. 8". (Methuen, 190 1.) 10 f. p., photo-
gravure.
Percy Bulcock.

The Blessed Da/noxel. Dante Gabriel Rossetti. 8°, (Lane,

1900. ' Flowers of Parnassus.') 8 illust. (6 f. p.)
Herbert Cole.

Gulliver s Travels. J. Swift. 8". (Lane, 1900.) 114 illust.

(20 f. p.)
The Rubaiyat. 8". (Lane, 1901. 'Flowers of Parnassus.')

9 illust. (6 f. p.)
The Nut-Brown Maid. A new version by F. B. Money-

Coutts. 8". (Lane, 1901. 'F. ofP.') 9 illust. (6 f. p.)
A Ballade upon a Wedding. Sir John Suckling. 8''. (Lane,

1901. 'F. ofP.') 9 illust (6 f. p.)

The Rime of the Ancient Mariner. S. T. Coleridge. 8".
(Gay and Bird, 1900.) 6 f. p.
Philip Connard.

The Statue and the Bust. Robert Browning. 8". (Lane,
1900. 'Flowers of Parnassus.') 9 illust. (6 f. p.)

Marpessa. Stephen Phillips. 8°. (Lane, 1900. 'F. ofP.') 7
illust. (5 f. p.)
Walter Crane.

The Neiu Forest. J. R. Wise. 4". (Smith, Elder, 1863.)
63 illust, engraved by W. J. Linton. (A new edition, pub-
lished by Henry Sotheran, 1883, with the original illust. and
12 etchings by Hey wood Sumner.)

Stories from Memel. Mrs. De Havi land. 12°. (William Hunt,
1864.) 6 f. p.

Walter Crane'' s Toy-Books. Issued in single numbers, from 1865-
1876.

Colle^ed Editions^ all published in 4", by George Routledge,

and printed throughout in colours.

Walter Crane's Pi£iure Book. (1874.) 64 pp.

OF TO-DAY. 123

The Marquis of Carabas^ PiSiure Book. (1874.) 64 pp.
The Blue Beard Figure Book. (1876.) 32 pp.
Song of Sixpence Toy-Book. (1876.) 32 pp.
Chattering Jack's Figure Book. (1876.) 32 pp.
The Three Bears PiSIure Book. (1876.) 32 pp.
Aladdin^s Figure Book. (1876.) 24 pp.
The Magic of Kindness. H. and A. Mayhew. 8°. (Cassell,

Petter and Galpin, 1869.) ^ ^- P-
Sunny Days., or a Month at the Great Stowe, Author of 'Our
White Violet.' 8". (Griffith and Farran, 1871.) 4 f . p.,
in colours.
Our Old Uncle's Hojne. ' Mother Carey.' 8". (Griffith and

Farran, 187 1.) 4 f. p.
The Head of the Family. Mrs. Craik. 8". (Macmillan, 1875.)

6 f. p.
Agatha's Husband. Mrs. Craik. 8". (Macmillan, 1875.)

6 f. p.
Tell me a Story. Mrs. Molesworth. 8". (Macmillan, 1875.)

8 illust. (7 f. p.)
The Quiver of Love. A Colle6lion of Valentines, Ancient and
Modern. 4°. (Marcus Ward, 1876.) With Kate Green-
away. 8 f. p. in colours.
Carrots. Mrs. Molesworth. 8". (Macmillan, 1876.) 8 illust.

(7 f. P-)
Songs of Many Seasons. Jemmett Browne. 4°. (Simpkin,

Marshall, 1876.) With others, i f. p. by Walter Crane.
The Baby's Opera. 4°. (Routledge, 1877.) 55 pictured pages

in colours, (i 1 f. p.)
The Cuckoo Clock. Mrs. Molesworth. 8". (Macmillan, 1877.) 8

illust. (7 f. p.)
Grandmother Dear. Mrs. Molesworth. 8". (Macmillan, 1878.) 8

illust. (7 f. p.)
The Tapestry Roo?n. Mrs. Molesworth. 8'\ (Macmillan,

1879.) 8 illust. (7 f. p.)
The Baby's Bouquet. 4". (Routledge, 1879.) 53 pidured pages,

in colours, (i i f. p.)
J Christmas Child. Mrs. Molesworth. 8". (Macmillan,

1880.) 8 illust. (7 f. p.)
The Necklace of Princess Fiorimonde. Mrs. De Morgan. 8".

(Macmillan, 1880.) 25 illust.
Herr Baby. Mrs. Molesworth. 8". (Macmillan, 1 88 1.) 8

illust. (7 f. p.)

124 ENGLISH BOOK-ILLUSTRATION

The First of May. A Fairy Masque. J. R. Wise. Fol.

(Henry Sotheran, 1881-) 56 decorated pages, (if. p.)
Household Stories. Translated from the German of the Brothers

Grimm by Lucy Crane. 8^ (Macmillan, 1882.) 120

illust. (i I f. p.)
Rosy. Mrs. Molesworth. 8". (Macmillan, 1882.) 8 illust.

(7 f. p.)
Pan-Pipes. A Book of Old Songs. Theo. Marzials. Oblong

folio. (Routledge, 1883.) 52 pictured pages, in colours.
Christmas Tree Land. Mrs. Molesworth. 8°. (Macmillan,

1884.) 8 illust. (7 f. p.)
Walter Crane'' s New Series of Picture Books. 4". (Marcus Ward,

1885-6.)

Slate and Pencilvania. — Little ^leen Anne. — Pothooks and
Perseverance. 24 pages each, in colours.
The Golden Primer. J. M. D. Meiklejohn. 8^ (Blackwood,

1885.) Part I. and Part II. 14 decorated pages in colours

in each part.
Folk and Fairy Tales. C. C. Harrison. 8°. (Ward and

Downey, 1885.) 24 f. p.
"C/j." Mrs. Molesworth. 8°. (Macmillan, 1885.) 8 illust.

(7 f- p.)
The Sirens Three. Walter Crane. 4". (Macmillan, 1886. ) 41

pictured pages.
The Baby's Own Msop. 4". (Routledge, 1886.) 56 pidured

pages, in colours.
Echoes of Hellas. The Tale of Troy and the Story of Orestes

from Homer and Aeschylus. With introductory essay and

sonnets by Prof. George C. Warr. Fol. (Marcus Ward,

1887.) 82 decorated pages.
Four Winds Farm. Mrs. Molesworth. 8''. (Macmillan,

1887.) 8 illust. (7 f. p.)
Legends for Lionel. 4". (Cassell, 1887.) 40 pictured pages, in

colours.
A Christmas Posy. Mrs. Molesworth. 8". (Macmillan,

1888.) 8 illust. (7 f. p.)
The Happy Prince.^ and other tales. Oscar Wilde. 4°. (Nutt,

1888.) 14 illust. and decorations with G. P. Jacomb-Hood.

3 f. p. by Walter Crane.
The Book of Wedding Days. Quotations for every day in the

year, compiled by K. E. J. Reid, etc. 4°. (Longmans, 1889.)

100 pictured pages.

OF TO-DAY. 125

The Re£lory Qxildren. Mrs. Molesworth. 8'\ (Macmillan,

1889.) 8 illust. (7 f. p.)
Flora s Feast. A Masque of Flowers. Walter Crane. 4°.

(Cassell, 1889.) 40 pi6lured pages, in colours.
The Turtle Doves Nest. 8^ (Routledge, 1890.) 87 illust.

(8 f. p.) With others.
Chambers Twain. Ernest Radford. 4". (Elkin Matthews,

1890.) I f. p.
J Sicilian Idyll. Dr. Todhunter. 4°. (Elkin Matthews,

1890. I f. p.
Renascence. A Book of Verse. Walter Crane. Including

'The^ Sirens Three' and 'Flora's Feast.' 4^ (Elkin

Mathews, 1891.) 39 illust. and decorations, some engraved

on wood by Arthur Leverett,
J Wonder Book for Girls and Boys. Nathaniel Hawthorne.

(Osgood, 1892.) 60 illust. and decorations in colours. (19

f. p.)
^ueen Smntner.^ or the Tourney of the Lily and the Rose.

Walter Crane. 4". (Cassell, 1892.) 40 pidured pages in

colours.
The Tempest. 8 illust. to Shakespeare's ' Tempest.' Engraved

and printed by Duncan C. Dallas. (Dent, 1893.)
Under the Hawthorn, Augusta de Gruchy. 8°. (Mathews

and Lane, 1803.) i f, p.
The Old Garden. Margaret Deland. 8". (Osgood, 1893.)

96 decorated pages.
The Two Gentlemen of Verona. 8 illust. to Shakespeare's ' Two

Gentlemen of Verona.' Engraved and printed by Duncan

C. Dallas. (Dent, 1894.)
777^ Story of the Glittering Plain. William Morris. 4".

(Kelmscott Press. 1894.) 23 illust. Borders, titles and

initials by William Morris.
The History of Reynard the Fox. English Verse by F. S. Ellis.

4°. (David Nutt, 1894.) 53 illust. and decorations, (i

f. p.)
The Merry JVives of Windsor. 8 illust. to Shakespeare's ' Merry

Wives of Windsor.' Engraved and printed by Duncan C.

Dallas. 4". (George Allen, 1894.)
The Vision of Dante. Miss Harrison. 8". 1894. 4 f. p.
The Faerie ^ueenc. Edited by Thomas J. Wise. 3 vols.

4". (George Allen, 1 895.) 231 illust. and decorations.

(98 f. p.)

126 ENGLISH BOOK-ILLUSTRATION

A Book of Christmas Verse. Scle6led by H. C. Beeching. 8".

(Methuen, 1895.) 10 illust, (5 f. p.)
The Shepheard's Calendar. Edmund Spenser. 4°. (Harper,

1898.) 16 illust. and decorations. (12 f. p.)
The Walter Crane Readers. Nelle Dale. 3 vols. 8°. (Dent,

1898.) 109 pictured pages, in colours. (8 f. p.)
A Floral Fantasy in an Old English Garden. Walter Crane.

8". (Harper, 1899.) 40 piftured pages, in colours.
H. Granville Fell.

Our Lady's Tutnbler. A Twelfth Century legend transcribed

for Lady Day, 1894. 4°. (Dent, 1894.) 4 f. p.
JVagner^ Heroes. Constance Maud. 8". (Arnold, 1895.) 8 f. p.
Cinderella and y<7C/^ and the Beanstalk. 32". (Dent, 1895.

Banbury Cross Series.) 38 illust. (14 f. p.)
AH B aba 2iX\^ The Forty Thieves. 32°. (Dent, 1895. Banbury

Cross Series.) 38 illust. (11 f. p.)
The Fairy Gifts and Tom Hickathrift. 32". (Dent, 1895.

Banbury Cross Series.) 38 illust. (16 f. p.)
The Book of fob. 4°. (Dent, 1896.) 43 illust. and decora-
tions. (24 f. p., 3 double pages.)
The Song of Solomon. 4". (Chapman and Hall, 1897.) 29

illust. and decorations. (12 f. p.)
Wonder Stories from Herodotus. Re-told by C. H. Boden and

W. Barrington D'Almeida. 8". (Harper, 1900.) 19 illust.

in colours. (12 f. p.)
A. J. Gaskin.

A Book of PiSlured Carols. Designed by members of the

Birmingham Art School under the direction of A. J. Gaskin.

4". (George Allen, 1893.) 13 illust. and decorations with

C. M. Gere, Henry Payne, Bernard Sleigh, Fred. Mason, and

others, (i f. p. by A. J. Gaskin.)
Stories and Fairy Tales. Hans Andersen. 8". (George Allen.

1893.) 100 illust. (11 f. p.)
A Book of Fairy Tales. Re-told by S. Baring Gould. 8".

(Methuen, 1894.) 20 illust. (5 f. p.)
Good King Wenceslas. Dr. Neale. 4". (Cornish Brothers,

Birmingham, 1895.) 6 f. p.
The Shepheard's Calendar. E. Spenser. 8". (Kelmscott Press,

1896.) 12 f. p.
C. M. Gere.

Russian Fairy Tales. R. Nisbet Bain. 8". (Lawrence and

Bullen, 1893.) ^ ^' P-

OF TO-DAY. 127

News from Nowhere. William Morris, 8". (Kelmscott

Press, 1893.) I f. p.
The Imitation of Christ. Thomas a Kempis. Introdudion by

F. W. Farrar. 8". (Methuen, 1894.) 5 f. p.
A Book of Figured Carols. See A. J. Gaskin.
J. J. Guthrie.

IVedding Bells. A new old Nursery Rhyme by A. F, S. and

E. de Passemore. 4". (Simpkin, Marshall, 1895.) 7 decorated

pages.
The Little Men in Scarlet. Frances H. Low. (Jarrold, 1896.)

42 illust. (8 f. p.)
The Garden of Time. Mrs. Davidson. 8". (Jarrold, 1896.)

40 illust. (8 f. p.)
An Album of Drawings. Fol. (The White Cottage, Shorne,

Kent, 1900.) 24 f. p. from various magazines.
Laurence Housman.

Jump-to-GloryJane. George Meredith. 8". (Swan, Sonnen-

schein, 1892.) 44 illust. (8 f. p.)
Goblin Market. Christina Rossetti. 8". (Macmillan, 1893.)

42 illust. and decorations. (12 f. p.)
Weird Tales from Northern Seas. From the Danish of Jonas

Lie. 8". (Kegan Paul, 1893.) 12 f. p.
The End of Elfin-town. Jane Barlow. 8". (Macmillan, 1894.)

15 illust. and decorations. (8 f. p.)
A Farm in Fairyland. Laurence Housman. 8". (Kegan

Paul, 1894.) 14 f. p.
The House of Joy. Laurence Housman. 8". (Kegan Paul,

1895.) 10 f. p.
Poems. Francis Thompson. 8". (Mathews and Lane, 1895.)

If. p.
Sister Songs. P rancis Thompson. 8°. (Lane, 1895.)

I f. p.
Green Arras. Laurence Housman. 8". (Lane, 1896.)

6 f p.

All-Fellows. Laurence Housman. 8". (Kegan Paul, 1896.)

7 f- P-

The Were-Wolf Clemcncc Housman. 8". (Lane, 1896.)

6 f. p.
The Sensitive Plant. P. B. Shelley. 4". (Aldine House,

1898.) 12 f p. photogravure.
The Field of Clover. Laurence Housman. 8". (Kegan Paul,

1898.) 12 f p., engraved by Clemence Housman.

128 ENGLISH BOOK-ILLUSTRATION

The Little Flowers of Saint Francis. Translated by T. W.

Arnold. 12". (Dent, 1898, Temple Classics.) i f. p.
Of the Imitation of Christ. Thomas a Kempis. 8". (Kegan

Paul, 1898.) 5 f. p.
The Little Land. Laurence Housman. 8". (Grant Richards,

1899.) 4 f- P-
At the Back of the North Wind. G. Macdonald. 8°. (Blackie,

1900.) I f. p.
The Princess and the Goblin. G. Macdonald. 8°. (Blackie,
1900.) I f. p.
A. Garth Jones.

The Tournament of Love. W. T, Peters. 8°. (Brentano,

1894.) 3 illust. (2 f. p.)
The Minor Poems of John Milton. 8'\ (Bell, 1898. Endymion

Series.) 46 illust., and decorations. (28 I. p.)
Contes de Haute-Lisse. Jerome Doucet. (Bernoux and Cumin,

1899.) 56 illust. and decorations.
Contes de la Filcuse. Jerome Doucet. (Tallandier, 1900.)
163 illust. and decorations.
Celia Levetus.

Turkish Fairy Tales. Trans, by R. Nisbet Bain. 8"^.

(Lawrence and Bullen, 1896.) 10 illust. (9 f. p.)
Ferse Fancies. Edward L. Levetus. 8°. (Chapman and Hall,

1898.) 8 illust. (7 f. p.)
Songs of Innocence. William Blake. 32". (Wells, Gardner,
and Darton, 1899.) 25 illust. (14 f. p.)
W. B. Macdougall,

Chronicles of Strathearn. 8". (David Philips, 1896.) I 5 f. p.
The Fall of the Nibelungs. In Two Books. Translated by
Margaret Armour. 8", (Dent, 1897.) 8 f. p. in each book.
Thames Sonnets and Semblances. Margaret Armour. 8".

(Elkin Mathews, 1897.) 12 f. p.
The Book of Ruth. Litroduction by Ernest Rhys. 4". (Dent,

1896.) 8 f. p.
Isabella., or the Pot of Basil. John Keats. 4". (Kegan Paul,

1898.) 8f. p.
The Shadow of Love and other Poems. Margaret Armour. 8".
(Duckworth^ 1898.) 2 f. p.
Fred. Mason.

A Book of PiSiured Carols. See A. J. Gaskin.
The Story of Alexander. Robert Steele. 4". (David Nutt,
1894.) 27 illust. (5 f. p.)

OF TO-DAY. 129

Huon of Bordeaux. Robert Steele. 8°. (George Allen, 1895.)

22 illust. (6 f. p.)
Renaud of Montauhan. Robert Steele. 8". (George Allen,

1897.) 12 f. p.
T. Sturge Moore.

