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ENGLISH ILLUSTRATION

THE SIXTIES

MORGAN LE FAY

ENGLISH
ILLUSTRATION

'THE SIXTIES': i855-7o
BY GLEESON WHITE

WITH NUMEROUS ILLUSTRATIONS BY
FORD MADOX BROWN : A. BOYD HOUGHTON
ARTHUR HUGHES : CHARLES KEENE
M. J. LAWLESS : LORD LEIGHTON, P.R.A.
SIR J. E. MILLAIS, P.R.A. : G. DU MAURIER
J. W. NORTH, R.A. : G. J. PIN WELL
DANTE GABRIEL ROSSETTI : W. SMALL
FREDERICK SANDYS : J, M'^NEILL WHISTLER
FREDERICK WALKER, A,R.A. : AND OTHERS

ARCHIBALD CONSTABLE AND CO., LTD.

2 WHITEHALL GARDENS, S.W.
1903

PREFACE

^N a past century the author of a well-digested
and elaborately accurate monograph, the
fruit of a life's labour, was well content to
entitle it ' Brief Contributions towards a
History of So-and-So.' Nowadays, after
a few weeks' special cramming, a hastily
written record of the facts which most
impressed the writer is labelled often enough 'A History.'
Were this book called by the earlier phrase, it would still be
overweiohted. Nor did an Eno^lish idiom exist that would
provide the exact synonym for catalogue-raisonnd, could the
phrase be employed truthfully. It is at most a roughly
annotated, tentative catalogue like those issued for art critics
on press-days with the superscription ' under revision ' — an
equivalent of the legal reservation 'without prejudice.' To
conceal the labour and present the results in interesting
fashion, which is the aim of the Chancellor of the Exchequer
on a ' Budget ' night, ought also to be that of the compiler of
any document crammed with distantly unrelated facts. But
the time required for rewriting a book of this class, after it
has grown into shape, would be enough to appal a person
who had no other duties to perform, and absolutely prohibi-
tive to one not so happily placed.

In estimating the errors which are certain to have crept
into this record of a few thousand facts selected from many
thousands, the author is obviously the last person to have
any idea of their number ; for did he suspect their existence,
they would be corrected before the work appeared. Yet all
the same, despite his own efforts and those of kindly hands
who have re-collated the references in the majority of cases,
he cannot flatter himself he has altogether escaped the most
insidious danger that besets a compilation of this kind,

vii

ENGLISH ILLUSTRATION

namely, overlooking some patently obvious facts which are
as familiar to him as to any candid critic who is sure to
discover their absence.

The choice of representative illustrations has been most
perplexing. Some twenty years' intimacy with most of the
books and magazines mentioned herein made it still less easy
to decide upon their abstract merits. Personal prejudice —
unconscious, and therefore the more subtle — is sure to have
influenced the selection ; sometimes, perhaps, by choosing old
favourites which others regard as second rate, and again by
too reticent approval of those most appreciated personally,
from a fear lest the partiality should be sentimental rather
than critical. But, and it is as well to make the confession
at once, many have been excluded for matters quite uncon-
nected with their art. Judging from the comments of the
average person who is mildly interested in the English
illustrations of the past, his sympathy vanishes at once if the
costumes depicted are ' old-fashioned.' Whilst I have been
working on these books, if a visitor called, and turned over
their pages, unless he chanced to be an artist by profession
as well as by temperament, the spoon-bill bonnet and the
male 'turban' of the 'sixties' merely provoked ridicule. As
my object is to reawaken interest in work familiar enough to
artists, but neglected at present by very many people, it
seems wiser not to set things before them which would only
irritate. Again, it is difficult to be impartial concerning
the beauty of old favourites ; whether your mother or sister
happen to be handsome is hardly a point of which you are
a trustworthy judge. Other omissions are due to the right,
incontestable if annoying, every other person possesses in
common with oneself, ' to do what he likes with his own ' ;
and certain publishers, acting on this principle, prefer that
half-forgotten engravings should remain so.

The information and assistance so freely given should be
credited in detail, yet to do so were to occupy space already
exceeded. But I cannot avoid naming Mr. G. H. Bough-
ton, R.A., Mr. Dalziel, Mr. G. R. Halkett, Mr. Fairfax
Murray, and Mr. Joseph Pennell for their kind response to
various inquiries. Thanks are also due to the many holders
of copyrights who have permitted the illustrations to be
reproduced. As some blocks have changed hands since they

viii

PREFACE

first appeared, the original source given below each picture
does not always indicate the owner who has allowed it to be
included. The artists' names are printed in many cases with-
out titles bestowed later, as it seemed best to quote them as
they stood at the time the drawing was published. Lastly, I
have to thank Mr. Temple Scott for his elaborate index, pre-
pared with so much care, which many interested in the subject
will find the most useful section of the book.

The claims of wood-engraving versus process have been
touched upon here very rarely. If any one doubts that
nearly all the drawings of the ' sixties ' lost much, and that
many were wholly ruined by the engraver, he has but to
compare them with reproductions by modern processes from a
few originals that escaped destruction at the time. If this be
not a sufficient evidence, the British Museum and South Ken-
sington have many examples in their permanent collections
which will quickly convince the most stubborn. If some few
engravers managed to impart a certain interest at the expense
of the original work, which not merely atones for the loss but
supplies in its place an intrinsic work of art, such exceptions
no way affect the argument. Wood-engraving of the first
order is hardly likely to die out. It is true that, as the craft
finds fewer recruits, the lessened number of journeymen,
experts in technique (whence real artist-engravers may be
expected to spring up at intervals), will diminish the supply.
Given the artist as craftsman, he may always be trusted to
distance his rival, whether it be mechanism or a profit-making
corporation which reduces the individuality of its agents to the
level of machines. For in art, still more than in commerce,
it is the personal equation that finally controls and shapes
the project to mastery, and the whole charm of the sixties
is the individual charm of each artist. The incompetent
draughtsman, then, was no less uninteresting than he is
to-day ; even the fairly respectable illustrators gain nothing
by the accident that they flourished in ' the golden decade.'
But the best of the work which has never ceased to delight
fellow-workers will, no doubt, maintain its interest in common
with good work of all schools and periods. Therefore,
this rough attempt at a catalogue of some of its most strik-
ing examples, although its publication happens to coincide
with a supposed 'boom,' may have more than ephemeral

ENGLISH ILLUSTRATION

value if it save labour in hunting up commonplace facts to

many people now and in the future. This plea is offered in

defence of the text of a volume which, although cut down

from its intended size, and all too large, is yet but a rough

sketch.

Collectors of all sorts know the various stages which
their separate hobbies impose on them. First, out of pure
love for their subject, they gather together chance specimens
almost at haphazard. Then, moved by an ever-growing-
interest, they take the pursuit more seriously, and, as one
by one the worthier objects fall into their hands, they grow
still more keen. Later, they discover to their sorrow that a
complete collection is, humanly speaking, impossible : certain
unique examples are not to be obtained for love or money, or,
at all events, for the amount at their personal disposal. At
last they realise, perhaps, that after all the cheajaest and most
easily procured are also the most admirable and delightful.
This awakenino^ comes often enough when a catalogue has
been prepared, and on looking over it they find that the
treasures they valued at one time most highly are only so
estimated by fellow-collectors ; then they realise that the more
common objects which fall within the reach of every one
are by far the best worth possessing.

A homely American phrase (and the word homely applies
in a double sense) runs : ' He has bitten off more than he can
chew.' The truth of the remark is found appropriate as I
write these final words. To mark, learn, and inwardly digest
the output of ten to fifteen years' illustration must needs be
predestined failure, if space and time for its preparation are
both limited. The subject has hitherto been almost un-
touched, and when in certain aspects it has attracted writers,
they have approached it almost always from the standpoint
of artistic appreciation and criticism. Here, despite certain
unintentional lapses into that nobler path, the intention has
been to keep strictly to a catalogue of published facts and
with a few bibliographical notes added.

Setting out with a magnificent scheme — to present an
iconography of the work of every artist of the first rank — the
piles of manuscript devoted to this comprehensive task which
are at my side prove the impracticability of the enterprise.
To annotate the work of Sir John Gilbert or Mr. Birket Foster

PREFACE

would require for each a volume the size of this. But as
Punch, The Illustrated London News, and the Moxon Tenny-
son have already been the subject of separate monographs,
no doubt in future years each branch of the subject that
may be worth treating exhaustively will supply material for
other monographs. The chief disappointment in preparing a
reference-book of this class belongs to the first compiler only ;
the rest have the joy of exposing his shortcomings and cor-
recting his errors, combined with the pleasure of indulging in
that captious criticism which any overheard dialogue in the
streets shows to be the staple of English conversation.

GLEESON WHITE.

lo Theresa Terrace,
Ravenscourt Park, \V.,
October 1896.

CONTENTS

CHAPTER I

PAGE

THE NEW APPRECIATION AND THE NEW COLLECTOR, . . .1

CHAPTER II

THE ILLUSTRATED PERIODICALS BEFORE THE SIXTIES, . . 9

CHAPTER III

SOME ILLUSTRATED MAGAZINES OF THE SIXTIES: I. 'ONCE A WEEK,' 16

CHAPTER IV

SOME ILLUSTRATED MAGAZINES OF THE SIXTIES : II. ' THE CORNHILL,'

' GOOD WORDS,' AND ' LONDON SOCIETY,' . . • 3^

CHAPTER V

OTHER ILLUSTRATED PERIODICALS OF THE SIXTIES : ' CHURCHMAn's

FAMILY MAGAZINE,' 'SUNDAY MAGAZINE, ETC., . . 63

CHAPTER VI

SOME ILLUSTRATED WEEKLY PAPERS IN THE SIXTIES, . . 88

CHAPTER VII

SOME ILLUSTRATED BOOKS OF THE PERIOD BEFORE i860, . . 95

CHAPTER VIII

SOME ILLUSTRATED BOOKS OF THE PERIOD 1860-1864, . .112

xiii

ENGLISH ILLUSTRATION

CHAPTER IX

SOME ILLUSTRATED BOOKS OF THE PERIOD 1865-1872, . . 12$

PACE

CHAPTER X

THE AFTERMATH : A FEW BELATED VOLUMES, .... I43

CHAPTER XI

CERTAIN INFLUENCES UPON THE ARTISTS OF THE SIXTIES, . 'ISO

CHAPTER XII

SOME ILLUSTRATORS OF THE SIXTIES, . . . . • ^55

INDEX, ........ .181

XIV

LIST OF ILLUSTRATIONS

(Where two or more illuslrations follow each other with Tlo text between, the references are given to the

nearest page facing)

Anonymous,
Armstead, H. H., R.A
Brown, Ford Madox,

BuRNE-JoNES, Bt., Sir E.
Clayton, J. R., .

Crane, Walter,
Dalziel, T.,

Du Maurier, G.,

FlI.DES, S. L.,
Foster, Birket,

' Enoch Arden,'
A Dream,
Prisoner of Chillon,

Leisure Hotir (Religious

Tract Society),
Willmotfs Sacred Poetry

(Routledge),
Willmoti's Poets of the

Nineteenth Century

(Routledge),
BiMe C"(7//.-;;)' (Roiitlerlge},

FACING
PAGE

Elijah and the Widow's Son, .

Joseph's Coat, .

Down Stream, from the original
drawing in the wood
(photographed by Mr.
Fred HoUyer) — (photogravure)

Parable of the Boiling-Pot,

Olympia and Bianca, .

Treasure-trove,
Bedreddin Hassan and the

Pastrycook,
The Destruction of Sodom,
On her Deathbed,

Per I'Amore d'una Donna,

A Time to Dance,

A Legend of Camelot (Nos. I
to v.), .

Send the Culprit from the Story of a Feather (Brad-
House instantly, .

He felt the surpassing import
ance of his position.

The Farmer's Daughter,

Tlie Green Lane,

The Old Chair-Mender,
XV

Punch (Bradbury,Agnew,
and Co. ),

Sunday Magazine
(Strahan),

Pictures of English Land-
scape (Routledge),

104
ISO
156

!) >>

146

Barry Cornwall's Drama-

tic Scenes

(Chapman and Hall), .

loS

Good IVords (Strahan), .

176

Arabian Nights

(Ward, Lock and Co.),

178

Bible Ca//frj' (Routledge),

1 78

Once a Week

(Bradbury and Evans),

,» >»

Good Words (Strahan), .

bury, Agnew, and Co.), 132
132

116
116

ENGLISH ILLUSTRATION

Gilbert, Sir John, R. A , Ilolienliivlcn, .

Graham, T. , . . Honesty,

Gray, Paul, . . Cousin Lucy, .

Herkomer, Hubert, R. A. , Wandering in the Wood,

IVillmolt's Poets of the
Nineteenth Century

Houghton, A. Boyd,

Hughes, Arthur,

Hunt, W. Holman,
Keene, Charles,
Lawless, M. J.,

My Treasure, .

A Lesson to a King, .

Luther the Singer,

John Baptist, .

The Parable of the Sower,

The Vision of Sheik Ilamil,

Noureddin Ali,

Love, .

Don Jose's Mule,

Reading the Chronicles, from
the original drawing on
the block {photogravure).

Fancy,

The Letter,

The Dial (Sun comes. Moon
comes).

My Heart,

Blessings in Disguise,
Barbara's Pet Lamb,

Mercy,

The Lent Jewels,

' A Good Fight,'

Eftie Gordon, .

Dr. Johnson's Penance

John of Padua,

Rung into Heaven,

The Bands of Love.

The Player and the Listeners,

Honeydew,

One Dead, . .

xvi

(Routledge), .

1 06

Good IVords (Strahan), .

The Quiver (Cassell),

Good IVords for the Young

(Strahan),

Good IVords (Strahan), .

166

Sunday Magazine

(Strahan),

• »» »i •

,» n •

,, ,, ■

TVif ^r^i;j:_y (Strahan),

Arabian Nights

(Routledge), .

122

Golden Thoughts from Golden

Fountains (Warne), .

136

Good Words for the Young

(Strahan),

(British Museum),
Good Words (Strahan),

Sunday Magazine

(Strahan),

jj , , •

Good Words for the Youn^^

(Strahan),

,• )t

Willinott's Sacred Poetry

(Routledge),
Once a Week (Bradbuiy

and Evans),

Good Words (Strahan),

London Society (Hogg),
Churchman^ s Family
Magazine (Hogg),

164

54
170

170

78
78

144

28
28
28
48
48
50
56

LIST OF ILLUSTRATIONS

Lavvson, J., . . Ariadne,

Leighton, Lord, P.R.A

Leighton, John,
Mahoney, J.,
Marks, H. S., R.A.,

Cain and Abel,

Moses views the Promised Land,

Abram and the Angel,

A Parable,

Summer,

Yesterday and To-day,

A Quiet Mind,

,, . In a Hermitage,

MiLLAIS, Sir J. E., P.R.A., There's naeLuck about the

House,

The Border Widow,
Grandmother's Apology,

The Plague of Elliant,

Tannhauser, .

Sister Anne's Probation,

The Hampdens,

Death Dealing Arrows,

The Prodigal Son,

The Tares,

The Sower,

The Cumosan Sibyl,

Morten, T.,

North, J. W., R.A.,

Izaak Walton, .
Gulliver in Lilliput,
The Laputians
Glen Oona,

Glen Oona (from the original

drawing), .
The Nutting, .

Afloat, .
Anita's Prayer,

Winter,

Pettie, J., R.A., . The Monks and the Heathen,

Pici<;ersgill, F. R., R.A., The Water Nymph, .

Once a Week (Bradbury

and Evans),
Bible Gallery {KouWidge),

Sunday Magazine

(Strahan),

») ,, •

Good Words (Slrahan), .
Willmott's Sacred Poetry

(Routledge), .

Home Affections
(Routledge),

t' >, •

Once a Week (Bradbui
and Evans),

FACING
PAGE

Pinwell, G. J., .

The Sailor's Valentine,

xvii

Good Words (Strahan),

Once a Week (Bradbury

and Evans),
The Quiver (Cassell),
Gnlliver''s Travels (Cassell)

Wayside Poesies

(Routledge),
Magazine of Art

(Cassell),
Wayside Poesies

(Routledge),

, ' ,,

Sunday Magazine

(Strahan),

Good Words (Slrahan),
Willmott's Poets of the
Kiyietcenth Century
(Routledge),
The Quiver (Cassell),

144
146
146
146

70
66
68

114
114

108
108

22
22

24
24

120

34
132

'34
134

130

130
«3o

68
66

106

ENGLISH ILLUSTRATION

PliwBl.L, G. J., . . King Pippin, .

.The Little Calf,
,, . . Madame de Krudener,

„ . . What, Bill! you chubby rogue,

„ . . From the original drawing on

the block for S/ie Stoops
to Conquer — (photograviiri
POYNTER, E. J., P. R.A., Joseph before Pharaoh,

,, Pharaoh honours Joseph,

RossETTi, Dante Gabriel, The Maids of Elfenniere,

Sandys, Frederick,

Shields, Frederick,

FACING

PAGE

Waysiile Poesies

(Routledge), .

125

», ,1 •

128

Sunday Magazine

(Strahan),

Goldsmith's Works

(Ward and Lock),

126

(British Museum),

Bible CaZ/cry (Routledge),

14S

,, ,,

148

You should have wept her

yesterday.
The Three Statues of ^gina,

The Old Chartist,
Harold Harfagr,
Death of King Warwolf,
Rosamund, Queen of the

Lombards,
Legend of the Portent,

Manoli,

Cleopatra,

The Waiting Time,

Amor Mundi — (photogravure').

Sleep, ....

Until Her Death,

'If,' . . . .

October, . .

Danae in the Brazen Chamber,

Life's Journey,

A Little Mourner,

Jacob hears the voice of

the Lord, .
Morgan le Fay — (photogravure).
The Plague-Cart,

The Music-master

(Routledge), . .

TIte Prince's Progress

(Macmillan), .
Otice a Week (Bradbury

and Evans), .

Cornhill Magazine
(Smith and Elder),

Churchman's Family

Magazine (Yiog^, ,
Shilling Magazine
(Bosworth),

Good Words (Strahan),

The Argosy (Strahan),
The Quiver (Cassell),
The Hobby Horse

(Chiswick Press),
ll'illmott's Sacred Poetry

(Routledge),

98
162

143

40
40
42

63
48
48

72
'74

172

114
114

Bible Gallery (Routledge), 172
Frontispiece
Defoe's History of the

Plague (yivcahy), . 118

Tenniel, Sir John,
Walker, Frederick,

LIST OF ILLUSTRATIONS

Small, W., . . Between the Cliffs,

Mark the Grey-haired Man,

Solomon, Simeon, . The Veiled Bride,

The Feast of Tabernacles,

The Day of Atonement,
The Norse Princess,
The Nursery Friend, .

A Child in Prayer, .

Out among the Wild-Flowers.

Portrait of a Minister, .

Autumn, .

Autumn, from the original
drawing on the block
(photogravure),

The Bit o' Garden,

Watson, J. D., . . Too Late,

Ash Wednesday,
Whistler, James M'Neill, The Major's Daughter,

,, The Relief Fund in Lancashire,

I, The Morning before the Mas-

sacre of St. Bartholomew,
ai Count Burckhardt,

The Quiver (Cassell),
Golden Thoughts from

Golden Fountains (Warne),
Good Words (Strahan), .
Leisure Hour ( Religious

Tract Society),

Good Words (Strahan),
Willmotfs Sacred Poetry
(Routledge),

Good Words (Strahan), .
English Sacred Poetry

(Religious Tract Society),
A Round of Days
(Routledge), .

FACING

PAGE

83
48

112

I 12
46

124

126

(British Museum),

125

Wayside Poesies

(Routledge), .

128

London Society (Hogg), .

J, ,1

Once a Week (Bradbury

and Evans), .

„

»» J» •

»> )• •

XIX

SCENE FROM "SHE STOOPS TO CONQUER

ENGLISH ILLUSTRATION
THE SIXTIES, 1855-1870

CHAPTER I: THE NEW APPRECIATION
AND THE NEW COLLECTOR

^^^Q.^^^^^HE borderland between the hallowed past
and the matter-of-fact present is rarely
attractive. It appeals neither to our venera-
tion nor our curiosity. Its heroes are too
recent to be deified, its secrets are all told.
If you estimate a generation as occupying
one-third of a century, you will find that
to most people thirty-three years ago, more or less, is the
least fascinating of all possible periods. Its fashions in dress
yet linger in faded travesties, its once refined tastes no longer
appeal to us, its very aspirations, if they do not seem positively
ludicrous, are certain to appear pathetically insufficient. Yet
there are not wanting signs which denote that the rush of
modern life, bent on shortening times of waiting, will lessen the
quarantine which a period of this sort has had to suffer hitherto
before it could be looked upon as romantically attractive instead
of appearing repulsively old-fashioned. For the moment you
are able to take a man of a former generation, and can regard
him honestly, not as a contemporary with all human weakness,
but with the glamour which surrounds a hero ; he is released
from the commonplace present and has joined the happy
past. Therein he may find justice without prejudice. Of
course the chances are that, be he artist or philosopher, the
increased favour bestowed upon him will not extend to his
subjects, or perhaps his method of work ; but so sure as you
find the artists of any period diligently studied and imitated,
it is almost certain that the costumes they painted, the
furniture and accessories they admired, and the thought
which infused their work, will be less intolerable, and possibly
once again restored to full popularity.

Not very long ago anything within the limits of the
century was called modern. Perhaps because its early years
were passed in yearnings for the classic days of old Greece,
and later in orthodox raptures over the bulls of Nineveh and

A I

THE NEW APPRECIATION

the relics of dead Pharaohs. Then by degrees the Middle Ages
also renewed their interest : the great Gothic revival but led the
way to a new exploration of the Queen Anne and Georgian
days. So in domestic life England turned to its Chippendale
and Sheraton, America to its colonial houses, and the word
'antique,' instead of being of necessity limited to objects at
least a thousand years old was applied to those of a bare
hundred. Now, when the nineteenth century has one foot
in the grave, we have but to glance back a few years to dis-
cover that what was so lately ' old-fashioned ' is fast attaining
the glamour of antiquity. Even our immediate progenitors
who were familiar with the railway and telegraph, and had
heard of photography, seem to be in other respects suffi-
ciently unlike our contemporaries to appear quite respectably
ancestral to-day. It is true that we have compensations : the
new photography and electric lighting are our own joys ; and
the new criticism had hardly begun, except perhaps in the
Far West, during the time of this previous generation — the
time that begins with a memory of the project for the Great
Exhibition, and ends with an equally vivid recollection of the
collapse of the Third Empire.

In those days people still preserved a sentimental respect
for the artist merely because he was ' an artist,' quite apart
from his technical accomplishment. It was the period of
magenta and crinoline — the period that saw, ere its close, the
twin domes of the second International Exhibition arise in its
midst to dominate South Kensington before they were moved
to Muswell Hill and were burnt down without arousing
national sorrow — in short, it was 'the sixties.' Only yester-
day ' the sixties ' seemed a synonym for all that was absurd.
Is it because most of us who make books to-day were at
school then, and consequently surveyed the world as a super-
fluous and purely inconsequent background ? For people
who were children in the sixties are but now ripening to
belief in the commonplace formulae dear to an orthodox
British citizen. To their amazement they find that not a
few of the pupils of the 'seventies,' if not of the 'eighties,'
have already ripened prematurely to the same e.xtent. Have
we not heard a youth of our time, in a mood not wholly
burlesque, gravely discussing the .^'Esthetic movement of the
' eighties ' as soberly as men heretofore discussed the move-

AND THE NEW COLLECTOR

meat ot a century previous ? Were the purpose of this book
phrase-making instead of a dull record of facts, we might
style this sudden appreciation of comparatively recent times
the New Antiquity. To a child the year before last is
nearly as remote as the time of the Norman Conquest, or
of Julius CcEsar. Possibly this sudden erjightenment respect-
ing the artistic doings of the mid-Victorian period may
indicate the return to childhood which is part of a nona-
genarian's equipment. At seventy or eighty, our lives are
spent in recollections half a century old, but at ninety the
privilege may be relaxed, and the unfortunate loiterer on the
stage may claim to select a far more recent decade as his
Golden Age, even if by weakening memory he confuses his
second childhood with his first.

To-day not a few people interested in the Arts find ' the
sixties ' a time as interesting as in the last century men found
the daysof Praxiteles, or as, still more recently, the Middle Ages
appeared to the early pre-Raphaelites. These few, however,
are more or less disciples of the illustrator, as opposed to those
who consider 'art ' and ' painting ' synonymous terms. Not
long since the only method deemed worthy of an artist was
to paint in oils. To these, perhaps, to be literally exact, you
might add a few pedants who recognised the large aims of
the worker in fresco, and a still more restricted number who
believed in the maker of stained glass, mosaic, or enamel, if
only his death were sufficiently remote. Now, however, the
humble illustrator, the man who fashions his dreams into
designs for commercial reproduction by wood-engraving or
' process,' has found an audience, and is acquiring rapidly a
fame of his own.

For those who recognise most sincerely, and with no
affectation, the importance of the mere illustrator, this attempt
to make a rough catalogue of his earlier achievements may
be not without interest. Yet it is not put forward as a novel
effort. One of the most hopeful auguries towards the final re-
cognition of the pen-draughtsmen of the sixties quickly comes
to light as you begin to search for previous notices of their
work. It was not Mr. Joseph Pennell who first appreciated
them. It is true that he carried the report of their powers into
unfamiliar districts ; but, long before his time, Mr. J. M. Gray,
Mr. Edmund Gosse, and many another had paid in public due

THE NEW APPRECIATION

tribute to their excellence. Nor can you find that they were
unappreciated by their contemporaries. On the contrary, our
popular magazines were filled with their work. Despite Mr.
Ruskin's consistent 'aloofness' and inconsistent 'diatribes,'
many critics of their own day praised them ; their names
were fairly well known to educated people, their works
sold largely, they obtained good prices, and commissions,
as the published results bear witness, were showered upon
them.

But, until to-day, the draughtsman for periodicals was
deemed a far less important person than the painter of
Academy pictures. Now, without attempting to rob the
R.A. of its historic glory, we see there are others without
the fold who, when the roll-call of nineteenth-century artists is
read, will answer ' Adsum.'

There are signs that the collector, always ready for a fresh
hobby, will before long turn his attention to the English
wood- engravings of this century, as eagerly as he has been
attracted heretofore by the early woodcuts of German and
Italian origin, or the copper- plates of all countries and
periods. It is true that Bewick already enjoys the distinc-
tion, and that Cruikshank and Leech have also gained a
reputation in the sale-rooms, and that Blake, for reasons
only partly concerned with art, has for some time past had
a faithful and devout following". But the prices realised, so
far, by the finest examples of the later wood-engravings, in
the Moxon edition of Tennyson s Poems, in Onee a Week,
and Messrs. Dalziels' books, are not such as to inspire faith
in the collector who esteems his treasures chiefly for their
value under the hammer. But in this case, as in others, the
moderate prices demanded in 1896 may not be the rule a
few months hence. Already, although books rarely fetch
as much as the original published cost, they are getting scarce.
You may hunt the London shops in vain, and ransack the
second-hand stores in the big provincial towns and not
light on Jean Ingelow's Poems, 4to, Thornbury's Legendai-y
Ballads, or e\'en Wayside Poesies, or a Round of Days, all
tairlv common but a short time aoo.

There are two great divisions of the objects that attract
collectors. In the first come all items of individual handi-
work, where no two can be precisely alike (since replicas by

AND THE NEW COLLECTOR

the authors are too rare to destroy the argument), and each
specimen cannot be duphcated. Into this class fall paintings
and drawings of all sorts, gems, sword-guards, lacquer, and
ivories, and a thousand other objects of art. In the second,
where duplicates have been produced in large numbers, the col-
lector has a new ideal — to complete a collection that contains
examples of every variety of the subject, be they artistic : —
coins, etchings, or engravings of any sort ; natural objects : —
butterflies, or crystals, or things which belong neither to
nature nor art: — postage - stamps, the majority of book-
plates, and other trifles so numerous that even a bare list
might extend to pages. The first class demands a long purse,
and has, of necessity, a certain failure confronting it, for many
of the best specimens are already in national collections, and
cannot by any chance come into the market. But in the
second class, no matter how rare a specimen may be, there
is always a hope, and in many cases not a forlorn one, that
some day, in some likely or unlikely place, its fellow may be
discovered. And the chance of picking up a treasure for a
nominal price adds to the zest of the collector, whose real
delight is in the chase, far more than in the capture. Who
does not hope to find a twopenny bo.x containing (as once
they did) a first edition of Fitzgerald's Omar Khayydni ? or a
Rembrandt's Three Trees in a first state ? Or to discover
a Tetradrachin Syracuse, B.C. 317, 'with the superb head of
Persephone and the spirited quadriga, on the obverse,' in some
tray of old coins in a foreign market-place ?

Without more preamble, we may go on to the objects the
new collector wishes to acquire ; and to provide him with a
hand-book that shall set him on the track of desirable speci-
mens. This desultory gossip may also serve to explain
indirectly the aims and limits of the present volume, which
does not pretend to be a critical summary, not a history of
art, and neither a treatise on engravers, nor an anecdotal
record of artists, but merely a working book of reference,
whatever importance it possesses being due only to the fine
examples of the subject, which those concerned have most
kindly permitted to be reproduced.

It is quite true that in collecting, the first of the two
classes demands more critical knowledge, because as it is not
a collection but only a selection that is within the reach of

THE NEW APPRECIATION

any one owner, it follows that each item must reflect his taste
and judgment. In the second division there is danger lest
the rush for comprehensiveness may dull the critical faculty,
until, by and by, the ugly and foolish rarity is treasured far
more than the beautiful and artistic items which are not rare,
and so fail to command high prices.

In fact the danger of all collectors is this alluring tempta-
tion which besets other people in other ways. Many people
prefer the exception to the rule, the imperfect sport to the
commonplace type. If so, this discursive chatter is not
wholly irrelevant, since it preludes an apology for including
certain references to work distinctly below the level of the
best, which, by its accidental position in volumes where the
best occurs, can hardly be ignored completely.

Another point of conscience arises which each must
decide for himself. Supposing that the collection of wood-
engravings of the sixties assumes the proportion of a craze,
must the collector retain intact a whole set of an illustrated
periodical for the sake of a few dozen pictures within it, or if
he decides to tear them out, will he not be imitating the
execrable John Bagford, who destroyed twenty-five thousand
volumes for the sake of their title-pages ? Must he mutilate
a Tennyson's Poems (Moxon, 1S57) or The IMnsic-mastcr, or
many of Dalziels' gift-books, for the sake of arranging his
specimens in orderly fashion ? The dilemma is a very real
one. Even if one decides to keep volumes entire, the sets of
magazines are so bulky, and in some cases contain such a
small proportion of valuable work, that a collector cannot
find space for more than a few of them. Possibly a fairly
representative collection might be derived entirely from the
back-numbers of periodicals, if any huge stores have yet
survived the journey to the paper-mill or the flames ; the one
or the other being the ultimate fate of every magazine or
periodical that is not duly bound before it has lost its high
estate, as ' a complete set,' and become mere odd numbers or
waste-paper.

So far the question of cost has not been raised, nor at
present need it frighten the most economic. Taking all the
subjects referred to in this book, with perhaps one or two
e.xceptions (Allingham's Music-master, 1S55, for instance), I
doubt if a penny a piece for all the illustrations in the various

AND THE NEW COLLECTOR

volumes (counting the undesirable as well as the worthy
specimens) would not be far above the market-price of the
whole. But the penny each, like the old story of the horse-
shoes, although not in this case governed by geometrical
progression, would mount up to a big total. Yet, even if you
purchase the books at a fair price, the best contain so many
good illustrations, that the cost of each is brought down to
a trifle.

Having decided to collect, and bought or obtained in other
ways, so that you may entitle your treasures (as South Kensing-
ton Museum labels its novelties) 'recent acquisitions,' with-
out scrupulous explanation of the means employed to get them,
you are next puzzled how to arrange them. It seems to me
that a fine book should be preserved intact. There are but
comparatively few of its first edition, and of these few a
certain number are doomed to accidental destruction in the
ordinary course of events, so that one should hesitate before
cutting up a fine book, and be not hasty in mutilating a volume
of Once a Week or the Shilling Magazine. But if you have
picked up odd numbers, and want to preserve the prints, a
useful plan is to prepare a certain number of cardboard or
cloth-covered boxes filled with single sheets of thick brown
paper. In these an oblique slit is made to hold each corner
of the print. By this method subjects can be mounted
quickly, and, as the collection grows, new sub-divisions can be
arranged and the subjects distributed among a larger number
of boxes. This plan allows each print to be examined easily,
the brown paper stands wear and tear and shows no finger-
marks, and affords a pleasant frame to the engraving. Pasting-
down in albums should be viewed with suspicion — either the
blank leaves for specimens still to be acquired are constantly
in evidence to shovv^ how little you possess, compared with
your expectations ; or else you will find it impossible to place
future purchases in their proper order.

There is a process, known as print-splitting, which removes
the objectionalDle printed back that ruins the effect of many
good wood-engravings. It is a delicate, but not a very difficult
operation, and should the hobby spread, young lady artists
might do worse than forsake the poorly-paid production of
nasty little head-pieces for fashion-papers and the like, and
turn deft fingers to a more worthy pursuit. It needs an

THE NEW APPRECIATION

tirtistic temperament to split the print successfully, and a
market would be quickly opened up if moderate prices were
charged for the new industry.

One could wish that representative collections of the best
of these prints were gathered together and framed inexpen-
sively, for gifts or loans to schools, art industrial classes, and
other places where the taste of pupils might be raised by their
study. The cheap process-block from a photograph is growing
to be the staple form of black and white that the average
person meets with in his daily routine. The cost of really
fine etchings, mezzotints, lithographs, and other masterpieces
of black and white prohibits their being scattered broadcast ;
out while the fine prints by Alillais, Sandys, Hughes, Pinwell,
Fred Walker, and the rest are still to be bought cheaply,
the opportunity should not be lost.

CHAPTER II : THE ILLUSTRATED PERI-
ODICALS BEFORE THE SIXTIES

'HE more you study the position of illus-
trators during the last forty years, the more
you are inclined to believe that they owe
their very existence, as a class, to the
popularity of magazines and periodicals.
From the time Once a Week started, to the
present to-day, the bulk of illustrations of
any merit have been issued in serial publications. It is easy
to find a reason for this. The heavy cost of the drawings,
and, until recent times, the almost equally heavy cost of
engraving them, would suffice to prohibit their lavish use in
ordinary books. For it must not be forgotten that every
new book is, to a great extent, a speculation ; whereas the
circulation of a periodical, once it is assured, varies but
slightly. A book may be prepared for twenty thousand
buyers, and not attract one thousand ; but a periodical that
sold twenty thousand of its current number is fairly certain
to sell eighteen thousand to nineteen thousand of the next,
and more probably will show a slight increase. Again,
although one appears to get as many costly illustrations
in a magazine to-day as in a volume costing ten times the
price, the comparative sales more than readjust the balance.
For a quarter of a million, although a record circulation of a
periodical, is by no means a unique one ; whereas the most
popular illustrated book ever issued — and Tri/by could be
easily proved to merit that title — is probably not far beyond
its hundred thousand. This very book was published in
Harper s Magazine, and so obtained an enormous advertise-
ment in one of the most widely circulated shilling monthlies.
One doubts if the most popular illustrated volumes published
at one or two o-uineas would show an avera^re sale of two
thousand copies at the original price. Therefore, to regard
the periodical, be it quarterly, monthly, or weekly — and
quite soon the daily paper may be added to the list — as the
legitimate field for the illustrator, is merely to accept the
facts of the case. True, that here and there carefully pre-
pared volumes, with all the added luxury of fine paper and
fine printing, stand above the magazine of their time in this
mechanical production. But things are rapidly changing.