The Centaur. The Bacchant. Translated from the French of

Maurice de Guerin by T. Sturge Moore. (Vale Press,

1899.) 4". 5 wood engravings.
Some Fruits of Solitude. William Penn. 8". (Essex House

Press, 1 90 1.) Wood engraving on title-page.
L. Fairfax Muckley.

The Faerie ^ueene. E. Spenser. Introduction by Prof. Hales.

3 vols. 4". (Dent, 1897.) 42 illust. and decorations. (24

{'. p., 10 double page.)
Fringilla. R. D. Blackmore. 8°. (Elkin Mathews, 1895.)

21 illust. and decorations. (11 f p.) 3 by James Linton.
Henry Ospovat.

Shakespeare's Sonnets. 8". (Lane, 1899.) 14 illust. (lO f. p.)
Poems. Matthew Arnold, 8". Edited by A. C. Benson.

(Lane, 1900.) 65 illust. and decorations. (16 f p.)
Charles Ricketts.

A House of Pomegranqtes. Oscar Wilde. 4". (Osgood,

1 89 1.) 17 illust. witli'C. H. Shannon. 13 by C. Ricketts,
Poems^ Dramatic and Lyrical. Lord de Tabley. 8". (Mathews

and Lane, 1893.) 5 ^- V-i photogravure.
Daphnis and Chloe. Longus. Translated by Geo, Thornley.

4". (Mathews and Lane, 1893.) 37 illust. drawn on the

wood by Charles Ricketts from the designs of Charles

Ricketts and Charles Shannon. Engraved by both artists.
The Sphinx. Oscar Wilde. 4". (Ballantyne Press, 1894.)

10 illust. (9 f p.)
Hero and Leander. Christopher Marlowe and George Chapman.

8". (Vale Press, 1894,) 7 illust., border and initials, drawn

on the wood, engraved by Charles Ricketts and Charles

Shannon.
Nymphidia and the Muses EUxiuin. Michael Drayton. 8".

(Vale Press, 1 896.) Frontispiece, border and initials, engraved

on wood.
Spiritual Poems. T. Gray, 8°. (Vale Press, 1896.) Frontis-
piece and border, engraved on wood.
Milton\ Early Poems. 8". (Vale Press, 1896,) Frontispiece,

border and initials, engraved on wood.

130 ENGLISH BOOK-ILLUSTRATION

Songs of Innocence. W. Blake. 8°. (Vale Press, 1897.)
Frontispiece, border and initials, engraved on wood.

Sacred Poems of Henry Vaughan. 8*^. (Vale Press, 1897.)
Frontispiece and border, engraved on wood.
^ The Excellent Narration of the Marriage of Cupide and Psyches.
Translated from the Latin of Lucius Apuleius, by William
Adlington. 8". (Vale Press, 1897.) 5 illust. engraved on
wood.

The Book of Thel., Songs of Innocence and Songs of Experience.
William Blake. 4". (Vale Press, 1897.) Frontispiece,
initials and border, engraved on wood,

Blake's Poetical Sketches. 4". (Vale Press, 1899.) Frontis-
piece and initials, engraved on wood.
Reginald Savage.

Der Ring des Nibelungen. Described by R. Farquharson Sharp.
4". (Marshall, Russell, 1898.) 5 f p.
Essex House Press. The Pilgrim's Progress. Venus and Adonis.
The Eve of St. Agnes. The Journal of John JVoolam,
Epithalamium. (1900-1.) Frontispiece engraved on wood to
each volume.
Charles Shannon.

See Charles Ricketts.

' House of Pomegranates,' ' Hero and Leander,' ' Daphnis and
Chloe.'
Byam Shaw,

Poems by Robert Browning. 8". (Bell, 1897. Endymion
Series.) 67 illust. (22 f. p.)

Tales from Boccaccio. Joseph Jacobs. 4". (George Allen,

1899.) 2"^ ^' P-
The Chiswick Shakespeare. 8". (Bell, 1899, etc.) 11 illust.

and decorations (6 f. p.), in each volume.
Bernard Sleigh.

The Sea-King's Daughter, and other Poe?ns. Amy Mark.

Printed at the Press of the Birmingham Guild of Handicraft.

(G. Napier, Birmingham, 1895.) 39 decorated pages (4 f p.),

engraved with L. A. Talbot.
A Book of Pidured Carols. See A. J. Gaskin. 2 f p., by

Bernard Sleigh.
Heywood Sumner.

The Itchen Valley. Fol. (Seeley, Jackson and Halliday, 188 1.)
The Avon from Naxby to Tewkesbury. Fol. (Seeley, Jackson

and Halliday, 1882.) 21 etchings.

OF TO-DAY. 131

Cinderella : A Fairy Opera. John Farmer and Henry Leigh.

4". (Novello, Ewer, 1882.) 17 illust.
Epping Forest. E.M.Buxton. 8°. (Stamford, 1884.) 36 illust.

(5 f. p.)
Sintram and his Companions. Translated from the German of

De la Motte Fouque. 4". (Seeley, Jackson and Halliday,

1883.) 22 illust. (i f. p.)
The New Forest. J. R. Wise. See Walter Crane.
Undine. 4°. (Chapman and Hall, 1888.) 16 illust. (2 f. p.)
The Besom Maker., and other country Folk Songs. Collefted by

Heywood Sumner. 4°. (Longmans, 1888.) 26 decorated

pages. I f. p.
Jacob and the Raven. Frances M. Peard. 8". (George Allen,

1896.) 40 illust. and decorations. (9 f. p.)
J. R. Weguelin.

Lays of Ancient Rome. Lord Macaulay. 8". (Longmans,

1 88 1.) 41 illust. (7 f. p.)
The Cat ofBubastes. G. A. Henty. 8^ (Blackie, 1889.) 8 f. p.
Anacreon : with Thomas Stanley''s translation. Edited by A. H.

Bullen. 8°. (Lawrence and Bullen, 1892.) 1 1 f. p.
The Little Mermaid and other Stories. Hans Andersen. Trans-
lated by R. Nisbet Bain. 4^ (Lawrence and Bullen, 1893.)

61 illus. (36 f. p.)
Catullus : luith the Pervigiliwn Feneris. Edited by S. G. Owen.

8". (Lawrence and Bullen, 1893.) 8 f. p.
The Wooing of Malkatoon ; Com?nodus. Lewis Wallace. 8".

(Harper, 1898.) 12 f. p. with Du Mond. 6 by J. R.

Weguelin.
Patten Wilson.

Miracle Plays. Our Lord's Coming and Childhood. Kathcrine

Tynan Hinkson, 8". (Lane, 1895.) 6 f. p.
A Houseful of Rebels. Walter C. Rhoades. 8". (Archibald

Constable, 1897.) 10 f. p..
Seledions frotn Coleridge. Andrew Lang. 8". (Longmans,

1898.) 18 f p.
King John. Edited by J. W. Young. 8". (Longmans, 1899.

Swan Shakespeare.) 9 f. p.
Paul Woodroffe.

Shakespeare's Songs. Edited by E. Rhys. 4". (Dent, 1898.)

12 f. p.
The Little Flowers of St. Francis. 8". (Kegan Paul, 1899.)

8 f. p.

132 ENGLISH BOOK-ILLUSTRATION

The Confessions of St. Augustine. 8°. (Kegan Paul, 1 900.)

4 f. p. Title-page by Laurence Housman.
The Little Flowers of St. Benet. 8". (Kea;an Paul, 190 1.)

8 f. p.

Some Open-Air Illustrators.

Alexander Ansted.

The Rivers of Devon. J. L, Warden- Page. 8°. (Scelcy, 1893.)

17 illust. (4 etched plates.)
The Riviera. Notes by the artist. Fol. (Seeley, 1894.) 64 illust.

(20 etched plates.)
The Coasts of Devon. J. L. Warden-Page. 8^ (H. Cox, 1895.)

21 illust.
Episcopal Palaces of England. Canon Venables and others. 4°.

(Isbister, 1895.) Etched frontispiece and 104 illust. (7 f. p.)
The Master of the Musicians. Emma Marshall. 8°. (Seeley,

1896.) 8 f. p.
London Riverside Churches. A. E. Daniell. 8'\ (Constable,

1897.) 84 illust. (27 f. p.)
English Cathedral Series. 8". (Isbister, 1897-8.)

Salisbury Cathedral. The Very Rev. Dean Boyle. 15 illust.
(10 f. p.)

y ork Minster. The Very Rev. Dean Purey-Cust. 14 illust.
(11/. p.)

Norwich Cathedral. The Very Rev. Dean Lefroy. 9 f. p.

Ely Cathedral. The Rev. Canon Dickson. 10 f. p.

Carlisle Cathedral. Chancellor R. S. Ferguson. 11 f. p.
The Romance of our Ancient Churches. Sarah Wilson. 8°.

(Constable, 1899.) 180 illust. (15 f. p.)
BoswelPs Life of Johnson. Edited by Augustine Birrell. (Con-
stable, 1899.) 6 vols. Frontispiece to each vol.
C. R. B. Barrett.

The Tower. C. R. B. Barrett. Fol. (Catty and Dobson,

1889.) 26 illust. (13 etched plates.)
Essex : Highways^ Byways and Waterways. C. R. B. Barrett.

8". (Lawrence and BuUen, 1892-3.) Series I. 99 illust.

(13 etched plates.) Series II. 128 illust. (13 etched plates.)
The Trinity House of Deptford Strond. C. R. B. Barrett. 4".

(Lawrence and BuUen, 1893.) ^^ illust. (i etched plate.)

OF TO-DAY. 133

Barrett's Illustrated Guides. 8". (Lawrence and BuUen,

1892-3.) 9 numbers.
Somersetshire : Highways, Byways and Waterways. C. R. B.
Barrett. 4". (Bliss, Sands and Foster, 1894.) 167 illust.
(6 etched plates.)
Shelley s Visit to France. Charles J. Elton. 8°. (Bliss, Sands,

1894. 16 illus. (2 etched plates.)
Charterhouse^ in Pen and Ink. By C. R. B. Barrett. Preface
by George E. Smythe. 4". (Bliss, Sands and Foster, 1895.)
43 illust. (i f. p.)
Surrey : Highways^ Byways and Waterways. C. R. B. Barrett.
4". (Bliss, Sands and Foster, 1895.) 140 illust. (5 etched
plates.)
Battles and Battlefields of England. C. R. B. Barrett. 8".
(Innes, 1896.) I02 illust. (2 f. p.)
D. Y. Cameron.

Charterhouse.^ Old and New. E. P. Eardley-Wilmot and E. C.

Streatfield. 4". (Nimmo, 1895.) 4 etchings.
Scholar Gipsies. John Buchan. 8'\ (Lane, 1896. The
Arcady Library.) 7 etchings.
Nelly Erichsen.

The Novels of Susan Edmonstone Ferrier. Introdudion by
R. Brimley Johnson. 8°. (Dent, 1894.) 6 vols. 17 f. p.
The Promised Land. Translated from the Danish of Henrilc
Pontoppidan by Mrs. Edgar Lucas. 8". (Dent, 1896.)
29 illust. (14 f. p.)
Emanuel, or Children of the Soil Translated from the Danish
of Henrik Pontoppidan by Mrs. Edgar Lucas. 8". (Dent,
1896.) 29 illust. (17 f. p.)
Mediaeval Towns. 8". (Dent, 1 898-1901.)

The Story of Assist. Lina DufF Gordon. 50 illust., with others.

25 (3 f. p.) by Nelly Erichsen.
The Story of Rome. Norwood Young. 48 illust., with others.

(10 f. p.) by Nelly Erichsen.
The Story of Florence. Edmund G. Gardner. 45 illust.,
with others. 20 f. p. by Nelly Erichsen.
Hedley Fitton.

English Cathedral Series. 8". (Isbister, 1 899-1 901.)

Worcester Cathedral. The Rev. Canon Teignmouth Shore.

9 f. p.
Rochester Cathedral. The Rev. Canon Benham. 1 1 illust.
(10 f. p.)

134 ENGLISH BOOK-ILLUSTRATION

Hereford Cathedral. The Very Rev. Dean Leigh. 1 1
illust. (lo f. p.)
Mschylos. Translated by G. H. Plumtre. 2 vols. 8". (Isbister,

1 901.) I f. p.
John Fulleylove.

Henry Irving. Austin Brereton. 8". (Bogue, 1883.) 17 f, p.

With others.
The PiSfuresque Mediterranean. 4". (Cassell, 1899.) With

others. 68 illust. by John Fulleylove.
Oxford. With notes by T. Humphry Ward. Fol. (Fine Art

Society, 1889.) 40 illust. (30 plates.)
In the Footprints of Charles Lamb. See Herbert Railton.
Figures of Classic Greek Landscape and ArchiteSiure. With

text in explanation by Henry W. Nevinson. 4". (Dent,

1897.) 40 plates.
The Stones of Paris. B. E. and C. M. Martin. 2 vols. 8".

(Smith, Elder, 1900.) 62 illust. 40 (16 f. p.) by J. Fulleylove.
Frederick L. Griggs.

Seven Gardens and a Palace. E. V. B. 8°. (Lane, 1900.)

9 illust. Wxth Arthur Gordon. 5 by Frederick L. Griggs.
Stray Leaves from a Border Garden. Mary Pamela Milne-
Home. 8°. (Lane, 1901.) 8 f. p.
The Chronicle of a Cornish Garden. Harry Roberts. 8".

(Lane, 1901.) y L p.
Charles G. Harper.

Royal JVinchester. Rev. A. G. L'Estrange. 8". (Spencer,

1889.) 37 illust. (22 f. p.)
The Brighton Road. C. G. Harper. 8'\ (Chatto and

Windus, 1892.) 90 illust. 60 (29 f. p.) by C. G. Harper.
Fro7n Paddington to Penzance. C. G. Harper. 8". (Chatto

and Windus, 1893.) 104 illust. (34 f. p.)
The Marches of Wales. C. G. Harper. S*". (Chapman and

Hall, 1894.) 114 illust. 95 (24 f. p.) by C. G. Harper.
The Dover Road. C. G. Harper. 8". (Chapman and Hall,

1895.) 57 illust. 48 (12 f. p.) by C. G. Harper.
The Portsmouth Road. C. G. Harper. 8". (Chapman and

Hall, 1895.) 77 illust. 44 (12 f. p.) by C. G. Harper.
Some English Sketching Grounds. C. G. Harper. 8". (Reeves,

1897.) 44 illust. (18 f. p.)
Stories of the Streets of London. H, Barton Baker. 8". (Chap-
man and Hall, 1899.) 38 illust. 30 (15 f. p.) by C. G.

Harper.

OF TO-DAY. 135

The Exeter Road. C. G. Harper. 8°. (Chapman and Hall,

1899.) 69 illust. 51 (20 f. p.) by C. G. Harper.
The Bath Road. C. G. Harper. 8°. (Chapman and Hall,

1899.) 75 illust. 64 (19 f. p.) by C. G. Harper.
The Great North Road. C. G. Harper. 2 vols. 8". (Chap-
man and Hall, 1900.) 132 illust. 100 (30 f. p.) by C. G.

Harper.
William Hyde.

An Imaged World. Edward Garnett. 8°. (Dent, 1894.)

5f.p.
Milton s U Allegro and II Penseroso. 8". (Dent, 1896.) 13 f. p.
London Impressions. Alice Meynell. Fol. (Constable, 1898.)

3 etchings, 23 photogravures. (13 f. p.)
The Nature Poems of George Meredith. 4°. (Constable, 1 898.)

Etched frontispiece and 20 photogravures.
The Cinque Ports. Ford Madox Hueffer. 4°. (Blackwood,

1900.) 33 illust. (20 f. p., 14 in photogravure.)
The Victoria History of the Counties of England. Hampshire ;

Norfolk. S". (Constable, 1901.) if. p.
Frederic G. Kitton.

Charles Dickens and the Stage. T. Edgar Pemberton. 8". (Red-
way, 1888.) 3 f. p., photogravure.
Charles Dickens by Pen and Pencil. F. G. Kitton. 4". (Sabini

and Dexter, 1889-90.) With others. 15 by F. G. Kitton,
In Tennyson Land. J. Cuming Walters. 8". (Redway, 1890.)

12 f. p.
J Week's Tramp in Dickens' Land. Wm. R. Hughes. 8".

(Chapman and Hall, 1891.) 100 illust., chiefly by F. G.

Kitton. (12 f. p.)
Hertfordshire County Homes. (Published by subscription, 1892.)

40 f. p.
St. Albans^ Historical and Pi£luresque. C. H. Ashdown. 4°.

(Elliot Stock, 1893.) 70 illust., chiefly by F. G. Kitton

(15 f. p.)
St. Albans Abbey. The Rev. Canon Liddell. 8". (Isbister,

1897. English Cathedral Series.) 9 illust. (7 f. p.)
The Rotnany Rye. George Borrow. (Murray, 1900.) 8 f. p.
John Guille Millais.

A Fauna of Sutherland^ Caithness and West Cromarty. J. Harvie

Brown and T. E. Buckley. 8°. (Douglas, 1887.) 12 illust.,

with others. 2 (i f. p.) by J. G. Millais.
Shooting. Lord Walsingham and Sir R. Payne Gallwey. (Bad-

136 ENGLISH BOOK-ILLUSTRATION

minton Library, 8". (Longmans, 1887.) With others.

3 illust. (i f. p.) by J. G. Millais.
A Monograph of the Charadriidae. Henry Secbohm. 4".

(Sotheran, 1888.) 28 ilhist.
A Fauna of the Outer Hebrides. J. Harvie Brown and T. E.

Buckley. 8". (Douglas, 1888.) 12 illust., with others.

I by J. G. Millais.
A Fauna of the Orkney Islands. J. Harvie Brown and T. E.

Buckley, 8". (Douglas, 1891.) 13 illust., with others.

3 f. p. photogravures by J, G. Millais.
A Fauna of Argyll and the Inner Hebrides. J. Harvie Brown

and T. E. Buckley. 8°. (Douglas, 1892.) 9 illust., with

others, i photogravure by J. G. Millais.
Game-Birds and Shooting Sketches. J. G. Millais. 4". (Sotheran,

1892.) 64 illust., 33 plates.
A Breath from the Veldt. J. G. Millais. 4". (Sotheran, 1895.)

149 illust. (24 plates.)
Letters to Toung Shooters. 3rd series. Sir R. Payne Gallwey.

(Longmans, 1896.) 46 illust.
Elephant Hunting in East Equatorial Africa. Arthur New-

mann. 8°. (Ward, 1897.) 3 f. p.
British Deer and their Horns. J. G. Millais. 4°. (Sotheran,

1897.) 185 illust., mostly by the author. (20 plates.)
Pheasants. W. B. Tegetmeier. 8". (Cox, 1897.) ^^ illust.

(i f. p. by J. G. Millais.) With others.
Encyclopaedia of Sport. Edited by the Earl of Berkshire. Law-
rence and Bullen, 1898.) 31 illust. (2 f. p. in photogra-
vure.)
The Wildfowler in Scotland. J. G. Millais. 4". (Longmans,

1901.) 60 illust., 10 plates. (13 f. p.)
Edmund H. New.

The Compleat Angler. Izaak Walton and Charles Cotton.

Edited by Richard Le Gallienne. 4°. (Lane, 1896.) 200

illust. (47 f. p.)
In the Garden of Peace. Helen Milman. 8". (Lane, 1896.

The Arcady Library.) 24 illust.
Oxford and its Colleges. J. Wells. 8^ (Methuen, 1897.)

27 drawings from photographs.
Cambridge and its Colleges. A. Hamilton Thompson. 8°.

(Methuen, 1898.) 23 drawings from photographs.
The Life of William Morris. J. W. Mackail. 2 vols. 8°.

(Longmans, 1899.) 15 illus. (14 f. p.)

OF TO-DAY.

137

Shakespeare's Country. Bertram C. A. Windle. 8". (Methuen,

1899.) 14 f. p. Drawings from photographs.
The Natural History of Selborne. Gilbert White. Edited by

Grant Allen. 4". (Lane, 1900.) 178 illust. (43 f. p.)
Outside the Garden. Helen Milman. 8". (Lane, 1900.)

30 illust. and decorations.
Sussex. F. G. Brabant. 8". (Methuen, 1900.) 12 f. p.

Drawings from photographs.
The Malvern Country. Bertram C. A. Windle. 8°. (Methuen,

1901.) II f. p. Drawings from photographs.
Alfred Parsons.

God's Acre Beautiful. W.Robinson. 8". (" Garden " Office,

1880.) 8 f p.
Selections from the Poetry of Robert Herrick. 4". (Sampson

Low, 1882.) 59 illust. (2 f. p.) With E. A. Abbey.
Springhaven. R. D. Blackmore. 8". (Sampson Low, 1888.)

64 illust. (35 f p.) With F. Barnard.
Old Songs. 4". (Macmillan, 1889.) 102 illust. With E. A.

Abbey.
The ^jiiet Life. Certain Verses by various hands : Prologue

and Epilogue by Austin Dobson. 4°. (Sampson Low,

1890.) 82 illust. With E. A. Abbey. 42 by Alfred Parsons.

(9 f. p.)
A Selection from the Sonnets of IVilliajn Wordsworth. 8".

(Osgood, 1 891.) 55 illust. and decorations. (24 f. p.)
The Warwickshire Avon. Notes by A. 1\ Ouiller-Couch.

8". (Osgood, 1892.) 96 illust. (25 f. p.)
The Danube from the Black Forest to the Sea. F. D. Millet.

8°. (Osgood, 1892.) 133 illust. With F. D. Millet. 61

by Alfred Parsons. (41 f p.)
The Wild Garden. W. Robinson. 8'\ (Murray, 1895.)

90 wood-engravings. (14 f. p.)
The Bamboo Garden. A. B. Freeman-Mitford. 8". (Mac-
millan, 1896.) II illust. and decorations. (7 f. p.)
Notes in Japan. Alfred Parsons. 8°. (Osgood, 1896.) 119

illust. (36 f. p.)
Wordsworth. Andrew Lang. 8". (Longmans, 1897. Se-

ledtions from the Poets.) 17 illust., and initials to each

poem. (9 f. p.)
Joseph Pennell.

A Canterbury Pilgrimage. Elizabeth Robins Pennell. 8°.

(Seeley, 1885.) 30 illust. (7 f. p.)

138 ENGLISH BOOK-ILLUSTRATION

Tuscan Cities. W. D. Howells. 4". (Ticknor, Boston,

1886.) 67 illust., chiefly by Joseph Pennell. (11 f. p.)
The Saone. P. G. Hamerton. 4". (Seeley, 1887.) 148 illust.

With the author. 102 by Joseph Pennell ; 24 by J. Pennell

after pencil drawings by P. G. Hamerton. (16 f. p.)
Jn Italian Pilgrimage. Elizabeth Robins Pennell. 8".

(Seeley, 1887.) 30 f. p.
Our Sentiuiental "Jourfiey through France and Italy. Elizabeth

Robins Pennell. 8". (Longmans, 1888.) 122 illust. (21 f. p.)
Old Chelsea. Benjamin Ellis Martin. 8°. (Fisher Unwin,

1889.) 23 illust. (20 f. p.)
Our 'Journey to the Hebrides. Elizabeth Robins Pennell. 8".

(Fisher Unwin, 1889.) 43 illust. (29 f. p.)
Personally Conduced. F. R. Stockton. 4°. (Sampson Low,

1889.) 48 illust. With others.
Charing Cross to St. Paul's. Justin McCarthy. Fol. (Seeley,

1891.) 36 illust. (12 f. p.)
The Stream oj" Pleasure. Joseph and Elizabeth Robins Pennell.

With a pra£lical chapter by J. G. Legge. 4°. (Fisher

Unwin, 1891.) 90 illust. (16 f. p.)
Play in Prove/ice. Joseph and Elizabeth Robins Pennell. 8".

(Fisher Unwin, 1892.) 92 illust. (29 f. p.)
The Jew at Home. Joseph Pennell. 8". (Heinemann, 1892.)

27 illust. (15 f. p.)
English Cathedrals. Mrs. Schuyler Van Rensselaer. 8".

(Fisher Unwin, 1892.) 154 illust. (18 f. p.) With others.
To Gipsyland. Elizabeth Robins Pennell. 8". (Fisher Unwin,

1893.) 82 illust. (35 f. p.)
The Devils of Notre Dame. 18 illust., with descriptive text by

R. A. M. Stevenson. Fol. ('Pall Mall Gazette,' 1894.)
Cycling. The Earl of Albemarle and G. Lacy Hillier. 4°.

(Longmans, 1894. The Badminton Library.) 49 illust.

With the Earl of Albemarle, and George Moore. 21 by

Joseph Pennell. (12 f. p.)
Tantallon Castle. Elizabeth Robins Pennell. 8°. (Constable,

1895.) 33 illust, (7 f. p.) With others. 24 by Joseph

Pennell.
The Makers of Modern Rome. Mrs. Oliphant. 8°. (Mac-

millan, 1895.) 71 illust. With Henry P. Riviere, and from

old engravings. 53 by Joseph Pennell. (7 f. p.)
The Alhamhra. Washington Irving. Introdu6lion by Elizabeth

Robins Pennell. 8°. (Macmillan, 1896.) 288 illust. (24f. p.)

OF TO-DAY. 139

On the Broads. Anna Bowman Dodd. 8°. (Macmillan,

1896.) 29 illust. (24 f. p.)
Climbs in the New Zealand Alps. E. A. Fitzgerald. 8".

(Fisher Unwin, 1896.) 25 illust. With others. (8 f. p.

by Joseph Pennell from paintings).
Highways and Byways in Devon and Cornwall. Arthur H.

Norway. 8°. (Macmillan, 1897.) 66 illust. (18 f. p.)

With Hugh Thomson, 58 by Joseph Pennell.
Aquitaine^ a Traveller'' s Tales. Wickham Flower. 4°. (Chap-
man and Hall, 1897.) 24 illust. (22 f. p.)
Over the Alps on a Bicycle. Elizabeth Robins Pennell. 8".

(Fisher Unwin, 1898.) 34 illust. (18 f. p.)
Highiuays and Byways in North Wales. A. G. Bradley. 8".

(Macmillan, 1898.) 96 illust. (13 f. p.) With Hugh

Thomson. 87 by Joseph Pennell.
Highways and Byways in Tor ks hire. Arthur H. Norway. 8°.

(Macmillan, 1899.) iio illust. (14 f. p.) With Hugh

Thomson, 102 by Joseph Pennell.
Highways and Byways in Normandy. Percy Dearmer. 8".

(Macmillan, 1900.) 153 illust. (17 f, p.)
A little Tour in France. Henry James. 8«. (Heinemann,

1900,) 94 illust, (44 f. p.)
The Stock Exchange in 1 900. W. Eden Hooper. 4". (Spottis-

woode, 1900). With Dudley Hardy, 7 illust, by Joseph

Pennell. 3 proof plates.
Highways and Byways in the Lake DistriSi, A, G, Bradley.

8^ (Macmillan, 1901,) 86 illust.
East London. Walter Besant, 8", (Chatto 1901.) 54 illust,

(17 f. p,) With others. 36 by Joseph Pennell,
Highways and Byways in East Anglia. William A, Dutt, 8°.

(Macmillan, 1901.) 150 illust. (15 f. p,)
Italian Journeys. W. D. Howells. 8". (Heinemann, 1 90 1.)

103 illust, (39 f p,)
Herbert Railton,

Coaching Days and Coaching Ways. 4". (Macmillan, 1888,)

213 illust. With Hugh Thomson. 140 by Herbert Railton.
The Essays of Elia. Charles Lamb. Edited by Augustine

Birrell. 8°. (Dent, 1888. The Temple Library.) 3

etchings,
Sele£i Essays of Dr. Johnson. Edited by George Birkbeck Hill.

8°, (Dent, 1889. The Temple Library.) 2 vols. 6 etch-
ings. Figures by John Jcllicoe.

HO ENGLISH BOOK-ILLUSTRATION

The Poems and Plays of Oliver Goldsmith. Edited by Austin

Dobson. 8". (Dent, 1889. The Temple Library.) 2 vols.

6 etchings with John Jellicoe. 3 by Herbert Railton.
Pericles and Aspasia. W. S. Landor. 8". (Dent, 1890. The

Temple Library.) 2 vols. 2 etchings.
Westminster Abbey. W. J. Loftie. Fol. (Seeley, 1 890.) 75

illust.
The Citizen of the IVorld. Oliver Goldsmith. Edited by

Austin Dobson. 8". (Dent, 1891. The Temple Library.)

2 vols. 6 etchings.
The Poetical Works of Thomas Lovell Beddoes. Edited, with a

memoir, by Edmund Gosse. 8". (Dent, 189 1. The

Temple Library.) 2 vols. 2 etchings.
In the Footsteps of Charles Lamb. Benjamin Ellis Martin. 8°.

(Bentley, 1891.) 1 1 f. p. With John Fulleylove. 6 by

Herbert Railton.
The ColleSfed Works of Thomas Love Peacock. Edited by Richard

Garnett. 8°. (Dent, 1891.) 10 vols. 4 etchings.
Essays and Poems of Leigh Hunt. Selected and edited by R.

Brimley Johnson. 8°. (Dent, 189 1.) 2 vols. 5 etchings.
Dreamland in History. The Very Rev. Dean Spence. 8°.

(Isbister, 1891.) 59 illust. (7 f. p.) Engraved by L. Chef-

deville.
The Peak of Derbyshire. John Leyland. 8°. (Seeley, 1891.)

20 illust. (8 f. p.) With Alfred Dawson. 16 by Herbert

Railton.
Ripon Millenary. 4°. (W. Harrison, Ripon, 1892.) 140

illust. With others, also from old prints. 32 by Herbert

Railton. (10 f. p.)
The Inns of Court and Chancery. W. J. Loftie. Fol. (Seeley,

''^93-) 57 ill>-ist. (10 f. p.) 42 by Herbert Railton.
The Household of Sir Thomas More. Anne Manning. 8°.

(Nimmo, 1896.) 26 illust. (9 f. p.) With John Jellicoe.

12 by Herbert Railton, figures by John Jellicoe.
The Haunted House. Thomas Hood. Introdu6lion by Austin

Dobson. (Lawrence and Bullen, 1896.) 63 illust. (21 f. p-)
Cherry and Violet. Anne Manning. 8". (Nimmo, 1897.)

26 illust. With John Jellicoe.
Hampton Court. William Holden Hutton. 8". (Nimmo,

1897.) 43 illust. ^32 f. p.)
English Cathedral Series. 8°. (Isbister, 1897-9.)

Westminster Abbey. The Very Rev. Dean Farrar. 12 f. p.

OF TO-DAY. 141

St, PauPs Cathedral. The Rev. Canon Newbolt. 12 f. p.

IVinchester Cathedral. The Rev. Canon Benhani. 7 f. p.

IFells Cathedral. I'he Rev. Canon Church. 15 illust.
(14 f. p.)

Gloucester Cathedral. The Very Rev. Dean Spence. 13
f.p.

Peterborough Cathedral. The Very Rev. Dean Ingram. 9
f.p.

Lincoln Cathedral. The Rev, Canon Venables. 9 f, p.

Durham Cathedral. The Rev. Canon Fowler. 9 f. p.

Chester Cathedral. The Very Rev. Dean Darby. 9 f. p.

Ripon Cathedral. Tho Ven. Archdeacon Danks. 16 illust.
(14 f.p.)
The Maiden and Married Life of Mary Powell and Deborah's

Diary. Anne Manning. 8". (Nimmo, 1898.) 26 illust.

With John Jellicoe.
The Old Chelsea Bun Shop. Anne Manning. 8". (Nimmo,

1899.) 10 illust. With John Jellicoe.
Travels in England. Richard Le Gallienne. 8°. (Grant

Richards, 1900,) 6 f. p.
The Natural History and Antiquities of Selborne and J Garden

Kalendar. Gilbert White. 8". (Freemantle, 1900.) 2

vols. 176 illust. (23 f. p.) With others. 59 by Herbert

Railton.
The Story of Bruges. Ernest Gilliat Smith. 8". (Dent, 1901.

Mediaeval Towns.) 57 illust. (9 f. p.) With others. 23

by Herbert Railton.
BoswelPs Life of Johnson. Edited by A. Glover. Introduction

by Austin Dobson. 8°. (Dent, 1901.) loO illust. and

portraits.
Sir George Reid.

The Sele£ied JVritings of John Ramsay. Alexander Walker.

8". (Blackwood, 1871.) Portrait and 9 illust.
Life of a Scotch Naturalist. Samuel Smiles. 8". (Murray,

1876.) Portrait and 25 illust. (18 f. p.)
George Paul Chalmers. A. Gibson. 4". (David Douglas,

1879.) 5 heliogravure plates.
Johnny Gibb of Gushetneuk in the Parish of Pyketillim. W.

Alexander. 8". (David Douglas, 1880.) Portrait, title-
page and 18 heliogravure plates.
Twelve Sketches of Scenery and Antiquities on the line of the Great

North of Scotland Railway. 12 heliogravure plates with

142 ENGLISH BOOK-ILLUSTRATION

illustrative Letterpress by W. Ferguson of Kinmundy. 8".

(David Douglas, 1882.)
Natural History and Sport in Norway. Charles St. John. 8*'.

(Douglas, 1882.) 10 f. p., heliogravure.
The River Tweed from Its Source to the Sea. Fol. (Royal

Association for the Promotion of Fine Arts in Scotland,

1884.) 16 f. p., heliogravure.
George ya?nesone^ the Scottish Fan Dyck. John Bulloch. 4".

(David Douglas, 1885.) 2 heliogravure plates.
The River Clyde. Fol. (Royal Association for the Pro-
motion of Fine Arts in Scotland, 1886.) 12 f p., helio-
gravure.
Salmon Fishing on the Ristigouche. Dean Sage. 4". (Douglas,

1888.) 2 illust. (i f. p. photogravure).
Lacunar Basilicae SanSii Macarii Aberdonensis. 4°. (Neu^

Spalding Club, Aberdeen, 1888). 2 f p., photogravure.
Cartularium Ecclesiae SanSli Nicholai Aberdonensis. 2 vols. 4".

(New Spalding Club, Aberdeen, 1888-92.) 2 f. p., photo-
gravure.
St. Giles ., Edinburgh., Church., College and Cathedral. J. Cameron

Lees. 4" (Chambers, 1889.) 3 f p., heliogravure.
Royal Edinburgh. Mrs. Oliphant. 8°. (Macmillan, 1890.)