THE ILLUSTRATED PERIODICALS

One may pick up some ephemeral paper to-day, to find it has
process-blocks of better quality, and is better printed, than ' the
art book of the season,' be it what it may. The illustrator
is the really popular artist of the period — the natural product
of the newer conditions. Eor one painter who makes a
living entirely by pictures, there are dozens who subsist upon
illustrating ; while, against one picture of any reputable sort —
framed and sold— it would be impossible to estimate the
number of drawings made specially for publication. Nor
even to-day — when either the demand for illustration is ahead
of the supply, or else many editors artfully prefer the second
best, not forgetting all the feeble stuff of the cheap weeklies
— would it be safe to declare that the artistic level is below
that of the popular galleries. Certainly, even in the thirties,
there were, in proportion, as many masterpieces done for the
engraver as those which were carried out in oil or water-
colour. Waiving the question of the damage wrought by
engraver, or process-reproducer, the artist — if he be a great
man — is no less worthy of respect as an illustrator in a cheap
weekly, than when he chooses to devote himself solely to easel
pictures. It is not by way of depreciating paintings that one
would exalt illustration, but merely to recognise the obvious
truth that the best work of an artist who understands his
medium can never fail to be of surpassing- interest, whether
he uses fresco, tempera, oil, or water-colour ; whether he works
with brush or needle, pen or pencil. Nobody doubts that
most of these products are entitled, other qualities being-
present, to be considered works of art ; but, until lately,
people have not shown the same respect for an illustration.
Even when they admired the work, it was a common form of
appreciation to declare it was 'as good as an etching,' or 'a
composition worthy of being painted.' Many writers have
endeavoured to restore black-and-white art to its true dignity,
and the labours of Sir F. Seymour Haden, who awakened a
new popular recognition of the claims of the etcher, and of
Mr. Joseph Pennell, who fought with sustained vigour for the
dignity and importance of illustration, have helped to inspire
outsiders with a new respect. For it is only outsiders who
ever thought of making absurd distinctions between high art
and minor arts. If the thing, be it what it may, is good — as
good as it could be — at no age did it fail to win the regard of

BEFORE THE SIXTIES

artists ; even if it had to wait a few generations to cliarm the
purchaser, or awaiien the cupidity of the connoisseur. It is
a healthy sign to find that people to-day are interesting them-
selves in the books of the sixties ; it should make them more
eager for original contemporary work, and foster a dislike to
the inevitable photograph from nature reproduced by half-tone,
which one feared would have satisfied their love for black-
and-white to the exclusion of all else.

If, after an evening spent in looking over the old maga-
zines which form the subject of the next few chapters, you
can turn to the current weeklies and monthlies, and feel
absolutely certain that we are better than our fathers, it
augurs either a very wisely selected purchase from the crowded
bookstall, which, at each railway station as the first of the
month approaches, has its hundreds of rival magazines, or
else that it would be wiser to spend still more time over the
old periodicals until a certain ' divine dissatisfaction ' was
aroused towards the average illustrated periodical of to-day.

Not that we are unable to show as good work perhaps,
man for man, as they offer. We have no Sandys, no Millais,
no Boyd Houghton, it is true; they had no E. A. Abbey, no
Phil May, no . . ., but it would be a delicate matter to con-
tinue a list of living masters here. But if you can find an
English periodical with as many first-rate pictures as Once a
JJ^eck, The Cornhill JMagazine, Good Words, and others con-
tained in the early sixties, you will be . . . well . . . lucky is
perhaps the most polite word.

That the cheapness and rapidity of ' reproduction by
process ' should be directly responsible for the birth of many
new illustrated periodicals to-day is clear enough. But it is
surprising to find that a movement, which relatively speaking
was almost as fecund, had begun some years before photo-
graphy had ousted the engraver. Why it sprang into exist-
ence is not quite so obvious ; but if we assume, as facts
indicate, that the system of producing wood -engravings
underwent a radical change about this time, we shall find
that again a more ample supply provoked a larger demand.
Hitherto, the engraver had only accepted as many blocks
as he could engrave himself, with the help of a few assistants ;
but not very long before the date we are considering factories
for the supply of wood-engravings had grown up. The

1 1

THE ILLUSTRATED PERIODICALS

heads of these, practical enfjravers and in some cases artists
of more than average abihty, took all the responsibility for
the work intrusted to them, and maintained a singularly high
standard of excellence ; but they did not pretend that they
engraved each block themselves. Such a system not merely
permitted commissions for a large quantity of blocks being
accepted, but greatly increased speed in their production.

There can be little doubt that something of the sort took
place ; it will suffice to name but two firms, Messrs. Dalziel
and Messrs. Swain, who were each responsible often enough,
not merely for all the engravings in a book, but often for
all the engravings in a popular magazine. Under the old
system, the publisher had thrown upon him the trouble of
discovering the right engraver to employ, and the burden of
reconciling the intention of the artist with the product of the
engraver. This, by itself, would have been enough to make
him very cautious before committing himself to the establish-
ment of an illustrated magazine. But if we also remember
that, under such conditions, almost unlimited time would be
required for the production of the engravings, and that, to
ensure a sufficient quantity being ready for each issue, a very
large number of independent engravers must needs have been
employed, it is clear that the old conditions would not have
been equal to the task.

When, however, the publisher or editor was able to send
all his drawings to a reputable firm who could undertake to
deliver the engravings by a given time, one factor of great
practical importance had been established. It is not surpris-
ino- to find that things went even further than this, and that
the new firms of engravers not only undertook the whole of
the blocks, but in several cases supplied the drawings also.

Without claiming that such a system is the best, it is but
fair to own that to it we are indebted for the masterpieces of
the sixties. No doubt the ideal art-editor- — a perfectly
equipped critic, with the blank cheque of a millionaire at his
back — might have done better ; but to-day there are many who
think themselves perfectly equipped critics, and perhaps some
here and there who are backed by millionaires, yet on neither
side of the Atlantic can we find better work than was pro-
duced under the system in vogue in the sixties. But after all,
it is not the system, then or now, that is praiseworthy, but

BEFORE THE SIXTIES

the individual efforts of men whose hearts were in their
professions.

The more you inquire into the practice of the best
engravers then and now, the more you find that ukimately
one person is responsible for the good. In the sixties the
engraver saw new possibilities, and did his utmost to realise
them ; full of enthusiasm, and a master of his craft, he inspired
those who worked with him to experiment and spare no
effort. That he did marvels may be conceded ; and to
declare that the merely mechanical processes to-day have
already distanced his most ambitious efforts in many qualities
does not detract from his share. But in this chapter he
is regarded less as a craftsman than as a middleman, an
art-editor in effect if not in name ; one who taught the artists
with whom he was brought in contact the limits of the
material in which their work was to be translated, and in turn
learned from them no little that was of vital importance.
Above all, he seems to have kept closely in touch with
draughtsmen and engravers alike; one might believe that every
drawing passed through his hands, and that every block was
submitted to him many times during its progress. When
you realise the mass of work signed ' Dalziels' or 'Swain,' it
is evident that its high standard of excellence must not be
attributed to any system, but to the personal supervision of
the acting members of the firms — men who were, every one
of them, both draughtsmen and engravers, who knew not
only the effect the artist aimed to secure, but the best method
of handicraft by which to obtain it.

If, after acknowledging this, one cannot but regret that the
photographic transfer of drawings to wood had not come into
general use twenty years before it did, so that the master-
pieces of the Rossetti designs to Tennyson's Poe7ns and a
hundred others had not been cut to pieces by the engraver ;
yet at the same time we must remember that, but for the
enterprise of the engraver, the drawings themselves would
in all probability never have been called into existence in
many cases. This is especially true of the famous volumes
which Messrs. Dalziel issued under the imprint of various
publishers, who were really merely agents for their dis-
tribution.

The Petmy Magazine in 1832, and other oi Charles

THE ILLUSTRATED PERIODICALS

Knight's publications, Sharp's Magazine, The Peoples
Journal, Howiffs Journal of Literature, The Illustrated
Family [ournal. The Mirror, The Parterre, The Casket, The
Olio, The Saturday Magazine, Pinnoclis Guide to Knoivledge,
Punch, The Illustrated London Neivs, had led the way for
pictorial weekly papers, even as the old Annuals and the
various novels by Ainsworth, Dickens, and Thackeray had
prepared the way for magazines ; but the artistic movement
of the 'sixties,' so far as its periodicals are concerned, need
be traced back no further than Once a Week. Perhaps, how-
ever, it would be unfair to forget the influence of The Art
Journal (at first called The Art Union), which, started in
1 85 1, brought fine art to the homes of the great British
public through the medium of wood-engravings in a way not
attempted previously; and certainly we must not ignore John
Cassell, who, on the demise of Hoiuitfs Journal and The
Peoples J ournal m 1850, brought out an illustrated chronicle
of the Great Exhibition, which was afterwards merged in a
Magazine oj Art. As The Strand Magazine — the first
monthly periodical to exploit freely the Kodak and the
half-tone block— started a whole school of imitators, so
Once a Week, depending chiefly on drawings by the best men
of the day, engraved by the foremost engravers, was followed
quickly by the Cornhill Magazine, Good JVoj-ds, and the rest.
Many of these were short-lived ; nor, looking at them im-
partially to-day, are we quite sure that the survivors were
always the fittest. Certainly they were not always the best.
But the number of new ventures that saw the light about
this time can scarce be named here. Then, as now, a vast
army of quite second-rate draughtsmen were available, and a
number of periodicals, which it were gross flattery to call
second-rate, sprang up to utilise their talents. Besides these,
many weekly and monthly publications, ostensibly devoted to
catering for the taste of the masses, gained large audiences
and employed talented artists, but demand no more serious
consideration as art, than do the 'snippet' weeklies of to-day
as literature. But some of these popular serials — such as
The Band of Hope, The British JForkman, The London
Journal, The London Reader, Bozo Bells, Every Week, and
the rest — are not, relatively speaking, worse than more
pretentious publications. It is weary work to estimate the

BEFORE THE SIXTIES

place of the second and third bests, and whatever interest the
subject possesses would be exhausted quickly if we tried to
catalogue or describe the less important items. Yet, to be
quite just, several of these, notably the cheap publications of
Messrs. Cassell, Petter, and Galpin, Messrs. S. W. Partridge
and Co., and many others, employed artists by no means
second-rate and gave better artistic value for their money
than many of their successors do at present.

It is well to face the plain fact, and own that at no time
has the supply of really creative artists equalled the popular
demand. Not all the painters of any period are even passable,
nor all the illustrators. Much that is produced for the
moment fulfils its purpose admirably enough, although it dies
as soon as it is born. Nature shows us the prodigal fecundity
of generation compared with the few that ripen to maturity.
The danger lies rather in appreciating too much, whether of
'the si.xties' or 'the nineties'; yet, if one is stoical enough to
praise only the best, it demands not merely great critical
acumen, but no little hardness of heart. The intention
always pleads to be recognised. We know that accidents,
quite beyond the artist's power to prevent, may have marred
his Avork. Each man, feeling his own impotence to ex-
press his ideas lucidly, must needs be lenient to those who
also stammer and fail to interpret their imaginings clearly and
with irresistible power. Yet, although the men of the sixties
survive in greatly reduced numbers and one might speak
plainly of much of its trivial commonplace without hurting
anybody's feelings, there is no need to drag the rubbish to light.

CHAPTER III : SOME ILLUSTRATED
MAGAZINES OF THE SIXTIES. I. 'ONCE
A WEEK'

NXE A WEEK.— On the second of July
1S59 appeared the first number of Once a
Week, ' an illustrated miscellany of Litera-
ture, Art, Science, and Popular Information.'
Despite the choice of an extraordinary
time of year, as we should now consider
it, to float a new venture, the result proved
fortunate. Not merely does the first series of this notable
magazine deserve recognition as the pioneer of its class ; its
superiority is no less provable than its priority. The earliest
attempt to provide a magazine with original illustrations by
the chief artists of its time was not merely a bold and well-
considered experiment but, as the thirteen volumes of its first
series show, an instant and admirably sustained triumph. No
other thirteen volumes of an English magazine, at any period,
contain so much first-class work. The invention and know-
ledge, the mastery of the methods employed, and the superb
achievements of some of its contributors entitle it to be
ranked as one of the few artistic enterprises of which England
may be justly proud.

When the connection of Dickens with his old publishers
was severed, and All the Year Round issued from its own
office, Messrs. Bradbury and Evans projected a rival paper
that was in no sense an imitation of the former. The reasons
for its success lie on the surface. Started by the proprietors of
Ptmch, with the co-operation of an artistic staff that has been
singularly fortunate in enlisting always the services of the best
men of their day, it is obvious that few periodicals have ever
been launched under happier auspices. Its aim was obviously
to do for fiction, light literature, and belles-lettres, what Punch
had accomplished so admirably for satire and caricature. At
that time, with no rivals worth consideration, a fixed intention
to obtain for a new magazine the active co-operation of the
best men of all schools was within the bounds of possibility.
To-day a millionaire with a blank cheque-book could not
even hope to succeed in such a project. He would find
many first-rate artists, whom no amount of money would
attract, and others with connections that would be imperilled

ONCE A WEEK

if they contributed to a rival enterprise. There are many
who prefer the safety of an established periodical to the
risk which must needs attend any ' up-to-date ' venture. Now
Once a Week was not merely ' up-to-date ' in its period,
but far ahead of the popular taste. As we cannot rival it
to-day in its own line, even the most ardent defender of the
present at the expense of the past must own that the
improvement in process-engraving and the increased truth
of facsimile reproductions it offers have not inspired draughts-
men to higher efforts. Why so excellent a magazine is
not flourishing to-day is a mystery. It would seem as if
the public, faithful as they are to non-illustrated periodicals,
are fickle where pictures are concerned. But the memory
of the third series of Once a Week relieves the public of the
responsibility ; changes in the direction and aim of the
periodical were made, and all for the worse ; so that it
lost its high position and no more interested the artist. Punch,
its sponsor, seems to have the secret of eternal youth, possibly
because its original programme is still consistently maintained.
In another feature it resembled Punch more than any
previous periodical. In The London Charivari many of the
pictures have always been inserted quite independently of
the text. Some have a title, and some a brief scrap of
dialogue to e.xplain their story ; but the picture is not there
to elucidate the anecdote, so much as the title, or fragment
of conversation, helps to elucidate the picture. Unless an
engraving be from a painting, or a topographical view, the
rule in English magazines then, as now, is that it must
illustrate the text. This is not the place to record an
appreciation of the thorough and consistent way in which the
older illustrators set about the work of reiterating the obvious
incident, depicting for all eyes to see what the author had
suggested in his text already, for it is evident that a design
untrammelled by any fixed programme ought to allow the artist
more play for his fancy. Nevertheless, the less frequent
illustrations to its serial fiction are well up to the level of those
practically independent of the text. In Once a Week there are
dozens of pictures which are evidently purely the invention of
the draughtsman. That a modest little poem, written to order
usually, satisfies the conventions of established precedent, need
not be taken as evidence that traverses the argument. Once a

B I

SOME ILLUSTRATED MAGAZINES

Jl'fe^ ranked its illustrators as important as its authors, which
is clearly an ideal method for an illustrated periodical to observe.
To write up to pictures has often been attempted ; were not
T/ie Pickioick Papers begun in this way ? But the author
soon reversed the situation, and once more put the artist in
a subordinate place. It is curious to observe that readers
of light literature had been satisfied previously with a very
conventional type of illustration. For, granting all sorts
of qualities to those pictures by Cruikshank, 'Phiz,' and
Thackeray, which illustrated the Dickens, Ainsworth, Lever,
and Thackeray novels, you can hardly refer the source
of their inspiration to nature, however remotely. Their
purpose seems to have been caricature rather than character-
drawing, sentimentality in place of sentiment, melodrama in
lieu of mystery, broad farce instead of humour. These
aims were accomplished in masterly fashion, perhaps ; but is
there a single illustration by Cruikshank, ' Phiz,' Thackeray,
or even John Leech, which tempts us to linger and re-
turn again and again purely for its art? Its 'drawing'
is often slipshod, and never infused by the perception of
physical beauty that the Greeks embodied as their ideal, that
ideal which the illustrators of Once a Week, especially Walker,
reviv'ed soon after this date. Nor are they inspired by the
symbolists' regard for nature, which attracted the ' primitives '
of the Middle Ages, and their legitimate followers the pre-
Raphaelites. Indeed, as you study the so-called 'immortal'
designs which illustrate the early Victorian novels, you feel
that if many of the artists were once considered to be as
great as the authors whose ideas they interpreted, time has
wreaked revenge at last. If a boy happens to read for
the first time Thackeray's Vanity Fair with its original illus-
trations, the humour and pathos of the masterpiece lose half
their power when the ridiculously feeble drawings confront him
throughout the book. This is not the case with Millais' illus-
trations to Trollope, or those by Fred Walker to Thackeray.
The costume may appear grotesque, but the men and women
are vital, and as real in the picture as in the literature.

Lacking the virility of Hogarth, or the coarse animal
vigour of Rowlandson, these caricaturists kept one eye
on the fashion-book and one on the grotesque. It was
'cumeelfo' to depict the English maiden a colourless vapid

ONCE A WEEK

nonentity, to make the villain look villainous, and the benevo-
lent middle-aged person imbecile. Accidental deformities
and vulgar personal defects were deemed worthy themes for
laughter. The fat boy in Pickivick, the fat Joe Sedley
in Vanity Fair, the Marchioness and Dick Siviveller, the
Qiiilps Tea-Party, and the rest, all belong to the order of
humour that survives to-day in the 'knockabout artists,' or
the 'sketch' performances at second-rate music-halls. Even
the much-belauded Fagin in the Condemned Ceil appears a
trite and ineffective bit of low melodrama to-day. We know
the oft-repeated story of the artist's despondency, his failure
to realise an attitude to express Fagin's despair, and how as
he caught sight of his own face in the glass he saw that he
himself, a draughtsman troubled by a subject, was the very
model for one about to be hanged. All the personality
of anecdote and the sentimental log-rollino- which or^thered
round the pictures, that by chance were associated with a
series of masterpieces in fiction, no longer fascinate us. We
recognise the power of the writers, but wish in our hearts
that they had never been 'illustrated,' or if so, that they had
enjoyed the good fortune which belongs to the novelists of
the sixties. But to refuse to endorse the verdict of earlier
critics does not imply that there was no merit in these designs,
but merely that their illustrators must be classed for the most
part (Leech least of all) with the exaggerators — those who
aimed at the grotesque — with Gilray or Baxter, the creator of
A//y S/oper, and not with true satirists like Hogarth or Charles
Keene, who worked in ways that are pre-eminently masterly,
even if you disregard the humorous element in their designs.
Without forcing the theory too far, it may be admitted
that the idea of Once a Week owes more to these serial
novels than to any previous enterprise. Be that as it may,
the plan of the magazine, as we find in a postscript (to vol. i.),
was at once 'ratified by popular acceptance.' Further, its
publishers admit that its circulation was adequate and its
commercial success established, after only thirty-six numbers
had appeared. It is no new thing for the early numbers of
magazines and papers to contain glowing accounts of their
phenomenal circulation ; but, in this case, there can be no
doubt that the self- congratulation is both well deserved and
genuine. To Once a Week may be accorded the merit of

SOME ILLUSTRATED AL\GAZINES

initiating a new type of periodical which has survived with
trilling changes until to-day. Its recognition of 'fiction'
and 'pictures,' as the chief items in its programme, has been
followed by a hundred others ; but the editing, which made it
readable as well as artistic, is a secret that many of its
imitators failed to understand. Although A Good Fight (?Sx.<tx-
wards rewritten and entitled The Cloister and the Hearth) is
the only novel within its pages that has since assumed classic
rank, yet the average of its art — good as it was — is not as far
above the standard of its literature, as the illustrations of its
predecessors fell below the text they professed to adorn.

In sketching the life-history of other illustrated magazines
it seemed best to follow a chronological order, because the
progress of the art of illustration is reflected more or less
faithfully in the advance and retrogression they show. But
the thirteen volumes which complete the first series of Once
a Week may be considered better in a different way. For
to-day it is prized almost entirely for its pictures, and they were
contributed for the most part by the same artists year after year.
While in other periodicals you find, with every new volume, a
fresh relay of artists, Once a Week, during its palmy days, was
supported by the same brilliant group of draughtsmen, who
admitted very few recruits, and only those whose great early
promise was followed almost directly by ample fulfilment.

The very first illustration is a vignette by John Leech to a
rhymed programme of the magazine by Shirley Brooks. But
Leech, who died in 1S64, cannot be regarded as a typical illus-
trator of 'the sixties' — not so much because his work extended
only a few years into that decade, as that he belonged em-
phatically to the earlier school, and represented all that is not
characteristic of the period with which this book is concerned.

It is unnecessary to belittle his art for the sake of
glorifying those who succeeded him in popularity. That
he obtained a strong hold upon English taste, lettered and
unlettered, is undeniable. It has become part and parcel
of that English life, especially of the insular middle-class,
whose ideal permitted it to regard the exhibition building of
1851 not as a big conservatory, but as a new and better
Parthenon, and to laelieve honestly enough that the millennium
of universal peace with art, no less than morals, perfected to
the ' «th ' degree (on purely British lines), was dawning upon

ONCE A WEEK

humanity. That the efforts of 1S51 made much possible

to-day which else had been impossible may be granted.

The grace and truth of John Leech's designs may be recog-
nised despite their technical insufficiency, but at the same
time we may own that, in common with Cruikshank and the
rest, he has received infinitely more appreciation than his
artistic achievement merited, and leave his share unconsidered
here, although no doubt it was a big commercial factor in the
success. To vol. i. of Once a Week he contributed no less
than thirty-two designs, to vol. ii. forty-six, to vol, iii. seven,
to vol. iv. one, and to vol. v. four.

John Tenniel, although he began to work much earlier,
and is still an active contemporary, may be considered as be-
longing especially to the sixties, wherein he represents the
survival of an academic type in sharply accentuated distinction
to the pre-Raphaelism of one group or to the romantic
naturalism of a still larger section. On page 4 of vol. i. we
find his first drawing, a vignette, and page 5 a design, Andiin
and tlic ]]liitc Bear, no less typically 'a Tenniel' in every
particular than is the current cartoon in Punch. Those on
pages 21, 30, 60, 90, 10 1, 103, and 170 are all relatively
unimportant. The King of Thide (p. 250) is an illustration
to Sir Theodore Martin's familiar translation of Goethe's
poems. Others are on pp. 285, 435, 446. To vol. ii. he is
a less frequent contributor. The designs, pp. 39, 98, 99,
and 103 call for no comment. The one on p. 444 (not
p. 404 as the index has it), to Tom Taylor's ballad Noni«f)iOL\ is
reprinted in Songs and Ballads of Britta7iy(Vi.?iZ\\\\A-&.n, 1865).
In vol. iii. there is one (p. 52) of small value. On pp. 533,
561, 589, 617, 645, 673, and 701 are pictures to Shirley
Brooks's The Silver Cord, showing the artist in his less
familiar aspect as an illustrator of fiction. The one on p. 589
is irresistibly like a ' Wonderland ' picture, while that on p. 225
(vol. iv.) suggests a Punch cartoon ; but, on the whole, they
are curiously free from undue mannerism in the types they
depict. In vol. iv. are more illustrations to The Silver Cord
(pp. I, 29, 57, 85, 113, 141, 169, [97, 225, 253, 281, 309,

m^ 365. 393' 421, _449- 477- 505- 533- 561, 589. 617, 645,
673, and 701), and illustrations to Owen Meredith's poem.
Fair Rosamtind (pp. 294, 295). In volume v. The Stiver
Cord is continued with ten more designs (pp. i, 29, 57, 85,

SOME ILLUSTRATED MAGAZINES

113, 141, 169, 197, 225, 253), and there is one to Mark Bozzari
(p. 659), translated from Muller by Sir Theodore Martin.

In volume vi. Tenniel appears but four times : At
CriUchley Prior (p. 267), The Fairies (p. 379), a very delicate
fancy, Prifice Ltilu (p. 490), and Made to Order (p. 575).
From the seventh and eighth volumes he is absent, and re-
appears in the ninth with only one drawing, Clytc (p. 154),
and in the tenth (Dec. 1863-June 1864) with one, Bacchus and
the Water Thieves (p. 658). Nor does he appear again in
this magazine until 1867, with Lord Aythan, the frontispiece to
vol. iii. of the New Series. Sir John Tenniel, however, more
than any other of the Punch staff, seems never thoroughly
at home outside its pages. The very idea of a Tenniel drawing
has become a synonym for a political cartoon ; so that now
you cannot avoid feeling that all his illustrations to poetry,
fiction, and fairy-tale must have some satirical motive under-
lying their apparent purpose.

It is difficult to record Sir John Everett Millais' contribu-
tions to this magazine with level unbiassed comments. Not-
withstanding the palpable loss they suffered by translation
under the hands of even the most skilful of his engravers,
the impressions belong to a higher plane than is reached by
their neighbours save in a very few instances. The Millais
wood-engravings deserve a deliberately ordered monograph
as fully as do the etchings by Rembrandt and Whistler, or
Hokousai's prints. It is true that not quite all his many illus-
trations to contemporary literature are as good as the best
works of the great artist just named ; but if you search through
the portfolios of the past for that purpose, you will find that
even the old masters were not always adding to a cycle of
masterpieces. The astounding fact remains that Sir John
Millais, dealing with the hair-net and the Dundreary whiskers,
the crinoline and peg-top trousers, imparted such dignity to
his men and women that even now they carry their grotesque
costumes with distinction, and fail to appear old-fashioned, but
at most as masqueraders in fancy dress. For in Millais' work
you are face to face with actual human beings, superbly drawn
and fulfilling all artistic requirements. They possess the im-
mense individuality of a Velasquez portrait, which, as a human
being, appeals to you no less surely, than its handling arouses
your resthetic appreciation. At this period it seems as if the

J. E. MILLAIS

* ONCE A WEEK '
VOL. I. p. 241

GRANDMOTHER'S
APOLOGY

J. E. MILLAIS

'once a week*

VOL. 1. p. 316

THE PLAGUE OF

ELLIANT

ONCE A WEEK

artist was overflowing with power and mastery — everything
he touched sprang into Hfe. Whether he owed much or Httle
to his predecessors is unimportant — take away all, and still a
giant remains. It is so easy to accept the early drawings of
IMillais as perfect of their kind, beyond praise or blame, and
yet to fail to realise that they possess the true vitality of those
few classics which are for all time. The term monumental
must not be applied to them, for it suggests something dead
in fact, although living in sentiment and admired by reason
of conventional precedent. The Millais drawings have still
the power to excite an artist as keenly as a great Rembrandt
etching that he sees for the first time, or an early Whistler
that turns up unexpectedly in a loan collection, or an unknown
Utamaro colour print. The mood they provoke is almost
deprived ot critical analysis by the overwhelming sense of
fulfilment which is forced on your notice. In place of grati-
fied appreciation you feel appalled that one man should have
done over and over again, so easily and with such certainty,
what dozens of his fellows, accomplished and masterly in their
way, tried with by no means uniform success. If every canvas
by the artist were lost, he might still be proved to belong to
the great masters from his illustrations alone ; even if these
were available only through the medium of wood-engraving.

The first volume of Once a Week contains, as IMillais' first
contribution, JMagenta (p. lo), a study of a girl who has
just read a paper with news of the great battle that gave its
name to the terrible colour which typifies the period. It is
badly printed in the copy at my side, and, although engraved
by Dalziels, is not an instance of their best work. In Grand-
viothcrs Apology (p. 41) we have a most delightful illustration
to Tennyson, reproduced in his collected volume, but not else-
where. On the Water (p. 70) and La Fille bien gardt'e (p. 306)
may be passed without comment. But The Plague of Elliant
(p. 316), a powerful drawing of a woman dragging a cart
wherein are the bodies of her nme dead children, has been
selected, more than once, as a typical example of the illustrator
at his best. JMaude Clare (p. 382), A Lost Love (p. 482),
and St. Bartholomezu (p. 514), complete the Millais' in vol. i.

In the second volume we find The Crown of Love (p. 10),
a poem by George Meredith. This was afterwards painted
and exhibited under the same title in the Royal Academy

SOME ILLUSTRATED MAGAZINES

of 1875. A Wife (p. 32), The Head 0/ Bran (p. 132),
Practising (p. 242), (a girl at a piano), and Musa (p. 598),
complete the list of the five in this volume. In vol. iii.
there are seven : Master Olaf (p. 63), Violet (p. 140), Dark
Gordon's Bride (p. 238), The Meeting (p. 276), The Iceberg
(pp. 407, 435), and A Head 0/ Hair for Sale (p. 5 19). In vol.
iv. but two appear, Iphis and Atiaxarete (p. 98) and Thorns
Hunt for the Hammer (p. 126), both slighter in execution
than most of the Once a Week Millais'.

Volume V. also contains but two, Tannhauser (p. 211)
and Swing Song (p. 434), a small boy in a Spanish turban
swinging. Volume vi. houses a dozen : Schiuerlitig of
Saxony (p. 43), The Battle of the Thirty (p. 155), The Child
of Care {pp. 2, 39), five designs for Miss Martineau's Sister
Annes Probation (pp. 309, TjI"], 365, 393, 421), Sir Tristefn
(p. 350), The Crusader's Wife (p. 546), The Chase of the
Siren (p. 630), and The Droiviiing of Kaer-is (p. 687). The
seventh volume contains eleven examples by this artist :
Margaret Wilson (p. 42), five to Miss Martineau's Anglers
of the Don (pp. 85, 113, 141, 169, 197), Maid Avoraine
(p. 98), The Mite of Dorcas (p. 224), (which is the subject of
the Academy picture, The Widow's Mite of 1876; although
in the painting the widow turns her back on the spectator).
The Parting of Ulysses (p. 658), The Spirit of the Vanished
Island (p. 546), and Limerick Bells (p. 710), a design of
which a eulogist of the artist says : ' the old monk might be
expanded as he stands into a full-sized picture.'

In the eighth volume E7idymion on Latmos (p. 42), a
charming study of the sleeping shepherd, is the only in-
dependent picture ; the other nine are by way of illustra-
tion to Miss ?slartineau's The Hampdens {pp. 211, 239, 267,
281, 309, zn, 365, 393, 421, 449). These are delightful
examples of the use of costume by a great master. Neither
pedantically correct, nor too lax, they revivify the period so
that the actors are more important than the accessories.

The ninth volume, like the eighth, has only one picture
by Millais not illustrating its serial. This is Hacho the
Divarf (p. 504). The others represent scenes in Miss
Martineau's Sir C/wistopher (pp. 491, 519, 547, 575, 603,
631, 659, 687), a seventeenth-century story. The illustrators
of to-day should study these and other pictures where the artist

J. E. MILLAIS

'ONCE A WEEk
VOL. V. p. 211

TANNHAUSER

J. E. MILLAIS

ONCE A WEEK

VOL. vr. p. 42

SISTER ANNE'S
PROBATION

J. E. MILLAIS

ONCE A WEEK
VOL. VIII. p. 365

THE HAMPDENS

I. E. MILLAIS

*ONCE A week'
1868, VOL. I. p. 79

DEATH DEALING
ARROWS

ONCE A WEEK

was hampered by the story, and imitate his loyal purpose to
expound and amplify the text, accomplishing it the while with
most admirably dramatic composition and strong character-
drawincr. In the remaininof volume of the first series there
are no other examples by Millais ; nor, with the exceptions
Death Dealing Arrows (Jan. 25, 1868, p. 79), one in the
Christmas Numbej' for i860, and Taking hts Ease, 1S6S
(p. 65), does he appear as a contributor to the magazine. It
must not be forgotten that high prices are often responsible for
the desire, or rather the necessity, of using second-rate work.
When an artist attains a position that monopolises all his
working hours, it is obvious that he cannot afford to accept
even the highest current rate of payment for magazine illus-
tration ; nor, on the other hand, can an editor, who conducts
what is after all a commercial enterprise, afford to pay enor-
mous sums for its illustrations. For later drawings this artist
was paid at least five times as much as for his earlier efforts,
and possibly in some cases ten or twelve times as much.

Charles Keene, the great illustrator so little appreciated
by his contemporaries, whose fame is still growing daily, was
a frequent contributor to Once a Week for many years. Start-
ing with volume i. he depicted, in quasi-mediaeval fashion,
Charles Reade's famous Cloister and the Hearth, then called,
in its first and shorter form, A Good Fight {^^. 11, 31, 51,
71,91, III, 131, 151, 171, 191, 211, 231, 251, 254, 273).
Coincidently he illustrated also Gnests at the Red Lion (pp.
61, 65), A Fatal Gift (p. 141), Uncle Si7nkitison (pp. 201,
203), Gcntlonatt in the Plunt-colotired Coat (p. 270), Benjamin
Hari'is (pp. 427, 449, 471), My Picture Gallery (p. 4S3), and
A Merry Christmas (p. 544). In volume ii. there are only
five illustrations by him (pp. i, 5, 54, 11 1, and 451) to shorter
tales ; but to George Meredith's Evan Harrington, running
through this volume and the next, he contributes thirty-nine
drawings, some of them in his happiest vein, all showing
strongly and firmly marked types of character-drawing, in
which he excelled. Volume iii. contains also, on pages 20, 426,
608, 687, and 712, less important works: The E7nigrant
Artist on p. 60S is a return to the German manner which dis-
tinguished the Good Fight. The drawings for Sam Bentleys
Christmas commence here in (pp. 687, 712), and are continued
(pp. 19, 45, 155, 158) in vol. iv., where we also find In re

SOME ILLUSTRATED MAGAZINES

Mr. Broivn (pp. 330, 332), The Beggars Soliloquy (p. 'ij']'^),
A Model Strike (p. 466), The Two Norse Kings (pp. 519,
547), and The Revenue Officers Slory {p. 713). In volume v.
are : The Painter Alchemist (p. 43), Business zvith Bokes
(p. 251), IVilliam s Perplexities\pp. 281, 309, y^"] , 365, 393),
also a romantic subject, Adalieta (p. 266) : a poem Sy Edwin
Arnold, and The Patriot Engineer (p. 686). To the sixth
volume, the illustrations for The Woman I Loved and The
Woman xvho loved me (pp. 85, 113, 141, 169, 197, 225, 253,
281) are by Keene, as are also those to JMy Schoolfellow
Friend (p. 334), A Legend of Carlisle (p. 407), a curiously
Germanic Page from the History of Kleinundengreich
(P- 53 0' Nifs Dainion (p. 603), and A Mysto'ions Supper-
Party (659). In vol. vii. and vol. viii. Verner's Pride, by
Mrs. Henry Wood, supplies motives for seventeen pictures.
In vol. viii. The March of Arthur (p. 434), The Bay of the
Dead (p. 546), and Aly Brothers Story (p. 617). In vol. ix.
The Vikings Serf {p. 42), The Station-master (pp. i, 69), and
The Heirloom (pp. 435, 463) complete Charles Keene's share
in the illustration of the thirteen volumes of the first series.

Fred Walker is often supposed to have made his first
appearance as an illustrator in Ojice a IVcek, vol. ii. with
Peasant Proprietorship (p. 165) ; and, although an exception of
earlier date may be discovered, it is only in an obscure paper
(of which the British Museum apparently has no copy) barely
a month before. For practical purposes, therefore. Once a
Week may be credited with being the first-established peri-
odical to commission a young artist whose influence upon the
art of the sixties was great. This drawing was quickly
followed by God help our Men at Sea (p. 198), An honest Arab
(p. 262), Apres (p. 330), Lost in the Fog (p. 370), Spirit
Painting (p. 424), and Tenants at No. 27 (p. 481), and The
Lake at Yssbrooke (p. 5 38). Looking closely at these, in two
or three only can you discover indications of the future creator
o{ Philip. Those on pages 424 and 48 1 are obviously the work
of the Fred Walker as we know him now. But those on
pp. 165, 1 98, 330, and 53S would pass unnoticed in any maga-
zine of the period, except that the full signature ' F. Walker '
arouses one's curiosity, and almost suggests, like Lewis Carroll's
re-attribution of the Iliad, ' another man of the same name.'

In vol. iii. a poem, Once upon a Time, bv Eliza Cook, has

CHARLES KEENE

ONCE A WEEK
VOL. I. p. 91

'A GOOD FIGHT'

ONCE A WEEK

two illustrations (pp. 24, 25), which, tentative as they are, and
not faultless in drawing, foreshadow the grace of his later
work. In Markhani s Revenge (pp. 182-184) the artist is him-
self, as also in Wanted a Diamond Ring (p. 210). A N actuary
of Terror (pp. 294, 295), First Love (p. 322), The Unconscious
Bodyguard (p. 359), are unimportant. The Herberts of
Elfdale (pp. 449, 454, 477, 505, 508), possibly the first serial
Walker illustrated, is infinitely better. Black Venn (p. 583),
A Yonng Wifes Song (p. 668), and Ptittingtip the Christmas,
a drawing group, complete the examples by this artist in
vol. iii. Volume iv. contains : Under the Fir-trees (p. 43),
Voltaire at Ferney (p. 66), a very poor thing. The Fan (p. 75),
Bring me a light (pp. 102-105), The Parish Clerk's Story
(p. 248), The Mag7iolia (pp. 263, 267), Dangerous (p. 416),
An Old Boys Tale (p. 499), Romance of the Cab-rank
(p. 585), and The Jewel Case (p. 631). In vol. v. we find
Jessie Cameron s Bairn (p. 15), The Deserted Diggings
(p. S;^), Pray, sir, are you a Gentleman? (pp. 127, 133). A
Run for Life (p. 306), Cader Idris (p. 323), and a series of
illustrations to The Settlers of Long Arrozo: a Canadian
Story (pp. 421, 449, 477, 505, 533, 561, 589, 617, 645, 673,
and 701). To volume vi. Walker contributes Patty (pp.
126, 127), A Dreadful Ghost (p. 211), and nine to Dutton
Cook's The Prodigal Son (pp. 449, 477, 505, 533, 561, 589,
617, 673, 701), which story, running into volume vii., has
further illustrations on pp. i, 29, and 57. The Deadly
Affinity {t^t^. 421, 449, 477), and Spirit-rapping Extraordinary
(p. 614) are the only others by the artist in this volume.
The eighth volume has but one. After Ten Years (p. 378),
and The Ghost in the Green Park (p. 309) is the only one in
volume ix., and his last in the first series. Vol. i. of the New
Series has the famous Vagrants (p. 1 12) for one of its special
art supplements.

Amid contemporary notices you often find the work of
M. J. Lawless placed on the same level as that of Millais or
Sandys ; but, while few of the men of the period have less
deservedly dropped out of notice, one feels that to repeat such
an estimate were to do an injustice to a very charming draughts-
man. For the sake of his future reputation it is wiser not to
attempt to rank him with the greatest ; but in the second
order he may be fitly placed. For fancy and feeling, no less

SOME ILLUSTRATED MAGAZINES

than for his loyal adherence to the Dtirer Hne, at a time it
found httle favour, Lawless deserves to be more studied by
the younger artists of to-day. A great number of decorative
designers are too fond of repeating certain mannerisms, and
among others, Lawless in England and Howard Pjle in
America, two men inspired by similar purpose, should receive
more attention than they have done. Once a JVeek contains the
largest number of his drawings. In vol. i., to Sentiment from
the Shambles, there are three illustrations attributed to him.
Those on pp. 505 and 509 are undoubtedly by Lawless, but
that on p. 507 is so unlike his method, and indeed so unimpor-
tant, that it matters not whether the inde.x be true or in error.
In vol. ii. are ten examples, two on the same page to
The Bridal of Galtrim (p. 88), The Lay of the Lady and the
Hound {-p. 164), a very pre-Raphaelite composition, Florinda
(p. 220), (more influenced by the later Millais), Only for some-
thing to say (p. 352), a study of fashionable society, which (as
Mr. Walter Crane's attempts show) does not lend itself to the
convention of the thick line, The Head Ulasters Sister (pp.
386, 3S9, 393), The Secret (p. 430), and A Legend of Siuaff-
ham (p. 549). In vol. iii. Oysters and Pearls (p. 79) is
attributed to Lawless, but one hopes wrongly ; The Betrayed
(p. 155), Elfie Meadoivs (p. 304), The Illinstrel's Curse
(p. 351), The Two Beatities (unsigned and not quite obviously
a Lawless) (p. 462), and My Angel's Visit (p. 658) are the
titles of the rest. In the fourth volume there are : The
Death of CE none (pp. 14, 15), Valentine's Day (p. 208), Effie
Gordon (pp. 406, 407), and The Cavalier s Escape (687), all
much more typical. In vol. v. we find High Elms (p. 420),
Ti^'ilight (p. 532), King Dyring (p. 575), and Flcurette
(p. 700). In the sixth volume there are only three : Dr.
Johnson s Penance (one of the best drawings of the author),
(p. 14), What befel me at the Assizes (p. 194), and The Dead
Bride (p. 462). In the seventh volume there is one only to a
story by A. C. Swinburne, Dead Love (p. 434). Despite the
name of Jacques d'Aspremont on the coffin, the picture is used
to a poem with quite a different theme. The White IVitch, in
Thornbury's Legendary Ballads, which contains no less than
twenty of Lawless's Once a Week designs. In vol. viii. are
two, The Linden Tires (p. 644) and Gifts (p. 712). In
vol. ix. three onlv : Faint heart never tuon fair lady (p. 98),

M. |. LAWLESS

•once a week

VOL. IV. p. 407

EFFIE GORDON

M. J. LAWLESS

ONCE A WEEK
VOL. VI. p. 14

DR. JOHNSON'S PENANCE

M. J. LAWLESS

'ONCE A WEEK
VOL. X. p. 71

JOHN OF TADUA

ONCE A WEEK

Heinrich Fraiienlob (p. 393), and Bj'oken Toys (p. 672). In
vol. X. appears the last of Lawless's contributions, and, as
some think, his finest, Jo/m of Padua (p. 71).

The first work by Frederick Sandys in Ojice a Week will
be found in vol. iv. : it is not, as the index tells you. The Dying
Hero, on page 7 1 , which is wrongly attributed to him ; Yet once
more on the Organ play (p. 350) is by Sandys, as is also The
Sailors Bride (p. 434) in the same volume. In vol. v. are
three, From my IVindoiv (p. 23S), The three Statues of
yFoina (p. 491), and Rosamund, Queen of the Lombards
(p. 631). In vol. vi. we find The Old Chartist (p. 1S3),
The King at the Gate (p. 322), and Jacques de Caumont
(p. 614). In vol. vii. Harold Harfagr (p. 154), The Death
of King IVarivolf (p. 266), and The Boy Martyr (p. 602).
Thence, with the exception of Helen and Cassandra, published
as a separate plate with the issue of April 28, 1866 (p. 454),
no more Sandys are to be found.

To Once a Week Holman Hunt contributed but three
illustrations : Witches and Witchcraft (ii. p. 438), At Night
(iii. p. 102), and Tenmjin (iii. p. 630) ; yet this very scanty
representation is not below the average proportion of the
Avork of this artist in black and white compared with his more
fecund contemporaries.

A still more infrequent illustrator, J. M'Neill Whistler, is
met with four times in Once a Week, and, I believe, but twice
elsewhere. Speaking of the glamour shed upon the maga-
zine by its Sandys drawings, it is but just to own that to
another school of artists these four ' Whistlers ' were respons-
ible for the peculiar veneration with which they regarded an
old magazine. The illustrations to The Majors Daughter
(vi, p. 712), The Relief Fund in Lancashire (vii. p. 140), The
viorning before the Massacre of St. Bartholomew (vii. p. 210),
and Count Burckhardt (vii. p. Zl^)> ^ ""^i by a window, are too
well known to need comment. That they show the exquisite
sense of the value of a line, and have much in common with
the artist's etchings of the same period, is evident enough.

G. J. Pinwell first makes his appearance in Once a Week,
in the eighth volume, with The Saturnalia (p. 154), a power-
ful but entirely untypical illustration of a classical subject by
an artist who is best known for pastoral and bucolic scenes,
The Old Man at D. 8 (p. 197), Seasonable Wooing (p. 322),
D 29

SOME ILLUSTRATED ALAGAZINES

A Bad Egg (p. 392), and A Foggy Story (p. 477) ; but only
in the latter do you find the curiously personal manner which
grew to a mannerism in much of his later work. These, with
Blind [^. 645) and Tidings (p. 700), are all well-thought-out
compositions. To volume ix. he contributes The Strong Heart
(p. 29), Not a Ripple on the Sea (p. 57) (a drawing which
belies its title), Laying a Ghost (p. 85), The Fisherman of
Lake Sunapee (p. 225), Waiting for the Tide (p. 281), Nutting
(p. 378), and The Sirens (p. 616). In volume x. he is repre-
sented by Bracken Hollozo (pp. 57, 85), The Expiation of
Charles K (p. 99), The Blacksmith of Holsdy {y>y>. 113, 154),
Calypso (p. 183), Horace IVinston (p. 211), Proserpine
(p. 239), A Stormy Night (p. 253), Mistaken Identity (p. 281),
Hero (p. 350), The Viziers Parrot (406), A Pastoral {p. 490),
A' Beckett's Troth (p. 574), and The Stonemason's Yard
(p. 701). The eleventh volume contains only four: Hetties
Trouble (p. 26), Delsthorpe Sands (p. 586), The Legend of the
Blcedijig Cave (p. 699), and Rosette (p. 713) ; and volume xii.
has three: Folloiucrs not allowed (p. 71), Homer (p. 127),
and Dido (p. 527). The last volume of the first series (1866)
has but one, Achilles (p. 239). Pinwell's work bulks so
largely in the sixties that a bare list of these must suffice ;
but this period, before he developed the curiously immobile
manner of his later years, is perhaps the most interesting.

The index asserts that George Du Maurier is responsible
for the pictures in Once a Week, vol. iii. pp. 378-379, signed
M.B., and as you find others unmistakably Du Maurier's
siened with various monos^rams, its evidence must not be
gainsaid; but neither these nor others, io My Adventures . . .
in Russia (pp. 553, 557), The Two Hands (p. 640), and The
Steady Students (pp. 691, 695), betray a hint of his well-know^n
style. But Non Satis (p. 575) is signed in full, and obviously
his, as a glance would reveal. In vol. iv., Indian Jnggling
(p. 41), The Black Spot {p. 134), A Life Story (p. 165), In
search of Garibaldi (p. 210), and The Beggars Soliloquy
(p. 378, more like a Charles Keene) are from his hand. In the
picture here reproduced. On her Deathbed (p. 603), the artist
has found himself completely, jet A Portuguese Tragedy
(p. 668) has no trace of his manner. In vol. v. Recollections
of an English Gold Miner (p. 361), Monsieur the Governor
(p. 445), A man ivho fell among thieves (p. 463), Sca-Bathing

7.0

FREDERICK SANDYS

ONCE A WEEK
VOL. V. p. 49t

THE THREE STATUES
OF ^GINA

FREDERICK SANDYS

*ONCE A week'

VOL. VI. p. :S3

THE OLD CHARTIST

FREDERICK SANDYS

ONCE A WEEK '
VOL. VII. p. 154

HAROLD HARFAGR

FREDERICK SANDYS

'ONCE A WEEK.
VOL. V. p. 631

ROSAMUND, QUEEN
OF THE LOMBARDS

ONCE A WEEK

in France (p. 547), and The Poisoned Jlltnd, are his only con-
tributions. In vol. vi. are three illustrations to The Adniirars
Daughters (pp. i, 29, 57), The Hotel Garden (p. 24), The
Change of Heads (p. 71), The latest thing in Ghosts (p. 99),
Metempsychosis (p. 294), Per r Amore d'lina Donna (p. 390),
A Parent by Proxy [p. 435), and Threescore and Ten (p. 644).
Vol.vii. zoViX.-AWi's, Aliss Simons {p. 166), Santa{p\i. 253, 281, 309,
2)c,l)^ Oiily {p. 490), and the Cannstatt Conspirators (p. 561).
A Matting Hill Mystery is pictured on j^ages 617, 645, 673,
and 701 of the seventh volume, and in vol. viii. is continued
on pages i, 5, 7, 85 ; Out of the Body (p. 701), is also here.
Eleanors Victory is illustrated on pages 295, 351, 407, 463,
519, 575, 631, and 687, and continued in vol. i.x on pages
15, 71, 127, 183, 239, 295, 351, 407. Vol. X. contains The
Veiled Portrait {p. 225), The Uninvited (p. 309), My Annt
Tricksy (p. 393), The Old Corporal (p. 462), and Dctur
Digniori (pp. 505 and 533). In vol. xi. we find two illustra-
tions only by this artist, Philip Erasers Fate, and vols. xii.
and xiii. contain no single example.

A few illustrations by T. ]\Iorten appear, and these are
scattered over a wide space. The first. Swift and the
Mohaivks (iv. p. 323), is to a ballad by Walter Thornbury ;
The Father 0/ the Regitnent (v. p. 71), Wish Not (x. p. 421),
The Coastgnardsmaii s Tale (x. p. 561), Late is not Never (xi.
p. 141), The Cnmcean Sibyl (xi. p. 603), and JMacdhonnils
Coronach (xii. p. 161), make one regret the infrequent appear-
ance of one who could do so well.

Edward J. Poynter (the present director of the National
Gallery) is also sparsely represented : The Castle by the Sea
(vi. p. 84), a very pre-Raphaelite decoration to Uhland's
ballad, Wife and I (vi. p. 724), The Broken Vozu (vii.
p. 322), A Dreain of Love (vii. pp. 365, 393), A Felloiv-
Traveller s Story (vii. pp. 699, 722), My Friend s Wedding-
day (viii. p. 113), A haunted house in Mexico {v'm. p. 141),
Ducie of the Dale (viii. p. 476), and A Ballad oj the Page to
the King's Daughter (viii. p. 658), are all the examples by this
artist in Once a IVcek.

Charles Green, of late known almost entirely as a painter,
was a fecund illustrator in the sixties. Beginning with vol. iii.,
in which seven of his works appear (pp. 246, 327, 330, 375,
472, 612, 633), he contributed freely for several years; in vol. iv.

SOME ILLUSTRATED MAGAZINES

there are examples on pp. 41, 52, 53, 357, 359, 361, and 529,
and on pp. 518, 519 of the fifth volume, and 206 and 255 of
the sixth, on pp. 306, 505, 5S9, and 670 of the seventh. But
not until the eighth volume, with The IVrat/i of Jlfistress
Elizabeth Givynne (p. 169), do we find one that is of any
importance. Whether spoilt by the engraver, or immature
work, it is impossible to say ; but the earlier designs could
scarcely be identified except for the index. In the same volume
The Death of Wiiikelricd (p. 224), Milly Leslies Story
(p. 225), The Countess GabiHelle (p. 253), Corporal Pictro
Micca (p. 364), Damsel John (p. 490), My Golden Hill
(p. 505), Five Days in Prison (p. 533), The Queen's I\Icssenger
(p. 561), The Centurion s Escape (p. 589), and The Cry in
the Dark (p. 673), are so curiously unlike the earlier, and so
representative of the artist we all know, that if the ' C. Green '
be the same the sudden leap to a matured style is quite
remarkable. In volume ix. but three appear: Paul Garrett
(p. i), A Afodej^n Idyll (p. 322), and My Affair with the
Countess (p. 337) ; but in the tenth are nine : Norman's Visit
(pp. I, 43), Lcgcndofthc Castle (p. 14), A Long Agony (p. 127),
The Lady of the Grange (p. 141), The Gentleman zvith the L ily
(pp. 169, 197), The Mei-maid {-^i. 295), and T' Rtinatoaa Lass
(p. 630). The Hunt at Portslceiuitt (p. 126) is in vol. xi., the
last appearance of the artist I have met with in this magazine.

F. J. Shields, so far as I can trace his drawings, is repre-
sented but three times: An hour zvith the dead (w. p. 491),
The Risen Saint (v. p. 378), and Turberville (x. p. 378). As
reference to this comparatively infrequent illustrator appears
in another place no more need be said of these, except that
they do not show the artist in so fine a mood as when he
illustrated Defoe's History of the Plague. Simeon Solomon
contributes a couple only of drawings of Jewish ceremonies
(vii. pp. 192, 193). J. Luard, an artist, whose work floods
the cheaper publications of the time, shows, in an early
drawing, Contrasts (iii. p. 84), a pre-Raphaelite manner, and
a promise which later years did not fulfil, if indeed this be
by the Luard of the penny dreadfuls.

M. E. Edwards, a most popular illustrator, appears in the
last volume of the first series, with Fotmd Drowned (.xiii. pp.
14,42, 70,98, 253, 281, 309,337, 365, 393, 442, 471), in which
volume J. Lawson has three: Ondine (p. 351), Narcissiis p.

.^2

J. M'NEILL WHISTLER

'once a week'

VOL. VI. p. 712

THE MAJOR^S D.\UGHTER

J. M'NEILL WHISTLER

ONCE A WEEK
VOL. VII. p. 140

THE RELIEF FUND
IN LANCASHIRE

J. M'NEILL WHISTLER

'once a week *

VOL. VII. .p. 210

THE MORNING BEFORE THE
MASSACRE OF ST. BARTHOLOMEW

J. M'NEILL WHISTLER

ONCE A WEEK
VOL. VII. p. 378

COUNT BURCKHARDT

ONCE A WEEK

463), and Adonis (686). Of a number of more or less frequent
contributors, including F. Eltze, R. T. Pritchett, P. Skelton,
F. J. Slinger, J. Wolf (the admirable delineator of animals),
space forbids even a complete list of their names.

Among other occasional contributors to the first thirteen
volumes are : J. D. Watson with The Cortiish Wreckers
Hut (viii. p. 602), No Change (ix. p. 210), and My Home
(ix. 266) ; A. Boyd Houghton : — The Old King Dying (xii.
p. 463), The Portrait (xiii. p. 209), King Solomon (xiii.
p. 603), The Legend of the Lockharts (xiii. p. 715), and Leila
and Hassan (xiii. p. 769) ; Walter Crane : — Castle of Mont
Orgueil {lyi. p. 713) and The Conservatory (xiii. p. 763); J.
W. North : — Bosgrove Church (ix. p. 447), The River {\\i. p. 1 5),
and St. 3Iartin's Church, Canterbuiy (xii. p. 713) — the two
latter being worthy to rank among his best work ; Paul
Gray with Hans Etdcr (xii. p. 322), Moses (xiii. p. 55),
The Tzvins (xiii. pp. 378-406), T-voo Chapters of Life (xiii.
p. 519), and Quid Femina Possit (xii. pp. 491, 517, 547, 575);
A. R. Fairfield (x. pp. 546, 589, 617, 686, 712) ; VV. S. Burton,
Romance of the Rose {y.. p. 602), The Executioner {y\. p. 14),
Dame Eleanor s Rettirn {x\. p. 210), and The Whaler Fleet
(xi. p. 638) ; T. White (viii. p. 98) ; F. W. Lawson, Dr.
Campany's Courtship (xii. pp. 351, 390, 407, 446), and others
on pp. 586, 631, 722) ; (xiii. pp. 127, 141, 169, Lucys Garland,
p. 516) ; C. Dobell (vi. p. 420) ; Our Secret Drazuer, by
Miss Wells (v. p. 98) ; and four by Miss L. Mearns, which
are of genuine interest (xiii. pp. 85, 153, 657, 742).

The New Series of Once a Week, started on January 6,
1866, was preceded by a Christmas number, wherein one of
the most graceful drawings by Paul Gray is to be found, The
Chest ivitli the Silver Moimtings (p. 30). It contains also a
full-page plate by G. B. Goddard, Up, up my hoicnds (p. 34),
and designs by W. Small, A Golden Wedding (p. 2,1) ; G. Du
Maurier, The Ace of Hearts (p. 56); J. Lawson, A Fairy Tale
(p. 44), and others of little moment.

The New Series announced, as a special attraction, 'extra
illustrations by eminent artists, printed separately on toned
paper.' Those to the first volume include Little Bo Peep, a
delightful and typical composition by G. Du Maurier {^Fron-
tispiece) ; The Vagrants (p. 1 1 2), by Fred Walker ; Helen
and Cassandra (p. 454), by F. Sandys; The Servants' Hall

SOME ILLUSTRATED MAGAZINES

(p. 560), by H. S. Marks ; A/onso the Brave (p. 359), by Sir
John Gilbert, and Caught by the tide, by E. Duncan (p. 280).
' A specimen of the most recent application of the versatile
art of lithography' which is also given, dates the popular
introduction of the coloured plate by which several maga-
zines, N allure and Art, The Chromo-lithograph, etc., were
illustrated entirely ; others, especially The Su7iday at Home,
Leisure Hour, Peoples Magazine, etc., from 1864 onwards
issued monthly frontispieces in colours and gold — a jaractice
now confined almost wholly to boys' magazines. The
pictures by artists already associated with Once a Week
include (in vol. i. p. 8) two by A. Boyd Houghton, The
Queen of the Rubies (p. 177) and A Turkish Tragedy
(p. 448) ; four by Paul Gray, The Phantom Ship (p. 43),
Blanche (pp. 291, 317), and The Fight on Rhti Cam (p. 713) ;
two by T. Morten, The Dying Viking (p. 239), a drawing
curiously like Sandys's Rosaninnda, and King Eric (p. 435);
six by W. Small, Billy Blake s Best Coffin (p. 15), Kattie and
the Deil (p. 99), The King and the Bishop (p. 183), The
Staghonnd {^. 295), Tlmnnors Slip (p. 351), and Larthon of
Inis-Hnna (p. 575); five by J. Lawson : The Watch-tower
(p. 121), Theocritus (p. 211), In statu quo (p. 463), Ancient Clan
Dirge (p. 491), and Wait On (p. 631) ; one by F. W. Lawson,
A Sunday a Century ago (p. 671), and others. Among-
recruits we find R. Barnes with Lost for Gold (p. 407),
B. Bradley with A Raid ['p. 659), eleven by Edward Hughes,
and many by G. Bowers, R. T. Pritchett, F. J. Slinger, and
others. Altogether the New Series started bravely. In vol.
ii. New Series, the so-called 'extra illustrations' include The
Suit of Armour [Frontispiece), by Sir John Gilbert ; Evening
(p. 97), by Basil Bradley ; Poor Christine (p. 245), by Edward
Hughes ; Among the Breakers (p. 344), by E. Duncan ; The
Nyniplis Lament (p. 476), by G. Du Maurier; and The
Huntress of Armorica (p. 706), by Paul Gray. Of ' old hands '
Du Maurier has another of his graceful drawings. Lady Julia
(p. 239), and Paul Gray has, besides the special plate, eleven
to Hobsoiis Choice (pp. 169, 197, 225, 253, 281, 309, 'i^'^'j,
365, 393, 421, and 449); three by A. Boyd Houghton are
A Dead Man's Message (p. 211); and The Mistaken Ghost
(pp. 687, 723) ; T. Morten has only a couple, The Curse of
the Gudmunds (p. 155) and On the Cliffs (p. 308) ; and G. J.

G. DU MAURIER

ONCE A WEEK
VOL, I\'. p. 603

ON HER
DEATHBED

G. DU MAURIER

*ONCE A WEEK
VOL. VI. p. 390

PER L'AMORE
D'UNA DONNA

T. MORTEN

ONCE A WEEK'
VOL. XI. p. 603

THE CUM.^AN SIBYL

ONCE A WEEK

Pinwell one, The Pastor and the Landgrave (p. 631); J. W
North's Lnthcj's Gardener (p. 99) is a curious drawing to
a curious poem; W. Small, with Eldorado (p. 15), Dorette
(p. 379), The Gift of Cltcnnog Vaiur^^. 463), The Prize Maiden
(pp. 491, 519, 560), and T^'anquillity (p. 575), shows more
and more that strong personality which by and by influenced
black and white art, so that men of the seventies are far more
disciples of Small than even were the men of the sixties of
Millais. M. E. Edwards's Avice and her Lover (^^. 141); six
by Basil Bradley (pp. 140, 252, 279, 532, 603, and 659),
Charles Green's Kunegunda (p. 71), Hazeley Mill (p. 85),
and Michael Considines Daughter (p. 351) ; five by Edward
Hughes (pp. 183, 407, 547, 585, and 599); three by J.
Lawson : Ariadne (p. 127), The Mulberry-tree {^. 323), and
Gabrielle's Cross (p. 699). F. W. Lawson's A Midshtpnian s
Yarn (p. 1 13) and Grandmother s Story (p. 223) deserve to be
noted. Others by G. Bowers, F. Eltze, R. T. Pritchett,
P. J. Skelton, E. Wimpress {sic), and J. Wolf among the rest,
call for no comment. For the Christmas number for this year
1866, W. Small has The Broiun Imp (p. 12) ; J. Lawson, The
Birth of the Rose (p. 20) ; E. Hughes, The Pension Latoqne
(p. 25) ; Ernest Griset, Boar Hunting {^. 57) ; G. B. Goddard,
Christmas Eve in the Cotmtry (p. 58) ; and Basil Bradley, A
Winter Piece (p. 62) ; John Leigh ton contributes a fronti-
spiece and illustrations to St. George and the Dragon, a poem
by the author oijohn Halifax.

In volume iii. 1867 the extra illustrations are still distin-
guished by a special subject index ; they include Lord Ay than
{Frontispiece^, by J. Tenniel ; Coming through the Fence (p.
1 12), by R. Ansdell, A.R.A. ; Feeding the Sacred Ibis (p. 238),
by E. J. Poynter ; Come, buy my pretty xvindmills (p. 360),
by G. J. Pinwell ; Hide a Stick (p. 569), by F. J. Shields ; and
Highland Sheep (p. 692), by Basil Bradley. Another extra
plate, a drawing by Helen J. Miles, 'given as an example of
graphotype,' is not without technical interest. In the accom-
panying article we find that the possibilities of mechanical
reproduction are discussed, and the writer adds, as his highest
flight of fancy, ' who shall say that graphotype may not be
the origin of a daily illustrated paper?' It would be out of
place to pursue this tempting theme, and to discuss the Daily
Graphic of New York and succeeding illustrated dailies, for

SOME ILLUSTRATED MAGAZINES

all these things were but dreams in the sixties. Yet, un-
doubtedly, graphotype set people on the track of process-
work. By and by the photographer came in as the welcome
ally, who left the draughtsman free to work upon familiar
materials, instead of the block itself, and presently sup-
planted the engraver also, and the great rival of wood-cutting
and wood -engraving sprang into life. Among the ordinary
illustrations A. Boyd Houghton is represented by The
Mistaken Ghost (p. 15), A Hindoo Legend (p. 273), and
The Bride of Rozelle (p. 663) ; G. J. Pinwell by Joe Robert-
sons Folly (p. 225) and The Old Keepers Story (p. 483);
J. W. North by The Lake (p. 303); W. Small by A Queer
Story aboiU Banditti (pp. 55, 83) ; S. L. Fildes by a
strongly-drawn design. The Goldsmith's Apprentice (p. 723);
Ernest Griset by a slight yet distinctly grotesque Tale of a
Tiger (p. 7) ; M. Ellen Edwards by Wishes (p. 633) and
Kate Edwards by Cherry Blossom (p. 543) ; J. Lawson by
The Legend of St. Katherine (p. 127), Sir Ralph de Blanc-
Minster (p. 168), and Hymn to Apollo (p. 406); F. W. Lawson
by The Singer of the Sea (p. 603). The various examples
by F. A. Eraser, T. Green, T. Scott (a well-known portrait
engraver), E. M. Wimpress, and the rest may be dismissed
with bare mention. In vol. iv.. New Series, we find Charles
Keene with a frontispiece. The Old Shepherd; The Haymakers
(p. 105), E. M. Wimpress; Cassandra (p. 345), S. L. Fildes ;
Fetching the Doctor (p. 494), H. S. Marks; Imma and Egin-
hart (p. 644), W. Small; and The Christmas Choir (p. 762),
F. A. Eraser, are the other separate plates. Those printed
with the text include The Child Queen (p. 135) and Feuilles
d' Automne (p. 285), by S. L. Fildes; Evening Tide (p. 255),
a typical pastoral, by G. J. Pinwell ; Zoe Fane (p. 705), by
J. Mahoney ; and others by B. Bradley, E. F. Brewtnall,
F. Eltze, T. Green, E. Hughes, F. W. Lawson, E. Shell,
L. Straszinski, T. Sulman, E. M. Wimpress, etc. Despite
the presence of many of the old staff, the list of names shows
that the palmy days of the magazine are over. The Christmas
number contains, infer alia, a frontispiece by John Gilbert ; My
Cousin Renie (p. 13), by J. Mahoney ; Scotch Cattle, by Basil
Bradley ; and The Maiden's Test, by M. E. Edwards (p. 49).
In 1868 another new series starts. A notable feature has
disappeared : the illustrations no longer figure in a separate

ONCE A WEEK

list, but their artists' names are tacked on to the few articles
and stories which are illustrated in the ordinary index. Yet
the drawings by Du Maurier to Charles Reade's Foul Play
(pp. 12, 57, 140, 247, 269, 312, 421, 464, 530) would alone
make the year interesting. People, who regard Du Maurier
as a society draughtsman only, must be astonished at the
grim melodramatic force displayed in these. 'John Millais,
R.A.,' also appears as a contributor with Death Dealing
Arroius (p. 79) ; S. L. Fildes has The Orchard (p. 396) ;

F. W. Lawson, The Castaway (p. 242) ; Basil Bradley is
well represented by The Chillinghani Cattle (p. 100), and
Another days work done (p. 346) ; F. S. Walker appears
with A Lazy Fellow (p. 211), John Gilbert with The
Armourer (p. 364), and M. E. Edwards with the society
pictures, The Royal Academy (p. 409) and A Flower Shozv
(p. 516). In the second volume for 1868 we find Salmon
Fishing (p. 292) and Daphne (p. 397), both by S. L. Fildes ;
Fojind Out (p. 31), ^ Town Cousin (p. 150), Left in the
Lurch (p. 230), and Blackberry Gatherers (p. 213), by
H. Paterson ; Sussex Oxen (p. no) and The Foxhound
(p- 355)' by Basil Bradley ; The Picnic (p. 270), by F. W.
Lawson, who has also The Waits, the frontispiece of the
Christmas number, which contains Taking his ease (p. 264),
the last Millais in the magazine ; a clever gallery study ;
Boxing Night, by S. L. Fildes, and a capital domestic group.
The Old Dream (p. 48), by M. E. Edwards.

In 1869, vol. iii.. New Series, contains a single example by

G. J. Pinwell, A seat in the park (p. 518) ; five by S. L. Fildes •
The Duet (p. 56), The Juggler {^p. 188), Hoiirs of Idleness,
the subject of a later Academy picture (p. 475), Led to Execu-
tion (p. 540), and Basking (p. 562) ; and others by Fred
Barnard (pp. 166, 254, 346, 450), B. Bradley (pp. 78, 210, 496),
Val Prinsep(p. 298), F. W. Lawson (p. 34), and Ford Madox
Brown, The Traveller {]^. 144). To state that vol. iv., New
Series, is absolutely without interest is to let it off cheaply.

In the volume for 1870 the names of artists are omitted,
and if we follow the editor's example no injustice will be done,
despite a few clever drawings by R. M[acbeth] ; the work, not
merely in date but in spirit, is of the new decade, and as it is
exceptionally poor at that for the most part, it no longer
belongs to the subject with which this volume is concerned.

CHAPTER IV: SOME ILLUSTRATED
MAGAZINES OF THE SIXTIES: II. 'THE

cornhill; 'GOOD words; and 'Lon-
don SOCIETY'

5^^£Lei2:^:^HE CORNHILL MAGAZINE, which
began in i860 with Thackeray as editor,
showed from the very first that the aim of
the Magazine was to keep the level of its
pictures equal to that of its text. In look-
ing through the forty -seven volumes of the
first series it is gratifying to find that this
purpose was never forgotten. Many a rival magazine has been
started since under the happiest auspices, with the most loyal
intention to have the best and only the very best illustrations ;
but in a few years the effort has been too exacting, and the
average commonplace of its padding in prose and verse has
been equalled by the dull mediocrity of its pictures. Only
those who have experienced the difficulty which faces an
editor firmly resolved to exclude the commonplace of any
sort can realise fully what a strain a successful effort, lasting-
over twenty years, must needs impose on the responsible
conductors. Thackeray, as we know, soon found the labour
too great ; but his successors kept nobly to their purpose,
and few magazines show more honourable fulfilment of their
projected scheme than the classic Cornhill, which has intro-
duced so many masterpieces in art and literature to the
public.