60 illust. (22 f. p.)
Familiar Letters of Sir Walter Scott. Edited by D. Douglas.

2 vols. 8°. (Douglas, 1894.) 2 vignettes, photogravure.
F. Inigo Thomas.

The Formal Garden in England. Reginald Blomfield and F.

Inigo Thomas. 8". (Macmillan, 1892.) 74 illust. (19

f. p.) 46 by Y . Inigo Thomas.
Charles Whymper.

Wild Sport in the Highlands. Charles St. John. 8°. (Murray,

1878.) 30 illust.
The Game-Keeper at Home. Richard JefFeries. 8". (Smith,

Elder, 1880.) 41 illust.
Siberia in Europe. Henry Seebohm. 8*^. (Murray, 1 880.)

47 illust.
Matabele Land and ViSioria Falls. Frank Gates. 8°. (Kegan

Paul, 1 881.) 50 illust. (13 f p.) With others.
Siberia in Asia. Henry Seebohm. 8". (Murray, 1 882). 67

illust.
The Fowler in Ireland. Sir R. Payne Gallwey. 8°. (Van

Voorst, 1882.) 88 illust. (17 f p.)

OF TO-DAY. 143

A Highland Gathering. E. Lennox Peel. 8". (Longmans,

1885.) 35 illust.
A Highland Gathering. E, Lennox Peel. 8°. (Longmans,

1885-) 31 illust. engraved on wood by E. Whymper.

(6 f. p.)
Our Rarer Birds. Charles Dixon. 8". (Bentley, 1888.)

20 illust. (i f. p.)
Story of the Rear-Guard of Emin Relief Expedition. J. S.

Jameson. 8". (Porter, 1890.) 97 illust.
Travel and Adventure in South Africa. F. C. Selous. 8".

(Ward, 1893.) 37 illust. (23 f. p.) With others. 3 by

Charles Whymper.
Birds of the IVave and Moorland. P.Robinson. 8". (Isbister,

1894.) 44 illust. (18 f. p.) With others.
Sporting Days in Southern India. Lieut.-Colonel Pollock. 8".

(Cox, 1894.) 27 illust. (19 f. p.)
Big Game Shooting. Clive Phillipps-Wolley and other writers.

8°, (Longmans, 1895. The Badminton Library.) 2

vols. 150 illust. With others. (22 f. p.) 67 by Charles

Whymper.
The Pilgrim Fathers of New England and their Puritan Succes-
sors. John Brown. 8". (Religious Traft Society, 1895.)

15 illust. (9 f. p.)
Icebound on Kolguev. A. Trevor-Battye. 8°. (Constable,

1895.) 70 illust. With others. 5 f. p. by Charles Whymper.
The Hare. The Rev. H. A. Macpherson and others. 8°.

(Longmans, 1896. Fur, Feather and Fin Series.) 9 illust.

With others. 2 f. p. by Charles Whymper.
On the World's Roof. J. Macdonald Oxley. 8". (Nisbet,

1896.) 4 f. p.
In Haunts of Wild Game. Frederick Vaughan Kirby. 8".

(Blackwood, 1896.) 39 illust. (15 f. p.)
In and Beyond the Himalayas. S. J. Stone. 8". (Arnold,

1896.) 16 f. p.
Sunshine and Stor?n in Rhodesia. F.C. Selous. 8". (Ward, 1896.)

18 illust. (6f. p. ) With others. 3 by Charles Whymper.
Letters to Toung Shooters. Sir R. Payne Gallwey. (Longmans,

1896.) 246 illust., with J. G. Millais.
The ArtofWildfowling. Abel Chapman. 8". (Cox, 1896.) 39

illust. (23 f. p.). With author.
Wild Norway. Abel Chapman. 8". (Arnold, 1897.) 63

illust. (13 f. p.) With others.

144 ENGLISH BOOK-ILLUSTRATION

Travel and Big Game. Percy Selous and H. A. Bryden. 8".

(Bellairs, 1897.) 6 f. p.
Lost and Vanishing Birds. Charles Dixon. 8", (John Mac-
queen, 1898.) 10 f. p.
Off to Klondyke. Gordon Stables. 8°. (Nisbet, 1898.) 8

f.p.
The Rabbit. James Edmund Harting. 8". (Longmans,

1898. Fur, Feather and Fin Series.) 10 illust. With others.

2 f. p. by Charles Whymper.
Exploration and Hunting in Central Africa. A. St. H. Gibbons.

8". (Methuen, 1898.) 8 f. p. by "Charles Whymper.
The Salmon. Hon. A. E. Gathorne Hardy. 8°. (Longmans,

1898. Fur, Feather and Fin Series.) 8 illust. by Charles

Whymper.
Homes and Haunts of the Pilgrim Fathers. Alexander Mac-

kennal. 4°. (The Religious Tra6l Society, 1899.) 94

illust. from original drawings and photographs. (20 f. p.)
Bird Life in a Southern County. Charles Dixon. (Scott,

1899.) 10 f. p.
The Cruise of the Marchesa to Kamschatka and New Guinea.

F. H. H. Guillemard. 8". (Murray, 1899.) ^39 'll^^t.

With others. Engraved by E. Whymper.
Among the Birds in Northern Shires. Charles Dixon. 8".

(Blackie, 1900.) 41 illust. (i f. p.)
Shooting. Lord Walsingham and Sir Ralph Payne-Gallwey.

8°. (Longmans, 1900. The Badminton Library.) 103

illust. With others. 26 by Charles Whymper.

Some Character Illustrators.

Edwin A. Abbey.

SeleSiions frofu the Poetry of Robert Herrick. 4°. (Sampson
Low, 1882.) 59 illust. With Alfred Parsons. (2 f. p.)

The Rivals and the School for Scandal. R. B. Sheridan.
Edited by Brander Matthews. 8°. (Chatto and Windus,
1885.) 13 illust. With others. 3 f. p. by E. A. Abbey.

Sketehing Rambles in Holland. George H. Boughton. 8°,
(Macmillan, 1885.) 89 illust. (25 f. p.) With others.
26 by E. A. Abbey.

Old Songs. 4". (Macmillan, 1889.) 102 illust. (32 f. p.)
With Alfred Parsons. 61 by E. A. Abbey.

OF TO-DAY. 145

The ^iet Life. Certain Verses by various hands. Prologue

and Epilogue by Austin Dobson. 4''. (Sampson Low,

1890.) 82 illust. (21 f. p.) With Alfred Parsons. 40 by

E. A. Abbey.
The Comedies of Shakespeare. 4 vols. 8°. (Harper, 1896.)

131 photogravure plates.
She Stoops to^Conquer. Oliver Goldsmith. 8°. (Harper, 190 1.)

67 illust. (17 f. p.)
A. S. Boyd.

Peter Stonnor. Charles Blatheru^ick. 8°. (Chapman, 1884.)

15 illust. With James Guthrie. 6 by A. S. Boyd.
The Birthday Book of Solomon Grundy. Will Roberts. 12".

(Gow^an and Gray, 1884.) 371 illust. (6 f. p.)
Novel Notes. J. K. Jerome. 8°. (Leadenhall Press, 1893.)

90 illust. With others, 15 by A, S. Boyd.
At the Rising of the Moon. Frank Mathew. 8°. (McClure,

1893.) 27 illust. With F. Pegram. 4 by A. S. Boyd.
Ghetto Tragedies. I. Zangw^ill. 12°. (McClure, 1894.)

3 f- P-
A Protegee of Jack Ha?nUn's. Bret Harte. 8°, (Chatto,

1894.) 26 illust. With others. 18 by A. S. Boyd.
The Bell-Ringer of AngePs. Bret Harte. 8°. (Chatto, 1 894.)

39 illust. With others. 5 by A. S. Boyd.
John Ingerfield. Jerome K. Jerome. 12°. (McClure, 1894.)

9 f. p. with John Gulich.
The Sketch-Book of the North. George Eyre Todd. 8".

(Morrison, 1896.) 16 illust. With others. 5 f. p. by

A. S. Boyd.
Pictures from Punch. Vol. VI. 4". (Bradbury, Agnew, 1896.)

With others. 14 illust. by A. S. Boyd.
Rabbi Saunderson. Ian Maclaren. 12°. (Hodder, 1898.)

12 f. p.
A Lowden Sabbath Morn. R. L. Stevenson. 8". (Chatto

and Windus, 1898.) 27 f. p.
The Days of Auld Lang Syne. Ian Maclaren. 8". (Hodder

and Stoughton, 1898.) 10 f. p.
Horace in Homespun. Hugh Haliburton. 8°. (Blackwood,

1900.) 26 f. p.
Our Stolen Summer. Mary Stuart Boyd. 8". (Blackwood,

1900.) 170 illust.
A f^ersailles Christmas-Tide. M. S. Boyd. 8". (Chatto and

Windus, 1 901.) 53 illust, (6 f. p,)

146 ENGLISH BOOK-ILLUSTRATION

Frank Brangwyn.

Collingwood. W. Clark Russell. 8°. (Methuen, 1891.)

12 illust. 10 f. p. by Frank Brangwyn.
The Captured Cruiser. C. J. Hyne. 8°. (Blackie, 1893.)

6 f. p.
Tales of our Coast. S. R. Crockett, etc. 8". (Chatto and

Windus, 1896.) 12 f. p.
The Arabian Nights. 8°. (Gibbings, 1897.) 36 f. p.
The History of Don fixate. Translated by Thomas Shelton.

Introdudion by J. H. McCarthy. 4 vols. 8". (Gibbings,

1898.) 24 illust.
Tom Cringle's Log. Michael Scott. 8". (Gibbings, 1898.)

2 vols.
The Cruise of the Midge. Michael Scott. 8°. (Gibbings,

1898.) 2 vols.
J Spliced Tarn. G. Cupples. 8°. (Gibbings, 1899.) 5

f. p.
Naval Tarns. Colle6led and edited by W. H. Long. 8°.

(Gibbings, 1899.) i f. p.
Charles E. Brock.

The Parachute and other Bad Shots. J. R. Johnson. 4°

(Routledge, 1891.) 44 illust, (4 f. p.)
Hood's Humorous Poems. Preface by Alfred Ainger. 8°

(Macmillan, 1893.) ^3° illust. (3 f. p.)
Scenes in Fairyland. Canon Atkinson. 8°. (Macmillan

1893.) 34 illust. (5 f. p.)
The Humour of America. Edited by J. Barr. 8°. (Scott

1893.) 78 illust. (32 f. p.)
The Humour of Germany. Edited by Hans Mueller-Casenov

8^ (Scott, 1893.) 54 illust, (15 f. p.)
English Fairy and Folk Tales. Edited by E. S, Hartland, 8"

(Scott, 1893,) 13 f- P-
Gulliver's Travels. Preface by Henry Craik. 8". (Mac-
millan, 1894.) 100 illust, (18 f. p,)
History Readers. Book H, 8°. (Macmillan, 1894.) 20 illust.

With H. M. Brock. 10 by C, E. Brock,
Nema and other Stories. Hedley Peek. 8", (Chapman and

Hall, 1895.) 35 illust. (26 f, p, 6 photogravure plates.)
Annals of the Parish and TJie Ayrshire Legatees. John Gait.

8°. (Macmillan, 1895.) 40 illust. (32 f. p,)
JV. V. Her Book and Various Verses. William Canton. 8°.

(Isbister, 1896.) 2 f. p.

OF TO-DAY. 147

Westward Ho ! Charles Kin^sley. 2 vols. 8°. (Macmillan,

1896.) 84 iUust. (5if. pi)
The Poetry of Sport. Edited by Hedley Peek. 8°. (Long-
man, 1896.) 32 illust. With others. (19 f. p, by C. E.

Brock.)
Pride and Prejudice. Jane Austen. 8". (Macmillan, 1896.

Illustrated Standard Novels.) 40 illust. (38 f. p.)
Racing and Chasing. See H. M. Brock.
Ivanhoe. Sir Walter Scott. 8". (Service and Paton, 1897.

Illustrated English Library.) 16 f. p.
The Invisible Playmate and tV. V. Her Book. William Canton.

8". (Isbister, 1897.) 2 f. p.
The Lady of the Lake. Sir Walter Scott. 8°. (Service and

Paton, 1898.) 24 f. p.
Robinson Crusoe, Daniel Defoe. 8". (Service and Paton,

1898. 111. Eng. Lib.) 16 f. p.
Dent's Second French Book. 8°. (Dent, 1898.) 3 f. p.
The Novels of Jane Austen. Edited by R. Brimley Johnson.

8". (Dent, 1898.) 10 vols. 6 f. p. in each by C. E. and

H. M. Brock. 30 by C. E. Brock. In colours.
The Vicar of Wakefield. Oliver Goldsmith. 8°. (Service and

Paton, 1898. 111. Eng. Lib.) 16 f. p.
John Gilpin. William Cowper. 4". (Dent, 1898. Illustrated

English Poems.) 25 illust. (11 f. p.)
The Bravest of them All. Mrs. Edwin Hohler. 8°. (Mac-
millan, 1899.) 8 f. p.
M. or N. G. J. Whyte-Melville. 8". (Thacker, 1899.)

14 f. p. Coloured frontispiece.
The Works of Jane Austen. 8". (Dent, 1899. Temple

Library.) 10 vols. 10 f p. In colours. With H. M. Brock.

5 by C. E. Brock.
Ivanhoe. Sir Walter Scott. 8". (Dent, 1899.) 12 f. p.,

in colours.
line Joyeuse Nichee. 8°. (Dent's Modern Language Series,

1900.) 4 f p.
The Path Finder. The Prairie. Fenimore Cooper. 2 vols. 8°.

(Macmillan, 1900. Illustrated Standard Novels.) 25 f. p.each.
Penelope's English Experiences. Kate Douglas Wiggin. 8°.

(Gay and Bird, 1900.) 53 illust. (14 f p.)
Penelope's Experiences in Scotland. Kate Douglas Wiggin. 8".

(Gay and Bird, 1900.) 56 illust. (14 f p.)
Ivanhoe. Sir W. Scott. 8". (Dent, 1900. Temple Classics

148 ENGLISH BOOK-ILLUSTRATION

for Young People.) 2 vols. 24 f. p. With H. M. Brock.

12 by C. E. Brock reproduced from 1899 edition.
The Essays and Last Essays of Elia. Edited by Augustine

Birrell. 8°. (Dent, 1900.) 2 vols. 163 illust. (32 f. p.)
The Holly Tree Inn and The Seven Poor Travellers. Charles

Dickens. 8°. (Dent, 1900.) 49 illust. (12 f. p. 2 photo-
gravure plates.)
Henry M. Brock.

Macynillans History Readers. See C. E. Brock.

Jacob Faithful. Captain Marryat. Introduction by David

Hannay. 8". (Macmillan, 1895. Illustrated Standard

Novels.) 40 illust. (37 f p.)
Tales of the Covenanters. Robert Pollok. 8°. (Oliphant

Anderson, 1895.) 12 illust. (7 f p.)
Racing and Chasing. A. G. T. Watson. 8°. Longmans,

1867. With others. 10 illust. (8 f. p.) By H. M.

Brock.
Scenes of Child Life. Mrs. J. G. Eraser. 8°. (Macmillan,

1898. 29 illust. (i f. p.)
Scenes of Familiar Life. Mrs. J. G. Eraser. 8°. (Macmillan,

1898.) 8 f. p.
Uncle John. G. J. Whyte-Melville. 8". (Thacker, 1898.)

14 illust. With E. Caldwell. 10 f. p. by H. M. Brock.
Song and Verses. G. J. Whyte-Melville. 8°. (Thacker,

1899.) 13 illust. (i. f. p.)
The Little Browns. Mabel E. Wotton. 4°. (Blackie, 1900.)

80 illust. (9 f p.)
Asinette. Mrs. J. G. Erazer. 8°. (Dent, 1900.) 208 illust.

(8 f. p. in colours.)
By Eenimore Cooper. 8°. (Macmillan, 1900. Illustrated

Standard Novels.) The Deerslayer., 40 f. p. ; The Last of the

Mohicans^ 25 f p. ; The Pioneer s., 25 f. p.
Digby Grand. G. J. Whvte-Melville. 8°. (Thacker, 1900.)

8 f. p.
The Old Curiosity Shop. Charles Dickens. 8°. (Gresham Pub.

Co., 1 90 1.) 8 f p.
Japhet in Search of a Father. Captain Marryat. 8°. (Mac-
millan, 1895. 111. Stan. Nov.) 40 illust. (12 f. p.)
Handy Andy. Samuel Lover. 8". (Macmillan, 1896. 111.

Stan. Nov.) 40 illust. (33 f. p.)
Ballads and Songs. W.M.Thackeray. %\ (Cassell, 1896.)

1 1 1 illust. (6 f. p.)

OF TO-DAY. 149

Cranford. Mrs. Gaskell. 8°. (Service and Paton, 1898.

III. Eng. Lib.) 16 f. p.
The Novels of Jane Austen. 1898. See C. E. Brock.
Waverley. Sir Walter Scott. 8°. (Service and Paton, 1 899.