Curiously enough, the weakest illustrations under the
rdgime he inaugurated so happily are those by the editor
himself. Thackeray's designs to Lovel the Widower, and the
one example by G. A. Sala in the first volume, link the new
periodical with the past. They belong to the caricature type
of illustrations which had been accepted by the British public
as character-drawing. Like the ' Phiz ' plates for Dickens's
works, and many of John Leech's sketches, they have un-
doubtedly merit of a sort, but not if you consider them as
pictures pure and simple. Later experience shows that an
illustration to a story, which catches the spirit of the writer,
and realises in another medium the characters he had imagined,
may also be fine art — art as self-sufficient and as wholly beautiful
as that of a Durer wood-cut or a Rembrandt etching. The

THE CORNHILL MAGAZINE

masterpieces of modern illustrations to fiction which the Corn-
hill JMagazinc contains would by themselves suffice to prove this
argument up to the hilt. The collection of drawings chiefly by
Millais, Walker, and Leighton, in a volume of carefully-printed
impressions, from one hundred of the original wood-blocks,
issued under the title of the Cornhill Gallery in 1864, may
in time to come be prized as highly as Bible Wood-cuts, The
Dance of Death, or the Liber Studioriiin. It is true that the
pictures aimed only to fulfil their actual purpose, and it may
be argued, reasonably enough, that a picture which illustrates a
story is for that very reason on a different level to a selt-
contained work — inspired solely by the delight of the artist in
his subject. But, in their own way, they touched high-water
mark. Upon one of Durer's blocks he is said to have written
in Latin, ' Better work did no man than this,' and on many
a Cornhill design the same legend might have been truly in-
scribed.

It is true that most of the etchings and wood-cuts beside
which they deserve to be ranked are untrammelled autograjsh
work throughout, and that here the drawing done direct on
the block was paraphrased by an engraver. Not always spoilt,
sometimes (as even the draughtsman himself admitted), im-
proved in part, but still with the impress of another person-
ality added. And this argument might be extended to prove
that an engraving by another craftsman can never be so
interesting as an etching from a master's hand, or a block cut
by its designer. Yet, without forcing such comparison, we
may claim that the engravings in Once a Week, Good Words,
and the Cc;'«/«7/ enriched English art to lasting purpose.

Although sets of the Cornhill JMas'azine are not difficult
to procure, and a large number of people prize them in their
libraries, yet by way of bringing together those scattered facts
of interest which pertain to our subject, it may be as well to
indicate briefly the principal contents of the first thirty-two
volumes which cover the period to which this book is limited.

In i860 we find six full-page illustrations to Lovel the
Widower, three to The Four Georges, two to Roiifidabojit
Papers, all by Thackeray, to whom they are all formally
attributed in the Cornhill Gallery. Possibly one, entirely
unlike the style of the rest to The Fottr Georges, is from
another hand — the fact that it is not included in the reprint

F 39

SOME ILLUSTRATED MAGAZINES
seems to conhrm this suspicion. Millais' first contributions
included Unspoken Dialogue, ' Last Words,' and the beginning
of the illustrations to Framley Parsonage, which he equalled
often but never excelled. F. Sandys is represented by
Legends of the Portent {i. p. 617), and Frederick Leighton by
T/ie Great God Pan (ii. p. 84) to Mrs. Browning's poem.
Ariadne in A^axos, an outline-drawing in a decorative frame,
is unsigned, and so strangely unlike the style of the maga-
zine that it provokes curiosity.

In 1S61 Thackeray started illustrating his serial story,
T/te Adventui'es of Philip, but, after four full-page drawings,
relinquished the task to Fred Walker, who at first re-drew
Thackeray's compositions, but afterwards signed his work
with the familiar ' F. W.' We may safely attribute eight
solely to him. Millais continued his series of drawings to
illustrate Framley Parsonage, and has besides one other,
entitled Temptation (iii. p. 229). A series of studies of
character, The Excursion Train, by C. H. Bennett, is a
notable exception to the practice of the magazine, which
printed all its ' pictures ' on plate-paper apart from the text,
the blocks in the text (always excepting the initial letters)
beinsf elsewhere limited to diagrams elucidatino- the matter
and obviously removed from consideration as pictures. This
year Doyle began those outline pictures of Society which
attained so wide a popularity.

In 1862 Walker concludes his Philip series with eight
fidl-page drawings, including the superb Philip in Church, of
which he made a version in water-colours that still ranks
among his most notable work. The first two illustrations to
Miss Thackeray's Story of Elizabeth are also from his hand.
Millais is represented by Irend, a kneeling figure (v. p. 478),
and by the powerfully conceived Bishop and the Knight
{vi. p. 100), and the first four illustrations to Trollope's Small
House at Allington. Richard Doyle continues the series of
Pictures of English Society ; but now that their actuality no
longer impresses, we fail to discover the special charm which
endeared them to contemporaries. F. Sandys is represented
by Jllanoli (vi. p. 346), the second of his three contributions,
which deepens the regret that work by this fine artist appeared
so seldom in this magazine. But the most notable feature
this year is fo' md in the drawings contributed by Frederick

FREDERICK SANDYS

CORNHILL MAGAZINE'
VOL, I. p. 6z

LEGEND OF
THE PORTENT

FREDERICK SANDYS

'CORNHILL magazine'
VOL. VI. p. 346

MANOLI

THE CORNHILL MAGAZINE

Leighton, then not even an Associate of the Royal Academy,
which illustrate George Eliot's Romola. With these the
Coriihill departed from its ordinary custom, and gave two
full- page illustrations to each section of the serial month by
month. Consequently in the volumes in 1862 and 1S63 the
usual two-dozen plates are considerably augmented.

In 1863 twelve more of the Romola series complete
Leigh ton's contributions to the magazine. Millais has twelve
more to The Small House at Allington, Walker is represented
by one drawing, Maladetta, another to IMrs. Archie, two to
Out of the World, and one more to The Story of Elisabeth.
Du Maurier, destined to occupy the most prominent position in
later volumes, appears for the first time with The Ciliciaii
Pirates, Sibyl's Disappointment, The Night before the Jllor-
roiv, and Cousin Phillis. Possibly a drawing entitled ' The
First Meeting ' to a story, The . . . in her Closet, is from his
hand ; but the style is not clearly evident, nor is it included in
the Cornhill Gallery which, published in the next year, drew
its illustrations from the few volumes already noticed, with
the addition of five others from the early numbers of 1864.
Another drawing, signed A. H., to Margaret Denzil, is by
Arthur Hughes.

In 1864 two other illustrations complete The Small House
at Allington, and INIillais has also two others for Jlladame de
Monferrat. Sir Noel Paton appears for the only time with
a fine composition, Ulysses (ix. p. 66). Margaret Denzil has
its three illustrations signed R. B., probably the initials of
Robert Barnes, who did much work in later volumes. Charles
Keene, a very infrequent contributor, illustrated Brother
Jacob, a little- known story by George Eliot. Du Maurier
supplies the first four illustrations to Mrs. Gaskell's unfinished
Wives and Daughters, and Fred Walker contributes five to
the other serial, also interrupted by its author's death, the
delightful Denis Duval. Here we see the artist employed
on costume- work, and hampered somewhat by historical
details, yet infusing into his designs the charm which charac-
terises his idyllic work. G. J. Pinwell is represented by The
Lovers of Ballyvookan. G. H. Thomas starts Wilkie Collins's
Armadale with two pictures that do not accord with the rest
of the Cornhill wor^, but belong to a differently considered
method, popular enough elsewhere, but rarely employed in this

SOME ILLUSTRATED MAGAZINES

mao-azine. The volume contains also a portrait of Thackeray

engraved on steel, by J. C. Armytage, after Laurence.

In 1S65 the Armadale illustrations take up twelve full
pages, and Du Maurier supplies the remaining twelve stories
to Wives and Daughters.

In 1S66 six Armadale and one Wives and Daughters
are reinforced by eleven illustrations to The Claverings by
M. Ellen Edwards. Fred Walker is again a contributor with
five drawings for Miss Thackeray's Village on the Cliff, and
Frederick Sandys, with a fine composition illustrating Swin-
burne's Cleopatra (xiv. p. 331), makes his last appearance in
the magazine.

In 1867 M. E. Edwards signs five of The Claverings and
seven to The Bramkighs of Bishop's Folly. The Satrap,
an admirable composition, is signed F. W. B., but for whom
these initials stand is not clear. Fred Walker completes his
illustrations to the Village on the Cliff, and adds one other
to Beauty and the Beast, and two to A Week in a French
Country House and one to Red Riding Hood. F. W. Lawson
makes his entrde with the four drawings to Stone Edge, and
Du Maurier has a curiously massive /fa;; of Arc.

In 1868 Walker has three illustrations xo Jack the Giant
Killer, ' I do not love you,' and From an Island respectively.
M. Ellen Edwards is responsible for ten to The Bramlcighs,
one to a story. The Stockbroker, and the first two to That
Boy of Norcott's. F. W. Lawson has four to Avonhoe, and
two to Lettice Lisle, and Du Maurier two to Aly Neighbour
Nelly, and one to Lady Denzil.

In 1869 That Boy of Norcott's supplies the subjects for
three others by M. E. Edwards, and Lettice Lisle for four by
F. W^. Lawson. The first chapters of Put yourself in his place,
Charles Reade's trades-union novel, are illustrated by ten
drawings by Robert Barnes, F. Walker has one to Sola, for
which tale Du Maurier supplies another, a.s well as one to the
Courtyard of the Ours d'Or, and the three for Against Time.

In 1S70 Robert Barnes continues illustrating Charles
Reade's novel with seven full pages. Du Maurier contributes
ten to Against Time, and four to George Meredith's Ad-
ventures of Harry Richmond, and S. L. Fildes (more familiar
to-day as Luke Fildes) comes in with three admirable com-
positions to Charles Lever's Lord Kilgobbin.

FREDERICK SANDYS

CORNHILL magazine'
VOL. XIV. p. 331

CLEOPATRA

THE CORNHILL MAGAZINE

In 1 87 1 the latter story engages twelve full pages, and
Harry Richmond and eleven others, Du Maurier has the
first to a Story of the Plebiscite.

In 1872 Du Maurier continues The Plebiscite v^'ith. one full
page (the others to the same story are signed ' H. H.'), and
has four others to Francillon's Pearl and Emerald, and ten
to The Scientific Gentleman. Fildes concludes his embellish-
ment of Lord Kilgobbin with three full pages. Hubert
Herkomer (the ' H. H.' of The Plebiscite probably) appears as
a recruit with two most satisfactory designs to The Last
Master of the Old Manor-House, and G. D. Leslie, also a
fresh arrival, finds, in Miss Thackeray's Old Kensington, the
themes for nine graceful compositions.

In 1873 to Du Maurier are devoted twelve subjects illus-
trating Zeldds Fortune. G. D. Leslie has four others con-
c\\idi\n^ Old Kensi7to'ton. S. L. Fildes illustrates IVilloius w\ih
two, and Marcus Stone is represented by half-a-dozen idyllic
and charming, if somewhat slight, designs for Young Brown.

In 1874 H. Paterson, W. Small, and Du Maurier con-
tribute all the pictures excepting one by Marcus Stone. Far
from the Madding Crowd by Thomas Hardy, illustrated by
the first artist, and A Rose in June, and Black's Three
Feathers by the second.

In 1875 H. Allingham supplies most graceful pictures to
Miss Angel. Du Maurier is the artist chosen for another
Hardy novel, The Hand of Ethelberta. A. Hopkins illus-
trates Mr. Henley's wonderful achievement. Hospital OtUlincs,
as the poems were called when they appeared in July 1875.
From this date to the last number of the shilling series, June
1883, the artists are limited to Small and Du Maurier for
the most part, and as this record has already exceeded its
limits, no more need be said, e.xcept that until the last, the
high standard of technical excellence was never abandoned.
Although the rare mastery of Millais and the charm of
Walker were hardly approached by their successors, yet the
magazine was always representative of the best work of those
of its contemporaries who devoted themselves to black and
white, and not infrequently, as this notice shows, attracted
men who have made few, if any other, attempts to draw for
publication. It is curious to find that, notwithstanding the
evident importance it attached to its pictorial department,

SOME ILLUSTRATED MAGAZINES

no artist's name is ever mentioned in the index or elsewhere.
In a graceful and discriminative essay ' S. C speaks feelingly
and appreciatively of Fred Walker just after his death ; but
that seems to be the only time when the anonymity imposed
on the artists was divulged in the magazine itself. It is but
fair to add that the literary contents were never signed, or
attributed in the index, except that a few articles bear the now
familiar initials, 'L. S.', 'VV. E.H.', 'R. L.S.', 'G. A.', and others.

GOOD WORDS

This popular, semi-religious, sixpenny magazine, estab-
lished in i860, achieved quickly a circulation that was record-
breaking in its time. Edited by Dr. Norman Macleod,
it was printed by Thomas Constable, and published (at
first) in Edinburgh by Alexander Strahan and Co. Al-
though, viewed in the light of its later issues, one cannot
help feeling disappointed with the first volume, yet even
there the pictures are distinctly interesting as a forecast,
even if they do not call for any detailed notice by reason
of their intrinsic merit. They rarely exceed a half page in
size, and were engraved none too well by various crafts-
men. Indeed, judging from the names of the artists, then
as afterwards, given fully in the index of illustrations, it
mio-ht not be unfair to blame the engravers still more
strongly. The very fact that the illustrations are duly
ascribed in a separate list is proof that, from the first, the
editor recognised their importance. Such honourable re-
cognition of the personality of an illustrator is by no means
the rule, even in periodicals that have equal right to be proud
of their collaborators. Where the artists' names are recorded
it is rare to find them acknowledged so fully and thoroughly
as in Good Words. In other magazines they are usually
referred to under the title of the article they illustrate and
nowhere else ; or their name is printed (as in Once a WceJc)
with a bare list of numerals showing the pages containing
their pictures ; but in Good Words the subject, titles, and
artists' names have always been accorded a special index.

In the first volume, for i860, W. O. Orchardson — not
then even an Associate of the Royal Academy — supplies nine
drawings, engraved by F. Borders. Admirable in their own
way, one cannot but feel that the signature leads one to

G. DU MAURIER

'GOOD WORDS

i36i, p. 579

A TIME TO
DANCE

GOOD WORDS

expect something much more interesting ; and, knowing the
quality of Mr. Orchardson's later work, it is impossible to
avoid throwing the blame on the engraver. Keeley Halswelle
contributes six ; in these you find (badly drawn or spoilt by
the engraver) those water-lilies in blossom, which in after years
became a mannerism in his landscape foregrounds. j. W.
M'Whirter has four — one a group oi Autu7?in Flowers (p. 664),
cut by R. Paterson, that deserves especial notice as a much
more elaborate piece of engraving than any other in the
volume. Erskine Nicol supplies two genre pieces, the full-
page, Mary Macdonell and her friends (p. 216), being, most
probably, a thoroughly good sketch, but here again the
translator has produced hard scratchy lines that fail to suggest
the freer play of pencil or pen, whichever it was that produced
the original. Others by 'J. B,,' J. O. Brown, C. A. Doyle,
Clarence Dobell, Jas. Drummond, Clark Stanton, Gourlay
Steell, and Hughes Taylor, call for no particular comment.

From 1 86 1 the chief full-page illustrations were printed
separately on toned paper. A series of animal subjects by
'J. B.,' twelve ' Illustrations of Scripture,' engraved by Dalziel
Brothers, were announced in the prospectus as a special feature.
Somewhat pre-Raphaelite in handling they are distinctly
interesting, but hardly masterly. But the volume will be
always memorable for its early work by Frederick Walker
and G. Du Maurier. A Time to Dance, by the latter, shows
a certain decorative element, which in various ways has
influenced his work at different periods, although no one
could have deduced from it the future career of its brilliant
author as a satirist of society, a draughtsman who imparted
into his work, to a degree no English artist has surpassed,
and very few equalled, that ' good form ' so prized by well-bred
people. The drawing unsigned The Blind School (p. 505),
attributed to Fred Walker in the index, suggests some clerical
error. Like one attributed to Sandys in a later volume, you
hesitate before accepting evidence of the compiler of the list
of engravings, which the picture itself contradicts flatly. Only
a Sweep (p. 609) is signed, and, although by no means a good
example, is unquestionably attributed rightly. John Pettie has
two designs, Caitis Brand (pp. 3 76, 42 2) ; J. M 'Whirter and W.
Q. Orchardson, one each ; H. H. Armstead, a pre-Raphaelite
composition, A Song ivhich none but the Redeemed ever sing,

SOME ILLUSTRATED MAGAZINES

which is amongst tlie most interesting of the comparatively
few ilkistrations by the Royal Academician, who is better
known as a sculptor, as his Music, Poetry, and Painting in
the Albert Memorial, the panels beneath Dyce's frescoes at
Westminster Palace, and a long series of works shown at the
Academy exhibitions suffice to prove. T. Morten, a draughts-
man who has missed so far his due share of appreciation, is
represented by The Waker, Dreamer, and Sleeper (p. 634), a
powerful composition of a group of men praying at night by
the side of a breaking dyke. John Pettie has two drawings ;
and J. D. Watson, six subjects — the first, The Toad, being
singularly unlike his later style, and suggesting a closer
discipleship with the pre-Raphaelites than he maintained
afterwards. Two by Clarence Dobell, and three by T.
Graham — one, The YonuQ- Mother, a charming- arrangement
in lines; with others by J. Wolf, Zwecker, W. IM'Taggart,
J. L. Porter, A. W. Cooper, A. Bushnell, W. Fyfe, W. Linney,
and C. H. Bennett, are also included. Altogether the second
volume shows marked advance upon the first, although this
admirable periodical had not yet reached its high-water mark.
In 1862 we find added to its list of artists, Millais, Keene,
Sandys, Whistler, Holman Hunt, E. Burne-Jones, A. Boyd
Houghton, Tenniel, S. Solomon, and Lawless, a notable
group, even in that year when so many magazines show
a marvellous 'galaxy of stars.' To Millais fell the twelve
illustrations to Mistress and Maid, by the author of John
Halifax, and two others, Olaf (p. 25) and Highland Flora
(P- 393)- That these maintain fully the reputation of the
great illustrator, whose later achievements in oil have in
popular estimation eclipsed his importance as a black-and-
white artist, goes without saying. If not equal to the superb
Parables of the following year, they are worthy of their
author. Indeed, no matter when you come across a Millais,
it is with a fresh surprise each time that one finds it rarely
falls below a singularly high level, and is apt to seem, for the
moment, the best he ever did.

The two illustrations by J. M'Neill Whistler seem to be
very little known. Those to Once a Week, possibly from the
fact of their being reprinted in Thomhury's Legendary Ballads,
have been often referred to and reproduced several times ;
but no notice (so far as I recollect) of these, to The First

SIMEON SOLOMON

'GOOD WORDS
1862, p. 592

THE VEILED
BRIDE

FREDERICK WALKER

iisnif

*GOOD words'

1862, p. 657

OUT AMONG THE
WILD-FLOWERS

GOOD WORDS

Sermon, has found its way into print. The one (p. 585) shows
a girl crouching by a fire, with a man, whose head is turned
towards her, seated at a table with his hand on a lute. The
other (p. 649) is a seated girl in meditation before a writing-
table. Not a little of the beauty of line, which distinguishes
the work of the famous etcher, is evident in these blocks,
which were both engraved by Dalziel, and as whatever the
original lost cannot now be estimated, as they stand they are
nevertheless most admirable works, preserving the rapid
touch of the pen-line in a remarkable degree.

The Charles Keene drawing to Nanneritke Washerwoman
is another Dalziel block which merits praise in no slight
measure ; as here again one fancies that the attempt has
been to preserve a facsimile of each touch of the artist,
and not to translate wash into line. The King Sigurd of
Burne-Jones has certainly lost a great deal ; in fact, judg-
ing by drawings of the same period still extant, it conveys
an effect quite different from that its author intended.
Certainly, at the present time, he regards it as entirely un-
representative ; but no doubt then as now he disliked drawing
upon wood. To-day it has been said that his Chaucer draw-
ings in pencil were practically translated by another hand in
the course of their being engraved on wood. Certainly tech-
nique of lead pencil is hardly suggested, much less reproduced
in facsimile in the entirely admirable engravings by the veteran
Mr. W. H. Hooper. But if the designs were photographed
on the block such translation as they have undergone is no
doubt due to the engraver.

A drawing by Simeon Solomon, The Veiled Bride (p. 592),
seems also much less dainty than his pencil studies of the same
period. Many artists, when they attempt to draw upon wood,
find the material peculiarly unsympathetic. Rossetti has left
his opinion on record, and it is quite possible that in both
the Burne-Jones and Solomon, as in the Tennyson drawings,
although the engravers may have accomplished miracles, what
the artist had put down was untranslatable. For the delicacies
of pencil may easily produce something beyond the power of
even the most skilful engraver to reproduce. The Sandys,
Until her Death (p. 312), illustrating a poem, loses much
as it appeared in the magazine ; you have but to compare
a proof from the block itself in a reprinted collection of

SOME ILLUSTRATED MAGAZINES
Messrs. Strahan's engravings, to realise how different a
result was secured upon good paper with careful printing.
A. Boyd Houghton is represented by four subjects : Aly
Treasure (p. 504), On the Cliff (p. 624), True or False
(p. 721), and About Toys (p. 753); they all belong to the
manner of his Home Scenes, rather than to his oriental illus-
trations. The Battle of Gilboa (p. 89), by Tenniel, is typical.
M. J. Lawless is at his best in Ru)ig into Heaven (p. 135),
and in the Bands of Love (p. 632) shows more grace than he
sometimes secured when confronted by modern costume.

T. Morten has a finely-engraved night-piece, Pictures in
the Fire (p. 200), besides The Christmas Child (p. 56) and
The Carrier Pigeon (p. 121). The Holman Hunt, Go and
Come (p. 32), a weeping figure, is not particularly interesting.
Honesty (p. 736), by T.Graham, gives evidence of the power of
an artist who has yet to be ' discovered ' so far as his illustra-
tions are concerned. H. H. Armstead's Seaweeds (p. 568),
and eight by J. D. Watson (pp. 9, 81, 144, 201, 209, 302, 400,
433) need no special comment, nor do the ten by J. Pettie
(pp. 264-713). Fred Walker is represented by The Sunwicr
Woods, a typical pastoral (p. 368), Love in Death, a careworn
woman in the snow (p. 185), and Out among the wild flozuers
(P- 657), the latter an excellent example of the grace he
imparted to rustic figures. These, with a few diagrams and
engravings from photographs, complete the record of a
memorable, if not the most memorable, year of the magazine.

In 1863 we find less variety in the artists and subjects,
which is due to the presence of the superb series of draw-
ings by Millais, The Parables, wherein the great illustrator
touched his highest level. To call these twelve pictures master-
pieces is for once to apply consistently a term often misused.
For, though one ransacked the portfolios of Europe, not many
sets of drawings could be found to equal, and very few to excel
them. The twelve subjects appeared in the following order :
The Leaven (p. i). The Ten Virgins (p. 81), The Prodigal
Son (p. 161), The Good Samaritan (p. 241), The Unjust
Judge (p. 313), The Pharisee and Publica7i (p. 385), The Hid
Treasure (p. 461), The Pearl of Great Price (p. 533), The
Lost Piece of Money'^ (p. 605), The Sower (p. 677), The

' Engraved by Dalziels about double the size of this page, the subject was
issued afterwards in The Day of Rest (Strahan).

T. GRAHAM

GOOD WORDS
1S62, p. 736

HONESTY

M. J. LAWLESS

'GOOD WORDS
1S62. p. 153

RUNG INTO HEAVEN

M. J. LAWLESS

'good words '
i862j p. 632

THE BANDS
OF LOVE

J. PETTIE

GOOD WORDS
1863, p. T4

THE MONKS AND
THE HEATHEN

FREDERICK SANDYS

'good words'
1863, p. 589

SLEEP

FREDERICK SANDYS

GOOD WORDS
1862, p. 312

UNTIL HER
DEATH

JOHN TENNIEL

'GOOD WORDS
1063, p. 201

THE NORSE
PRINCESS

GOOD WORDS

Unmerciful Servant (p. 749), and The Labourers in the Vine-
yard {^. 821). To F. Sandys two drawings are attributed ; one
is obviously from another hand, but Sleep (p. 589) undoubtedly
marks his final appearance in this magazine. T. Morten
is represented by Cousin Winnie (p. 257), Hester Durham
(p. 492), The Spirit of Eld (p. 629, unsigned), a powerful
composition that at first glance might almost be taken for a
Sandys, and An Orphan Family's Christmas (p. 844). In
Aidumn Thoughts (p. 743) we have an example of J. W.
North, more akin to those he contributed to the Dalziel table-
books, a landscape, with a fine sense of space, despite the fact
that it is enclosed by trees. John Tenniel, in The Norse
Princess (p. 201) and Queen Dagmar (p. 344), finds subjects
that suit him peculiarly well. The Summer Snow (p. 380), at-
tributed to 'Christopher' Jones, is by Sir Edward Burne-Jones
of course, and the final contribution of the artist to these pages.
H. J. Lucas, a name rarely encountered, has one drawing.
The Sangreal (p. 454). A. Boyd Houghton, in St. Elmo
(p. 64), A Missionary Cheer (p. 547), and Childhood {p. 636),
is showing the more mature style of his best period. G. J.
Pinwell has but a single drawing, Martin Wares Temptation
(p. 573), and that not peculiarly individual; John Pettie
appears with six. The Monks and the Heathen (p. 14),
The Passio)i Floiuers of Life (p. 141), a study of an old
man seated in a creeper-covered porch with a child on
his lap, The Night Walk over the Mill Stream (p. 185),
and Not above his Business (p. 272), A Touch of Nature
(p. 417), and The Negro (p. 476). To a later generation,
who only know the pictures of the Royal Academician, these
come as a surprise, and prove the versatility of an artist
whose painting was somewhat mannered. Walter Crane's—
a fine group of oriental sailors — Treasure-trove (p. 795), and
J. D. Watson's six drawings are all capable and accomplished ;
A Pastoral (p. 32), a very elaborate composition which looks
like a copy of an oil-painting, Fallen in the Night (p. 97V
The Curate of Suverdsio (p. 333), The Aspeti (p. 401),
Rhoda (p. 520), and Olive Shands Partner (p. 774), with the
not very important Sheep and Goats wrongly attributed to
Sandys, two decorated pages by John Leighton, one draw-
ing by E. W. Cooke and five by T. Graham, comjDlete the
year's record.

SOME ILLUSTRATED MAGAZINES

The volume for 1864 is distinctly less interesting. Never-
theless it holds some fine things. Notably five Millais', in-
cluding Oh ! the Lark (p. 65), A Scene for a Study (p. 161),
Polly (p. 248), (a baby-figure kneeling by a bed, which has
been republished elsewhere more than once), The Bridal of
Dandelot (p. 304), and Prince Philibert (p. 481), another
very popular childish subject, a small girl with a small boy
holding a toy-boat. Frederick Walker, in his illustrations
to Mrs. Henry Wood's novel, Osivald Cray (pp. 32-129, 202,
2S6, 371, 453, 532, and 604), shows great dramatic insight,
and a certain domestic charm, which has caused the other-
wise not very entrancing story to linger in one's memory in
a way quite disproportionate to its merits. The remaining
illustrations to Osivald Cray are by R. Barnes (pp. 691, 761,
827), the same artist contributing also Grandmother' s Snnff,
(p. 411), A Burn Case (p. 568), A Lancashire Doxology,
(p. 585), Blessed to Give (p. 641), and The Organ Fietid
(p. 697). M. J. Lawless is responsible for only one subject,
a study of a man and a harpsichord, The Player and the
Listeners ; in this case, as, on turning over the pages, you
re-read a not very noteworthy poem, you find it has lingered
in memory merely from its association with a picture. Arthur
Hughes has a graceful design. At the Sepulchre {■^. 728), which
seems to have lost much in the engraving ; John Tenniel is
also represented by a solitary example. The H'ay in the Jf^ood
(p. 552) ; G. J. Pinwell, in five full-page drawings, A Christ-
mas Carol (p. 30), The Cottage in the Highlands (p. 427),
ALDiarmid explained (p. 504), Malachis Cove (p. 729), and
Mourning (p. 760), sustains his high level. Other subjects,
animal pictures by J. Wolf, and figures and landscapes by
R. P. Leitch, Florence Claxton, F. Eltze, J. W. Ehrenger,
R. T. Pritchett, and W. Colomb, call for no special mention.
To John Pettie is attributed a tail-piece of no importance.

With 1865 comes a sudden cessation of interest, as
seventy of the illustrations are engraved ' from photographs
of oriental scenes to illustrate the editor's series of travel
papers,' Eastward. This leaves room merely for pictures
to the two serials. Paul Gray contributed those to Charles
Kingsley's novel, Hereivard, the Last of the English ; but
the twelve drawings are unequal, and in few show the pro-
mise which elsewhere he exhibited so fully. Robert Barnes

M. J. LAWLESS

GOOD WORDS
1864, p. l63

THE PLAYER AND
THE LISTENERS

GOOD WORDS

supplies nine for the story, Alfred Hagart's Hous hold, by
Alexander Smith of City Poems fame. These, like all the
artist's work, are singularly good of their kind, and show at
once his great facility and his comparatively limited range of
types.

In 1866, although engravings after photographs do not
usurp the space to the extent they did in the previous year,
they are present, and the volume, in spite of many excellent
drawings, cannot compare in interest with those for 1862-64.
The frontispiece, Lilies, is a most charming figure-subject
by W. Small, who contributes also three others : The Old
Yeotnanry Weeks (p. 127), Deliverance (p. 663), a typical ex-
ample of a landscape with figures in the foreground, which,
in the hands of this artist, becomes something entirely distinct
from the ' figure with a landscape beyond ' of most others ; and
Carissimo (p. 736), a pair of lovers on an old stone bench, 'just
beyond the Julian gate,' which seems as carefully studied as
if it were intended for a painting in oils. To compare the
average picture to a poem to-day, with the work of Mr.
Small and many of his fellows, is not encouraging. Thirty
years ago it seemed as if the draughtsman did his best to
evolve a perfect representation of the subject of the verses ;
now one feels doubtful whether the artist does not keep on
hand, to be supplied to order, a series of lovers in attitudes
warranted to fit, more or less accurately, any verses by any
poet. Of course for one picture issued then, a score, perhaps
a hundred, are published to-day, and it might be that numer-
ically as many really good drawings appear in the course of a
year now, as then ; but, while our average rarely descends to
the feeblest depths of the sixties, it still more rarely comes
near such work as Mr. Small's, whose method is still followed
and has influenced more decidedly a larger number of draughts-
men than has that of Millais, Walker, Pinwell, or Houghton.

Studying his work at this date, you realise how verystrongly
he influenced the so-called ' Graphic School ' which supplanted
the movement we are considering in the next decade. Despite
the appreciation, contemporary and retrospective, already
bestowed upon his work, despite the influence — not always
for good — upon the younger men, it is yet open to doubt if
the genius of this remarkable artist has received adequate
recognition. In a running commentary upon work of all

SOME ILLUSTRATED MAGAZINES

degrees of excellence, one is struck anew with its admirably

sustained power and its constantly fresh manner.

This digression, provoked by the four delightful 'Small'
drawings, must not lead one to overlook the rest of the
pictures in Good Words for 1866. They include The Island
Church, by J. W. North (p. 393), The Life-Boat, by J. W.
Lawson (p. 248), Between the Shoivers, by W. J. Linton,
(p. 424), six illustrations to Ruth Thornbmy, by M. E.
Edwards, and one by G. J. Pinwell, Bridget Daily's Change.
Perhaps the most notable of the year are the five still to be
named : A. Boyd Houghton's The Voyage, and a set of four
half-page drawings. Reaping, Binding, Carrying, Glea7iing,
entitled The Harvest (pp. 600, 601). These have a decorative
arrangement not always present in the work of this clever
artist, and a peculiarly large method of treatment, so much so
that if the text informed you that they were pen-sketches
from life-size paintings, you would not be surj^rised. Whether
by accident or design, it is curious to discover that the land-
scapes in each pair, set as they are on pages facing one another,
have a look of being carried across the book in Japanese
fashion.

1867 might be called the Pinwell year, as a dozen of his
illustrations to Dr. George Mac Donald's Guild Court, and
one each to A Birdin the Hand ^^s\^i The Cabin Boy, account
for nearly ha^f the original drawings in the volume. W.
Small is seen in five characteristic designs to Dr. Macleod's
The Starling, and one each to Beside the Stile (p. 645) and
The Highland Student (p. 663). Arthur Boyd Houghton
contuhuie?, Omar and the Persian (p. 104) and Ala king Poetry
(p. 248); the first a typical example of his oriental manner,
the latter one of his home scenes. S. L. Fildes appears
with hi the Choir (p. 537), a church interior showing the
influence of William Small. F. W. Lawson illustrates Grace's
Fortjine with three drawings, also redolent of Small, and Fred
Walker has Waiting in the Dusk, a picture of a girl in a
passage, which does not illustrate the accompanying verses,
and has the air of being a picture prepared for a serial some
time before, that, having been delayed for some reason, has
been served up with a poem that chanced to be in type.

In 1 868 Pinwell and Houghton between them are
responsible for quite half the separate plates, and Small

<;2

GOOD WORDS

contributes no less than thirty-four which illustrate delight-
fully The Woniaiis Kingdom, a novel by the author of John
Halifax, together with a large number of vignetted initials, a
feature not before introduced into this magazine. Without
forgetting the many admirable examples of Mr. Small's power
to sustain the interest of the reader throughout a whole set of
illustrations to a work of fiction, one doubts if he has ever
surpassed the excellence of these. The little sketches of
figures and landscapes in the initials show that he did not
consider it beneath his dignity to study the text thoroughly,
so as to interpret it with dramatic insight. Your modern
chic draughtsman, who reads hastily the few lines under-
scored in blue pencil by his editor, must laugh at the pains
taken by the older men. Indeed, a very up-to-date illustrator
will not merely refuse to carry out the author's idea, but
prefer his own conception of the character, and say so. That
neither course in itself produces great work may be granted,
but one cannot avoid the conclusion that if it be best to
illustrate a novel (which is by no means certain) that artist is
most worthy of praise who does his utmost to present the
characters invented by the author. True, that character-
drawing with pen and pencil is out of date, — subtle emotion
has taken its place, — it is not easy to make a picture of a
person smiling outwardly, but inwardly convulsed with con-
flicting desires ; the smile you may get, but the conflicting-
desires are hard to work in at the same time. Appreciation
of Mr. Small's design need not imply censure of the work of
others ; but, all the same, the cheap half-tone from a wash-
drawing, in the current sixpenny magazine, looks a very feeble
thing after an hour devoted to the illustrations to Guy Water-
mans Maze, The Woman s Kijigdom, Griffith Gan7it, and the
rest of the serials he illustrated. In this volume two others.
The Harvest Home (p. 489) and A Love Letter (p. 618), are
also from the same facile hand.

The first of the Boyd Houghtons is a striking design to
Tennyson's poem of The Victim (p. 18) ; neither picture nor
poem shows its author at his best. Others signed A. B. H.
are : The Church in the Ccvennes (pp. 56, 57), Disciplcship
(p. 112), The Pope and the Cardinals (p. 305), The Gold Bridge
(p. 321), The Tivo Coats (p. 432), Hoiv it all happened (seven
illustrations). Dance my Children (p. 568), a typical example

SOME ILLUSTRATED MAGAZINES

of the peculiar mannerism of its author, and a Russian Farm-
yard (p. 760) ; also a number of small designs to Riissian
Fables, some of which were illustrated also by Zwecker. G. J.
Pinwell illustrates Notes on the Fire (pp. 47, 49), Mticli work
for Little Pay (p. 89), A Parts Pawn-shop (p. 233), Mrs.
Dubosq s Daughter {^ioMX pictures), Una and the Lion (p. 361),
Lovely, yet unloved (pp. 376, i"]"]). Hop Gathering (p. 424),
The Quakers in Norivny (p. 504). S. L. Fildes has The
Captains Story, a good study of fire-light reflected on three
seated fig'ures. Other numbers worth noting are an excellent
example of J. Mahoney, Yesterday and To-day (p. 672),
Briton Riviere's At the Window (p. 630), R. Buckman's The
White Umbrella (p. 473), and seven by Francis Walker to
Hero Harold, and one each to Glenalla (p. 384), The Bracelet
(p. 753), and Thieves Quarter {^. 553).

VVith 1869 we lose sight of many of the men who did so
much to sustain the artistic reputation of this magazine. W.
Small has but one drawing. The Old Manor-House (p. 849).
Hubert Herkomer is represented by The Way to Machaeiiis
(pp. 353, 497), J. Mahoney by five designs to The Staffordshire
Potter, Francis Walker by nine to The Connaught Potters and
A Btirtal at Machaerus and Holyhead Breakwater. Arthur
Hughes, an infrequent contributor so far, contributes two
illustrations to Carmina Nuptialia. F. Barnard has two
to House-hunting ; F. A. Eraser has no less than seventy-five :
thirty-five to Debenhani s Voiv, and thirty-three to Noblesse
Oblige, with seven others, none of them worth reconsideration,
although they served their purpose no doubt at the time.

With 1S70 we reach the limit of the present chronicle, to
which Francis Walker and F. A. Eraser contribute most of
the pictures. The most interesting are : Arthur Hughes's
Fancy (p. Tn) and The Mariticrs Cave (p. 865) ; J. D.
Linton, Married Lovers {^. 601) ; J. Mahoney, The Dorsetshire
Hind (p. 21), Ascent of Snoxvdon (p. 201); and Dame
Marthas Well (p. 680), and G. J. Pinwell's three very repre-
sentative drawings, Raf ah playing Chess (p. 211), Afargaret in
the Xebec (p. 280), and A Winter Song (p. 321).

187 1 is memorable for three of Arthur Hughes's designs,
made for a projected illustrated edition of Tennyson's Loves
of the Wrens, a scheme abandoned at the author's wish; the
three drawings cut down from their original size, Fly Little

ARTHUR HUGHES

GOOD WORDS
1870, p. 777

FANCY

LONDON SOCIETY

Letter {^. n), The JMist and the Ram (p. 1 13), and ^^^w Comes,
Illoon Comes (p. 1S3), are especially dear to collectors of Mr.
Hughes's work, which appeared here with the lyrics set to Sir
Arthur Sullivan's music; another by the same artist, The Mother
and the Angel (p. 648), is also worth noting. One Boyd
Houghton, Barad7irec Jjistice (p. 464), twenty-one drawings
by W. Small to Katharine Saunders, The High Mills, and
one by the same artist to An Unfinished Song (p. 641) are
in this volume, besides four by Pinwell, Aid to the Sick (p. 40),
The Devils Boots (p. 2 1 7), Toddy s Legacy (p. 336), and Shall
we ever meet again ? (p. 817).

Without discussing the remaining years of this still
flourishing monthly one can hardly omit mention of the
volume for 1878, in which William Black's Macleod of Dare
is illustrated by G. H. Boughton, R.A., J. Pettie, R.A.,
P. Graham, R.A., W. O. Orchardson, R.A., and John Everett
Millais, R.A., a group which recalls the glories of its early
issues.

LONDON SOCIETY

This popular illustrated shilling magazine, started in
February 1862 under the editorship of Mr. James Hogg, has
not received so far its due share of appreciation from the few
who have studied the publications of the sixties. Yet its
comparative neglect is easily accounted for. It contains, no
doubt, much good work — some, indeed, worthy to be placed
in the first rank. But it also includes a good deal that, if
tolerable when the momentary fashions it depicted were not
ludicrous, appears now merely commonplace and absurd.
A great artist — Millais especially — could introduce the crino-
line and the Dundreary whiskers, so that even to-day their
ugliness does not repel you. But less accomplished draughts-
men, who followed slavishly the inelegant mode of the sixties,
now stand revealed as merely journalists. Journalism, useful
and honourable as its work may be, rarely has lasting qualities
which bear revival. Aiming as it did to be a ' smart ' and
topical magazine, with the mood of the hour reflected in its
pages, it remains a document not without interest to the social
historian. Amid its purely ephemeral contents there are
quite enough excellent drawings to ensure its preservation in
any representative collection of English illustrations.

SOME ILLUSTRATED MAGAZINES

In the first volume for 1862 we find a beautiful Lawless,
Beauty s Toilet (p. 265), spoilt by its engraving, the texture
of the flesh being singularly coarse and ineffectual. Fred
Walker, in The Draiving-room, 'Paris ' (i. p. 401), is seen in the
unusual and not very captivating mood of a 'society' draughts-
man. As/i JVednesday (p. 1 50), by J. D.Watson, is a singularly
fine example of an artist whose work, the more you come
across it, surprises you by its sustained power. The fronti-
spiece Sp7'iug Days and A Roniance and A Curacy (p. 386),
are his also. Other illustrations by T. Morten, H. Sanderson,
C. H. Bennett, Adelaide Claxton, Julian Portch, and F. R.
Pickersgill, R.A., call for no special comment. In the second
volume there are two drawings by Lawless, First Night at the
Seaside (p. 220) and A Box on the Ear (p. 382) ; several by Du
INIaurier, one A Kettledrum (p. 203), peculiarly typical of his
society manner ; others, Refrczzment (p. 1 10), Snozvdon (p. 48 1 ),
Oh sing again (p. 433), Jeivels (p. 105), and a Mirror Scene
(p. 107), which reveal the cosmopolitan student of nature
outside the artificial, if admirable, restrictions of 'good form.'
The Border Witch (p. 181), by J. E. Millais, A.R.A., is
one of the very few examples by the great illustrator in
this periodical. J. D. Watson, in Moonlight on the Beach
(P- 333). Married^ (p. 449), A Sunnner Eve (p. 162), On
the Coast (p. 321), Holiday Life (p. 339), and Hoiv I
gained a Wife (p. 551), again surprises you, with regret
his admirable work has yet not received fuller apprecia-
tion by the public. Walter Crane contributes some society
pictures which reveal the admirable decorator in an unusual,
and, to be candid, unattractive aspect. Kensington Gardens
(p. 172), A London Carnival (p. 79), and Which is Fairest?
(p. 242), are interesting as the work of a youth, but betray
little evidence of his future power. Robert Barnes, in Dream-
ing Love and Waiting Duty (p. 564), shows how early in
his career he reached the level which he maintained so
admirably. A. Boyd Houghton's Finding a Relic (p. 89) is a
good if not typical specimen of his work. The designs by
E. J. Poynter, Tip Cat (p. 321), / can't thmohe a pipe {p. 318),
and Lord Dundreary (pp. 308, 472), are singularly unlike the
usual work of the accomplished author of Israel in Egypt.
To these one must add the names of C. H. Bennett {Beadles,

1 This is entitled Too Soon, in Pictures of Society, 1S67.
56

M. J. LAWLESS

'LONDON SOCIETY
VOL. IV. p 554

HONEYDEW

J. D. WATSON

LONDON SOCIETY
1866, p. 35

TOO LATE

2:
o

Q
en

LONDON SOCIETY

three), W. M'Connell, C. A. Doyle, George H. Thomas,
E. K. Johnson, F. J. Skill, F. Claxton, H. Sanderson, and
A. W. Cooper. So that 1862 offers, at least, a goodly list of
artists, and quite enough first-rate work to make the volumes
worth preserving.

In vol. iii. 1863 there is a drawing, The Confession (p. 2)l)^
engraved by Dalziel, that is possibly by Pinwell. Three by
T. Morten, After the Opera (p. 39), A Struggle in the Clouds
(p. 287), and Ruth Grey's Trial (p. 59), are good, if not the
best of this artist's work. Two by George Du Maurier (pp. 209,
216) employ, after the manner of the time, a sort of pictured
parable entitled On the Bridge and Under the Bridge. Oiir
Honeymoon, by Marcus Stone, is interesting. Struck Doivti
(p. 106) and The Heiress of Elkington (p. 345), both by J. D.
Watson, are as good as his work is usually. A May Morning
(p. 428), by George H. Thomas, is also worthy of mention, but
the rest, by E. K. Johnson, E. H. Corbould, W. Brunton, W.
Cave Thomas, Louis Huard, etc., are not peculiarly attractive.
The concluding volume for 1863 has a very dainty figure,
Honey-Dew, by M. J. Lawless (p. 554). The three Du
Mauriers are A Little Hop in Harley St. (p. 469), Lords :
University Cricket Match (p. 161 ), and the Worship of Bacchus
(p. 192) at first sight so curiously like a Charles Keene that,
were it not for the signature, one would distrust the index.
Nine drawings by T. Morten to The First Time are good,
especially those on p. 180, and A First Attempt, Charles
Green (p. 205), is also worth notice. Two drawings by G. J.
Pinwell, Wolsey (p. 311) and another (p. 319), are charac-
teristic. For the rest, C. H. Bennett, Louis Huard, Felix
Darley, W. M'Connell, W. Brunton, Matt Morgan, Florence
Claxton, T. Godwin, Waldo Sargent, George Thomas, and
C. A. Doyle, provide entrt'cs and sweets a little flavourless
to-day, although palatable enough, no doubt, at the time.

In 1864, M. J. Lawless's Not for Vou (p. 85) ; a fine J. D.
Watson, The Duet {ip. 268) ; Charley Blake, by G. Du Maurier
(p. 385) ; At Swindon (p.4 1 ), M. E. Edwards, and Little Golden
Hair, by R. Barnes, are the only others above the average.
Adelaide Claxton, W. M'Connell, H. Sanderson, and J. B.
Zwecker provide most of the rest. The second half of the
year (vol. vi.) is far better, contains some good work by the
' talented young lady,' M. E. E. (to quote contemporary praise);

SOME ILLUSTRATED MAGAZINES

that her work was talented all students of the 'sixties' will agree.
A Holocaust (p. 433), Dangerojis (p. 353), Gone (p. 185),
Magdalen (p. 553), Millys Success (p. 269), and Unto this Last
(p. 252) are all by Miss Edwards. A fine Millais, Knightly
Worth (p. 247), and a good J. D. Watson, Blankton IVeir
(p. 416), would alone make the volume memorable. C. A.
Uoyle has some of his best drawings to A Shy Man, and
G. H. Thomas and others maintain a good average. Rebecca
Solomon has a good full page (p. 541). In the extra Christ-
mas number you will find E. J. Poynter's A Sprig of Holly
(p. 28), J. D. Watson's Story of a Christinas Fairy (p. 24),
a notable design, besides capital illustrations by Du Maurier,
R. Dudley ( The Blue Boy), R. Barnes, and Marcus Stone.

1865 is a Du Maurier year. In vol. vii. eleven drawings
by this fecund artist on pp. 38, 193, 202, 289, 296, 428, 430,
481, 488, and 697, all excellent examples of his early manner.
Arthur Hughes, with The Farewell Valentine {^. 188), makes
his first appearance within the pages of London Society. A. W.
Cooper, J. Pasquier, T R. Lamont, and A. Claxton are to
the fore, and C. H. Bennett has a series of typical members
of various learned societies, which, characteristic as they are,
might have their titles transposed without any one being the
wiser. In vol. viii. 1865, Paul Gray appears with My Darling
(p. 253). T. Morten has three capital drawings : Two Loves
and a Life (p. 400), A Romance at Marseilles (p. 549), and
Love and Pride (p. 16) ; and Du Maurier has Codlinghatn
Regatta (p. 284), Hoiu 7iot to play Croquet (p. 61), Where
shall we go? (p. 17), Old fockey West (p. 288), The Rev. Mr.
Green (p. 122), Furnished Apartments (p. 481), and Ticklish
Grotmd (p. 488). G. J. Pinwell is represented by a solitary
example, The Courtship of Giles Latiguish (p. 384), J. D.
Watson by Green Mantle (pp. 385, 388, 389), and M. E.
Edwards by Georgies First Love-letter (p. 152), Faithful and
True (p. 263), Firm and Faith fil (p. 60). The other con-
tributors are A. W. Bayes {To Gertrude, p. 460), L. C. Henley,
T. R. Lamont, J. A. Pasquier, Kate Edwards, W. Brunton,
T. S. Seccombe, John Gascoine, etc.

In 1866, vol. ix., George Du Maurier signs the fronti-
spiece. Two to One, and also two illustrations to Much Ado
About Nothing (pp. 2 89, 296), two to Second Thoughts (pp.
385. 391)' ^"*^ ^"^o ^'^ Queen of Diamonds (pp. 481-488).

LONDON SOCIETY

T. Morten has again three designs : Mis. Reeve (p. 135), On
the Wrckin (p. i), and The Man with a Dog (p. 239);
R. Dudley suppHes one, The Tilt-Yaid (p. 441), and Kate
Edwards one, The June Dreatn {^. 531). M. Ellen Edwards
in three admirable examples, Jti Peril (p. 450), Mzdually
Forgiven (p. 228), and The Cruel Letter (p. 364), shows
how cleverly she caught the influence in the air. Other
artists contribute many drawings of no particular interest.

Vol. X. shows W. Small with two drawings, Agatha
(p. 160) and The Reading of Locksley Hall (p. 8). It is
curious to see how the sentimentality of the poem has in-
fluenced the admirable draughtsman, who is not here at his
best. Paul Gray has also two, An English October (p. 289)
and To a Flirt (p. 373) ; G. Du Maurier is represented by
one only, Life in Lodgings (p. 516) ; J. G. Thompson by one
also, Caught at Last (p. 80) ; T. Morten again contributes
three : Marley Hall (p. 560), Mays Window (p. 432), and The
Trevillians' Summer Trip (p. 124); A. Boyd Houghton is
represented hy Ready for Stipper {^. 146), and M. E. Edwards
by two drawings to Something to My Advantage (pp. 481-
488). The Christmas number contains one Boyd Houghton,
The Christmas Tree (p. 80) ; a J. D. Watson, Given back on
Christinas Morn (p. 63) ; a very good F. W. Lawson, Did I
Offend? (p. 32) ; a delightful Charles Keene, How I lost my
Whiskers (p. 27) ; Sir Guys Goblet (p. 16), by M. E. Edwards,
and one by George Cruikshank, My Christmas Box, looking
curiously out of place here.

In the eleventh volume (1867) the four by W. Small
are among the most important. They are A Pastoral
Episode (p. 406), Quite Alone (p. 277), The Meeting {^. 163),
and Try to Keep Firm (p. 361); a J. D. Watson, Changes
(p. z^fj-, a Paul Gray, Goldsmith at the Tonple Gate{^. 392);
a J. G. Thompson, An Expensive Journey (p. 36) ; M. E.
Edwards's Winding of the Skein (p. 177), and L. C. Henley's
How I set about Paying my Debts (p. 388), are all that need be
mentioned. In the twelfth volume (1867) A. Boyd Houghton
signs a couple of drawings to A Spinster s Szveepstake (pp. 376,
383), G. J. Pinwell supplies two to Beautiful Mrs. Johnson
(pp. 136-248), F. W. Lawson two to Dedding Revisited
(p. 433), Without Reserve (p. 440), and four to Maiy Eagle-
stone's Lover (pp. 97, 103, 207, 362). Charles Green is

SOME ILLUSTRATED MAGAZINES
responsible for The Meeting at the Play (p. 276), and J. G.
Thompson for a series, Threading the Mazy at Islington.
The Christmas number is honoured by two fine drawings by
Charles Keene (p. 1 8) and a good double page by J. D. Watson,
Christmas at an old Manor-House. Sir John Gilbert, a
rare contributor to these pages, is represented by The Roiu-
horo2igIi Hollies (p. 41), M. E. Edwards by The Christmas
Rose (p. 16), and F. W. Lawson by My Turn Next (p. 73).

With its thirteenth volume (1868) London Society still
keeps up to the level it established. Among much that was
intended for the moment only there is also work of far more
sterling value. Charles Keene, in two drawings for Tonikins
Degree Supper (pp. 224, 232), is seen at his best, and how
good that is needs no retelling. Sir John Gilbert, among a
new generation, keeps his place as a master, and in four
drawings (pp. 113, 249, 314, 429) reveals the superb qualities
of his work, coupled, it must be said, with certain limitations
which are almost inseparable from rapid production. G. Du
Maurier is represented by two, Lift her to it (p. 324) and
The White Carnation (p. 558). The inscription of Expecta-
tion (p. 360), by ' the late M. J. Lawless', marks the final dis-
charge of an illustrator who did much to impart permanent
interest to the magazine. It is always a regret to find that
Mr. Sandys chose other fields of work, and that death withdrew
Lawless so soon ; for these two, not displaying equal power,
tosrether with Walter Crane maintained the decorative ideal
through a period when it was unpopular with the public and
apparently found little favour in editors' eyes. M. E. Edwards's
My Valentine (p. 114) and Married on her tenth Birthday
(p. 206). To this list must be added W. Small, with a
delightful out-of-doors study, 'You did not come' (p. 368);
G. B. Goddard with some capital ' animal ' pictures : Spring
of Life (p. 353), Buck Shooting (p. 72), and Dogs of Note
(pp. 75, 179); Wilfrid Lawson, A Spring-tide Tale (p. 472);
F. Barnard, A Bracing Mo7'ning (p. 60) ; A. W. Cooper,
The Old Seat (p. 268) ; and others by Tom Gray, J. G.
Thomson, W. L. Thomas, J. A. Pasquier. W. S. Gilbert,
S. E. Illingworth, Rice, W. Brunton, H. French, A. Crow-
quill, Edwin J. Ellis, Fane Wood, and Isaac L. Brown.
Vol. xiv., the second of 1S68, contains J. D. Watson's The
Oracle (p. 457) ; W. Small's The Lights on Gwyneth's Head

LONDON SOCIETY

(p. 165) ; A. Boyd Houghton, The Turn of the Tide (p. 458);
John Gilbert's Cousin Geoffrey s Chamber [Frontispiece), and
Box and Cox in Bay of Bengal (p. 392) ; Birket Foster's
The Falconer s Lay, probably engraved from a water-colour
drawing (p. 529); Wilfrid Lawson's Crnsh-room (p. 140);
For Charity's Sake (j^. 112); Behind the Scenes [^g. 141), The
Gentle Craft (p. 86), and The Goldeti Boat (p. 579), with
many others by the regular contributors. In the Christmas
number we find Lin ley Sambonrtie, whose work is encountered
rarely outside the pages of Punch, with a design for a
Christmas Day Costttme (p. 17); Charles Keene, with two
drawings for Our Christmas Turkey (pp. 44, 46) ; G. B.
Goddard's full-page, Knee-deep (p. 32); J. D. Watson's Aunt
Grace's Sweetheart (p. 19) and The Two Voices (p. 86) deserve

notmg.

In 1869 Wilfrid Lawson illustrates Why te- Melville's
M. or N., and has several other full-page drawings in his best
vein (pp. 8, 48, 89, 128, 152, 232, 307, 467, 540) ; J. Mahoney
is first met here with Officers and Gentlemen (p. 284), and
J. D. Watson supplies the frontispiece to vol. xv., Bringing
Home the Hay, and also that to vol. xvi., Second Blossom.
In this latter Wilfrid Lawson has illustrations to M. or N.
(pp. 1 56, 193, 236, 386); T. Morten, a powerful drawing, Winters
Night (p. 550) ; G. B. Goddard, The Sportman s Resolve
(p. 528). The other artists, including some new contributors,
are M. A. Boyd, Horace Stanton, E. J. Ellis, T. Sweeting,
James Godwin, F. Roberts, A. W. Cooper, L. Huard, and
B. Ridley. The Christmas number for 1869 contains a good
Charles Keene, The Coat zuith the Fur Lining (pp. i, 6);
Gilbert's Secret of Calverly Court (p. 4) ; M. E. Edwards's
How the Choirs were Carolling (p. 84) ; and J. Mahoney's
Mr. Daubarn (p. 49), with others of no particular importance.

The numbers for 1870 contain, inter alia, in the first half-
year, a good J. D.Watson, Going doion the Road [Frontispiece);
A Leaf from a Sketch-Book, by Linley Sambourne (printed,
like a series this year, on special sheets of thick white paper,
as four-page supplements), which contained lighter work by
artists of the hour, but none worth special mention.

J. Mahoney's Going to the Draiuing-room (p. 321), and
Sir Stephen s Question (p. 112), and Spring-time, drawn and
engraved by W. L. Thomas (p. 375), are among the most

SOME ILLUSTRATED MAGAZINES
interesting of the ordinary full pages. In the second half of
the year, volume i8, there is a full page, Not 3Iine {^1. 501),
by Arthur Mughes, which links 1855 to 1S70; A. W. Small,
After the Season (p. Zdi^) ! the very unimportant drawing by
^I. J. Lawless, An Episode of the Italian War (p. 97), has
interest as a relic ; J. Mahoney contributes two to The Old
House by the River (pp. 67, 172), and many others by H.
Paterson, Wilfrid Lawson, A. Claxton. This year a Holiday
number appeared, with a not very good J. D. Watson,
A Landscape Painter (p. 47), and two Francis Walkers,
A Summer Holiday and Rosalind and Celia, and other season-
able designs by various hands. The Christmas number has
a coloured frontispiece and other designs by H. D. Marks ;
J. D. Watson illustrates What might have happened (pp. 8,
17, 19) ; and Charles Keene, Gipsy Moll i^'^. 39, 45) ; Francis
Walker has The Star Rider (p. 59) and A Tale (p. 63) ;
F. A. Eraser, typical of the next decade, and one might say,
without undue severity, of the decadence also, and F. Gilbert,
that facile understudy of Sir John, show examples of work
differing as far as it well could ; but 1870 is the last stage we
need note here in the career of a magazine which did notable
service to the cause of illustration, and brought a good many
men into notice who have taken prominent part in the
history of ' black and white.' Without placing it on a level
with Once a ]Veek, it is an interesting collection of represen-
tative work, with some really first-rate drawing.

Oli.wlials tluit in the hollnw,5o pale I quake to foUow?
Oh. tliaV's a thin dead boclv which wail^ iheterual term '

i'lSi'- ''' y

CHAPTER V: OTHER ILLUSTRATED
PERIODICALS OF THE SIXTIES.
'CHURCHMAN'S FAMILY MAGAZINE,'
'SUNDAY MAGAZINE/ ETC.

jN devoting another chapter to periodicals
one must insist upon their relative impor-
tance ; for the time and money expended
on them in a single year would balance
possibly the cost of all the books mentioned
in this volume. In a naive yet admirable
article in the Christmas Booksellej-, 1862,
written from a commercial standpoint, the author says, speak-
ing of some pictures in Good Words : ' Some of these, we are
informed, cost as much as ;^5o a block, a sum which appears
marvellous when we look at the low price of the magazine ' ;
he instances also the celebrated 'J. B.'\ ' whose delineations
of animals are equal to Landseer. The magazines to be
noticed are those only which contain original designs ; others.
The National Mas^azine, the Fine Arts Quarterly, and the
like, which relied upon the reproductions of paintings, are
not even mentioned.

THE CHURCHMAN'S FAMILY MAGAZINE

Any periodical containing the work of Millais and Sandys
is, obviously, in the front rank, but The Churchman s Family
Magazine, which started in January 1863, did not long-
maintain its high level ; yet the first half a dozen volumes
have enough good work to entitle them to more than
passing mention. This, like Londo7t Society, was published
by Mr. James Hogg, and must not be confounded with
another of the same price, with similar title, The Churchman's
Shilling Magazine, to which reference is made elsewhere.
In the familiar octavo of its class, it is well printed and
well illustrated. The first volume contains two full pages
by Millais, Let that be please (p. 15) and Voii will forgive
me (p. 221); three illustrations by E. J. Poynter to The
Painters Glory (pp. 124, 131, 136); three by T. Morten
(pp. 137, 432, and 531) ; five by J. D. Watson, Only Grand-
mamma (p. 89), Christian Martyr (p. 104), Sunday Fvening

1 'J. B.' was Mrs. Blackburn, wife of Hugh Blackburn, Professor of Mathe-
matics in the University of Glasgow. Landseer said that in the drawing of
animals he had nothing to teach her.

OTHER ILLUSTRATED PERIODICALS
(p. 191), The Henuit (p. 260), and Mary Magdalene (^^. 346) ;
three by Charles Green to How Susy Tried (pp. 57, 64, 71),
and one each to Henry II. (p. 385), and An Incident in
Canterbury Cathedral {p. 482), a drawing strangely resembling
a 'John Gilbert.' H. S. Marks is represented by Home
Longing (p. 113) and Age and Youth (p. 337); H. H.
Armstead by Fourth Sunday in Lent (p. 245) and Angel
Teachers (p. 539); J. C. Horsley by y4«;;^ Boleyn (p. 136);
F. R. Pickersgill by The Still Small Voice (p. 586) ; G. H.
Thomas by Catechising in Church (p. 225), and R. Barnes
by Music for the Cottage (p. 289) and The Strange Gentle-
man (p. 293). Besides these the volume contains others by
Rebecca (sister to Simeon) Solomon (p. 571), L. Huard, D. H.
Friston, H. C. Selous, T. Macquoid, W. M'Connell, T.
Sulman, E. K. ]o\\\\?,o\\ {Spenser, p. 576), and J. B. Zwecker —
a very fairly representative group of the average illustrator of
the period. The second half of 1863 (vol. ii.) enshrines the
fine Frederick Sandys, The Waiting Time, an incident of the
Lancashire cotton famine (p. 91). Another of M. J. Lawless's
most charming designs, One Dead (p. 275), (reprinted under
the title of The Silent Chamber), will be found here. M. E.
Edwards contributes two, lanthes Grave [^. 128) and Child,
I said (p. 405) ; G. J. Pinwell is represented once with By the
Sea (p. 257) ; and T. Morten with The Bell-ringers' Christmas
Story (p. 513). The other artists include H. C. Selous,
C. W. Cope, F. R. Pickersgill, E. Armitage, A. W. Cooper,
E. H. Wehnert, E. H. Corbould, Marshall Claxton, P. W.
Justyne, P. Skelton, Paulo Priolo, D. H. Friston, H.
Sanderson, Creswick, and T. B. Dalziel. In vol. iii. (1864)
M. J. Lawless has Harold Masseys Confession (p. 65); C.
Green, Thinking and Wishing i^^. 223); G.J. Pinwell, J/a;r/^
Winds (p. 232) ; M. E. Edwards, At the Casement (p. 354) ;
and T. Morten, The Tivi light Hour (p. 553). Among other
contributors are Florence Caxton, L. Huard, H. M. Vining,
W. M'Connell, Rebecca Solomon, H. Fitzcook, John Absolom,
Percy Justyne, F. W. Keyl, W. J. Allen.

In vol. iv. are J. D. Watson's Crusaders in Sight of

Jerusalem (p. 557), T. B. Dalziel's In the Autumn Tzvilight

(p. 441), and A. W. Cooper's Lesson of the Watermill {^p.

339) ; Florence Caxton illustrates the serial. And in vol. v.

M. E. Edwards's Deare Childe (p. 114), and The Emblem of

M. I. LAWLESS

'churchman S FAMILY MAGAZINE
VOL. II p. 273

'ONE DEAD'

FREDERICK SANDYS

CHURCHMAN S FAMILY MAGAZINE
VOL. II. p. 91

THE WAITING TIiME

THE CHURCHMAN'S FAMILY A/[AGAZINE

Lijc (p. 64), and A. Boyd Houghton's A Word in Season
(p. 409), are best worth noting. Vol. vi. has a good study of
a monk, Desert Meditations (p. 493), and a Gixtchens Lanient
{p. 82), by M. E. Edwards. From vol. vii. onwards portraits,
chiefly of ecclesiastical dignitaries, take the place of pictures.

THE SHILLING MAGAZINE

This somewhat scarce publication is often referred to as
one of the important periodicals of the sixties, but on looking
through it, it seems to have established its claim on somewhat
slender foundation. True, it contains one of Sandys' most
memorable designs — here reproduced in photogravure from
an early impression of the block, a peculiarly fine drawing — to
Christina Rossetti's poem, Amor Mzmdi. It was reproduced
from a photograph of the drawing on wood in the first edition
of Mr. Pennell's admirable Pen Dratving and Pen Draughts-
men, and in the second edition are reproductions by process,
not only of Mr. Sandys' original drawing as preserved in a
Hollyer photograph, but of preliminary studies for the figures.

The rest of the illustrations of the magazine, which only
lived for a few months, are comparatively few and not above
the average in merit. The numbers. May 1865 to May 1866,
contain eight drawings by J. D. Watson, illustrating Mrs.
Riddell's Pheniie Keller. Thirteen by Paul Gray illustrate
The White Flower of Ravensworth, by Miss M. Betham-
Edwards. Others noteworthy are : Gythia, by T. R. Lamont ;
Dalmt, and An Incident of 1809, by J. Lawson ; Mistrust
and Love's Pilgritnage, by Edward Hughes ; a fine composi-
tion. Lost on the Fells, by W. Small, and a few minor drawings
mostly in the text. It was published by T. Bosworth, 215
Regent Street. This is a brief record of a fairly praiseworthy
venture, but there is really no more to be said about it.

THE SUNDAY MAGAZINE,

Another sixpenny illustrated monthly more definitely
religious in its aim than Good Words, of which it was an
offspring, was started in 1865. The illustrations from the first
were hardly less interesting than those in the other publica-
tions under the direction of Mr. Alexander Strahan. Indeed, it
would be unjust not to express very clearly and unmistakably
the debt which all lovers of black-and-white art owe to the
publisher of these magazines. The conditions of oil-painting

OTHER ILLUSTRATED PERIODICALS
demand merely a public ready to buy : whether the artist
negotiates directly with the purchaser, or employs an agent,
is a matter of convenience. But black-and-white illustration
requires a well-circulated, well-printed, well-conducted period-
ical : not as a middleman whose services can be dispensed
with, but as a vital factor in the enterprise. Therefore
drawings intended for publication imply a publisher, and
one who is not merely a man with pronounced artistic
taste, but also a good administrator and a capable man of
business. These triple qualifications are found but rarely
together, and when they do unite, the influence of such a
personality is of the utmost importance. Mr. Strahan, who
appears to have combined in no small degree the qualities
which go to make a successful publisher, set on foot two
popular magazines, which, in spite of their having long passed
their first quarter of a century, are still holding their ow^n. A
third, full of promise, Good Words for the Young, was cut off
in its prime, or rather died of a lingering disease, caused by
that l^xnhXo. mxzroh^ the foi'eign die lit'. Others, The Day of
Rest and Saturday Journal, also affected by the same ailment,
succumbed after more or less effort ; but the magazines that
relied on the best contemporary illustrators still flourish. The
moral, obvious as it is, deserves to be insisted upon. To-day
the photograph from life is as popular with many editors as
the cliche from German and French originals was in the
seventies ; but a public which tired of foreign electros may
soon grow weary of the inevitable photograph, and so the
warnino- is worth settino- down.

Like its companion. Good Words, it has known fat
years and lean years ; volumes that were full of admirable
drawings, and volumes that barely maintained a respectable
average. From the very first volume of the Sunday Magazine
we find among others R. Barnes, A. Boyd Houghton, M. E.
Edwards, Paul Gray, J. Lawson, F. W. Lawson, J. W. North,
G. J. Pinwell, and Marcus Stone well represented. The
standard of excellence implied by these names was preserved
for a considerable time. To this Pinwell contributes two
drawings. The House of God (p. 144) and Only a Lost Child
(p. 592), a typical character-study of town life. Paul Gray
has a full page. The JMaiden Martyr (p. 272), engraved by
Swain ; either the drawing is below his level, or it has

J. MAHONEY

' SUNDAY magazine'

I 866, p. 825

SUMMER

THE SUNDAY MAGAZINE

suffered badly at the hands of the engraver. The Orphan
Girl (p. 296), Clara LinzelTs Continentajy (p. 401), and
Dorcas (p. 617), by the same artist, are all interesting, but
do not represent him at his best. The single contribution
by A. Boyd Houghton, Friar Ives (p. 384), is not particularly
good. In Winter, by J. W. North (p. 328), we have a most
excellent drawino- of a snow -clad farm with a thrashine
machine at work in the distance, and two children in the
foreground. The delicacy and breadth of the work, and its
true tonality deserve appreciation ; it was engraved by Swain.
Drozu7ted (^. 585), by Marcus Stone, is not very typical. The
Watch at the Sepulchre (p. 940), by J. Lawson, is a spirited
group of Roman soldiers. Catight in a Thunderstorm, by
R. P. Leitch, engraved by W. J. Linton, is interesting to
disciples of 'the white line.' Edward Whymper supplies the
frontispiece. The Righi. M. E. Edwards, in the drawings to
Grandfathers Sunday (pp. 481, 489), appears to be under
the influence of G. H. Thomas. Robert Barnes has twenty
illustrations to Kate the Grandmother, and one each to Light
in Darkness (p. 25) and Otir Children. A series of fourteen
io Joshua Taylor's Passion, engraved by Dalziel, are unsigned;
the style leads one to credit them to F. A. Eraser, who in
later volumes occupied a prominent position. F. W. Lawson,
in A Romance of Truth (pp. 641, 649) and The Vine and its
Branches (p. 904), has not yet found his individual manner.
The rest of the pictures by T. Dalziel, F. J. Slinger, R. T.
Pritchett, F. Eltze, W. M'Connell, etc., call for no special
comment.