111. Eng. Lib.) i6f. p.
The JVorks of Jane Austen. 1899. ^^^ ^- -^- Brock.
Black but Comely. G. J. Whyte-Melville. 80. (Thacker,

1899.) 10 f. p.
The Drummer'' s Coat. Hon. J. W. Fortescue. 4". (Mac-

millan, 1899.) 4 f. p.
King Richard II. Edited by W. J. Abel. 8". (Longmans,

1899. Swan Edition.) 11 f. p.
Ivanhoe. 1900. See C. E. Brock.
The Pilgrim's Progress. John Bunyan. 8". (Pearson, 1900.)

8 f. p.
Ben Hur. General Lew Wallace. 8°. (Pearson, 1901.)

8 f. p.
Sister Louise and Rosine. Kate Coventry. Cerise. G. J. Whyte-
Melville. 8°. (Thacker, 1901.) 10 f. p. each. Frontispiece

in colours.
W. CuBiTT Cooke.

Evelina. Frances Eurney. 2 vols. 8". (Dent, 1893.) 6

photogravure plates and portrait.
Cecilia. 3 vols. Uniform with above. 9 f. p.
The Man of Feeling. Henry Mackenzie. 8°. (Dent, 1893.)

3 photogravure plates and portrait.

My Study Fire. H. W. Mabie. 8". (Dent, 1893.) 3 ^- P->

photogravure.
The Vicar of Wakefield. O. Goldsmith. 8«. (Dent, 1893.)

6 f. p.
Reveries of a Bachelor. D. G. Mitchell. 8". (Dent, 1894.)

Frontispiece.
The Master Beggars. Cope Cornford. 8°. (Dent, 1897.)

8 f. p.
The Singer of Marly. Ida Hooper. 8°. (Methuen, 1 897.)

4 f. p.

By Charles Dickens. 8°. (Dent, 1899. The Temple Dickens.)
Sketches by Box, 2 vols. ; Dombey and Son^ 3 vols. ; Martin
Chuzzlewit^ 3 vols. ; A Christmas Carol^ I vol. I f. p. in
each vol.

The Novels of Jane Austen. Edited by R. Brimley Johnson.
10 vols. 8". (Dent, 1894.) 3 photogravure plates in each vol.

I50 ENGLISH BOOK-ILLUSTRATION

Popular British Ballads. Chosen by R. Brimley Johnson.

4 vols, 8°. (Dent, 1B94.) 219 illust. (22 f. p.)
By Stroke of Sword. Andrew Balfour. 8". (Methuen, i 897.

4f. p.
John Halifax. Mrs. Craik. 8". (Dent, 1898.) 12 illust. in

colours, with others. 4 f. p. by W. C. Cooke.
Sir Harry Furniss.

Tristra?n Shandy. Laurence Sterne. 8°. (Nimmo, 1883.)

8 etchings from drawings by Harry Furniss.
A River Holiday. 8". (Fisher Unwin, 1883.) 15 illust.

(3 f- pO
The Talk of the Town. James Payn. 2 vols. 8". (Smith,

Elder, 1884.) 14 f. p.
Jll in a Garden Fair. Walter Besant. 8°. (Chatto and

Windus, 1884.) 6 f. p.
Romps at the Sea-side and Romps in Town. Verses by Horace

Leonard. 4". (Routledge, 1885.) 28 piclured pages in

colours.
Parliamentary [""lews. 4". (Bradbury, Agnew, 1885.) 28

f. p.
Hugh's Sacrifice. C. M. Norris. 8°. (Griffith, Farran, 1886.)

4 f- p.
More Romps. Verses by E. J. Milliken. 4". (Routledge,

1886.) 52 pictured pages in colours.
The Comic Blackstone. Arthur W. A'Beckett. 8". (Bradbury,

Agnew, 1886.) 9 parts. 28 illust. (10 f. p. in colours.)
Travels in the Interior. L. T. Courtenay. 8". (Ward and

Downey, 1887.) 17 illust. (3 f. p.)
The Incompleat Angler. F. C. Burnand. 8°. (Bradbury,

Agnew, 1887.) 29 illust. (6 f. p.)
How he did it. Harry Furniss. 8°. (Bradbury, Agnew, 1887.)

50 illust, (4 f. p.)
The Moderate Man and other Ferses. Edwin Hamilton. 4".

(Ward and Downey, 1888.) 12 f, p,
Pi^ures at Play. 8", (Bradbury, Agnew, 1888,) 18 illust.

(5 f- p.)
Sylvie and Bruno. Lewis Carroll. 8°. (Macmillan, 1889.)

46 illust, (9 f. p.)
Perfervid. John Davidson. 8°. (Ward and Downey, 1890.)

23 illust. (5 f. p.)
M.P.s in Session. Obi. 4°. (Bradbury, Agnew, 1890.) 500

illust.

OF TO-DAY. 151

JVanted a King. Maggie Browne. 8°. (Cassell, 1890.) 76

illust. (8 f. p.)
Brayhard. F. M. Allen. 8". (Ward and Downey, 1890.)

37 illust. {j f. p.)
Academy Antics. 8°. (Bradbury, Agnew, 1890.) 60 illust.
Flying Fisits. H. Furniss, 8". (Simpkin, 1892.) 192 illust.

(6 f. p.)
Olga's Dream. Norley Chester. 8°. (Skeffington, 1892.)

24 illust. (4f. p.) With Irving Montague. 6 by H. Furniss.
A Diary of the Salisbury Parlia?nent. Henry W. Lucy. 8".

(Cassell, 1892.) 89 illust. (i f. p.)
Sylvie and Bruno concluded. Lewis Carroll. 8°. (Macmillan,

1893.) 4^ illust. (9 f. p.)
77;,? Grand Old Mystery unravelled. 8". (Simpkin, 1894.)

20 illust. (12 f. p.)
The JVallypug of Why. G. E. Farrow. 8". (Hutchinson,

1895.) 62 illust. With Dorothy Furniss. 20 by H. Furniss.

(17 f. p.)
Golf. Horace G. Hutchinson. 8". (Longmans, 1895.

Badminton Library.) 87 illust. With others. 9 f. p. by H.

Furniss.
The Missing Prince. G. E. Farrow. 8". (Hutchinson, 1896.)

51 illust. With D. Furniss. 13 f. p. by H. Furniss.
Cricket Sketches. E. B. V, Christian. 8°. (Simpkin, 1896.)

100 illust.
Pen and Pencil in Parliament. Harry Furniss. 8". (Sampson

Low, 1897.) 173 illust. (50 f. p.)
Miss Secretary Ethel. Elinor D. Adams. 8". (Hurst and

Blackett, 1898.) 6 illust. (5 f. p.)
Australian Sketches. Harry Furniss. 8". (Ward, Lock, 1899.)

86 illust. (I f. p.)
William B. Hole.

The Master of Ballantrae. R. L. Stevenson. 8'\ (Cassell,

1 89 1.) 10 f. p.
A Window in Thrums. J. M. Barric. 8". (Hodder and

Stoughton, 1892.) 14 etchings. (13 f. p.)
The Heart of Midlothian. Sir Walter Scott. 8". (Black,

1893. Dryburgh edition.) 10 woodcuts. (9 f. p.)
The Little Minister. J. M. Barrie. 8°. (Cassell, 1 893.)

9 f. p. woodcuts.
Auld Licht Idylls. J, M. Barrie. 8". ( Hodder and Stoughton,

1895.) 13 etchings. (12 f. p.)

152 ENGLISH BOOK-ILLUSTRATION

Catriona. R. L. Stevenson. 8". (Cassell, 1B95.) 16

woodcuts.
Kidnapped. R. L. Stevenson. 8". (Cassell, 1895.) 16

woodcuts.
Beside the Bonnie Brier Bush. Ian Maclaien. 8". (Hodder

and Stoughton, 1896.) 12 etchings.
The Centu7'y Edition of the Poetry of Robert Burns. 4 vols. 4°.

(Jack, 1896.) 20 f. p. etchings.
H. M. Paget.

Kenilworth. Sir Walter Scott. 8vo. (Black, 1893. Dry-
burgh edition.) 10 woodcuts. (9 f. p.)
^entin Durward. Sir Walter Scott. 8vo. (Black, 1894.

Dryburgh edition.) 10 woodcuts.. (9 f. p.)
Figures from Dickens. 4". (Nister, 1895.) 12 coloured

illust. with others.
Annals of Westminster Abbey. E. T. Bradley. 4°. (Cassell,

1895.) 163 illust. With others.
The Vicar of JVakefield. Oliver Goldsmith. 8vo, (Nister,

1898.) 25 illust. (12 f. p. 5 heliogravure plates.)
Also illustrations to boys' books by G. A. Henty, etc.
Sidney Paget.

Adventures of Sherlock Holmes. Conan Doyle. 8°. (Newnes,

1892.) 104 illust.
Rodney Stone. Conan Doyle. 8". (Smith Elder, 1896.)

8 f. p.
The Tragedy of the Korosko. Conan Doyle. 8". (Smith Elder,

1898.) 40 f. p.
Old Mortality. Sir Walter Scott. 8". (Service and Paton,

1898. Illustrated English Library.) 16 f. p.
Terence. B. M. Croker. 8°. (Chatto and Windus, 1899.)

6f. p.
The Sanctuary Club. L. T. Meade and Robert Eustace. 8".

(Ward, Lock, 1900.) 6 f. p.
Walter Paget.

The Black Dwarf Sir Walter Scott. 8°. (Black, 1893.

Dryburgh edition). 4 f. p.
Castle Dangerous. Sir Walter Scott. 8°. (Black, 1894.

Dryburgh edition.) 6 illust. (5 f. p.)
The Talisman. Sir Walter Scott. 8". (Ward, Lock, 1895.)

68 illust. With others.
A Legend of Montrose. Sir Walter Scott. 8". (Ward,

Lock, 1895.) 76 illust. With A. de Parys.

OF TO-DAY. 153

Robinson Crusoe. Daniel Defoe. 8°. (Cassell, 1896.) 120

illust. (13 f. p.)
Treasure Island. R. L. Stevenson. 8". (Cassell, 1899.) 46

illust. (15 f. p.)
Tales from Shakespeare. Charles and Mary Lamb. 4". (Nister,

1901.) 76 illust. (18 f. p. 6 printed in colours.)
J. Bernard Partridge.

Stage-land. Jerome K. Jerome. 8"^. (Chatto and Windus,

1889.) 63 illust. (14 f. p.)
Foces Populi. F. Anstey. 8°. (Longmans, 1890.) 20 illust.

(9 f- pO .
Foces Populi. Second Series. 1892. 25 illust. (17 f. p.)
My Flirtations. Margaret Wynman. 8". (Chatto and

Windus, 1892.) 13 illust. (11 f. p.)
The Travelling Companions. F. Anstey. 8". (Longmans,

1892.) 26 illust. (i f. p.)
Air. Punch's Pocket Ibsen. F. Anstey. 8". (Heinemann,

1893.) I4f-P-
The Man from Blankleys. F. Anstey. 4". (Longmans,

1893.) 25 illList. (9 f. p.)
IFhen a Man\ Single. A Window in Thrums. The Little

Minister. My Lady Nicotine. J. M. Iiarrie. 8". Scribner,

1896. I f. p. each.
Tommy and Grizel. J. M. Barrie. 8°. (Copp, Torontono,

1 90 1.) II f. p.
Proverbs in Porcelain. Austin Dobson. 8". (Kegan Paul,

1893.) 25f. p. ^
Under the Rose. ¥. Anstey. 8". (Bradbury, Agnew, 1894.)

1 5 f. p.

Lyre and Lancet. F. Anstey. 8". (Smith, Elder, 1895.)

24 f. p.
Puppets at Large. F. Anstey. 8°. (Bradbury, Agnew, 1897).

16 f. p.

Baboo Jabberjee., B.J. F. Anstey. 8". (Dent, 1897.)

29 f. p.
The Tinted Fenus. F. Anstey. 8°. (Harper, 1898,) 15

f. p.
IFee Folk; good Folk. L. Allen Harker. 8". (Duckworth,

1899.) 5 f. p.
Fred Pegram.

Jt the Rising of the Moon. See J. S. Boyd.

Mr. Midshipman Easy. Captain Marryat. Introdu6lion by

M

154 ENGLISH BOOK-ILLUSTRATION

David Hannay. 8". (Macmillan, 1896. Illustrated Standard

Novels.) 38 f. p.
Sybil or the Two Nations. Benjamin Disraeli. Introdu6tion

by H. D. Traill. 8°. (Macmillan, 1895. 111. Stan.

Nov.) 40 illust. (29 f. p.)
The Last of the Barons. Lord Lytton. 8". (Service and

Paton, 1897. Illustrated English Library.) 16 f. p.
Masterman Ready. Captain Marryat. Introduction by David

Hannay. 8". (Macmillan, 1897. 111. Stan. Nov.) 40 illust.

(39 f- P-) .

Poor "Jack. Captain Marryat. Introduction by David Hannay.

8". (Macmillan, 1897. 111. Stan. Nov.) 40 illust. (39 f. p.)
The Arabian Nights Entertainments. 8". (Service and Paton,

1898. 111. Eng. Lib.) 16 f. p.
The Bride of Lammermoor. Sir Walter Scott. 8". (Service

and Paton, i8g8. 111. Eng. Lib.) 16 f. p.
The Orange Girl. Walter Besant. 8". (Cliatto and Windus,

I 899.) 8 f. p.
Ormond. Maria Edgeworth. Introduction by Austin H. John-
son. 8". (Gresham Publishing Company, 1900.) 6 f. p.
Concerning Isabel Carnaby. E. Thorneycroft Fourier. 8".

(Hodder and Stoughton, 1900.) 8 f. p.
The Wide Wide World. Miss Wetherell. 8°. (Pearson.) 8 f. p.
Martin Chuxzlewit. 8°. C. Dickens. (Blackie.) 10 f. p.
Claude A. Shepperson.

Shrewsbury. Stanley J. Weyman. 8". (Longmans, 1898.)

24 illust. (14 f. p.)
The Merchant of Venice. Edited by John Bidgood. 8°.

(Longmans, 1899. Swan edition.) 10 f. p.
The Heart of Mid-Lothian. Sir Walter Scott. Introduction

by William Keith Leask. 8". (Gresham Publishing Com-
pany, 1900.) 6 f. p.
Lavengro. George Borrow. Introduction by Charles E. Beckett.

8°. (Gresham Publishing Company, 1900.) 6 f. p.
Coningsby. Benjamin Disraeli. Introduction by William Keith

Leask. 8^ (Gresham Publishing Company, 1900.) 6 f. p.
Js Tou Like It. Edited by W. Dyche. 8". (Longmans,

1900. Swan edition.) 10 f. p.
William Strang.

The Earth Fiend. William Strang. 4". (Elkin Mathews

and John Lane, 1892.) 11 etchings.
Lucian''s True History. Translated by Francis Hickes. 8°.

OF TO-DAY

^55

(Privately printed, 1894.) 16 illust. With others. 7 f. p. by

William Strang.
Death and the Ploughman's Wife. A Ballad by William Strang.

Fol. (Lawrence and Bullen, 1894.) 12 etchings.
Nathan the JVise. G. E, Lessing. Translated by William

Jacks. 8". (Maclehose, 1894.) 8 etchings.
The Pilgr'mis Progress. John Bunyan. 8". (Nimmo, 1895.)

14 etchings.
The Christ upon the Hill. Cosmo Monkhouse. Fol. (Smith,

Elder, 1895.) 9 etchings.
The Surprising Adventures of Baron Munchausen. Introduftion

by Thomas Seccombe. 8". (Lawrence and Bullen, 1895.)

50 illust. (15 f. p.) With J. B. Clark. 25 by William

Strang.
Paradise Lost. John Milton. Fol. (Nimmo, 1896.) 12

etchings.
Sindbad the Sailor.^ AH Baba and the Forty Thieves. 8". (Law-
rence and Bullen, 1896.) 50 illust. (15 f. p.) With J. B.

Clark. 25 by William Strang.
A Book of Ballads. Alice Sargant. 4''. (Elkin Mathews,

1898.) 5 etchings.
A Book of Giants. William Strang. 4". (Unicorn Press,

1898. Unicorn Ouartos.) I 2 f. p. woodcuts in colours.
Western Flanders. Laurence Binyon. Fol. (Unicorn Press,

1899.) 10 etchings.
A Series of Thirty Etchings illustrating suhje£is from the

JVritings of Rudyard Kipling. Fol. (Macmillan, 1901.)
The Praise of Folic. Erasmus. Translated by Sir Thomas

Chaloner. Edited by Janet E, Ash bee. (Arnold, 1901,)

8 woodcuts, drawn by William Strang and cut by Bernard

Sleigh.
Edmund J. Sullivan.

The Rivals and The School for Scandal. R, B. Sheridan. In-
troduction by Augustine Birrell. 8". (Macmillan, 1896.)

50 f. p. ^
Lavengro. (jeorge Borrow. Introdudlion by Augustine

Birrell. 8". (Macmillan, 1896. Illustrated Standard

Novels.) 45 illust. (37 f. p.)
The Compleat Angler. Izaak Walton. Edited by Andrew

Lang. 8", (Dent, 1896.) 89 illust. (42 f. p.)
Tom Browns School-Days. 8". (Macmillan, 1896.) 79 illust.

(20 f. p.)

156 ENGLISH BOOK-ILLUSTRATION

The Pirate and The Three Cutters. Captain Marryat. 8".

(Macmillan, 1H97, 111, Stan. Nov.) 40 f. p.
Newton Forster. Captain Marryat. 8". (Macmillan, 1897.

111. Stan. Nov.) 40 f. p.
Sartor Resartus. Thomas Carlyle. 8". (Bell, 1898.) 77

illust. (12 f. p.)
The Pirate. Sir Walter Scott. 8". (Service and Paton,

1898. Illustrated English Library.) 16 f, p.
The Natural History and Antiquities of Selborne and A Garden

Kalendar. Gilbert White. 8". (Freemantle, igoo.) 2 vols.

176 illust. (20 f. p.) With others. 45 by E. J. Sullivan.
J Dream of Fair IFornen. Lord Tennyson. 4°. (Grant

Richards, 1900.) 40 f. p. 4 photogravure plates.
Hugh Thomson.

Days with Sir Roger de Cwerley. 4". (Macmillan, 1886.) 51

illust. (i f. p.)
Coaching Days and Coaching JVays. W. Outram Tristram.

4". (Macmillan, 1888.) 213 illust. With Herbert Railton.

73 by Hugh Thomson.
Cranford. Mrs. Gaskell. Preface by Anne Thackeray Ritchie.

8". (Macmillan, 1891.) iii illust.
The Ficar of Wakefield. Oliver Goldsmith. Preface by Austin

Dobson. 8°. (Macmillan, 1891.) 182 illust. (i f. p.)
The Ballad of Beau Brocade. Austin Dobson. 8°. (Kegan

Paul, 1892.) 50 illust. (27 f. p.)
Our Village. Mary Russell Mitford. Introduftion by Anne

Thackeray Ritchie. 8". (Macmillan, 1893.) 100 illust.
The Piper of Hamelin. A Fantastic Opera. Robert Buchanan.

8". (Heinemann, 1893.) 12 plates.
St. Ronan's Well. Sir Walter Scott. 8°. (Black, 1894.

Dryburgh edition.) 10 woodcuts. (9 f. p.)
Pride and Prejudice. Jane Austen. Preface by George

Saintsbury. 8°, (Allen, 1894,) lOi illust, (i f. p.)
Coridons Song and other Verses. Austin Dobson. 8". (Mac-
millan, 1894.) 76 f. p.
The Story of Rosina and other Verses. Austin Dobson. 8°.

(Kegan Paul, 1895.) 49 illust. (32 f. p.)
Sense and Sensibility. Jane Austen. Introdu6tion by Austin

Dobson. 8". (Macmillan, 1896, Illustrated Standard

Novels.) 40 f. p.
Emma. Jane Austen. Introduction by Austin Dobson. 8°.

(Macmillan, 1896. 111. Stan. Nov.) 40 f. p.

OF TO-DAY. 157

The Chace. William Somerville. 8". (George Redway, 1896.)

9 f. p.
The Poor in Great Cities. Robert A. Woods and others. 8°.

(Kegan Paul, 1896.) 105 illust. (8 f. p.) With others. 21

by Hugh Thomson.
Highways and Byways in Devon and Cornwall. Arthur H.

Norway. 8". (Macmillan, 1897.) 66 illust. With Joseph

Pennell. 8 f. p. by Hugh Thomson.
Mansfield Park. Jane Austen. Introdudlion by Austin

Dobson. 8'\ (Macmillan, 1897. ^^^- Stan. Nov.) 40

illust. (38 f. p.)
Northanger Abbey and Persuasion. Jane Austen, Introdu6lion

by Austin Dobson. 8". (Macmillan, 1897. 111. Stan.

Nov.) 40 illust. (38 f. p.)
Cranford. Mrs. Gaskell. Preface by Anne Thackeray Ritchie.

8°. (Macmillan, 1898.) 100 illust. 40 in colours.
Riding Recolkaions. G. J. Whyte-Melville. (Thacker, 1 898.)

12 f. p. Coloured frontispiece.
Highways and Byways in North IVales. Arthur G. Bradley.

8". (Macmillan, 1898.) 66 illust. with Joseph Pennell.

9 f. p. by Hugh Thomson.
Highways and Byways in Donegal and Antri?7i. Stephen Gwynn.

8°. (Macmillan, 1899.) ^7 illust. (20 f. p.)
Highways and Byways in Yorkshire. Arthur H. Norway. 8°.

(Macmillan, 1899.) 96 illust. With Joseph Pennell. 8 f p.

by Hugh Thomson.
Peg IVoJffington. Charles Reade. Introdudlion by Austin

Dobson. 8°. (Allen, 1899.) 75 illust. (30 f. p.)
This and That. Mrs. Molesworth. 8°. (Macmillan, 1899.)

8 f. p.
Ray Farley. John MofFat and Ernest Druce. 8". (Fisher

Unwin, 1901.) 6 f. p.
A Kentucky Cardinal and Aftcrinath. James Lane Allen. 8".

(Macmillan, 1901.) 48 illust. and decorations. (34 f. p.)

. H. TOWNSEKD.

A Social Departure. Sara Jeannette Duncan. 8". (Chatto

and Windus, 1890.) iii illust. (12 f. p.)
An Ainerican Girl in London. Sara Jcanncttc Duncan. 8".

(Chatto and Windus, 1891.) 80 illust. (19 f. p.)
The Simple Adventures of a Memsahih. Sara Jeannette

Duncan. 8". (Chatto and Windus, 1893.) 37 illust.

(12 f. p.)

158 ENGLISH BOOK-ILLUSTRATION

Illustrated Standard Novels. 8". (Macmillan, 1895-7.)

The Novels of Thomas Love Peacock. Edited by George

Saintsbury.
Maid Marian and Crotchet CastL'. 40 illust. (37 f. p.)
Gryll Grange. 40 f. p.
Melincourt. 40 illust. (39 f. p.)
The Misfortunes of Elphin and Rhododaphne. 40 illust.

(39 f; P;)
The King's Own. Captain Marryat. Introdu6lion by
David Hannay. 8". 40 illust. (38 f. p.)
Illustrated English Library. 8". (Service and Paton, 1897-8.)
'Jane Eyre. Charlotte Bronte. 16 f. p.
Shirley. Charlotte Bronte. 16 f. p.
Rob Roy. Sir Walter Scott. 16 f. p.
Bladys of the Stewponey. S. Baring Gould. 8". (Methuen,
1897.) 5 illust. with B. Munns. 3 f. p. by F. H.
Townsend.
The Works of Nathaniel Hawthorne. Edited by Moncure
D. Conway, 8". (Service and Paton, 1897-9.)
The Scarlet Letter. 8 f. p.
The House of the Seven Gables. 8 f. p.
The Blithedale Romance. 8 f. p.
The Path of a Star. Sara Jeannette Duncan. 8". (Methuen,
1899.) 12 f. p.

Some Children's Books Illustrators.

John D. Batten,

Oedipus the IVreck ; or, ^ To Trace the Knave.'' Owen Seaman.

8°. (F. Johnson, Cambridge, 1888.) 18 illust. (5 f. p.)

With Lancelot Speed.
English Fairy Tales. Colle6led by Joseph Jacobs. 8°. (Nutt,

1890.) 60 illust. and decorations. 2 by Henry Ryland.

(8 f. p.)
Celtic Fairy Tales. Seieciled and edited by Joseph Jacobs, 8°.

(Nutt, 1892.) 70 illust. and decorations. (8 f. p.)
Indian Fairy Tales. Selefted and edited by Joseph Jacobs. 8°.

(Nutt, 1892,) 65 illust. and decorations. (9 f. p.)
Fairy Tales from the Arabian Nights. Edited and arranged by

E. Dixon. 8°. (Dent, 1893.) 5° illust. and decorations.

(5 f. p. in photogravure.)

OF TO-DAY. 159

More English Fairy Tales. CollecSled and edited by Joseph

Jacobs. 8°. (Nutt, 1894.) 50 illust. and decorations.

(8 f. p.) . .

More Celtic Fairy Tales. Selected and edited by Joseph

Jacobs. 8°. (Nutt, 1894.) 67 illust. and decorations.

(8f.p.)
More Fairy Tales from the Arabian Nights. Edited and arranged

by E. Dixon. 8°. (Dent, 1895.) 40 illust. and decorations.

(5 f. p. in photogravure.)
J Masque of Dead Florentines. Maurice Hewlett. Obi. fol.

(Dent, 1895.) 15 illust. (4 f. p.)
The Book of IVonder Voyages. Edited by Joseph Jacobs. (8°.

(Nutt, 1896.) 26 illust. (7 f. p. in photogravure.)
The Saga of the Sea-Swallow and Greenfeather the Changeling.

8°. (Innes, 1896.) 33 illust. and decorations. (4 f. p.)

With Hilda Fairbairn.
Lew^is Baumer.

"Jumbles. Lewis Baumer. 8^^. (Pearson, 1897.) 5*^ pictured

pages. (24 f. p., in colours.)
Hoodie. Mrs. Molesworth. 8°. (Chambers, 1897.) 17 illust.

(8 f. p.)
Elsie's Magician. Fred Whishaw. 8°. (Chambers, 1897)

10 illust. (5 f. p.)
The Baby Philosopher. Ruth Berridge. 8°. (Jarrold, 1898.)

13 illust. (4 f. p.)
The Story of the Treasure Seekers. E. Nesbit. 8°. (Fisher

Unwin, 1899.) 17 f. p.; 15 by Gordon Browne.
By Mrs. Molesworth. ^^. (Chambers, 1898-1900.) Hermy. The

Boys and I. The Three IVltches. 1 7 illust. (i 2 f. p.) in each.
F. D. Bedford.

Old Country Life. S. Baring-Gould. 4°. (Methuen, 1 890.)

37 illust. and decorations.
The Deserts of Southern France. S. Baring-Gould. 2 vols.

4°. Methuen, 1894. 144 illust. and diagrams ; 37 by

F. D. Bedford. (14 f. p.)
The Battle of the Frogs and Mice. Rendered into English by

Jane Barlow. (Methuen, 1894.) 147 pictured pages.

(5 f. p.)
Old English Fairy Talcs. S. Baring Gould. 8«. (Methuen,

1895.) 19 illust.
A Book of Nursery Rhymes. 8°. (Methuen, I 897.) 66 pictured
pages. (21 f. p. in colours.)

i6o ENGLISH BOOK-ILLUSTRATION

The Ficar of Wakefield. O. Goldsmith. S". (Dent, 1898.)

I 2 r. p. in colours.
The History of Henry Esmond. W.M.Thackeray. 8". (Dent,

1898.) 12 f. p., in colours.
The Book of Shops. E. V. Lucas. Obi. 4". (Grant Richards,

1899.) 28 illust. and decorations. (26 f. p. in colours.)
Four and Twenty Tollers. E. V. Lucas. Obi. 4". (Grant

Richards, 1900.) 28 illust. and decorations. (26 f. p. in

colours.)
JFestminster Abbey. G. E. Troutbeck. 8°. Methuen, 1900.

28 illust. (13 f. p.)
Percy J. Billinghurst.

A Hundred Fables of Msop. From the English Version of Sir

Roger L'Estrange. Introduc^tion by Kenneth Grahame.

8^ (Lane, 1 899.) loi f. p.
A Hundred Fables of La Fontaine. 8°. (Lane, 1900.) lOl f. p.
A Hundred Anecdotes of Animals. 8°. (Lane, 1901.) lOl f. p.
Gertrude M. Bradley.

Songs for Sotnebody. Dollie Radford. 8°. (Nutt, 1893.) 33

pictured pages. (7 f. p.)
The Red Hen and other Fairy Tales. Agatha F. 8°. (Wilson,

Dublin, 1893.) 4 f p.
New Figures in Old Frames. Gertrude M. Bradley and Amy

Mark. 4". (Mark and Moody, Stourbridge, 1894.) 37

pirtured pages. (6 f. p.)
Just Forty Winks. Hamish Hendry. 8°. (Blackie, 1897.)

80 illust. and decorations. (li f. p.)
Tom., Unlimited. M. L. Warborough. 8°. (Grant Richards,

1897.) 56 illust. (i f. p.)
Nursery Rhymes. 8°. (Review of Reviews, 1899.) 95 pictured

pages. With Brinsley Le Fanu. (i f. p. in colours.)
Puf-Puff. Gertrude Bradley. Obi. fol. (Sands, 1899.) 18 f. p.

in colours.
Pilloiu Stories. S. L. Howard and Gertrude M. Bradley.

(Grant-Richards, 1901). 41 illust.
L. Leslie Brooke.

Miriam^s Ambition. Evelyn Everett-Green. 8°. (Blackie,

1889.) 4 f. p.
Thorndyke Manor. Mary C. Rowsell. 8°. (Blackie, 1890.)

6 f. p.
The Secret of the Old House. Evelyn Everett-Green. 8°.

(F]lackie, 1890.) 6 f. p.

OF TO-DAY. i6i

The Light Princess. George Macdonald. 8°. (Blackie, I 890.)

3 ^- P-

Brownies and Rose Leaves. Roma White. 8". (Iniies, 1892.)

19 illust. (9 f. p.)
Bab. Ismav Thorn. 8''. (Blackie, 1892.) 3 f. p.
Marian. Annie E. Armstrong. 8°. (Blackie, 1892.) 4 f. p.
A Hit and a Miss. Hon. Eva Knatchbull-Hugessen. 8°.

(Innes, 1893. Dainty Books.) 10 illust. (5 f, p.)
Moonbeams and Brownies. Roma White. 8°. (Innes, 1894.

Dainty Books.) 12 illust. (5 f. p.)
Penelope and the Others. Amy Walton. 8'^. (Blackie, 1896.)

2 f. p.

School in Fairy Land. E. H. Strain. 8°. (Fisher Unwin,

1896.) 7f. p.
The Nursery Rhyme Book. Edited by Andrew Lang. 8°.

(Warne, 1897.) log illust. and decorations. (9 f. p.)
A Spring Song. T. Nash. 8°. (Dent, 1898.) 16 pidured

pages, in colours.
Pippa Passes. Robert Browning. 8°. (Duckworth, 1898,)

7 f. p. Lemerciergravures.

T})e Pelican Chorus and other Nonsense Verses. Edward Lear.

4°. (Warne, 1900.) 38 illust. and decorations. (8 f. p., in

colours.)
The "Jumblies and other Nonsense Verses. Edward Lear. 4".

(Warne, 1900.) 36 illust. and decorations. (14 f. p., in

colours.)
By Mrs. Molesworth. 8". (Macmillan, 189 1-7.) Nurse

Heatherdale s Story. The Girls and J . Mary. My New Home.

Sheila's Mystery. The Carved Lions. The Oriel JVindow.

Miss Mouse and her Boys. 8 illust. (7 f. p.) in each.
Gordon Browne.

Stories of Old Renown. Ascott R. Hope. 8°. (Blackie, i 883.)

96 illust. (8 f. p.)
J Waif of the Sea. Kate Wood. 8". (Blackie, 1884.)

4 f. p.

Miss Fenwick's Failures. Esme Stuart. 8". (Blackie, 1885.)

4 f. p.
Thrown on the J Vor Id. Edwin Hodder. 8". ( tloddcr, 1885.)

8 f. p.

Winnie's Secret. Kate Wood. 8°. (Blackie, 1885.) 4 f. p.
Robinson Crusoe. Daniel Defoe. 8". (Blackie, 1885.) 103
illust. (8 f. p.)

1 62 ENGLISH BOOK-ILLUSTRATION

Kirke's Mill. Mrs. Robert O'Reilly. 8°. (Hatchards, 1885.)

3 ^- P-
The Champion of Odin. J. f\ Hodgetts. 8°. (Cassell, 1885.)

8 f. p.
'■That Child.'' By the author of ' L'Atelier du Lys.' 8°.

(Hatchards, 1885.) 2 f. p.
Christmas Angel. B. L. Farjeon. 8°. (Ward, 1885.) 22

illust.
The Legend of Sir Juvenis. George Halse. Obi. 8°. (Hamil-
ton, 1886.) 6 f. p.
Marys Meadow. Juliana Horatia Ewing. 8°. (S.P.C.K.,

1886.) 23 illust.
Frit% and Eric. John C. Hutcheson. 8°. (Hodder, 1886.)

8 f. p.
Melchiors Dream. Juliana Horatia Ewing. 8*^. (Bell, 1886.)

8 f. p.
The Hermit's Apprentice. Ascott R. Hope. 8°. (Nimmo,

1886.) 4 illust. (3 f. p.)
Gullivers Travels. Jonathan Swift. 8°. (Blackie, 1886.)

loi illust. (8 f. p.)
Rip van Winkle. Washington Irving. 8°. (Blackie, 1887.)

46 illust. (42 f. p.)
Devon Boys. Geo. Manville Fenn. 8°. (Blackie, 1887.) 12 f. p.
The Log of the ' Flying Fish.'' Harry Collino;wood. 8°.

(Blackie, 1887.) 12 f. p.
Down the Snow-stairs. Alice Corkran. 8°. (Blackie, 1887.)