In 1866 J. Mahoney's Summer, the frontispiece to the
volume, is a notable example of a clever artist, whose work
has hardly yet attracted the attention it deserves ; Marie
(p. 753), a study of an old woman knitting, is no less good.
Birket Foster's Autumn (p. i) is also a very typical example.
Paul Gray's Among the Flowers (p. 624), a group of children
from the slums in a country lane, is fairly good. W. Small,
in Hebe Dtoibar 'from a photograph' (p. 441), supplies an
object-lesson of translation rather than imitation, which de-
serves to be studied to-day. In it, a really great draughtsman
has given you a personal rendering of facts, like those he
would have set down had he worked from life, and thereby
imparted individual interest to a copy of a photograph. This

OTHER ILLUSTRATED PERIODICALS

one block, if photographers would but study it, should convince
them that a good drawing is in every way preferable to a
' half-tone ' block from a photograph of the subject ; it might
also teach a useful lesson to certain draughtsmen, who employ
photographs so clumsily that the result is good neither as
photography nor as drawing, but partakes of the faults of
both. Three designs to the Atinals of a Quiet Neighbour-
hood, by Dr. George Mac Donald, (pp. 641, 713, 785), the
first quite in the mood of the hour, a capital piece of
work, and A Sunday Afternoon in a London Court, com-
plete Mr. Small's share in this volume. Robert Barnes
supplies the other eight drawings to Dr. Mac Donald's
story, and another, The Pitma7i and his Wife (p. 17), an
excellent specimen of his ' British Workman ' manner. F. J.
Shields, a very infrequent contributor to these magazines, has
a biblical group, ' Even as thou ivilt ' (p. ;^;^). Edward
Hughes (who must not be confounded with Arthur Hughes,
nor with the present member of the Old Water-Colour
Society, E. R. Hughes) is responsible for Under a Cottage
Roof (p. 192), The Bitter and Sweet (p. 249), The First
Tooth (p. 337), and The Poor Seamstress (p. 409) ; although a
somewhat fecund illustrator not devoid of style and inven-
tion, his work fails to interest one much to-day. J. Gordon
Thomson, so many years the cartoonist of /^w//, is represented
by On the Rock (p. 544). F. W. Lavvson's Hope (p. 120) and
A. W. Bayes's Saul and David (p. 703), with a drawing of
wild animals drinking, by Wolf, complete the list of original
work, the rest being engraved from photographs.

In 1867 A. Boyd Houghton is well to the fore with twelve
illustrations to the serial story by Sarah Tytler, Tlie Huguenot
Family in the English Village, besides full-page drawings,
some in his best manner, to A Proverb Illustrated (p. 33),
Heroes (p. 129), Luther the Singer (t^. 256), The Martyr (p.
348), The Last of the Family (p. 393), and A Lesson to a King
(p. 817). W. Small is only represented twice, with Jf'i/id me
a Summer Crozun (p. 65) and Philip's Mission (p. 752). J. W.
North has three admirable drawings. Foundered at Sea (p.
2So),/'mr£-(p. 560), Anitas Prayer (p. 609), the first and last
of these, both studies of shipwrecks, deserve to be remem-
bered for the truth of movement of the drawing of the waves,
and one doubts if any sea-pieces up to the date of their appear-

W
Q
J

A. BOYD HOUGHTON

SUNDAY MAGAZINE
1867, p. 817

A LESSON
TO A KING

A. BOYD HOUGHTON

SUNDAY MAGAZINE
1867, p. 258

LUTHER THE
SINGER

A. BOYD HOUGHTON

- "V - ' ■ =^^

'SUNDAY MAGAZINE

JOHN BAPTIST

J. MAHONEY

'good words
1868, p. 672

YESTERDAY
AND TO-DAY

J. W. NORTH

'SUNDAY MAGAZINE'
1867, p 609

ANITA'S PRAYER

THE SUNDAY MAGAZINE

ance had approached them for fact and beauty combined.
Both are engraved by Dalziels in an admirably intelligent
fashion. F. W. Lawson's The Chained Book (p. 104) and The
Revocation of the Edict of Nantes (p. 496), and In the Tunes
of the Lollards (p. 529), all deal with acrimonious memories of
the past. After the scenes of cruelty, persecution, and martyr-
dom which unfortunately are too often the chief dishes in the
menu of a religious periodical, it is a relief to turn to the
Cottars Farewell {^. 417), by J. D. Watson, or to the ' Norths'
before quoted. This most straightforward and accomplished
study of a dying peasant and his family shows the dignified
and simple treatment which the artist at his happiest moments
employed with complete mastery.

In 1868 A. Boyd Houghton is again the most frequent
contributor of full-page designs ; a bare list must suffice.
Sunday at Hippo (p. 57), Three Feasts of Israel {-p. 67), Pauls
Jtidge {p. 88), Sunday Songs, Siveden (p. 112), The Charcoal
Burners (p. 118), a drawing which looks like an intentional
'exercise in the manner of Gustave Dore,' who, despite
his enormous popularity in England, seems to have had
singularly little influence on English artists, so that this stands
out as a unique exception. Houghton has also The Feast
of the Passover (p. 185), The Poor Ulans Shuttle (p. 273),
Feast of Pentecost (p. 296), Samuel the Rtiler (p. 357),
George Herbert's Last Sunday (p. 424), Baden-Baden (p. 520),
The Good Samaritan [p. 552), Church of the Basilicas (p. 561),
foseplis Coat (p. 616), St. Paul Preaching (p. 681), and The
Parable of the Soiver (p. ']']']). G. J. Pinwell is seen in
three examples, A IVestphalian Parsonage (p. 192), Madame
de Krudener (pp. 704, 785) ; S. L. Fildes is here for the first
time with The Farmers /daughter (p. 656) ; J. Pettie has a
small drawing. My Sister (p. 176); J. Wolf, a clever 'lamb'
study (p. 529); and W. Small a most typical, almost
mannered, Stmday Morning (p. 182). J. Mahoney sup-
plies twenty-eight illustrations to The Occupations of a
Retired Life, by Edward Garrett, besides separate plates,
Sunday Songs from. Denmark (p. 16), Love Days (p. 137),
and Just Suppose (p. 649). J. Gordon Thomson contri-
butes eighteen drawings for Dr. George Macdonald's The
Seaboard Parish, and others of no particular interest are
attributed to Shield, F. A. Fraser, C. Morgan, Miles,

OTHER ILLUSTRATED PERIODICALS
Lamont, and Pasquier. Here, as in many other volumes, are
vignettes and tail-pieces by T. Dalziel, some of them most ad-
mirably drawn and all charmingly expressed in the engraving.

In 1869 A. Boyd Houghton still maintains his position.
This year his drawings are Wisdom of So/ot/ion (p. 16), Tke
Jevjs in tke Ghetto (p. 44), Martha and Mary (p. 65), Rehoboam
(p. 'i^),Jeivish Patriotism (p. 125), Stmdayin the Bush {p. 161),
Miss Bertha (pp. 384, 5 1 3), Babylonian Captivity (p. 633), John
Baptist (p. 641), and Samson (p. 760). G. J. Pinwell illustrates.
Edward Garrett's The Crust and the Cake with thirty-four
cuts. In one of these (p. 529), as in two other designs by the
same artist, you find that in drawing the lines of a harpsichord,
or grand piano, he has forgotten that the reversal required
by engraving would represent the instrument with its curve
on the bass, instead of the treble side — a sheer impossibility,
which any pianist cannot help noticing at a glance. His one
other contribution this year is The Gang Children (p. 25).
Represented by a solitary example in each case are J.
M'Whirter, Sunday Songs (p. 12); J. Pettie, Philip Claytons
First-born {^^. 69) ; Edward Hughes, Mother Maho7iey {ip. 196);
Towneley Green, Village Doctors Wife (p. 505) ; Robert
Barnes, A Missionary in the East (p. 57) ; and Arthur Hughes,
Blessings in Disguise (p. 156). J. Mahoney has The Cen-
turioii s Faith (p. 60), Building of the Minster (p. 352),
Hoppcty Bob (p. 417), Roger Rolf {^. 608), and Christmas
Eighteenth Century (p. 252). Francis Walker, with his Sunday
Songs (p. 93), Bird Fair, Shoreditch (p. 409), Feast of Taber-
nacles (p. 600), Widow Mullins (p. 673), and A Little Heroine
(p. 736) ; H. French, with '// is mor'e blessed' (p. 229), and A
Narrative Sermon (p. 632) ; and F. A. Eraser with Jesuit
Missions (p. loi), Wesley {p. 152), The }^ear (p. 217), A Queer
Charity (p. 576), and A Schivingfest (p. 665) ; the three latter
belong by rights to the men of the seventies rather than to
the group with which this volume is concerned.

In 1870 A. Boyd Houghton, one of the heroes of the
sixties, reappears with five contributions, one, quite out of
his ordinary manner, being a design for a group of statues,
St. Paul's Compajiions (p. 2)o) '' the others are My Mothers
Knee (p. 1 6), Sunday at Aix-les-bains (p. 88), Achsalt s Wedding
Gifts (p. 104), and Sister Edith's Probation (p. 600). J.
Mahoney signs but two : A Sun-dial in a Churchyard i^p. 704)

A. BOYD HOUGHTON

*SUNDAY magazine'

i863, p. 777

THE PARABLE
OF THE SOWER

ARTHUR HUGHES

'SUNDAY MAGAZINE
1871 p. 10

MY HEART

ARTHUR HUGHES

SUNDAY MAGAZINE
7869, p. 156

BLESSINGS IN
DISGUISE

J. LEIGHTON

' SUNDAY magazine'
1871, p. 408

A PARABLE

THE SUNDAY MAGAZINE

and Passover Obsen>ances (p. 736). F. A. Eraser and
Towneley Green supply the illustrations to the serials. W. J.
Wiegand contributes decorative head-pieces, and Hubert
Herkomer has two drawings, Dianas Portrait and Diana
Coverdale s Diary.

In 1871 Houghton has but two: A Woman that zvas a
Sinner {-p- 104) and The Withered Flower (p. 512). Arthur
Hughes, in three delightful designs, ]My Heart (p. 10), The
First Sunrise (p. 302), and Tares and Wheat (p. 353) ; J.
IMahoney with Diet of Atigsburg (p. 417) and Onr Mtlhnen
(p. 217); and W. Small with The Sea-Side Well (p. 249),
One of Many (p. 446), and fourteen illustrations to The Story
of the Mine, are about the only remnants of the old army.
John Leighton, a frequent contributor of decorative borders
and head-pieces, has a typical full-page, A Parable (p. 408).
The ' seventies ' are represented by R. Macbeth's Tom Joiner s
Good Angel {^. 313) ; and C. Green (who, like Small, belongs
to both periods) with his designs to The Great Jotirney (p. 1 19)
and Mills of Clotigh (pp. 560, 728).

CASSELL'S MAGAZINE,

A popular monthly periodical that is still in full vigour
under a slightly altered title, started in the decade immedi-
ately before the date that this book attempts to cover. As
Cassell's Family Paper, a large folio weekly, beyond the fact
that the ubiquitous Sir John Gilbert did innumerable good
things for its pages, one is not greatly interested in it. But
in 1865 it was changed to a quarto shape, and although
L. Huard supplied the front page pictures to vol. i., and so
the artistic position of the paper was not improved, yet soon
after the change we find a great illustrator contributing the
weekly drawing for its chief serial. For despite the in-
different engraving accorded to many of the blocks and
the absence of any signature, the autograph of William Small
is legible in every line of the illustrations to Bound to the
Wheel which started with vol. ii. in August 26, 1866, and
has sixteen half-page illustrations. This was followed by The
Secret Sign, with the same artist for a few chapters. Then
another hand appears, and soon after the monogram F. G.
shows that the second Gilbert (a brother, I believe, of the
more famous artist) has replaced W. Small. To one drawing

OTHER ILLUSTRATED PERIODICALS

of another serial, The Lion in the Path, the signature of
T. Morten is appended.

In April 1867 its title is changed to Cassell's Family
Magazine, and it is printed on toned paper. The serial,
Anne Judge, Spinster, by F. W. Robinson, has thirty
illustrations by Charles Green. No doubt the originals
were worthy of that admirable draughtsman ; indeed, despite
their very ordinary engraving, enough remains to show the
handling of a most capable artist. The succeeding serial,
Poor Hiimanity, is illustrated by B. Bradley. J. D. Watson
contributes occasional drawings — Ethel, on p. 22, being the
first. M. Ellen Edwards also appears, with F. W. Lawson,
F. A. Eraser, Henley, C. J. Staniland, R. T. Pritchett,
M. W. Ridley, J. Mahoney, and G. H. Thomas. It is
noteworthy of the importance attached to the illustrator at
this date, that the names of those artists who have contributed
to the magazine are printed in bold type upon the title-page
to each volume. These, as later, bear no date, so that only
in volumes bound with the wrappers in British Museum
fashion can you ascertain the year of their publication. In
vol. iii. (May 1868 onwards) you discover on p. 9 a drawing",
Cleve Cliff, by G. J. Pinwell, Its serial, A Fight for Life,
is illustrated by G. H. Thomas, whose pictures are not signed,
nor have I found that the authorship is attributed to the
artists within the magazine itself. But in the ' In Memoriam
volume, published soon after his death, several are reprinted
and duly credited to him. They were all engraved by
W. Thomas. The first appearance of S. L. Fildes, Wood-
land Voices, is on p. 137 of this volume. T. Blake Wirgman
has also a notable composition, A Sculptor s Love, and in
this and in volume iv. there are other drawings by Fildes,
Pinwell, and many by F. Barnard, F. S. Walker, and other
popular draughtsmen of the period.

In 1870 we find another change, this time to a page that
may be a quarto technically, but instead of the square propor-
tions we usually connect with that shape, it seems more akin to
an octavo. The illustrations are smaller, but far better en-
graved and better printed. W. Small illustrates WilkieCollins's
cleverly-constructed story, Man and Wife, with thirty-seven
pictures. His character-drawing appears at its best in ' Bishop-
riggs,' the old Scotch waiter, his love of beauty of line in two

FREDERICK SANDYS

'THE ARGOSY
1866, VOL. 1. p. 336

'IF'

CASSELL'S MAGAZINE

or three sketches of the athlete, ' Geoffrey Delamayne,' the
working villain of the story. The dramatic force of the group
on p. 305, the mystery of the scene on p. 529, or the finely-con-
trasted emotions of Anne Silvester and Sir Patrick on p. 481,
could hardly be beaten. The other contributors to this
vol. i. of the new series, include R. Barnes, Basil Bradley,
H. K. Browne, W. R. Duckman, E. H. Corbould, M. E.
Edwards, E. Ellis, S. L. Fildes, F. A. Eraser, E. Hughes,
F. W. Lawson, H. Paterson, and others, most of whom it
were kindness to ignore. For side by side with Mr. Small's
masterly designs appear the weakest and most common-
place full pages. Hardly one, except S. L. Fildes's A Sonnet
(p. 9), tempts you to linger a moment. In vol. ii. the serial
story. Checkmate, is illustrated by Towneley Green. The
drawings throughout are mainly by those who contributed
to the first volume. In the third volume, Charles Reade's
A Terrible Temptation is illustrated by Edward Hughes;
a somewhat powerful composition by J. D. L[inton], p. 377 ;
one by W. Small (p. 9), and others by J. Lawson, F. W.
Lawson, M. E. Edwards, are all that can claim to be noted.

BELGRAVIA

This illustrated shilling monthly, the same size and shape
as most of its predecessors, was not started until 1866, and
its earlier volumes have nothing in them sufficiently important
to be noticed. In the seventies better things are to be found.

THE ARGOSY

This monthly periodical, as we know it of late years,
suggests a magazine devoted to fiction and light literature,
with a frontispiece by some well-known artist, and small
engravings in the text mostly from photographs, or belonging
to the diagram and the record rather than to fine art. I
am not speaking of the present shilling series, but of the long
array of volumes from 1868 until a few years ago. Nor does
this opinion belittle the admirable illustrations by Walter
Crane, M. Ellen Edwards, and other artists who supplied its
monthly frontispiece. But the first four half-yearly volumes
were planned on quite different lines, and these deserve the
attention of all interested in the subject of this book, to a
degree hardly below that of the better-known magazines ;

OTHER ILLUSTRATED PERIODICALS

better known, that is to say, as storehouses of fine illustrations.
As these volumes seem to be somewhat scarce, a brief
resu»id of their contents will not be out of place. In the
year 1866 we have William Small at his best in twelve
illustrations to Charles Reacle's dramatic novel, Griffith Gaunt.
Whether because the ink has sunk into the paper and given
a rich tone to the prints, or because of their intrinsic merit,
it is not quite easy to say, but the fact remains that these
drawings have peculiar richness, and deserve to be placed
among the best works of a great artist not yet fully recognised.
One design by F. Sandys to Christina Rossetti's poem, If,
is especially noticeable, the model biting a strand of hair
embodies the same idea as that of Proud Maisie, one of the
best-known works of this master. A. Boyd Houghton has a
typical Eastern figure-subject, The Vision of Sheik Hamil;
Edward Hughes one, Hertiiiofte ; Paul Gray, a singularly
good drawing to a poem The Lead-Melting, by Robert
Buchanan. Another to a poem by George Macdonald, The
Sighing of the Shell, is unsigned, whether by Morten or Paul
Gray I cannot say, but it is worthy of either artist ; J. Lawson
has one to The Earl of Quarterdeck, JNI. Ellen Edwards
one to Cuckoo and one to Cape Ushant, a ballad by William
Allingham ; a group, with Napoleon as the central figure, is
by G. J. Pinwell, and J. Mahoney contributes three : Autumn
Tourists, Bell from the North, a girl singing by a Trafalgar
Square fountain, and The Love of Years. The ne.xt year,
1867, is illustrated more sparsely. Robert Falconer, by
George Macdonald, has one unsigned drawing, and nine by
William Small ; these, with A Knight - Errant by Boyd
Houghton, make up the eleven it contains. In the next year
Walter Crane illustrates the serial, Anne Hereford, by Mrs.
Henry Wood, and also a poem, Margaret, by his sister.

THE QUIVER

This semi-religious monthly magazine, published by Messrs.
Cassell and Co., was not illustrated at first. It is almost
unnecessary to describe it volume by volume, as a reprint of
its principal illustrations was made in 1867, when fifty-two
pictures were sandwiched between poems, and published in
a small quarto volume entitled 'Idyllic Pictures, drawn by
Barnes, Miss Ellen Edwards, Paul Gray, Houghton, R. P.

A. BOYD HOUGHTON

THE ARGOSY
1866, VOL. 1. p 500

THE VISION OF
SHEIK HAMIL

G. J. PINWELL

'the quiver'

1867

THE SAILOR'S VALENTINE

THE QUIVER

Leitch, Pinwell, Sandys, Small, G. Thomas, etc' The
curiously colloquial nomenclature of the artists on the title-
page is the only direct reference to their share in the book,
which is well printed, and includes some admirable illustra-
tions. The book is now exceptionally scarce, and like its
companion, Pictures of Society, selected from London Society,
must be searched for long and patiently. Personal inquiries
at all the accessible shops in London, Bath, and Edinburgh
failed to find one bookseller who had ever heard of either
book. Yet, in spite of it, single copies of both turned up
alternately on the shelves of men who were at the moment
of its discovery glibly doubting its existence. The ignorance
of booksellers concerning this period is at once the terror and
the joy of the collector. For when they do know, he will have
to pay for their knowledge.

Yet it would be unfair to the reputation of a periodical
which issued so many designs by representative artists of
the sixties to dismiss it without a little more detail. Started
as a non-illustrated paper on October 6, 1864, it entered the
ranks with a very capable staff. In 1866 a third series on
toned paper still further established its claim to be considered
seriously, and the fact that these few years supplied the
matter for the volume just mentioned shows that it fulfilled
its purpose well. In volume i. third series (1866), pictures by
A. Boyd Houghton will be found on pages 532, 585, 664,
728, j-^l^ 77^' ^"d 868 ; and in vol. ii. 1867, he appears upon
pages 88 and 456. Those by William Small (pp. 90, 232), G. J.
Pinwell (pp. 60, 641), and J. D. Watson (p. 596) also deserve
looking up. M. W. Ridley, an illustrator of promise, is also
represented. In vol. iii. 186S, J. D. Watson's designs on pages
25. 57. 497. 680, 713, and 745 are perhaps his best. Draw-
ings by John Lawson (p. 108), Hubert Herkomer (p. jt,), A.
Boyd Houghton (pp. 97, 705, 721, "j^tj)' S. L. Fildes (pp. 327,
417.433). G. J. Pinwell (pp. 121, 193, 449, 481, 585 and 753),
C. Green (p. 241), J. Mahoney (p. 328), and T. B. Wirgman
(p. 649) all merit notice. In vol. iv. many of the above artists
are represented — S. L. Fildes (p. 396), J. D. Watson (p. 407),
W. Small (p. 696), and the designs by S. L. Fildes and
J. D. Watson in the Christmas number being perhaps the most
noticeable. Other frequent contributors include R. Barnes,
C J. Staniland, M. E. Edwards, J. A. Pasquier, G. H.

OTHER ILLUSTRATED PERIODICALS

Thomas, F. W. Lawson, and Edith Dunn. AUhough not
to be compared artistically with its rivals, Good Words and
the Sunday Jllagazinc, it is nevertheless a storehouse of
good, if not of exceptionally fine, work.

THE CHURCHMAN'S SHILLING MAGAZINE,

A periodical of the conventional octavo size, affected by
the illustrated shilling periodicals of the sixties, was com-
menced in 1867. The first two volumes contain little of
note, and are illustrated by R. Huttula, John Leigh, E. F. C.
Clarke ; the third volume has M. E. Edwards, and in the
fifth volume Walter Crane supplies two full pages (pp. 267,
339). Despite the fact that it credited its artists duly in the
index, and seemed to have been most favourably noticed at
the time, it may be dismissed here without further notice.

TINSLEY'S MAGAZINE

This shilling monthly was started in August 1867 with
illustrations by ' Phiz,' W. Brunton, D. H. Friston, and A. W.
Cooper. A. Boyd Houghton's contributions include T/ie
Story of a Chignon (i. p. 544), For the King (ii. p. 149), and
The Return from Court (ii. p. 2>n)- J- D. Watson appears
in vol. iii. pp. 87, 399, 665, and a drawing, signed A. T.
(possibly Alfred Thompson), is on p. 207. But the magazine,
although published at a shilling, and therefore apparently
intended as a rival to the Cornhill and the rest, is not
important so far as its illustrations are concerned.

THE BROADWAY

This international magazine, heralded with much flourish
in 1867 by Messrs. Routledge, is of no great Importance, yet
as it was illustrated from its first number in September 1867
to July 1874, it must needs be mentioned. Examples of the
following artists will be found therein : — F. Barnard, G. A.
Barnes, W. Brunton, M. E. Edwards, Paul Gray, E. Griset,
A. B. Houghton, R. C. Huttula, F. W. Lawson, Matt
Morgan, Thomas Nash, J. A. Pasquier, Alfred Thompson,
and J. Gordon Thomson.

SAINT PAUL'S,

Yet another shilling magazine which was started In
October 1867, and published by Messrs. Virtue and Co., is

ST. PAUL'S

memorable for its twenty-two drawings by Millais. These
appeared regularly to illustrate Trollope's Phineas Finn
the Irish Member. A few illustrations by F. A. Fraser
were issued to Ralph the Heir, the next story, and to The
Three Brothers, but from 1871 it appears without pictures.
By way of working off the long serial by TroUope, Ralph
the Heir, independent supplements as thick as an ordi-
nary number, but entirely filled with chapters of the story
in question, were issued in April and October 1870.
So curious a departure from ordinary routine is worth

notmg.

GOOD WORDS FOR THE YOUNG,

A most delightful children's magazine, which began as a
sixpenny monthly under the editorship of Dr. Norman Macleod
in 1869, bids fair to become one of those books peculiarly dear
(in all senses) to collectors. There are many reasons why it
deserves to be treasured. Its literature includes several books
for children that in volume-form afterwards became classics ;
its illustrations, especially those by Arthur Hughes, appeal
forcibly to the student of that art, which is called pre-
Raphaelite, Esthetic, or Decorative, according to the mood
of the hour. Like all books intended for children, a large
proportion of its edition found speedy oblivion in the nursery ;
and those that survive are apt to show examples of the
amateur artist in his most infantile experiments with a penny
paint-box. From the very first it surrounded itself with that
atmosphere of distinction, which is well-nigh as fatal to a
magazine's longevity as saintliness of disposition to a Sunday-
school hero. After a career that may be called truthfully —
brilliant, it suddenly changed to a periodical of no importance,
illustrated chiefly by foreign cliches. How long it lingered in
this state does not concern us. Indeed, it is only by a liberal
interpretation of the title of this book that a magazine which
was not started until 1869 can be included \r\. the sixties zx
all ; but it seems to have continued the tradition of the sixties,
and until the first half of 1874, although it changed its editor
and its title (to Good Things), it kept the spirit of the first
volume unimpaired ; but after that date it joined the majority
of uninteresting periodicals for children, and did not sur-
vive its recantation for many years.

OTHER ILLUSTRATED PERIODICALS

In 1869 Arthur Hughes has twenty-four drawings to
George Macdonald's Ai the Back of the North Wind, and
ten to the earlier chapters of Henry Kingsley's Boy in Grey.
The art of A. Boyd Houghton is seen in three instances :
Cocky Locky's Journey (p. 49), Lessons from Russia (p. loi),
and The Boys of Axleford (p. 145). J. Mahoney has about a
dozen; H. Herkomer one to Lonely Jane (p. 28) ; and G. J.
Pinwell one to Black Rock (p. 255). Although, following the
example set by its parent Good Words, it credits the illustra-
tions most faithfully to their artists in a separate index, yet
it developed a curious habit of illustrating its serials with a
fresh artist for each instalment ; and, as their names are
bracketed, it is not an easy task to attribute each block to its
rightful author. The list which I have made is by my side,
but it is hardly of sufficient general interest to print here ;
as many of the sketches, despite the notable signatures upon
them, are trivial and non-representative. Other illustrations
in the first volume include one hundred and fifty-five
grotesque thumb-nail sketches by W. S. Gilbert to his King
Georges Middy, and many by F. Barnard, B. Riviere,
E. F. Brewtnall, E. Dalziel, F. A. Fraser, H. French,
S. P. Hall, J. Mahoney, J. Pettie, T. Sulman. F. S. Walker,
W. J. Wiegand, J. B. Zwecker, etc.

In 1870 Arthur Hughes contributes thirty-six illustrations
to Ranald Bannertnan s Boyhood, by George Mac Donald (who
succeeded Dr. Macleod as editor), forty-eight to the con-
tinuation of the other serial by the same author. At the
Back of the North I Find, four to the concluding chapters
of Henry Kingsley's Boy in Grey, and one to The White
Princess. A. Boyd Houghton has but two : Two Nests
(p. 13), Keeping the Cornucopia (p. 33); Miss Jane 'wander-
ing in the wood' (p. 44) is by H. Herkomer, while most of
the artists who contributed to the first volume reappear ; we
find also E. G. and T. Dalziel, Charles Green, Towneley Green,
and Ernest Griset.

In 187 1, Arthur Hughes, the chief illustrator of this
magazine, to whose presence it owes most of its interest
(since other artists are well represented elsewhere, but he is
rarely met with outside its pages), contributes thirty pictures to
Dr. George Mac Donald's Princess and the Goblin, and four-
teen others, some of which have been republished in Lillipuf

PAUL GRAY

'THE QUIVER

COUSIN LUCY

H. HERKOMER

'good words for the young'
1870, p. 44

WANDERING IN
THE WOOD

A. BOYD HOUGHTON

'good words for the voung
1870, p. 28

DON JOSE'S

MULE

ARTHUR HUGHES

*GOOD WORDS FOR THE YOUNG
1871, p. 100

BARBARA'S
PET LAMB

ARTHUR HUGHES

GOOD WORDS FOR THE YOUNG
1871, p. 145

MERCY

W. SMALL

'THE QUIVER

BETWEEN THE
CLIFFS

GOOD WORDS FOR THE YOUNG

Lectures and elsewhere, — one, Mercy (p. 195), reappearing
in that work, and again as the theme of a large painting
in oils, which was exhibited at the Royal Academy 1893, and
reproduced in The Ilhtstrated London Neivs, May 3rd of
that year. A. Boyd Houghton, in Don Josd's Mule (p. 28),
has a most delightfully grotesque illustration, and in two draw-
ings for The Merry Little Cobbler of Bagdad (pp. 337-338),
both in his 'Arabian Nights' vein, is typically representative.
For the rest, W. Small in My Little Gypsy Cousin (p. 95),
a good full page, and Ernest Griset with ten of his humorous
animal pictures, combine with most of the artists already
named to maintain the well-deserved reputation of the
magazine. In 1872 Arthur Hughes supplies nine delightful
designs for Gutta-Percha Willie, by the Editor ; twenty-four
to Innocent's Island, a long-rhymed chronicle by the author
of Lilliput Levde, and a curiously fantastic drawing to George
Mac Donald's well-known poem. The Wind and the Moon.
Some one, with the initials F. E. F. (not F. A. F.), illustrates
On the High Meadozvs in nineteen sketches ; with the ex-
ception of two by J. Mahoney, the rest of the pictures are
chiefly by F. A. Fraser, T. Green, F. S. Walker, W. J.
Wiegand, and J. B. Zwecker.

In 1873 the magazine changed its name to Good Things.
The most attractive illustrations are by Arthur Hughes : ten
to Sindbad in England {\ip. 25, 89, 129, 193, 236, 432, 481,
594, 641), two to Henry and Amy (pp. 72, 73), and one each
to A Poor Hicnchback (p. 17), The Wonderful Organ (p. 24),
and My Daughter (p. 136). J. Mahoney has a small design.
The Old Mill {-p. 600). The rest are by Ernest Griset, W. J.
Wiegand, and Francis Walker. On and after 1874 the clichd
enters, and all interest ceases. At this time the business of
trading in cliches had begun to assume large proportions.
You find sometimes, in the course of a single month, that
an English periodical hitherto exclusively British becomes
merely a vehicle for foreign cliches. In this instance the
change is so sudden that, excepting a few English blocks
which we may presume had been prepared before, the
foreigner is supreme. That, in at least three cases, the
demise of the publication was merely a question of months is
a sequel not to be regretted. But we need not assume too
hastily that the cliche killed it — possibly it had ceased to be

OTHER ILLUSTRATED PERIODICALS

profitable before, and the false economy of spending less has
tempted the proprietor to employ foreign illustrations.

BRITANNIA,

Another shilling illustrated magazine, was started in 1869.
The British Museum, it seems, possesses no set, and my own
copy has disappeared, excepting the first volume, but so far
as that proves, and my memory can be trusted, it was illus-
trated solely by Matt Morgan, a brilliant but ephemeral
genius who shortly after migrated to New York. The
peculiarity of this magazine is that, like T/ie Toviahaivk, a
satirical journal illustrated by the same artist, its pictures
were all printed in two colours, after the fashion of the old
Venetian wood-blocks. The one colour was used as a ground
with the high lights cut away ; the other block, for the
ordinary convention of line-drawing. Some of the pictures
are effective, but none are worthy of very serious consideration.

DARK BLUE

Although Dark Blue, a shilling monthly magazine, did
not begin until March 187 1, and ran its brief career until
March 1873 only, it deserves mention here, because quite
apart from its literary contributions which were notable,
including as they did Swinburne's End of a Month, Ros-
setti's Doivn Streani, its earlier volumes contain at least
two drawings that will be prized when these things are col-
lected seriously. Besides, it has a certain cachet of its own that
will always entitle it to a place. Its wrapper in colours, with
three classically-attired maidens by a doorway, is singularly
unlike that of any other publication ; possibly F. W. L.
would not be anxious to claim the responsibility of its design,
yet it was new in its day, and not a bad specimen of the good
effect of three simple colours on a white ground. Its serial.
Lost, a Romance by J. C. Freund, was illustrated by F. W.
Lawson, T. W. Perry, T. Robinson, and D. T. White ; and
its second serial. Take care zvhoni you trnst, by M. E.
Freere and T. W. Ridley. A full -page drawing (they are
all separately printed plates in this magazine), by Cecil
Lawson, Spring, is far more interesting. Musacns, by A. W.
Cooper, a somewhat jejune representation of the Hero and
Leander motive, and other illustrations by E. F. Clarke, W.

DARK BLUE

J. Hennessey, M. Fitzgerald, D. H. Friston, S. P. Hall,
J. A. H. Bird, are commonplace designs engraved by C. M.
Jenkin ; but The End of a Month, a study of two heads, by
Simeon Solomon, and Doivn Stream, by Ford Madox Brown,
(here reproduced from the original drawing on wood by
kind permission of Mr. Frederick Hollyer), represent the
work of two artists who very rarely appeared as magazine
illustrators. The literature includes many names that have
since become widely known, but the project failed, one
imagines, to secure popular support, and so it must be
numbered with the long list of similar good intentions.

THE BRITISH WORKMAN

It would be unjust to ignore a very popular penny
magazine because of its purely philanthropic purpose. For
from the first it recognised the importance of good illustra-
tions as its great attraction, and enlisted some of the best
draughtsmen to fulfil its didactic aim. We cannot help admir-
ing its pluck, and congratulating the cause it championed (and
still supports), and its fortune in securing coadjutors. The first
number, issued in February 1855, has a design, the Loaf
Lecture, by George Cruikshank on its first page ; for some time
H. Anelay and L. Huard were the most frequent contributors ;
then came John Gilbert and Harrison Weir, the earliest
important Gilbert being The Last Moments of Thomas Paine
(January 1862). As a sample of white-line engraving, a
block after a medallion of the Prince Consort, by L. C. Wyon,
and another of H.M. The Queen, would be hard to beat.
Among these more frequent contributors, we find drawings by
J. D. Watson, My accotmt with Her Majesty (August 1864)
and Parley and Flatte rwell {D&cemh&r 1865) being the most
notable ; and others by A. W. Cooper, and lastly many by
R. Barnes, whose studies of humble life yet await the full
appreciation they deserve. These large and vigorous engrav-
ings maintain a singularly high level of excellence, and, if
not impeccable, are yet distinctly of art, and far above the
ephemeral padding of more pretentious magazines.

THE BAND OF HOPE REVIEW

Of all unlikely publications to interest artist or collector a
halfpenny monthly devoted to teetotalism might take first

OTHER ILLUSTRATED PERIODICALS
place. Not because of its price, nor because it was a monthly
with a mission, for many cheap serials have attracted the
support of artists who gave liberally of their best for the sake
of the cause the publications championed. The Batid of Hope
Revieiv is no esoteric pamphlet, but a perfect instance of a
popular venture unconcerned, one would think, with art. It
would be easy to claim too much for it ; still the good work
in its pages merits attention. It was started in 1861 as a
folio sheet about the size of The Sketch, its front page being
always filled by a large wood-engraving. The first full page,
by H. Anelay, a draughtsman whose speciality was the good
little boy and girl of the most commonplace religious periodi-
cals, promises little enough. A series of really fine drawings
of animals and birds by Harrison Weir commenced in No. 2.
The third issue included a page by L. Huard, whose work
occasionally found its way to the shilling magazines, although
the bulk of it appeared in the mass of journals of the type
of the Lo7idon Journal, Bozv Bells, etc. In the fifth number
John Gilbert (not then knighted) appears with a fine drawing,
The Golden Star; J. Wolf, honourably distinguished as an
illustrator of animals, is also represented. For December
1862 John Gilbert provided a decorative composition of
The Ten Virgins, that is somewhat unlike his usual type. In
August 1865 Robert Barnes appears for the first time with
admirably drawn boys and girls full of health and character-
istically British. Afterwards one finds many of his full pages
all vigorous and delightfully true to the type he represents.
In August 1866 a group. Voting Cadets, may be selected as
a typical example of his strength and perhaps also of his
limitations. In 1870 the falling off apparent everywhere is as
noticeable in this unimportant publication as in those of far
higher pretensions. Here, as elsewhere, the foreign cliche
appears, or possibly the subjects were engraved specially,
and were not, as was so often the case, merely replicas of
German and French engravings. But all the same they are
from oil-paintings, not from drawings made for illustration.