60 illust. (5 f. p.)
Dandelion Clocks. Juliana Horatia Ewing. 4°. (S.P.C.K.,

1887.) 13 illust. by Gordon Browne, etc. (4 f. p.)
The Peace-Egg. Juliana Horatia Ewing. 4°. (S.P.C.K.,

1887.) 13 illust. (4 f p.)
The Seven Wise Scholars. Ascott R. Hope. 8°. (Blackie,

1887.) 93 illust. (4 f p.)
Chirp and Chatter. Alice Banks. 8°. (Blackie, 1888.) 54

illust. (4 f p.)
The Henry Irving Shakespeare. The Works of William Shake-
speare. Edited by Henry Irving and Frank A. Marshall.

4°. (Blackie, 1888, etc.) 8 vols. 642 illust. by Gordon

Browne, W. H. Margetson and Maynard Brown. (37 f p.

etchings.) 552 by Gordon Browne. (32 etchings.)
Snap-dragons. Juliana Horatia Ewing. 8°. (S.P.C.K., il

14 illust. (4 f. p.)

OF TO-DAY. 163

J Golden Age. Ismay Thorn. 8°. (Hatchards, i 888.) 6 f. p.
Fairy Tales by the Countess d'' Aulnoy. Translated by J. R.

Planche. 8°. (Routledge, 1888.) 60 illust. (11 f. p.)
Harold the Boy-Earl. J. F. Hodgetts. 8°. (Religious Traft

Society, 1888.) 1 1 f. p. With Alfred Pearse.
Bunty and the Boys. Helen Atteridge. 8°. (Cassell, 1888.)

4 f. p.
Torns Nugget. J. F. Hodgetts. 8°, (Sunday School Union,

1888.) 13 illust. (6 f. p.)
Clahned at Last. Sibella B. Edgcumb. 8°. (Cassell, 1888.)

4 ^- P-
Great-Uncle Hoot-Toot. Mrs. Moles worth. 4°. (S.P.C.K.,

1889.) 24 illust. (4 f. p.)
My Friend Smith. Talbot Baines Reed. 8°. (Religious Trad

Society, 1889.) 16 illust. (6 f. p.)
The Origin of Plum Pudding. Frank Hudson. 8°. (Ward,

1889.) 9 illust. (4 f. p., in colours.)
Prince Prigio. Andrew Lang. 8°. (Arrowsmith, Bristol,

1889.) 24 illust. (9 f. p.)
A Flock of Four. Ismay Thorn. 8''. (Wells, Gardner, 1889.)

7 f. P-
A Apple Pie. 8''. (Evans, 1890.) 1 2 piftured pages.
8yd Belton. G. Manville Fenn. 8°. (Methuen, 1891.)

6 f. p.
Great-Grandtnamma. Georgina M. Synge. 8°. (Cassell,

1 89 1.) 19 illust. (3 f. p.)
Master Rockafellar's Voyage. W. Clarke Russell. 8°. (Methuen,

1891.) 27 illust. (6 f. p.)
The Red Grange. Mrs. Molesworth. 8°. (Methuen, 1891.)

6 f. p.
A Pinch of Experience. L. B. Walford. 8°. (Methuen, i 892.)

6 f. p.
The Do£ior of the' Juliet' H. Collingwood. 8°. (Methuen,

1892.) 6 f. p.
A Young Mutineer. L. T. Meade. 8°. (Wells, Gardner,

1 893.) 3 f. p.
Graeme and Cyril. Barry Pain. 8°. (Hodder, 1893.) 19 f. p.
The Two Dorothys. Mrs. Herbert Martin. 8°. (Blackie,

1893.) 4 f. p.
One in Charity. Silas K. Hocking. 8°. (Warne, 1893.)

4 f. p.
The Book of Good Counsels. Hitopadesa. Translated by Sir

1 64 ENGLISH BOOK-ILLUSTRATION

Edwin Arnold. 8°. (W. H. Allen, 1893.) 20 illust. and

decorations. (7 f. p.)
Beryl. Georgina M. Synge. 8°. (Skeffington, 1894.) 3 f. p.
Fairy Tales from Grimm. With introdudion by S. Baring

Gould. 8°. (Wells, Gardner, 1895.) 169 illust. and de-
corations. (16 f. p.)
Prince Boohoo and Little S?nuts. Harry Jones. 8°. (Gardner,

Darton, 1896.) 93 illust. and decorations. (27 f. p.)
Sintram and his Companions and Undine. Baron de la Motte

Fouque. 8". (Gardner, Darton, 1896.) 80 illust. (12 f. p.)
The Surprising Adventures of Sir Toady Lion. S. R. Crockett.

8°. (Gardner, Darton, 1897.) 127 illust. and decorations.

(18 f. p.)
An African Millionaire. Grant Allen. 8°. (Grant Richards,

1897.) 66 illust.
Butterfly Ballads and Stories in Rhyme. Helen Atteridge. 8".

(Milne, 1898.) 63 illust. (4 f. p.) With Louis Wain and

others. 32 by Gordon Browne.
Paleface and Redskin and other Stories. F. Anstey. 8°.

(Grant Richards, 1898.) 73 illust. and decorations. (10 f. p.)
Dr. Jollyhofs A. B. C. 4°. (Wells, Gardner, 1898.) 43

piftured pages. (21 f. p.)
Paul Carah Cornishman. Charles Lee. 8^ (Bowden, 1898.)

4 f- P-
iMacbeth. Wm. Shakespeare. 8". (Longmans, 1899. Swan

edition.) 10 f. p.
Miss Cayleys Adventures. Grant Allen. 8°. (Grant Richards,

1899.) 79 illus. (2 f. p.)
The Story of the Treasure Seekers. (See Baumer.)
Stories from Froissart. Henry Newbolt. 8°. (Wells, Gardner,

1899.) 32 illust. (17 f. p.)
Eric, or Little by Little. F. W. Farrar. 8°. (Black, 1899.)

78 illust.
Hilda Wade. Grant Allen. 8°. (Grant Richards, 1900.)

98 illust. (1 f. p.)
St. Winifred's. F. W. Farrar. 8°. (Black, 1900.) 152 illust.
Daddy s Girl. L. T. Meade. 8°. (Newnes, 1901.) 37 illust.

(2 f. p.)
Gordon Browne's Series of Old Fairy Tales. 4°. (Blackie, 1886-7.)
Hop 0' my Thwnb. 28 pi6lured pages. (4 f. p.)
Beauty and the Beast. 34 pictured pages. (4 t. p.)
Ivanhoe. Guy Mannering. Count Robert of Paris. Walter

OF TO-DAY. 165

Scott. 8°. (Black. Dryburgh Edition.) 10 Woodcuts from
drawings by Gordon Browne.
By G. A. Henty. 8°. (Blackie, 1887, etc.)

Bonnie Prince Charlie. With Wolfe in Canada. True to
the Old Flag. In Freedom's Came. With Clivc in India.
Under Drake's Flag. 12 f. p. in each vol.
With Lee in Virginia. The Lion of St. Mark. 10 f. p.

in each vol.
Orange and Green. For Home and Fatne. St. George for
England. Holdfast for England. Facing Death. 8 f. p.
in each vol.
Edith Calvert.

Baby Lays. A. Stow. 8°. (Elkin Matthews, 1897.) 16

illust. (15 f. p.)
More Baby Lays. A Stow. 8°. (Elkin Matthews, 1898.)
14 illust. (13 f. p.)
Marion Wallace-Dunlop.

Fairies, Elves and Flower Babies. M. Rivett-Carnac. Obi. 8°.

(Duckworth, 1899.) 55 pidlured pages. (4 f, p.)
The Magic Fruit Garden. Ma'-ion Wallace-Dunlop. 8°.
(Nister, 1899.) 4^ iHust. (5 ,. p.)

H. J. EORD.

/Esop's Fables. Arthur Brookfield. 4°. (Fisher Unwin,
1888.) 29 illust.

The Blue Fairy Book. Edited by Andrew Lang. 8°. (Long-
mans, 1899.) 137 illust. (8 f. p.) With G. P. Jacomb
Hood.

The Red Fairy Book. Edited by Andrew Lang. 8°. (Long-
man's, 1890.) 99 illust. (4 f. p.) With Lancelot Speed.

When Mother was little. S. P. Yorke. 8". (Fisher Unwin,
1890.) 13 f. p.

J Lost God. Francis W, Bourdillon. 8°. (Elkin Matthews,
1 891.) 3 Photogravures.

The Blue Poetry Book. Edited by Andrew Lang. 8°.
(Longmans, 1891.) 98 illust. (12 f. p.) With Lancelot
Speed.

The Green Fairy Book. Edited by Andrew Lang. 8°. (Long-
mans, 1892.) loi illust. (12 f. p.)

The True Story Book. Edited by Andrew Lang. 8°. (Long-
mans, 1893.) 64 illust. (8 f. p.) With L. Bogle, etc.

The Tellow Fairy Book. Edited'by Andrew Lang. 8°. (Long-
mans, 1894.) 104 illust, (22 f. p.)

1 66 ENGLISH BOOK-ILLUSTRATION

The Animal Story Book. Edited by Andrew Lang. 8°. (Long-
mans, I 896.) 66 illust. (29 f. p.)

The Blue True Story Book. Edited by Andrew Lang. 8".
(Longmans, 1896.) 22 illust. (8 f. p.) With Lucien
Davis, etc. Some from The True Story Book.

The Red True Story Book. Edited by Andrew Lang 8°.
(Longmans, 1897.) 4^ illust, (10 f. p.)

The Pink Fairy Book. Edited by Andrew Lang. 8°. (Long-
mans, 1897.) 68 illust. (33 f. p.)

The Arabian Nights' Entertainment. Sele6led and Edited by
Andrew Lang. 8°. (Longmans, 1898.) 66 illust. (33 f. p.)

Early Italian Love Stories. Taken from the original by Una
Taylor. 4*'. (Longmans, 1899.) 12 illust. and photo-
gravure frontispiece.

The Red Book of Animal Stories. Selefted and edited by Andrew
Lang. 8°. (Longmans, 1899.) 67 illust. (32 f. p.)

The Grey Fairy Book. Edited by Andrew Lang, 8°. (Long-
mans, 1900.) 59 illust. (32 f. p.)

The Violet Fairy Book. Edited by Andrew Lang, 8°. (Long-
mans, 1901,) 66 illust, (33 f, p., 8 in colours.)
Mrs. Arthur Gaskin.

J. B. C. Mrs. Arthur Gaskin. 8^ (Elkin Matthews, 1896.)
56 pictured pages.

Divine and Moral Songs for Children. Isaac Watts. 8°. (Elkin
Matthews, 1896.) 14 illust. (13 f. p.) In colours.

Horn-book Jingles. Mrs. Arthur Gaskin. 8°. (Leadenhall
Press, 1896-7.) 70 pi6tured pages.

Little Girls and Little Boys. Mis, Arthur Gaskin, 12°.
(Dent, 1898.) 27 pictured pages, in colours.

The Travellers and other Stories. Mrs. Arthur Gaskin. 8°.
(Bowden, 1898.) 61 pictured pages, in colours.
Winifred Green.

Poetry for Children. Charles and Mary Lamb. Prefatory note
by Israel Gollancz. 8°. (Dent, 1898.) 56 illust. and
decorations. (30 f. p., in colours.)

Mrs. Leicester's School. Charles and Mary Lamb. Obi. 8°.
(Dent, 1 899,) 41 illust, and decorations. (13 f. p., in colours.)
Emily J. Harding.

An Affair of Honour. Alice Weber. 4°. (Earran, 1892.)
19 illust. (6 f p.)

The Disagreeable Duke. Ellinor Davenport Adams. 8°. (Geo.
Allen, 1894.) 8 f. p.

OF TO-DAY. 167

Fairy Tales of the Slav Peasants and Herdsmen. From the
French of Alex. Chodsko. Translated by Emily J, Hard-
ing. (Allen, 1896.) 56 illust. (33 f. p.)

Hymn on the Morning of Christ's Nativity. (See T. H. Robin-
son.')
Violet M. and E. Holden.

The Real Princess. Blanche Atkinson. 8°. (Innes, 1894.)
19 illust. (5 f. p.)

The House that Jack Built. 32^ (Dent, 1895. Banbury
Cross Series.) 39 illust. and decorations. (14 f. p.)
Archie Macgregor.

Katawampus : Its Treatment and Cure. Judge Parry. 8°.
(Nutt, 1895.) 31 illust. and decorations. (7 f. p.)

Butterscotia, or A Cheap Trip to Fairyland. Judge Parry. 8°.
(Nutt, 1896.) 35 illust. (5 f. p.)

The First Book of Krab. Judge Parry. 8°. (Nutt, 1897.)
25 illust. and decorations. (3 f. p.)

The World Wonderful. Charles Squire. 8°. (Nutt, 1898.)
35 illust. and decorations. (10 f. p.)
H. R. Millar.

The Humour of Spain. Seledled with an introdu6lion and
notes by Susan M. Taylor. 8°. (Scott, 1894.) 52 illust.

(39 f- P-) . ^ n

The Golden Fairy Book. George Sand, etc. (Hutchinson,

1894.) no illust. (11 f. p.)

Fairy Tales Far and Near. 8°. (Cassell, 1895.) 28 illust.

(7 f- pO
The Adventures of Hajji Baba of Ispahan. James Morier. 8°.

(Macmillan, 1895.) 40 illust. (25 f. p.)

The Silver Fairy Book. Sarah Bernhardt, etc. 8°. (Hutchin-
son, 1895.) 84 illust. (7 f. p.)

The Phantom Ship. Captain Marryat. 8°. (Macmillan,
1896. Illustrated Standard Novels.) 40 f. p.

Headlong Hall^ and Nightmare Abbey. T. Love Peacock.
With introdudlion by George Saintsbury. 8°. (Macmillan,
1896.) 40 f. p.

Frank Mildmay. Captain Marryat. Introdudlion by David
Hannay. 8°. (Macmillan, 1897. Illustrated Standard
Novels.) 40 illust. (27 f. p.)

Snarleyyow. Captain Marryat. Introdudlion by David Han-
nay. 8°. (Macmillan, 1897. Illustrated Standard Novels.)
40 illust. (33 f. p.)

1 68 ENGLISH BOOK-ILLUSTRATION

The Diamond Fairy Book. Isabel Bellerby, etc. 8". (Hutchin-
son, 1897.) 83 illust. (12 f. p.)

Untold Tales of the Past. Beatrice Harraden. 8°. (Black-
wood, 1897.) 39 illust. (31 f. p.)

Eothm. A. W. Kino;lake. 8°. (Newnes, 1898.) 40 illust.
(17 f. p.)

Phroso. Anthony Hope. 8°. (Methuen, 1897.) 8 f. p.

The Book of Dragons. E. Nesbit. 8°. (Harper, 1900.) 15
f. p. Decorations by H. Granville Fell.

Nine Unlikely Tales for Children. E. Nesbit. 8°. (f^isher
Unwin, 1901.) 27 f. p.

Booklets by Count Tolstoi. 8°. (Walter Scott, 1895-7.) 2 f. p.
in each vol.

Master and Man. Ivan the Fool. JVhat Men Live By.
Where Love is there God is also. The Tivo Pilgrims.
Carton Moore Park.

Jn Alphabet of Animals. Carton Moore Park. 4°. (Blackie,
1899.) 52 pictured pages. (26 f. p.)

A Book of Birds. Carton Moore Park. Fol. (Blackie, 1900.)
27 f. p.

A Child's London. Hamish Hendry. 4°. (Sands, 1900.) 46
illust. and decorations. (14 f. p.)

The Confessions of Harry Lorrequer. Charles Lever. With in-
troduction by W. K. Leask. 8°. (Gresham Publishing Co.,
1900.) 6 f. p.

A Book of Elfin Rhyrnes. Norman. 4°. (Gay and Bird, 1900.)
40 illust., in colours.

The Child's PiBorial Natural History. 4°. (S.P.C.K., 1901.)
12 illust. (9 f. p.)
RosiE M. M. Pitman.

Maurice.^ or the Red far. The Countess of Jersey. S*'.
(Macmillan, 1894.) 9 f. p.

Undine. Baron de la Motte Fouque. 8°. (Macmillan, 1 897.)
63 illust. and decorations. (32 f. p.)

The Magic Nuts. Mrs. Molesworth. 8°. (Macmillan, 1898.)
8 illust. (7 f. p.)
Arthur Rackham.

The Dolly Dialogues. Anthony Hope. 8°. (' Westminster
Gazette,' 1894.) 4 f. p.

Sunrise-Land. Mrs. Alfred Berlyn. 8°. (Jarrold, 1894.)
136 illust. (2 f. p.)

Tales of a Traveller. Washington Irving. 2 vols. 4°. (Put-

OF TO-DAY. 169

man, 1895. Buckthorne edition.) 25 illust., with borders
and initials. 5 photogravures by Arthur Rackham.

The Sketch Book. Washington Irving. 2 vols. 4°. (Put-
man, 1895. Van Tassel edition.) 32 illust., with others.
Borders. 4 photogravures by Arthur Rackham.

The Money Spinner and other CharaSfer Notes. Henry Seton
Merriman and S. G. Tallintyre. 8°. (Smith, Elder, 1896.)
12 f. p.

The Zankiwank and the Bletherwitch. S. J. Adair Fitzgerald.
8°. (Dent, 1896.) 41 illust. (17 f. p.)