THE LEISURE HOUR

The publications of the Religious Tract Society have em-
ployed an enormous mass of illustrations, but as the artist'.*
name rarely appears at the period with which we are concerned,

UNKNOW

LEISURE HOUR
1S64

ENOCH ARDEN

SIMEON SOLOMON

LEISURE HOUR
lS66, p. 604

THE FEAST OF
TABERNACLES

SIMEON SOLOMON

LEISURE HOUR

iS66, p. 540

THE DAY OF
ATONEMENT

THE LEISURE HOUR

either in the index of illustrations or below the engravings,
the task of tracing each to its source would be onerous and
the result probably not worth the labour.

Yet, in the volumes of the Leiszire Hour for the sixties,
there are a few noteworthy pictures which may later on
attract collectors to a periodical which so far appealed more,
one had thought, to parish workers than to art students.

The 1861 volume starts with the 471st number of the
magazine, illustrated by 'Gilbert' (probably Sir John). In
1863 coloured plates are given monthly, three being after
originals by the same artist, but, although attributed duly in
the advertising pages of its wrapper, the name of the design
does not appear in the index. With 1864 a surprise faces
you in the illustrations to Hurlock Chase, which are vigorous,
dramatic, and excellently composed, full of colour and breadth.
That they are by G. Du Maurier internal evidence proves
clearly, but there is no formal recognition of the fact. Robert
Barnes has a full page. Granny s Portrait (p. 825). Enoch
Arden is by 'an amateur whose name the publishers are
not able to trace. '^ In 1865 the illustrations to The Aivdries,
also unsigned, are distinctly interesting ; later the well-known
monogram of J. Mahoney is met with frequently. In 1866
a series of ten illustrations of the ceremonies of modern
Jewish ritual, domestic and ecclesiastical (pp. 72, 167,216,328,
376-475, 540, 603, 653, 823) appear. Contrary to the rule
usually observed here, they are entitled, 'by S. Solomon.'
These are, so far as I know (with four exceptions), the only
contributions to periodical literature by Simeon Solomon, an
artist who at this date bade fair to be one of the greatest pre-
Raphaelite painters. They are distinctly original both in their
technical handling and composition, and excellently engraved
by Butterworth and Heath. For their sake no collector
of the sixties should overlook a book which is to be
picked up anywhere at present. The illustrations to The
Great Van Britch property, unsigned, are most probably by
J. Mahoney. Others include George III. and Mr. Adams, a
full page by C. J. Staniland (p. 494) ; a series of Pen and
Pencil Sketches among the Outer Hebrides, R. T. Pritchett ;
Finding the body of William Rufiis, J. M. In 1867
J. Mahoney illustrates the serial. The Heiress of Cheevely
Dale, and contributes a full page. The Blue-Coat Boys

» Possibly A. R. Fairfield.
83

OTHER ILLUSTRATED PERIODICALS
Mother (p. 812) ; Whymper has two series, On the Nile and
A trip through the Tyrol, both oddly enough attributed to him
in the index. Silent, with scarce an exception, as regards
other artists, the sentence, 'engraved by Whymper,' finds
a place each time. In 1868 are more Mahoneys ; in 1869
Charles Green illustrates the serial.

THE SUNDAY AT HOME

This magazine, uniform with the Leisure Hour in style
and general arrangement, is hardly of sufficient artistic
interest to need detailed comment here. Started in 1852 it
relied, like its companion, on Gilbert and other less important
draughtsmen. In the sixties it was affected a little by the
movement. In 1863 there is one design by G. J. Pinwell,
The German Band {p. JSo)^ several by C. Green, and one
probably by Du Maurier (p. 513), who has also six most
excellent drawings to The Artist's Son in the number for
January, and one each to short stories, /ohn Henderson
and Siller and Gozud, later in the year. A serial in 1865
and one in 1866 are both illustrated by J. Mahoney ; and,
in the latter year, W. Small supplies drawings to another
story. Beyond a full page, obviously by R. Barnes, there
is nothing else peculiarly interesting in 1866; in the 1867
volume F. W. Lawson and Charles Green contribute a good
many designs. In 1868 S. L. Fildes has one full page,
St. Bartholomezu (p. 329), and F. A. F. appears; in 1869
Charles Green is frequently encountered, but the magazine
is not a very happy hunting-ground for our purpose.

OTHER SERIAL PUBLICATIONS

Serial issues of Cassell's History of England, the Family
Bible, and other profusely illustrated works might also repay
a close search, but, as a rule, the standard is too ordinary
to attract any but an omnivorous collector. Still, men of
considerable talent are among the contributors, (Sir) John
Gilbert for instance, and others like H. C. Selous, Paolo
Priolo, who never fell below a certain level of respectability.

Golden Hours, a semi-religious monthly, started in 1864 as
a penny magazine. In 1868 its price was raised to si.xpence,
and among its artist-contributors we find M. E. Edwards,
R. Barnes, and A. Boyd Houghton (represented once only)

OTHER SERIAL PUBLICATIONS

with An Eastern Wedding {j^. 849). In 1869 Towneley Green,
C. O. Murray, and others appear, but the magazine can
hardly be ranked as one representative of the period. Nor
is it essential to record in detail the mass of illustrations in
the penny weeklies and monthlies — to do so were at once
impossible and unnecessary ; nor the mass of semi-religious
periodicals such as Our Oivti Fireside and The Parish
Magazine, which rarely contain work that rises above the
dull average.

■*o^

THE BOYS' OWN MAGAZINE

The art of this once popular magazine may be dismissed
very briefly. J. G. Thomson made a lot of designs to
Silas the Conjtiror and other serials. R. Dudley, a conscien-
tious draughtsman whose speciality was mediaeval subjects,
illustrated its historical romances with spirit and no little
knowledge of archseological details. A. W. Bayes, J. A.
Pasquier, and others adorned its pages; but from 1863 to
its death it contains nothing interesting except to a very
rabid collector.

EVERY BOY'S MAGAZINE

This well-intentioned periodical (Routledge, 1863, etc.),
except for certain early works by Walter Crane, would scarce
need mention here. Its wrapper for 1865 onwards was from
a capital design by Walter Crane, who contributed coloured
frontispieces and titles to the 1864 and 1865 volumes. C. H.
Bennett illustrated his own romance of The Young Jllun-
chausen. In 1S67 it called itself The Yoitng Gentleman's
Magazine ; an heraldic design by J. Forbes Nixon, with the
shields of the four great public schools, replaced the Crane
cover. T. Morten, M. W. Ridley, and others contributed.
A. Boyd Houghton illustrated Barford Bridge, its serial for
1866, and Walter Crane performed the same offices to Mrs.
Henry Wood's Orville College in 1867. These few facts
seem to comprise all of any interest.

AUNT JUDY'S MAGAZINE

The sixpenny magazine for children, edited by Mrs.
Alfred Gatty, issued its first number. May 1 866. The artists
who contributed include F. Gilbert, J. A. Pasquier, T. Morten,

OTHER ILLUSTRATED PERIODICALS
M. E. Edwards, E. Griset, F. W. Lawson, E. H. Wehnert,
A. W. Bayes, A. W. Cooper, and others. There are two
drawings by George Cruikshank, and later on Randolph
Caldecott will be found. In both cases the illustrations
were for Mrs. Ewing's popular stories, which had so large a
sale, reprinted in volume-form. Neither in the drawings nor
in their engraving do you find anything else which is above
the average of its class.

Two other magazines remain to be noticed out of their
chronological order, both of little intrinsic importance, but of
peculiar value to collectors.

EVERYBODY'S JOURNAL,

A weekly periodical the size of the London Journal, and
not more attractive in its appearance, nor better printed,
began with No. i, October i, 1859, and ceased to exist early
in the following year ; probably before the end of January,
since the British Museum copy in monthly parts is inscribed
' discontinued ' on the part containing the December issues.
That a complete set is not in our great reference library is a
matter for regret ; for the first published illustration by Fred
Walker, which was issued in Everybody s Journal, January 14,
must needs have been in the missing numbers. Those
which are accessible include drawings by (Sir) John Gilbert,
T. Morten, and Harrison Weir, none of peculiar interest.
Among the names of the contributors will be found several
that have since become widely known.

ENTERTAINING THINGS

This twopenny monthly magazine, which is probably
as unfamiliar to those who read this notice as it was to me
until a short time since, was published by Virtue and Co.,
the first number appearing in January 1861. It contains
many designs by J. Portch, F. J. Skill, M. S. Morgan,
E. Weedar, W. M'Connell, P. Justyne, and W. J. Linton,
none being particularly well engraved. But it contains also
Walter Crane's first published drawing — a man in the coils
of a serpent (p. 327), illustrating one of a series of articles,
Among the Mahogany Cutters, which is not very important ;
another a few pages further on in the volume is even less
so. Collectors will also prize A Nocturne by G. Du Maurier,

ENTERTAINING THINGS

and some designs by T. Morton (sic). The Christmas
number contains a delightful design by A. Boyd Houghton,
T/ie Maid of the Wool-pack, and another drawing by Du
Maurier. The publication ceased, according to a note in
the British Museum copy, in May 1862. Among rarities
of the sixties this magazine may easily take a high place,
for one doubts if there are many copies in existence. Should
the mania for collecting grow, it is quite possible this volume,
of such slight intrinsic value, will command record prices.

BEETON'S ANNUALS

These were of two sorts, a badly printed shilling annual,
which appealed to children of all ages, and a six-shilling
variety, which appealed to those of a smaller growth. In the
higher-priced volumes for 1866 T. Morten, J. G. Thomson,
and J. A. Pasquier appear. In the shilling issue, an inde-
pendent publication, are more or less execrably engraved
blocks, after C. H. Bennett, G. Cruikshank, Jun., and others
who would probably dislike to have their misdeeds chronicled.
These publications added to the gaiety of nations, but
when they ceased no eclipse was reported. Yet a patient
collation of their pages renewed a certain boyish, if faded,
memory of their pristine charm, which the most cautious
prophet may assert can never be imparted anew to any
reader. Kiiigstoit's Annuals and Peter Parley s Annuals,
also revisited, left impressions too sad to be expressed here.
Nor need Routledges Christinas Anmials be noticed in
detail. To}n Hoods Comic Animals, which contained much
work typical of the seventies, although it began its long
career in 1869, includes so little work by heroes of the ' sixties '
that it need not be mentioned.

The mass of penny magazines for children do not repay
a close search. Here and there you will find a design by a
notable hand, but it is almost invariably ruined by poor
engraving ; so that it were kinder not to attempt to disjDel
the obscurity which envelops the juvenile ' goody-goody '
literature of thirty years ago.

CHAPTER VI: SOME ILLUSTRATED
WEEKLY PAPERS IN THE SIXTIES

lUNCH. — It is impossible to overlook the
famous weekly that from its own pages could
offer a fairly representative group of the
work of any decade since it was established ;
a paper which, if it has not attracted every
great illustrator, could nevertheless select a
hundred drawings from its pages that might
be fairly entered in competition with any other hundred
outside them. But, at the same time, to give a summary of
its record during the sixties, even as compressed as those of
The Cornhill Magazine, Once a Week, etc., would occupy
more pages than all the rest put together. Fortunately the
labour has been accomplished quite recently. Mr. M. H.
Spielmann's History of Punch supplies a full and admirably
digested chronicle of its artistic achievements. So that here
(excluding the staff-artists, Sir John Tenniel, Mr. Du Maurier,
Mr. Linley Sambourne, and the rest, and the greatest Punch
artist, Charles Keene, who was never actually upon its staff)
it will be sufficient to indicate where admirers of the men of
the sixties may find examples of their work for Punch ;
Sir John Millais appears twice upon p. 1 15 of vol. xliv. (1863)
with a design to Mokeanna, Mr. F. C. Burnand's laughable
parody, and again with Mr. Vandyke Broivns sons thrashing
the lay figure, in the Almanac for 1865, a drawing that faces,
oddly enough, one of Fred Walker's two contributions. The
New Bathing Company, Limited, Specimens of Costumes to be
worn by the Shareholders. The other Fred Walker, Captain
Jinks of the ' Selfish,' is on p. 74 of vol. Ivii. 1869 ; George J.
Pinwell is an infrequent contributor from 1863 to 1869 ; Walter
Crane appears but once, p. 33 (vol. li. 1 866) ; Frederick Shields's
three initials, which appeared in 1870, were drawn in 1867 ;
M. J. Lawless is represented by six drawings, which appeared
between May i860 and January 1861 ; F. W. Lawson has
some initials and one vignette in the volume for 1867 ;
Ernest Griset appears in the Almanac for 1867 ; J. G.
Thomson, for twenty years cartoonist of Fun, is an occa-
sional contributor between 1S61 and 1864 ; H. S. Marks
appears in 1861, and Paul Gray, also with a few initials
and 'socials,' up to 1865; Charles Keene's first drawing for

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G. DU MAURIER

PUNCH. MARCH 24, 1866

A LEGEND OF CAMELOT, Part IV

PUNCH

Punch is in 1852, he was 'called to the table' in i860, and
on a few occasions supplied the political cartoon. The mass
of his work within the classic pages is too familiar to need
more than passing reference. The first drawing by ' George
Louis Palmella Busson Du Maurier ' appears in i860, the
Legend of Caine/ot, with five drawings, which are already
historic, in 1866. These delicious parodies (here repro-
duced) of the pre-Raphaelite manner are as fascinating
to-day as when they first appeared.

FUN

This popular humorous penny weekly, which is still run-
ning, would be forever memorable as the birthplace of the
famous Bab ballads, with W. S. Gilbert's own thumbnail
sketches : yet it would be foolish to rank him as an illustrator,
despite the grotesque humour of these inimitable little figures.
The periodical, not (I believe) at first under the editorship
of Tom Hood, the younger, began in September 21, 1861.
The mass of illustrations must be the only excuse for failing
to include an orderly summary ; yet there is not, and there
is certainly no necessity for, an elaborate chronicle of the
paper, like Mr. Spielmann's admirable monograph in Punch.
But those who are curious to discover the work of less-
known men of the si.xties will find plenty to reward their
search. A clever parody of Millais' pre-Raphaelite manner is
given as a tail-piece. to the preface of vol. i. A. Boyd
Houghton supplied the cartoons for a short period, November
1866 to April 6, 1867. At least those signed A. H. are
attributed to him, and the first would almost suffice by itself to
decide it, did any doubt exist. Another cartoonist, who signed
his work with the device of a hen, is very freely represented.
F. Barnard was also cartoonist for a long time — 1869 onwards
— and J. G. Thomson, for a score of years, did excellent work
in the same department. The authorship of many of the
drawings scattered through its pages is easily recognised by
their style — others, as for instance one on page five of the
Almanac for 1866, puzzle the student. It looks like a Paul
Gray, but the monogram with which it is signed, although it
is indecipherable, is certainly not 'P. G.' W. J. Wiegand,
W. Brunton, H. Sanderson, Matt Stretch, Lieut. Seccombe,
L. C. Henley, F. S. Walker, and F. W. Lawson (see

SOME ILLUSTRATED WEEKLY PAPERS

for instance, Almanac for 1865, p. 11) contributed a great
many of the ' socials ' to the early volumes.

Then, as now, you find unconscious or deliberate imita-
tions of other artists' mannerisms. A rash observer might
attribute drawings here to C. Keene {Almanac for 1865, vi.),
and credit Tenniel with the title-page to vol. iv. N.S.

Still, as a field to discover the work of young artists who
afterwards become approximately great, Fnn is not a very
happy hunting-ground. Despite some notable exceptions,
its illustrators cannot be placed even upon the average of the
period that concerns us ; the presence of a half a dozen or so
of first-rate men hardly makes a set of the comic paper
essential to a representative collection. After renewed
intimacy with its pages there is a distinct feeling of dis-
appointment. That its drawings pleased you mightily, and
seemed fine stuff at the time, may be true ; but it only
proves that the enjoyment of a schoolboy cannot be re-
captured in after-life if the quality of the drawing be too
poor to sustain the weight of old-fashioned dress and jokes
whose first sparkle has dimmed beyond restoration.

JUDY,

The twopenny rival to Punch, began life on May i,
1867. Although Matt Morgan supplied many of the
early cartoons and 'socials,' the really admirable level it
reached in the eighties is not foreshadowed even dimly by
its first volumes. With vol. ii. J. Proctor, an admirable
draughtsman, despite his fondness for the decisive, unsympa-
thetic line which Sir John Tenniel has accustomed us to
consider part and parcel of a political cartoon, is distinctly
one of the best men who have worked this particular form
of satire. Afterwards ' W. B.' contributed many. The mass
of work, in the volumes which can be considered as belong-
ing to the period covered by this book, contains hardly a
single drawing to repay the weary hunt through their pages.
Yet the issues of a later decade are as certain to be prized by
students of the ' eighties ' as the best periodicals of the sixties
are by devotees of that period.

PUNCH AND JUDY,

Beginning in October 1869, yet another paper on similar
lines, ran a short but interesting career of twelve weeks, and

PUNCH AND JUDY

continued, in a commonplace way, for a year or two longer.
The reason the first dozen issues are worth notice here is
that the illustrations are all by ' graphotype process ' (which
must not be confused with the far earlier 'glyptography '), and
so appeal to students of the technique of illustration. The
principle of the graphotype process, it is said, was discovered
accidentally. The inventor was removing, with a wet camel-
hair brush, the white enamel from the face of a visiting-card,
when he noticed that the printing on it was left in distinct
relief. After many experiments the idea was developed, and
a surface of metal was covered with a powdered chalky sub-
stance, upon which the drawing was made with a silicate ink
which hardened the substance wherever it was applied. The
chalk was then brushed away and the drawing left in low
but distinct relief on the metal-plate, from which electrotypes
could be taken in the usual way. The experiment gained
some commercial success, and quite a notable group of artists
experimented with it for designs to an edition of Dr. Isaac
Watts's Divine and JMoral Songs, a most curious libretto for
an artistic venture. In Piincli and Jndy the blocks are by
no means bad as regards their reproduction. Desjoite the very
mediocre drawing of the originals, they are nevertheless pre-
ferable to the cheap wood-engravings of their contemporaries.
After its change, ' G. O. M.' (if one reads the initials aright),
or 'CO. M.,' contributes some average cartoons. When it
first appeared, at least one schoolboy was struck with the
curious difference of technique that the illustrations showed,
and from that time onwards had his curiosity aroused towards
process-work. Therefore, this lapse into anecdotage, in the
short record of a venture otherwise artistically unworthy to
be noticed here, may be pardoned.

WILL O' THE WISP

This, another periodical of the same class, started on
September 12, 1868, but unlike its fellows relied at first
solely upon a double-page political cartoon. From the
second number these were contributed by J. Proctor until
and after April 17, 1869, when other pictures were admitted.
With the 31st of July another hand replaces Proctor's vigor-
ous work. The volume for 1870 contains many woodcuts
(I use the word advisedly), unintentionally primitive, that should

SOME ILLUSTRATED WEEKLY PAPERS

please a certain school to-day. Whether the journal ceased
with its fourth volume, or lasted into the seventies, the
British Museum catalogue does not record, nor is it worth
while to pursue the inquiry further.

THE ILLUSTRATED LONDON NEWS

To notice this important paper in a paragraph is little
better than an insult, and yet between a full monograph
(already anticipated partially in Mr. Mason Jackson's The
Pictorial Press) and a bare mention there is no middle course.
As a rule the drawings are unsigned, and not attributed to
the artists in the index.

The Christmas numbers, however, often adopt a different
method, and print the draughtsman's name below each
engraving, which is almost always a full page. In that for
1865 we find Alfred Hunt, George Thomas, S. Read, and
John Gilbert, all regular contributors, well represented. In
the Christmas number of 1866 there Is Boyd Houghton's
Child's Christinas Carol, and other drawings by Corbould,
S. Read, J. A. Pasquier, Charles Green, Matt Morgan, and
C. H. Bennett.

OTHER ILLUSTRATED WEEKLIES

The Illustrated Times, first issued in October 1855,
maintained a long and honourable effort to achieve popularity.
A new series was started in 1867, but apparently also failed
to gain a footing. The artists included many men mentioned
frequently in this volume. The non-topical Illustrations
occasionally introduced were supplied chiefly by M. E.
Edwards, Adelaide and Florence Claxton, Lieut. Seccombe,
P. Skelton, and T. Sulman. Yet a search through its
pages revealed nothing sufficiently Important to notice in
detail.

The Illustrated Weekly N'eivs and The Penny Illustrated
Weekly Neivs are other lost causes, but the Penny Illustrated
Paper, which started in 1861, is still a flourishing concern ;
yet it would be superfluous to give a detailed notice of Its
work. Pan (date uncertain '), a short-lived sixpenny weekly.
Its cover was from a design by Jules Cheret. Facsimiles of

' The British Museum has no copy, and my own has been mislaid.

OTHER ILLUSTRATED WEEKLIES

A Head by Lord Leighton, and Proud Maisie by Frederick

Sandys, appeared among its supplements.

THE GRAPHIC

That this admirably conducted illustrated weekly re-
volutionised English illustration is granted on all sides. Its
influence for good or ill was enormous. With its first number,
published on December 4, 1869, we find a definite, official
date to close the record of the ' sixties ' ; one by mere chance,
chronologically as well as technically, appropriate. Of course
the break was not so sudden as this arbitrary limit might
suggest. The style which distinguished the Graphic had
been gradually prepared before, and if Mr. William Small is
credited with the greatest share in its development, such a
statement, incomplete as most generalities must needs be,
holds a good part of the truth, if not the whole. The work
of Mr. Small introduced new qualities into wood-engraving ;
which, in his hands and those of the best of his followers,
grew to be meritorious, and must needs place him with those
who legitimately extended the domain of the art of drawing
for the engraver. But to discuss the style which succeeded
that of the sixties would be to trespass on new ground, and
that while the field itself is all too scantily searched. Mr.
Ruskin dubbed the new style 'blottesque,' but, as we have
seen, he was hardly more enamoured of the manner that
immediately preceded it.

Many of the surviving heroes of the sixties contributed to
the Graphic. Charles Green appears in vol. i. with Irish
Emigrants, G. J. Pinwell with The Lost Child (January 8,
1870), A. Boyd Houghton has a powerful drawing. Night
Charges, and later, the marvellous series of pictures recording
his very personal visit to America.

William Small, R. W. Macbeth, S. L. Fildes, Hubert
Herkomer, and a crowd of names, some already mentioned
frequently in this book, bore the weight of the new enterprise.
But a cursory sketch of the famous periodical would do in-
justice to it. The historian of the seventies will find it takes
the place of Once a Week as the happy hunting-ground for
the earliest work of many a popular draughtsman and painter
— that is to say, the earliest work after his student and
experimental efforts. To declare that it still flourishes, and

SOME ILLUSTRATED WEEKLY PAPERS
with the Daily Graphic, its offspring, keeps still ahead of
the popular average, is at once bare truth and the highest
compliment which need be paid.

The illustrated weeklies in the sixties were almost as
unimportant, relatively speaking, as are the illustrated dailies
to-day. Yet to say that the weeklies did fair to monopolise
illustration at the present time is a common truth, and,
remembering what the Daily Graphic and the Daily Chronicle
have already accomplished, to infer that the dailies will do
likewise before 1900 has attained its majority is a prophecy
that is based upon a study of the past.

CHAPTER VII : SOME ILLUSTRATED
BOOKS OF THE PERIOD BEFORE i860

O draw up a complete list, with the barest
details of title, artist, author, and publisher
of the books in the period with which this
volume is concerned would be unnecessary,
and well-nigh impossible. The English
Catalogue, 1 863-1 87 2, covering but a part
of the time, claims to give some 30,000
entries. Many, possibly a large majority, of these books are
not illustrated ; but on the other hand, the current periodicals
not included contain thousands of pictures. The following
chapters cannot even claim to mention every book worth the
collector's notice, and refer hardly at all to many which
seemed to the compiler to represent merely the commercial
average of their time. Whether this was better or worse than
the commercial average to-day is of no moment. Nearly all of
the books mentioned have been referred to personally, and the
facts reported at first hand. In spite of taxing the inex-
haustible courtesy of the officials of the British Museum to
the extent of eighty or more volumes during a single after-
noon, I cannot pretend to have seen the whole output of the
period, for it is not easy to learn from the catalogue those
particulars that are needed to identify which books are
illustrated.

So far as we are concerned here, the interest of the book lies
solely in its illustrations, but the catalogue may not even
record the fact that it contains any, much less attribute them
to their author. Of those in which the artist's share has been
recognised by the publisher in his announcements, I have
done my best to find the first edition of each. By dint of
patient wading through the advertisements, and review columns
of literary journals, trade periodicals, and catalogues, a good
many have turned up which had otherwise escaped notice ;
although for the last twenty years at least I have never missed
an opportunity of seeing every illustrated book of the sixties,
with a view to this chronicle, which had been shaping itself if
not actually begun, long before any work on modern English
illustrators had appeared. When a school-boy I made a collec-
tion of examples of the work of each artist whose style I had
learned to recognise, and some of that material gathered

SOME ILLUSTRATED BOOKS

together so long ago has been of no Httle use now. These
personal reminiscences are not put forward by way of magni-
fying the result ; but rather to show that even with so many
years' desultory preparation the digesting and classification of
the various facts has proved too onerous. A staff of qualified
assistants under a capable director would be needed to accom-
plish the work as thoroughly as Mr. Sidney Lee has accom-
plished a not dissimilar, if infinitely more important, task —
The Dictionary of National Biography. A certain proportion
of errors must needs creep in, and the possible errors of omis-
sion are even more to be dreaded than those of commission.
A false date, or an incorrect reference to a given book or
illustration, is easily corrected by a later worker in the same
field ; but an omission may possibly escape another student of
the subject as it escaped me. As a rule, in a majority of cases
• — so large that it is practically ninety-nine per cent., if not
more — the notes have been made side by side with the publi-
cation to which they refer. But in transcribing hasty jottings
errors are apt to creep in, and despite the collation of these
pages when in proof by other hands, I cannot flatter myself
that they are impeccable. For experience shows that you never
open the final printed text of any work under your control as
editor or author, but errors, hitherto overlooked, instantly
jump from the page and force themselves on your notice.
An editor of one of the most widely circulated of all our
magazines confesses that he has made it a rule never to glance
at any number after it was published. He had too often suffered
the misery of being confronted with obvious errors of fact and
taste which no amount of patient care on his part (and he is
a most conscientious workman) had discovered, until it was too
late to rectify them. In the matter of dates alone a difficulty
meets one at first sight. Many books dated one year were
issued several months before the previous Christmas, and are
consequently advertised and reviewed in the year before the
date which appears upon their title-page. Again, many books,
and some volumes of magazines (Messrs. Cassell and Co.'s
publications to wit), bear no date. ' Women and books
should never be dated ' is a proverb as foolish as it is widely
known. Yet all the same, inaccuracy of a few months is of little
importance in this context ; a book or a picture does not cease
to exist as soon as it is born, like the performance of an actor

BEFORE iS6o

or a musician. Consequently, beyond its relative place as
evidence of the development or decline of the author's talent,
it is not of great moment whether a book was issued in 1S69
or 1870, whether a drawing was published in January or
February. But foi- those who wish to refer to the subjects
noted, the information has been made as exact as circum-
stances permitted. When, however, a book has been re-
issued in a second, or later edition, with no reference to
earlier issues, it is tempting to accept the date on its title-
page without question. One such volume I traced back from
186S to 1849, and for all I know the original may have been
issued some years earlier ; for the British Museum library is
not complete ; every collector can point with pride to a few
books on his shelves which he has failed to discover in its
voluminous catalogue.

To select a definite moment to start from is not easy, nor
to keep rigidly within the time covered by the dates upon the
cover of this book. It is necessary to glance briefly at some
work issued before 1855, and yet it would be superfluous to
re-traverse ground already well covered in The History of
IVood Engraving, by Chatto and Jackson, with its supple-
mentary chapter by H. G. Bohn (in the 1861 edition), in Mr.
W. J. Linton's Masterpieces of Engraving, in Mr. Joseph
Pennell's two sumptuous editions of Pen Draiviug and Pen
Draughtsmen (Macmillan), and the same author's Modern
Illnstrations (Bell), not to mention the many admirable
papers read before learned societies by Messrs. W. J. Linton,
Comyns Carr, Henry Blackburn, Walter Crane, William
Morris, and others. Still less is it necessary to attempt to
indorse their arguments in favour of wood-engraving against
process, or to repeat those which support the opposite view.
So that here, in the majority of cases, the question of the
engraver's share has not been considered. Mr. Pennell, for
one, has done this most thoroughly, and has put the case for
process so strongly, that if any people yet believe a wood-
engraving is always something sacred, while a good process
block of line work is a mere feeble substitute, there is little
hope of convincing them. Here the result has been the chief
concern. The object of these notes is not to prove what wood-
engraving ruined, or what might or ought to have been, but
merely to record what it achieved, without too frequent

SOME ILLUSTRATED BOOKS

expression of regret, which nevertheless will intrude as the
dominant feeling when you study many of the works executed
by even the better class wood-engravers.

One must not overlook the very obvious fact that, in the
earlier years, an illustration was a much more serious affair
for all concerned than it is to-day. In Jackson's Pictorial
Press we find the author says : ' Illustration was so seldom
used that the preparation of even a small woodcut was of
much moment to all concerned. I have heard William
Harvey relate that when Whittingham, the well-known
printer, wanted a new cut for his Chiswick Press Series, he
would write to Harvey and John Thompson, the engraver,
appointing a meeting at Chiswick, when printer, designer,
and engraver talked over the matter with as much delibera-
tion as if about to produce a costly national monument. And
after they had settled all points over a snug supper, the result
of their labours was the production a month afterwards of a
woodcut measuring perhaps two inches by three. At that
time perhaps only a dozen persons besides Bewick were
practising the art of wood-engraving in England.'

But this preamble does not seek to excuse the meagre
record it prefaces. A complete bibliography of such a fecund
illustrator as Sir John Gilbert would need a volume to itself.
To draw up detailed lists of all the various drawings in
The Ilhcstrated London Neivs, Punch, and other prominent
weeklies, would be a task needing almost as much co-operation
as Dr. Murray's great Dictionary. The subject, if it proves
to be sufficiently attractive, will doubtless be done piece by
piece by future workers. I envy each his easy pleasure of
pointing out the shortcomings of this work, for no keener joy
awaits the maker of a handbook than gibbeting his pre-
decessors, and showing by implication how much more
trustworthy is his record than theirs.

Few artistic movements are so sharply defined that their
origin can be traced to a particular moment, although
some can be attributed more or less to the influence of
one man. Even the pre-Raphaelite movement, clearly
distinct as its origin appears at first glance, should not be dated
from the formal draft of the little coterie, January 13th, 185 1,
for, as Mr. W. M. Rossetti writes, ' The rules show or suggest
not only what we intended to do, but what had been

D. G. ROSSETTI

'the music • master '
by william allingiiam
i3s5

THE MAIDS OF
ELFENMERE

BEFORE i860

occupying our attention since 1848. The day when we
codified proved also to be the day when no code was
really in requisition.' Nor has the autumn 1848 any better
claim to be taken as the exact moment, for one cannot
overlook the fact that there was Ford Madox Brown, a
pre-Raphaelite, long- before the pre-Raphaelites, and that
Ruskin had published the first volume of JModern Painters.
There can be little doubt that it was the influence of the
so-called pre-Raphaelites and those in closest sympathy
with them, which awakened a new interest in illustration,
and so prepared the ground for the men of the sixties ; but
to confine our notice from 1857 to 1867 — a far more accurate
period — would be to start without sufficient reference to the
work superseded by or absorbed into the later movement.
So we must glance at a few of the books which preceded both
\\\& Music-vtaster of 1855 and the Tennyson of 1857, either
volume, the latter especially, being an excellent point whence
to reckon more precisely ' the golden decade of British Art,'
as Mr. Pennell terms it so happily.

Without going back too far for our purpose, one of
the first books that contains illustrations by artists whose work
extended into the si.xties (and, in the case of Tenniel, far
beyond) is Poems and Pictures, ' A Collection of Ballads,
Songs, and Poems illustrated by English Artists' (Burns, 1846).
So often was it reprinted that it came as a surprise to
discover the first edition was fourteen years earlier than the
date which is upon my own copy. Despite the ornamental
borders to each page, and many other details which stamp
it as old-fashioned, it does not require a rabid apologist of
the past to discuss it appreciatively. From the first design
by C. W. Cope, to the last, A Storm at Sea, by E. Duncan,
both engraved by W. J. Linton, there is no falling off in
the quality of the work. The influence of Mulready is
discernible, and it seems probable that certain pencil draw-
ings for the Vicar of Wakefield, engraved in facsimile — so
far as was within the power of the craftsmen at that time — did
much to shape the manner of book-illustrations in the fifties.

Nor does it betray want of sympathy with the artists who
were thus influenced to regret that they chose to imitate draw-
ings not intended for illustration, and ignored in very many
cases the special technique which employs the most direct

SOME ILLUSTRATED BOOKS

expression of the material. In The MoJtrncr, by J. C. Horsley
(p. 2 2 ), you feel that the eng-raver (Thompson) has done his best
to imitate the softly defined line of a pencil in place of the
clearly accentuated line which is most natural in wood. Yet
even in this there is scarcely a trace of that elaborate cross-
hatching so easily produced in plate-engraving or pen drawing,
so tedious to imitate in wood. Another design, Time, by C.
W, Cope (p. 88), shows that the same engraver could produce
work of quite another class when it was required. Curiously
enough, these two, picked at random, reappear in almost
the last illustrated anthology mentioned in these chapters,
Cassell's Sacred Poems (1867).

Several books earlier in date, including De la Motte
Fouque's Undine, with eleven drawings by 'J. Tenniel, Junr.'
(Burns, 1846), and Sintram and his Companions, with designs
by H. S. Selous and a frontispiece after Diirer's The Knight
a7id Death need only be mentioned. The Jnveni/e Verse and
Picture Book (Burns, 1848), with many illustrations by Gilbert,
Tenniel, ' R. Cruikskank,' Weigall, and W. B. Scott, which
was reissued with altered text as Gems of National Poetry
(Warne, 1868), and yEsop's Fab/es {y[\ma.y, 1848), with 100
illustrations by Tenniel, deserve a bare mention. Nor should
The 'Bon Gaultier' Ballads (Blackwood, 1849) be forgotten.
The illustrations by Doyle, Leech, and Crowquill were
enormously popular in their day, and although the style of
humour which still keeps many of the ballads alive has been
frequently imitated since, and rarely excelled, yet its drawings
have often been equalled and surpassed, humorous although
they are, of their sort.