Two Old Ladies., Two Foolish Fairies and a To?n Cat. Maggie
Browne. 8°. (Cassell, 1897.) 23 illust. (14 f. p., 4 in colours.)

Charles O'Malley. Charles Lever. 8°. (Service and Paton,
1897.) 16 f. p.

The Grey Lady. Henry Seton Merriman. 8''. (Smith, Elder,

1897.) ^2 ^- P*
Evelina. Frances Burney. 8°. (Newnes, 1898.) 16 f. p.
The Ingoldshy Legends. H. R. Barham. 8°. (Dent, 1898.)

102 illust. (40 f. p.) 12 printed in colours.
Feats on the Fjords. Harriet Martineau. 8°. (Dent, 1899.

Temple Classics for Young People.) 12 f. p.
Tales from Shakespeare. Charles and Mary Lamb. 8°. (Dent,

1899. Temple Classics for Young People.) 12 f. p.
Fairy Tales of the Brothers Grimm. Translated by Mrs. Edgar

Lucas. 8°. (Freemantle, 1900.) 102 illust. (32 f. p., in

colours.)
Charles Robinson.

Msop's Fables. 32°. (Dent, 1895. Banbury Cross Series.)

45 illust. and decorations. (15 f. p.)
Animals in the Wrong Places. Edith Carrington. 16°. (Bell,

1896.) 14 illust. (i I f. p.)
The Child World. Gabriel Setoun. 8°. (Lane, 1896.) 104

illust. and decorations, (i i f. p.)
Make-believe. H. D. Lowry. 8°. (Lane, 1896.) 53 illust.

and decorations. (4 f. p.)
A Child's Garden of Ferses. Robert Louis Stevenson. 8°.

(Lane, 1896.) 173 illust. and decorations. (14 f. p.)
Bobbie's Little Master. Mrs. Arthur Bell. (Bell, 1897.) 8

illust. (3 f. p.)
King Longbeard^ or Annals of the Golden Dreamland. Barrmgton

MacGregor. 8°. (Lane, 1898.) 116 illust. and decorations.

(12 f. p.)

N

lyo ENGLISH BOOK-ILLUSTRATION

Lullaby Land. Eugene Field. Sele6led by Kenneth Grahame.

S**. (Lane, 1898.) 204 illust. and decorations. (14 f. p.)
LiU'tput Lyrics. W, B. Rand. Edited by R. Brimley Johnson.

8°. (Lane, 1899.) 113 illust. and decorations. (9 f. p., i

in colours.)
Fairy Tales from Hans Christian Andersen. Translated by

Mrs. E. Lucas. 8^ (Dent, 1899.) 107 illust. and decora-
tions. (40 f. p., I in colours.) With Messrs. T. H. and

W. H. Robinson.
Pierrette. Henry de Vere Stacpoole. 8°. (Lane, 1900.)

21 illust. and decorations. (14 f. p.)
Child Voices. W. E. Cule. 8°. (Melrose, 1 900.) 17 illust.

and decorations. (13 f^ p.)
The Little Lives of the Saints. Rev. Percy Dearmer. 8°.

(Wells, Gardner, 1900.) 64 illust. and decorations. (13 f. p.)
The Adventures of Odysseus. Retold in English by F. S. Marion,

R. J. G. Mayor, and F. M. Stawell. 8°. (Dent, 1900.)

28 illust. and decorations. (14 f. p., I in colours.)
The True Annals of Fairy Land. Qhe Reign of King Hesla.

Edited by William Canton. 8°. (Dent, 1900.) 185 illust.

and decorations. (22 f. p., i in colours.)
Sintram and his Companions and Aslauga''s Knight. Baron de

la Motte Fouque. 8°. (Dent, 1900. Temple Classics for

Young People.) 12 f. p., i in colours.
The Master Mosaic-Workers. George Sand. Translated by

Charlotte C. Johnston. 8°. (Dent, 1900. Temp. Class.

for Young People.) 12 f. p., i in colours.
The Suitors of Aprille. Norman Garstin. 8°. (Lane, 1 900.)

18 illust. and decorations. (15 f. p.)
Jack of all Trades. J.J. Bell. 4". (Lane, 1900.) 32 f. p.,

in colours.
T. H. Robinson.

Old World Japan. Frank Rinder. 8". (Allen, 1895.) 34

illust. (14 f. p.)
Cranford. Mrs. Gaskell. 8°. (Bliss, Sands, 1896.) 17

illust. (16 f. p.)
Legends from River and Mountain. Carmen Sylva and Alma

Strettell. 8°. (Allen, 1896.) 41 illust. (10 f. p.)
The History of Henry Esmond. W. M. Thackeray. 8°.

(Allen, 1896.) 72 illust. and decorations, (if. p.)
The Scarlet Letter. Nathaniel Hawthorne. 8°. (Bliss,

Sands, 1897.) ^ ^- P-

OF TO-DAY. lyi

A Sentimental yourney through France and Italy. Laurence
Sterne. 8°. (Bliss, Sands, 1897.) 89 illust. and decorations.

(i3f.P-)
Hymn on the Morning of Christ' s Nativity. John Milton. 8".

(Allen, 1897.) 15 f. p. With Emily J. Harding.
J Child's Book of Saints. W. Canton. 8°. (Dent, 1898.)

19 f. p. (i in colours.)
The Heroes., or Greek Fairy Tales for my Children. Chas.

Kingsley. 8". (Dent, 1899. Temple Classics for Young

People.) 12 f. p., I in colours.
Fairy Tales from the Arabian Nights. 1 1 f. p., I in colours.
Fairy Tales from Hans Christian Andersen. 8". (Dent,

1899.) (See C. H. Robinson.)
A Book of French Songs for the Toung. Bernard Minssen. 8°.

(Dent, 1899.) 55 illust. and decorations. (9 f. p.)
Lichtenstein. Adapted from the German of Wilhelm HaufF by

L. L. Weedon. 8°. (Nister, 1900.) 20 illust. and decora-
tions. (8 f. p.)
The Scottish Chiefs. Jane Porter. 8°. (Dent, 1900.) 65

illust. (19 f. p.)
W. H. Robinson.

Don fixate. Translated by Charles Jarvis. 8°. (Bliss,

Sands, 1897.) ^^ ^- P'
The Pilgrim's Progress. John Bunyan. Edited by George

OfFer. 8^ (BHss, Sands, 1897.) 24 f. p.
The Giant Crab and Other Tales from Old India, Retold by

W. H. D. Rouse. 8°. (Nutt, 1897.) 5^ illust. and decora-
tions. (7 f. p.)
Danish Fairy Tales and Legends. Hans Christian Andersen.

8°. (Bliss, Sands, 1897.) 16 f. p.
The Arabian Nights^ Entertainments. 4°. (Newnes, by ar-
rangement with Messrs. Constable, 1899.) 54^ illust.

With Helen Stratton, A. D. McCormick, A. L. Davis and

A. P. Norbury. (38 f. p.)
The Talking Thrush and other Tales from India. Collected by

W. Cooke. Retold by W. H. D. Rouse. 8". (Dent,

1899.) 84 illust. and decorations. (8 f. p.)
Fairy Tales from Hans Christian Andersen. (See Charles

Robinson.)
The Poems of Edgar Allan Poe. Introdu6tion by H. Noel

WiUiams. 8". (Bell, 1900. The Endymion Series.) 103

illust. and decorations. (2 double-page, 26 f. p.)

172 ENGLISH BOOK-ILLUSTRATION

Tales for Toby. Ascott R. Hope. 8°. (Dent, 1900.) 29

illust. and decorations. (5 f. p.) With S. Jacobs.
Helen Stratton.

Songs for Little People. Norman Gale. 8°. (Constable, 1896.)

119 illust. and decorations. (8 f. p.)
Tales from Hans Andersen. 8°. (Constable, 1896.) 58 illust.

and decorations. (6 f, p.)
Beyond the Border. Walter Douglas Campbell. 8". (Con-
stable, 1898.) 167 illust. (40 f. p.)
The Fairy Tales of Hans Christian Andersen. 4°. (Newnes,

by arrangement with Messrs. Constable, 1899.) 424 illust.

Some reprinted from Tales from Hans Andersen.
The Arabian Nights'' Entertainments . (See W. H. Robinson.)
A. G. Walker.

The Lost Princess^ or the Wise Woman. George Macdonald.

8°. (Wells, Gardner, 1895.) 22 illus. (6 f. p.)
Stories from the Faerie ^ueene. Mary Macleod. With intro-
duction by J. W. Hales. 8°. (Gardner, Darton, 1897.)

86 illust. (40 f. p.)
The Book of King Arthur and his Noble Knights. Stories from

Sir Thomas Malory's Morte D' Arthur. Mary Macleod.

8". (Wells, Gardner, 1900.) 72 illust. (35 f. p.)
Alice B. Woodward.

£'r/V, Prince of Lorlonia. Countess of Jersey. 8°. (Mac-

millan, 1895.) 8 f. p.
Banbury Cross and other Nursery Rhymes. 32°. (Dent, 1895.

Banbury Cross Series.) 62 pictured pages. (23 f. p.)
To Tell the King the Sky is Falling. Sheila E. Braine. 8°.

(Blaclcie, 1896.) 85 illust. and decorations. (8 f. p.)
Bon-Mots of the Eighteenth Century. 16°. (Dent, 1897.) 64

grotesques. (7 f. p.)
Bon-Mots of the Nineteenth Century. 16°. (Dent, 1897.) 64

grotesques. (9 f. p.)
Brownie. Alice Sargant. Music by Lilian Mackenzie. Obi.

folio. (Dent, 1897.) 44 pi6tured pages, in colours.
Red Apple and Silver Bells. Hamish Hendry. 8°. (Blaclcie,

1897.) ^5^ pictured pages. (21 f. p., in colours.)
Adventures in Toy land. Edith Hall King. 4°. (Blackie, 1897.)

78 illust. and decorations. (8 f. p., in colours.)
The Troubles of Tatters and other Stories. Alice Talwin

Morris. 8°. (Blackie, 1898.) 62 illust. and decorations.

(8 f. p.)

OF TO-DAY. 173

The Princess of Hearts. Sheila E. Braine. 4°. (Blackie,
1899.) 69 illust. and decorations. (4 f. p., in colours.)

The Cat and the Mouse. Obi. 4°. (Blackie, 1899.) 24 pic-
tured pages. (6 f. p., in colours.)

The Elephant's Apology. Alice Talwin Morris. 8°. (Blackie,
1899.) 35 illust.

The Golden Ship and other Tales. Translated from the Swahili.
8°. (Universities' Mission, 1900.) 36 illust. and decorations,
with Lilian Bell. (19 f. p., 4 by A. B. Woodward.)

The House that Grew. Mrs. Molesworth. 8°. (Macmillan,
1900.) 8 illust. (7 f. p.)
Alan Wright.

^ueen Vi^oria^s Dolls. Frances H. Low. 4". (Newnes,
1894.) 73 illust. and decorations. (36 f. p., 34 in colours.)

The IVallypug in London. G. E. Farrow. 8°. (Methuen,
1898.) 56 illust. (13 f. p.)

Adventures in IVallypug Land. G. E. Farrow. 8°. (Methuen,
1898.) 55 illust. (18 f. p.)

The Little Panjandrum's Dodo. G. E. Farrow. 8°. (Skeffing-
ton, 1899.) 72 illust. (4 f. p.)

The Mandarin s Kite. G. E. Farrow. 8°. (Skeffington, 1900.)
57 illust.

INDEX OF ARTISTS.

Abbey, E. A., 36, 64, 87, 144.
Allingham, Mrs., 95.
Ansted, Alexander, 50, 132.

Barnes, Robert, 95.
Barrett, C. R. B., 47, 48, 132.
Batten, J. D., 109, no, 158.
Bauerle, Amelia, 14, 121.
Baumer, Lewis, 99, i 59.
Bedford, F. D., 106, 159.
Bell, R. Anning, 7, 121.
Billinghurst, P. J., 117, 160.
Boyd, A. S., 76, 90, 145.
Bradley, Gertrude M., 106, 160.
Brangwyn, Frank, 91, 146.
Britten, W. E. F., 29, 122,
Brock, C. E., 83, 146.
Brock, H. M., 83, 84, 148.
Brooke, L. Leslie, 99, 160.
Browne, Gordon, 96, 161.
Bryden, Robert, 64.
Bulcock, Percy, 14, 122.
Burns, Robert, 26.

Cadenhead, James, 26.

Calvert, Edith, 102, 165.

Cameron, D. Y,, 41, 64, 133.

Cleaver, Ralph, 76.

Cleaver, Reginald, 76.

ClifFord, H. P., 53.

Cole, Herbert, 13, 14, 122.

Connard, Philip, 13, 14, 122.

Cooke, W. Cubitt, 84, 149.

Cowper, Max, 93.

Crane, Walter, 3, 96, 98, 122.

Dadd, Frank, 92.

Davis, Louis, 7.
Davison, Raffles, 50.
Duncan, John, 26.
Dunlop,Marion Wallace-, 106, 165.

Edwards, M. E., 95.
Erichsen, Nelly, 46, 133.

Fell, H. Granville, 27, 126.
Fitton, Hedley, 46, 133.
Ford, H. J., 109, no, 165.
Forestier, Amedee, 92, 93.
Fulleylove, J., 31, 39, 134.
Furniss, Sir Harry, 58, 86, 88,
150.

Gaskin, A. J., 10, 126.
Gaskin, Mrs. Arthur, loi, 166.
Gere, C. M., 12, 50, 126.
Goldie, Cyril, 14.
Gould, F. Carruthers, 88.
Green, Winifred, loi, 166.
GreiiFenhagen, Maurice, 76.
Griggs, F. L., 54, 134.
Guthrie, J. J., 26, 27, 127.

Harding, Emily J., 112, 166.

Hardy, Dudley, 93.

Hardy, Paul, 92.

Hare, Augustus, 47.

Hartrick, A. S., 76.

Harper, C. G., 47, 134.

Hill, L. Raven, 86, 87.

Holden, Violet M. and E., 102,

167.
Hole, William B., 92, 151.
Hood, G. P. Jacomb, 91.

INDEX OF ARTISTS.

^7S

Hopkins, Arthur, 90.
Hopkins, Edward, 90.
Home, Herbert, 10.
Housman, Laurence, 15, 127,
Hughes, Arthur, 95.
Hurst, Hal, 93.
Hyde, William, 39, 135.

Image, Selwyn, 10.

Jalland, G. P., 90,
James, Helen, 46.
Jones, A. Garth, 14, 15, 128.

Kitton, F. G.. 48, 135.

Levetus, Celia, 12, 128.

Macdougall, W. B., 26, 128.
MacGregor, Archie, 107, 167.
Mallows, C. E., 50.
Mason, Fred, 12, 128.
May, Phil, 86, 87.
MiUais, J. G., 54, 135.
Millar, H, R., 109, 112, 167.
Millet, F. D., 36.
Moore, T. Sturge, 18, 24, 129.
Muckley, L. Fairfax, 12, 129.

New, E. H., 10, 38, 50, 136.
North, J. W., 31.

Ospovat, Henry, 13, 14, 129.

Paget, H. M., 92, 152.
Paget, Sidney, 68, 152.
Paget, Walter, 92, 152.
Park, Carton Moore, 118, 168.
Parsons, Alfred, 31, 35, 137.
Partridge, J. Bernard, 58, 86, 153.
Payne, Henry, 12.
Pegram, Fred, 68, 69, 153.
Penncll, Joseph, 31, 38, 41, 137.
Pissarro, Lucicn, 18, 24.
Pitman, Rosie M. M., 117, 168.
"Pym, T.,''95.

Rackham, Arthur, 108, 168.
Railton, Herbert, 31, 38, 45, 74,

139-
Reed, E. T., 88.

Reid, Sir George, 31, 141.

Reid, Stephen, 68.

Ricketts, Charles, 18, 129.

Robinson, Charles, 102, 1 14, 169.

Robinson, T. H., 114, 170.

Robinson, W. H., 114, 116, 171.

Ryland, Henry, 7,

Sambourne, Linley, 86, 88.
Sauber, Robert, 93.
Savage, Reginald, 18, 24, 130.
Shannon, C. H., 18, 130.
Shaw, By am, 13, 130.
Shepherd, J. A., 1 18.
Sheppcrson, C. A., 68, 74, 154,
Sleigh, Bernard, 12, 130.
Speed, Lancelot, iio.
Spence, Robert, 14.
Strang, William, 58, 154.
Stratton, Helen, 116, 172.
Sullivan, E. J., 15, 74, 77, 155.
Sumner, Heywood, 6, 130.

Tenniel, Sir John, 86, 88, 96.
Thomas, F. Inigo, 50, 142.
Thomson, Hugh, 68, 79, 156,
Townsend, F. H., 68, 69, 72,

157-
Tringham, Holland, 46.

Wain, Louis, 118.
Walker, A. G., 116, 172.
Weguelin, J. R,, 29, 131.
Weir, Harrison, 54.
Wheeler, E, J., 91,
Whymper, Charles, 54, 142.
Williams, R. J., 53.
Wilson, Edgar, 56.
Wilson, Patten, 28, 131.
WoodrofFe, P. V., 13, 14, 131.
Woodward, Alice B., 104, 172.
Wright, Alan, 107, 173.

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