The Salamandrine, a poem by Charles Mackay, issued in a
small quarto (Ingram, Cooke, and Co., 1853), with forty-six
designs by John Gilbert, is one of the early volumes by the
more fecund illustrators of the century. It is too late in
the day to praise the veteran whose paintings are as familiar
to frequenters of the Royal Academy now as were his draw-
ings when the Great Exhibition entered a formal claim for
the recognition of British Art. Honoured here and upon the
Continent, it is needless to eulogise an artist whom all agree
to admire. The prolific invention which never failed is not
more evident in this book than in a hundred others decorated
by his facile pencil, yet it reveals — as any one of the rest

100

BEFORE i860

must equally — the powerful mastery of his art, and its limita-
tions. Thomson's Seasons, illustrated by the Etching Club
(1852), S. C. Halls Book of British Ballads (1852), an
edition of The Arabian Nights, with 600 illustrations by W.
Harvey ( 1 852), and Uncle Tom's Cabin, with 100 drawings
by George Thomas, can but be named in passing. Gray's
Elegy, illustrated by ' B. Foster, G. Thomas, and a Lady,'
(Sampson Low), The Book of Celebrated Poems, with eighty
designs by Cope, Kenny Meadows, and others (Sampson
Low), The Vicar of Wakefield, with drawings by George
Thomas, The Deserted Village, illustrated by members of the
Etching Club — Cope, T. Creswick, J. C. Horsley, F. Tayler,
H. J. Townsend, C. Stenhouse, T. Webster, R.A., and R.
Redgrave — all published early in the fifties — may also be
dismissed without comment. About the same time the ereat
mental sedative of the period — Tupper's Proverbial Philo-
sophy (Hatchard, 1854) — was reprinted in a stately quarto,
with sixty-two illustrations by C. \V. Cope, R.A., E. H. Cor-
bould, Birket Foster, John Gilbert, J. C. Horsley, F. R.
Pickersgill and others, engraved for the most part by ' Dalziel
Bros.' and H. Vizetelly. The dull, uninspired text seems to
have depressed the imagination of the artists. Despite the
notable array of names, there is no drawing of more than
average interest in the volume, except perhaps To-morroiv
(p. 206), by F. R. Pickersgill, which is capitally engraved by
Dalziel and much broader in its style than the rest.

Poems by Henry D^adsivorth Longfelloiu (David Bogue,
1S54) appears to be the earliest English illustrated edition of
any importance of a volume that has been frequently illustrated
since. This book is uniform with the Poetical IVorks of Jo Jin
Milton with 120 engravings by Thompson, Williams, etc.,
from drawings by W. Harvey, The Works of William
Coivper with seventy-five illustrations engraved by J. Orrin
Smith from drawings by John Gilbert ; Thomson's Seasons
with illustrations ' drawn and engraved by Samuel Williams,'
and Beat tie and Collins' Poems with engravings by the same
hand from designs by John Absolon. The title-page of the
Longfellow says it is illustrated by 'Jane E. Benham, Birket
Foster, etc' It is odd to find the not very elegant, 'etc'
stands for John Gilbert and E. Wehnert, also to note that
the engravers have in each of the above volumes taken

lOI

SOME ILLUSTRATED BOOKS

precedence of the draughtsman. Except that we miss
the pre-Raphaehte group for which we prize the Moxon
Tennyson to-day, the ideal of these books is very nearly the
same as of that volume. This edition of Lonofellow must
not be confused with another, a quarto, issued the following
year (Routledge, 1S55), 'with over one hundred designs
drawn by John Gilbert and engraved by the brothers Dalziel.'
This notable instance of the variety and inventive power of
the artist also shows (in the night pieces especially, pp. 13,
360), that the engraver was trying to advance in the direction
of ' tone ' and atmospheric effect ; and endeavouring to give
the effect of a ' wash ' rather than of a line drawing or the
imitation of a steel engraving. This tendency, which was not
the chief purpose of the work of the sixties, in the seventies
carried the technicalities of the craft to its higher achieve-
ments, or, as some enthusiasts prefer to regard it, to its utter
ruin, so that the photographic process-block could beat it on
its own ground. But these opposite views have been threshed
out often enough without bringing the parties concerned
nearer together to encourage a new attempt to reconcile the
opposing factions. The Longfellow of 1855 ^^^ reissued
with the addition of Hiaivatha in 1856. Another edition of
Hiaivatka, illustrated by G. H. Thomas, issued about this
time, contains some of his best work.

Allingham's Music-master (Routledge, 1855') is so often
referred to in this narrative that its mere name must suffice
in this context. But, as the book itself is so scarce, a sentence
from its preface may be quoted: 'Those excellent painters'
(writes Mr. Allingham), 'who on my behalf have submitted
their genius to the risks of wood-engraving, will, I hope,
pardon me for placing a sincere word of thanks in the book
they have honoured with this evidence through art of their
varied fancy.' To this year belongs also The Task, illustrated
by Birket Foster (Nisbet, 1855).

Eliza Cook's Poems (Routledge, 1856) is another sump-
tuously illustrated quarto gift-book with many designs by John
Gilbert, J. Wolf, Harrison Weir, J. D. Watson, and others,
all engraved by Dalziel Brothers. A notable drawing by
H. H. Armstead, The Trystiiig Place (p. 363), deserves
republication. In this year appeared also the famous edition
of Adams's Sacred Allegories with a number of engravings

102

BEFORE i860

from original drawings by C. W. Cope, R.A., J. C. Horsley,
A.R.A., Samuel Palmer, Birket Foster, and George C.
Hicks. The amazing quality of the landscapes by Samuel
Palmer stood even the test of enormous enlargement in
lantern slides, when Mr. Pennell showed them at his lectures
on the men of the sixties ; had W. T. Green engraved no other
blocks, he might be ranked as a great craftsman on the
evidence of these alone.

In George Herbert's Poetical Works (Nisbet, 1856), with
designs by Birket Foster, John Clayton, and H. N. Humphreys,
notwithstanding the vitality of the text, the drawings are
sicklied over with the pale cast of religious sentimentality
which has ruined so much religious art in England. A
draughtsman engaged on New Testament subjects of that
time rarely forgot Overbeck, Raphael, or still more ' pretty '
masters. In the religious illustrations of the period many
landscapes are included, some of them exquisite transcripts of
English scenery, others of the ' Oriental ' order dear to the
Annuals. The delightful description of one of these imaginary
scenes, by Leland, ' Hans Breitmann,' will come to mind, when
he says of its artist that

'All his work expanded with expensive fallacies.
Castles, towered walls, pavilions, real-estately palaces.
In the foreground lofty palm-trees, as if full of soaring love,
Bore up cocoa-nuts and monkeys to the smiling heavens above ;
Jet-black Indian chieftains — at their feet, too, lovely girls were

sighing,
With an elephant bej'ond them, here and there a casual lion.'

George Herbert the incomparable may be hard to illustrate,
but, if the task is attempted, it should be in any way but
this delineation of pretty landscapes, with ' here and there a
casual lion.' This reflection upon the mildly sacred composi-
tions of ' gilt-book ' art generally, although provoked by this
volume, is applicable to nearly every one of its fellows.

In Rhymes and Roundelays, illustrated by Birket Foster
(Bogue, 1856), the designs are not without a trace of artifi-
ciality, but it contains also some of the earliest and best ex-
amples of a most accomplished draughtsman, and in it many
popular blocks began a long career of ' starring,' until from
guinea volumes some were used ultimately in children's primers
and the like.

103

SOME ILLUSTRATED BOOKS

The Works of Williaiii Shakespeare illustrated by John
Gilbert (Routledge, 1856-8) will doubtless be remembered
always as his masterpiece. At a public dinner lately, an artist
who had worked with Sir John Gilbert on the Illustrated
London Neivs, and in nearly all the books of the period illus-
trated by the group of draughtsmen with whom both are
associated, spoke of his marvellous rapidity — a double-page
drawino- done in a single night. Yet so sure is his touch that
in the mass of these hundreds of designs to Shakespeare you
are not conscious of any scamping. Without being archato-
logically impeccable, they suggest the types and costumes of
the periods they deal with, and, above all, represent embodi-
ments of actual human beings. They stand apart from the
grotesque caricatures of an earlier school, and the academic
inanities of both earlier and later methods. Virile and full of
invention, the book is a monument to an artist who has done
so much that it is a pleasure to discover some one definite
accomplishment that from size alone may be taken as his
masterpiece, if merely as evidence that praise, scantily
bestowed elsewhere, is limited by space only.

Scott's Lady of the Lake, illustrated by John Gilbert,
appeared in 1856. The other volumes, Mariiiion, the Lady of
the Lake, and the Lay of the Last Minstrel, appear to have
been published previously ; but to ascertain their exact date
of issue, the three bulky volumes of the British Museum
catalogue devoted to ' Scott (Walter) ' can hardly be faced
with a light heart. This year saw an edition of Bunyan's
Pilgrlnis Progress with outline drawings by J. R. Clayton,
who is sometimes styled 'J. R.,' and sometimes 'John.' An
illustrated guinea edition of a once popular ' goody ' book.
Ministering Children, with designs by Birket F'oster and
H. Le Jeune (Nisbet, 1856), an edition of Edgar Allan
Foe's Works, illustrated by E. H. Wehnert and others (Addey,
1856) ; Coleridge's Ancient Mariner, with pictures by Birket
Foster, A. Duncan, and E. H. Wehnert, are also of this year,
to which belongs, although it is post-dated, Pollok's Course
of Time (W. Blackwood, 1857), a book containing fifty fine
illustrations by Birket Foster, John Tenniel, and J. R. Clayton,
engraved by Edward Evans, Dalziel Brothers, H. N. Woods,
and John Green. A block by Dalziel, after Clayton, on page
19, shows a good example of the white line, used horizontally,

104

FORD MADOX BROWN

WILLMOTt's ' POETS OF THE
NINETEENTH CENTURY,' 1S57

THE PRISONER
OF CHILLON

BEFORE i860

for the modelling of Hesh, i^omewhat in the way, as Panne-
maker employed it so effectively in many of Gustave Dore's
illustrations years after. The twenty-seven Birket Fosters
are full of the special charm that his work possesses, and show
once again how a great artist may employ a method, which,
merely ' pretty ' in inferior hands, has something of greatness
when he touches it.

In the next year appeared the famous ' Poc))is by Alfred
Tennyson, D.C.L.,Yo&t-V.■^MX(t^.\.^. London. Edward Moxon,
Dover St., 1857.' Not even the bare fact that it was illustrated
appears on the title-page. As the book has been re-issued lately
in a well-printed edition, a detailed list of its contents is hardly
necessary; nor need any of the illustrations be reproduced
here. It will suffice to say that Dante Gabriel Rossetti is
represented by five designs to The Lady 0/ Shallott (p. 75),
Mariana {p. 82), Palace of Art (pp. 113-119), Sir Galahad
(p. 305) ; Millais has eighteen, W. Holman Hunt seven,
W. Mulready four, T. Creswick six, J. C. Horsley six,
C. Stanfield six, and D. Maclise two. A monograph by Mr.
G. Somes Layard, Tennyson and his prc-Raphaclite I llnstrators
(Stock, 1894), embodies a quantity of interesting facts, with
many deductions therefrom which are not so valuable. In the
books about Rossetti and the pre-Raphaelites, and their name
is legion, this volume has rarely escaped more or less notice,
so that one hesitates to add to the mass of criticism already
bestowed. The whole modern school of decorative illustra-
tors regard it rightly enough as the genesis of the modern
movement ; but all the same it is only the accidental presence
of D. G. Rossetti, Holman Hunt, and Millais, which entitles it
to this position. It satisfies no decorative ideal as a piece of
book-making. Except for these few drawings, it differs in no
respect from the average ' quarto poets ' before and after. The
same ' toned ' paper, the same vignetted pictures, appear ; the
proportions of the type-page are merely that in ordinary use ;
the size and shape of the illustrations was left apparently to
pure chance. Therefore, in place of talking of the volume
with bated breath as a masterpiece, it would be wiser to
regard it as one of the excellent publications of the period,
that by the fortuitous inclusion of a few drawings, quite out
of touch with the rest, has acquired a reputation, which, con-
sidered as a complete book, it does not deserve. The

105

SOME ILLUSTRATED BOOKS

drawings by Rossetti, even as we see them after translation
by the engraver had worked his will, must needs be valued
as masterpieces, if only for the imagination and thought
compressed into their limited space, and from their exquisite
manipulation of details. At first sight, some of these — for
instance, the soldier munching an apple in the SL Cecilia —
seem discordant, but afterwards reveal themselves as commen-
taries upon the text — not elucidating it directly, but em-
broidering" it with subtle meanings and involved symbolism.
Such qualities as these, whether you hold them as superfluous
or essential, separate these fine designs from the jejune
simplicity of the mass of the decorative school to-day. To
draw a lady with 'intense' features, doing nothing in particular,
and that in an anatomically impossible attitude, is a poor
substitute for the fantasy of Rossetti. No amount of poorly
drawn confused accessories will atone for the absence of the
dominant idea that welded all the disturbing elements to a
perfect whole. One artist to-day, or at most two, alone show
any real effort to rival these designs on their own ground.
The rest appear to believe that a coarse line and eccentric
composition provide all that is required, given sufficient
ignorance of academic draughtsmanship.

Another book of the same year, 1 he Poets of the Nine-
teenth Century, selected and edited by the Rev. Robert
Aris Willmott (Routledge, 1857), is in many respects
quite as fine as the Tennyson, always excepting the pre-
Raphaelite element, which is not however totally absent.
For in this quarto volume Millais' Love (p. 137) and The
Dream (p. 123) are worthy to be placed beside those just
noticed. Ford Madox Brown's Prisoner of Chit/on (p. 1 1 1)
is another masterpiece of its sort. For this we are told the
artist spent three days in a dissecting-room (or a mortuary —
the accounts differ) to watch the gradual change in a dead
body, making most careful studies in colour as well as
monochrome all for a foreshortened figure in a block 3|- by
5 inches. This procedure is singularly unlike the rapid in-
spiration which throws off compositions in black and white
to-day. In a recent book received with well-deserved ap-
plause, some of the smaller ' decorative designs ' were produced
at the rate of a dozen in a day. The mere time occupied
in production is of little consequence, because we know

106

JOHN GILBERT

WILLMOTT S POETS OF THE
NINETEENTH CENTURY,' 1857

HOHENT.INDEN

F. R. PICKERSGILL

WILLMOTl S 'I-OETS OF THE
KIXETEENTH CENTURY,' 1857

THE WATER
NYMPH

BEFORE i860

that the apparently rapid ' sketch ' by Phil May may have
taken far more time than a decorative drawing, with elabo-
rately minute detail over every inch of its surface ; but,
other qualities being equal, the one produced with lavish
expenditure of care and thought is likely to outlive the trifle
tossed off in an hour or two. In the Poets of the Nineteenth
Century the hundred engravings by the brothers Dalziel
include twenty-one of Birket Foster's exquisite landscapes,
all with figures ; fourteen by W. Harvey, nine by John Gilbert,
six by J. Tenniel, five by J. R. Clayton, eleven by T, Dalziel,
seven by J. Godwin, live by E. H. Corbould, two by D.
Edwards, five by E. Duncan, seven by J. Godwin, and one
each by Arthur Hughes, W. P. Leitch, E. A. Goodall, T. D.
Hardy, F. R. Pickersgill, and Harrison Weir — a century of
designs not unworthy as a whole to represent the art of the
day ; although Rossetti and Holman Hunt, who figure so
strongly in the Tennyson, are not represented. This year
John Gilbert illustrated the Book of Job with fifty designs ;
The Proverbs of Solomon (Nisbet, 1858), a companion volume,
contains twenty drawings.

Another noteworthy volume is Barry Cornwall's Dramatic
Scenes and other Poems (Chapman and Hall, 1857) illustrated
by many of the artists already mentioned. The fifty-seven
engravings by Dalziel include one block on p. 45, from a
drawing by J. R. Clayton, which is here reprinted — not so
much for its design as for its engraving ; the way the breadth
of the drapery is preserved, despite the elaborate pattern on
its surface, stamps it as a most admirable piece of work.
Thornbury's Legends of the Cavaliers and Rottndheads {\i\irst
and Blackett, 1857), was illustrated by H. S. Marks.

So far the few books of 1857 noticed have considerable
family likeness. The Bunyan's Pilgrim's Progress (Nisbet,
1857), illustrated with twenty designs by G. H. Thomas,
more slight in its method, reflects the journalistic style of its
day rather than the elaborate ' book ' manner, which in many
an instance gives the effect of an engraving 'after' a painting
or a large and highly- wrought fresco. As one of the many
attempts to illustrate the immortal Protestant romance it
deserves noting. To this year belongs The Poetical IVoj-ks
of Edgar Allan Poe, illustrated with some striking designs
by John Tenniel, and others by F. R. Pickersgill, R.A.,
R 107

SOME ILLUSTRATED BOOKS

Birket Foster, Percival Skelton ; and besides these, Felix
Darley, P. Duggan, Jasper Cropsey, and A. W. Madot —
draughtsmen whose names are certainly not household words
to-day. In the lists of 'artists' the portrait of the author is
attributed to ' daguerreotype ' ! one of the earliest instances I
have encountered of the formal appearance of the ubiquitous
camera as an artist. Longfellow's prose romance, Kavanagh
(Kent, 1857), with exquisite illustrations by Birket Foster,
appeared this year ; Hyperion (Dean), illustrated by the same
author, being: issued the followino- Christmas.

Poetry and Pictures from Thomas Moore (Longman,
1857), the Poems and Songs of Robert Bnrns (Bell and Daldy,
1857), both illustrated by Birket Foster and others, and The
Fables of ^sop, with twenty-five drawings by C. H. Bennett,
also deserve a passing word. Gertrude of Wyoming, by
Thomas Camj^bell (Routledge, 1857), is only less important
from its dimensions, and the fact that it contains only thirty-
five illustrations, engraved by the brothers Dalziel, as against
the complete hundred of most of its fellows. The drawings by
Birket Foster, Thomas Dalziel, Harrison Weir, and William
Harvey include some very good work.

Lays of the Holy Zrt;;^^ (Nisbet, 1858), clad in binding of
a really fine design adapted from Persian sources, is another
illustrated quarto, with one drawing at least — Tlie Finding
of Moses — by J. E. Millais, which makes it worth keeping ;
a 'decorative' Song of Bethlehem, by J. R. Clayton, is ahead
of its time in style ; the rest by Gilbert, Birket Foster, and
others are mostly up to their best average. The title-page
says ' from photographs and drawings,' but as every block is
attributed to an artist, the former were without doubt re-
drawn and the source not acknowledged — a habit of
draughtsmen which is not obsolete to-day.

Perhaps the most important illustrated volume of the
next year is The Home Affections [_portrayed'\ by the Poets,
by Charles Mackay (Routledge, 1858), which continues the
type of quarto gilt-edged toned paper table-books so frequent
at this time. Its illustrations are a hundred in number, all
engraved by Dalziels. Its artists include Birket Foster, John
Gilbert, J. R. Clayton, Harrison Weir, T. B. Dalziel, S.
Read, John Abner, F. R. Pickersgill, R.A., John Tenniel,
with many others, 'and' (as play-bills have it) J. Everett

108

J. R. CLAYTON

UARRV Cornwall's

' DRAMATIC SCENES '
1857

OLYMPIA AND
BIANCA

J. E. MILLAIS

•home At-FECTIONS FROM
THE POETS,' 1858

THERE'S NAE LUCK
ABOUT THE HOUSE

J. E. MILLAIS

'home affections from
the poets,' 185s

THE BORDER
WIDOW

BEFORE i860

Millais, A.R.A. There's nae Ltick about the Hotise (p. 245)
and The Border Widoiv (p. 359) are curiously unlike in
motive as well as handling ; the one, with all its charm, is of
the Mulready school, the other intense and passionate, highly
wrought in the pre-Raphaelite manner. Yet after the Millais'
all the other illustrations in the book seem poor. A landscape
by Harrison Weir (p. 193), Lenore, by A. Madot (p. 159),
a very typical Tenniel, Fair Ines (p. 135), Oriana (p. 115),
Hero and Leandcr (p. 91), The Hermit (p. 67), and Good-
night in the Porch (p. 195), by Pickersgill, claim a word of
appreciation as one turns over its pages anew. Whether too
many copies were printed, or those issued were better pre-
served by their owners than usual, no book is more common
in good condition to-day than this.

Another book of the same size, with contents less varied,
it is true, but of almost the same level of excellence, is
Woj'dsivorth's Selected Poems (Routledge, 1859), illustrated
by Birket Foster, J. Wolf, and John Gilbert. This contains
the hundred finely engraved blocks by the brothers Dalziel,
some of them of the first rank, which was the conventional
equipment of a gift-book at that time.

Other noteworthy volumes of 1858-9 are Merrie Days
of Enghind, Sketches of Olden Times, illustrated by twenty
drawings by Birket Foster, G. Thomas, E. Corbould, and
others ; The Sconring of the White Horse, with designs by
Richard Doyle (Macmillan), his Foreign Tour of Brown,
Jones, and Robinson, and the same artist's Manners and
Customs of the English, all then placed in the first rank by
most excellent critics ; Favourite English Poems of the last
txvo Centuries, illustrated by Birket Foster, Cope, Creswick,
and the rest ; Wordsworth's White Doe of Rylstone (Long-
mans), also illustrated by Birket Foster and H. N. Hum-
phreys ; Childe Harold, with many designs by Percival
Skelton and others ; Blair's Grave, illustrated by Tenniel
(A. and C. Black); Milton's Comus (Routledge, 1858), with
illustrations by Pickersgill, B. Foster, H. Weir, etc.; and C.
H. Bennett's Pi^overbs ivith Pictures (Chapman and Hall).
Thomas Moore's Poems (Longmans, 1858); Child's Play, by
E. V. B., appeared also about this time. Krummacher's
Parables, with forty illustrations by J. R. Clayton (Bohn's
Library, 1858), is another unfamiliar book likely to be over-

109

SOME ILLUSTRATED BOOKS

looked, although it contains good work of its sort ; inspired a
little by German design possibly, but including some admirable
drawings, those for instance on pages 147 and 347. The
Shipivrcck, by Robert Falconer, illustrated by Birket Foster
(Edinburgh, Black, 1858), contains thirty drawings, some of
them charmingly engraved by W. T. Green, Dalziel Brothers,
and Edward Evans in 'the Turner vignette' manner; they
are delightful of their kind.

In 1859 there seems to be a falling off, which can hardly
be traced to the starting of Once a IVcck in July, for Christ-
mas books — and nearly all the best illustrated volumes fall
into that category — are prepared long before midsummer.
C. H. Bennett's illustrated Bunyan's Pilgriin Progress
(Longmans) is one of the best of the year's output. A sur-
vival of an older type is A Book of Faz'onrite Modern
Ballads, illustrated by C. \V. Cope, J. C. Horsley, A.
Solomon, S. Palmer, and others (Kent), which, but for the
publisher's announcement, might well be regarded as a re-
print of a book at least ten years earlier ; but its peculiar
method was unique at that time, and rarely employed since,
although but lately revived now for half-tone blocks. It
consists in a double printing, black upon a previous printing
in grey, not solid, but with the ' lights ' carefully taken out, so
that the whole looks like a drawing on grey paper heightened
by white chalk. Whether the effect might be good on
ordinary paper, these impressions on a shiny cream surface,
set in gold borders, are not captivating.

Odes and Sonnets, illustrated by Birket Foster (Rout-
ledge, 1859), has also devices by Henry Sleigh, printed in
colours. It is not a happy experiment ; despite the exquisite
landscapes, the decoration accords so badly that you cannot
linger over its pages with pleasure. Byron's Childe Harold,
with eighty illustrations by Percival Skelton, is another
popular book of 1859.

Hiazvatha, with twenty-four drawings by G. H. Thomas,
and The Merchant of Venice (Sampson Low, i860), illus-
trated by G. H. Thomas, Birket Foster, and H. Brandling,
with ornaments by Harry Rogers, are two others a trifle
belated in style. Of different sort is The Voyage of the
Constance, a tale of the Arctic Seas (Edinburgh, Constable),
with twenty-four drawings by Charles Keene, a singularly

1 10

BEFORE i860

interesting and apparently scarce volume which reveals
powers of imagining landscape which he had never seen in
a very realistic manner. I once heard him declare that he
had never in his life been near either an Irish bog or a Scotch
moor, both subjects being very frequent in his work.

The Seasons, by James Thomson (Nisbet, 1859), illus-
trated by Birket Foster, F. R. Pickersgill, R.A., J. Wolf,
G. Thomas, and Noel Humphreys, is another small quarto
gift-book with the merits and defects of its class. Yet, after
making all due allowance, one feels that even these average
volumes of the fifties, if they do not interest us as much as
those of the sixties, are yet ahead, in many important
qualities, of the average Christmas gift-book to-day. The
academic scholarship and fine craft of this era would equip a
whole school of ' decorative students,' and leave still much to
spare. Yet if we prefer, in our heart of hearts, the Bir-
mingham books to-day, this is merely to confess that modernity,
whether it be frankly actual, or pose as mediaeval, attracts us
more than a far worthier thing out of fashion for the moment.
But such preference, if it exists, is hardly likely to outlast a
serious study of the books of ' the sixties.'

Ill

CHAPTER VIII : SOME ILLUSTRATED
BOOKS OF THE PERIOD 1860-1864

MONG the books dated i860, or issued in
the autumn of that year, are more elabor-
ately illustrated editions of popular poets —
all, as a rule, in the conventional quarto,
or in what a layman might be forgiven for
describing as 'quarto,' even if an expert
preferred to call it octavo. Of these
Tennyson's The Princess, with twenty-six drawings by
Maclise, may be placed first, on account of the position held
by author and artist. All the same, it belongs essentially to
the fifties or earlier, both in spirit and in style. A more
ample quarto, Poems by James Montgomery(Routledge, 1 860),
(not the Montgomery castigated by Lord Macaulay), 'selected
and edited by Robert Aris Wilmott (Routledge), with one
hundred designs by John Gilbert, Birket Foster, F. R.
Pickersgill, R.A., J. Wolf, Harrison Weir, E. Duncan, and
W. Harvey, is perhaps slightly more in touch with the newer
school. Its engravings by the brothers Dalziel are admir-
able. The Clouds athivart the Sky (p. 23), by John Gilbert,
and other landscapes by the same hand, may hold their own
even by the side of those in the Moxon Tennyson, or in
Wilmott's earlier anthology. Of quite different calibre is
Moore's Lalla Rookh, with its sixty- nine drawings by
Tenniel, engraved by the Dalziels (Longmans, 1861). If
to-day you hardly feel inclined to indorse the verdict of the
Times critic, who declared it to be ' the greatest illustrative
achievement by any single hand,' it shows nevertheless not a
few of those qualities which have won well-merited fame for
our oldest cartoonist, even if it shows also the limitations
which just alienate one's complete sympathy. Yet these
who saw an exhibition of Sir John Tenniel's drawings at the
Fine Art Society's galleries will be less ready to blame the
published designs for a certain hardness of style, due in
great part (one fancies) to their engraver.

In Bunyan's Pilgrinis Progj-css (Routledge), with a
hundred and ten designs by J. D. Watson, engraved by the
Dalziels, we are confronted with a book that is distinctly of
the 'sixties,' or perhaps it would be more accurate to say that
most of its illustrations are distinguished by the broader

1 12

H. H. ARMSTEAD

WILLMOTT S 'ENGLISH SACRED

poetry' 1862, p. 49

A DREAM

FREDERICK WALKER

V/ILLMOTT S SACRED
POETRY,' 1862

THE NURSERY
FRIEND

FREDERICK WALKER

willmott's 'sacred

POETRY,' 1862

A CHILD IN
PRAYER

1 860-1864

treatment of the new school. It is strange that the ample and
admirable achievements of this artist have not received more
general recognition. When you meet with one of his designs
set amid the work of the greatest illustrators, it rarely fails to
maintain a dignified equality. If it lack the supreme artistry
of one or the fine invention of another, it is always sober and
at times masterly, in a restrained matter-of-fact way. Some
sketches reproduced in the British Architect (January 22,
1878) display more freedom than his finished works suggest.

Qiiarles Emblems (Nisbet), illustrated by C. H. Bennett, a
caricaturist whose style seems to have lost touch with modern
taste, with decorative adornments by W. H. Rogers, must
not be overlooked ; nor Tennyson's May Queen (Sampson
Low), with designs by E. V. B., a gifted amateur, whose
work in this book, in Child's Play, and elsewhere, has a
distinct charm, despite many technical shortcomings.

Lyra Germanica (Longmans, 1861), an anthology of
hymns translated from the German by Catherine Winkworth,
produced under the superintendence of John Leighton, F.S.A.,
must not be confused with a second series, with the same
title, the same anthologist and art editor, issued in 1868. This
book contains much decorative work by John Leighton, who
has scarcely received the recognition he deserves as a pioneer
of better thinsfs. At a time when lawless naturalistic detail
was supreme everywhere he strove to popularise conventional
methods, and deserves full appreciation for his energetic and
successful labours. The illustrations include one fine Charles
Keene (p. 182), three by M. J. Lawless (pp. 47, 90, 190), four
by H. S. Marks (pp. i, 19, 57, 100), and five by E. Armitage
(pp. 29, 62, III, 160, 197). The engraving by T. Bolton,
after a Fla.xman bas-relief, is apparently the same block
Bohn includes in his sujDplementary chapter to the 1861 edition
of Chatto and Jackson's History of Wood-Engraving, as a
specimen of the first experiment in Mr. Bolton's ' new process
for photographing on the wood.' As this change was literally
epoch-making, this really beautiful block, with its companion
p. Ill, is of historic interest.

Shakespeare : His Birthplace, edited by J, R. Wise, with
twenty-three pictures drawn and engraved by W. J. Linton
(Longmans) ; The Poetry of Nature, with thirty-six drawings
by Harrison Weir (Low), and Household Song (Kent, 1861),

113

SOME ILLUSTRATED BOOKS

illustrated by Birket Foster, Samuel Palmer, G. H. Thomas,
A. Solomon, J. Andrews, and others, including two rather
powerful blocks, To Mary in Heaven especially, by J. Archer,
R.S.A. ; Chambers s Household Shakespeare, illustrated by
Keeley Halswelle, must not be forgotten ; nor A Boys
Book of Ballads (Bell and Daldy), illustrated by Sir John
Gilbert ; but The Adventit,res of Baron Mnnchatisen, with
designs by A. Crowquill (Trlibner), is not very important.

An illustrated edition of Mrs. Gatty's Pai'ables from
Nature (Bell and Daldy) would be remarkable if only for
the Nativity by ' E. Burne-Jones.' It is instructive to
compare the engraving with the half-tone reproduction of the
original drawing which appears in Mr. Pennell's Modern
Illustrations (Bell). But there are also good things in the
book by John Tenniel, Holman Hunt, M, E. Edwards, and
drawings of average interest by W. (not J. E.) Millais, Otto
Speckter, F. Keyl, L. Frolich, Harrison Weir, and others.
In the respective editions of 1861 and 1867 the illustrations
vary considerably.

Another book that happened to be published in i860
would at any time occupy a place by itself. Founded on
Blake, David Scott developed a distinctly personal manner,
that has provoked praise and censure, in each case beyond
its merit. Yet without joining either detractors or eulogists,
one must own that the Bunyan's Pilgrivis Progress (Edin-
burgh, i860), illustrated by David and W. B. Scott, if a
most ugly piece of book-making, contains many very note-
worthy designs. It is possible, despite the monograph of
J. M. Gray (one of the earliest critics who devoted special
study to the works of Frederick Sandys) and a certain
esoteric cult of a limited number of disciples, that David
Scott still remains practically unknown to the younger genera-
tion. Yet this book, and Coleridge's Ancient Mariner,
which he also illustrated, contain a great many weird
ideas, more or less adequately portrayed, which should
endear themselves to the symbolist to-day.

Goldsmitlis Poems, with coloured illustrations by Birket
Foster, appeared this year, which saw also many volumes
(issued by Day and Son), resplendent with chromo-Htho-
graphy and ' illuminations ' in gold and colours. So that the
Christmas harvest, that might seem somewhat meagre in the

114

H. S. MARKS, R.A.

WILLMOTT S SACRED POETKV
1862

A QUIET MIND

H. S. MARKS

willmott's 'sacred

POETRY,' 1862

IN A HERMITAGE

FREDERICK SANDYS

willmott's 'sacred

POETRY,' 1862

LIFE'S JOURNEY

FREDERICK SANDYS

WILLMOTT'S * SACRED
POETRY,' 1862

A LITTLE
MOURNER

I860-IS64

short list above, really contained as many high-priced volumes
appealing to Art, 'as she was understood in i860,' as the list
of 1897 is likely to include. But the books we deem memor-
able had not yet appeared, and the signs of i860 hardly point
to the rapid advance which the next few years were destined
to reveal. In passing it may be noted that this was the
great magenta period for cloth bindings. ' Surely the most
exquisite colour that ever left the chemist's laboratory,'
exclaims a contemporary critic, after a rapturous eulogy.

The 'wicked fratricidal war in America,' we find by
references in the trade periodicals of the time, was held respon-
sible for the scarcity of costly volumes at this date. Perhaps
the most important book of 1862 is Willmott's Sacred Poetry
of the i6th, ijth, and \?>th centuries (like many others issued
the previous Christmas). It contains two drawings by
Sandys, which are referred to elsewhere, three by Fred
Walker, seven by H. S. Marks, two by Charles Keene, twenty-
eight by J. D. Watson, one by Holman Hunt, eight by John
Gilbert, and others by G. H. Andrews, H. H. Armstead,
W. P. Burton, F. R. Pickersgill, S. Read, F. Smallfield,
J. Sleigh, Harrison Weir, and J. Wolf Although the absence
of Millais and Rossetti would suffice to place it just below
the Tennyson, it may be considered otherwise as about of
equal interest with that and the earlier anthology of Poets oj
the Nineteenth Century, gathered together by the same editor.
It is distinctly a typical book of the earlier sixties, and one
which no collector can afford to miss.

Poetry of the Elizabethan Age, with thirty illustrations
by Birket Foster, John Gilbert, Julian Portch, and E. M.
Wimperis, is not quite representative of the sixties, but
of a transitional period which might be claimed by either
decade. The Songs and Sonnets of Shakespeare, with ten
coloured and thirty black-and-white drawings by John Gilbert,
to whatever period it may be ascribed, is one of his most
superb achievements in book-illustration. Christmas tvith the
Poets, ' embellished with fifty-three tinted illustrations by
Birket Foster' (Bell and Daldy), can hardly be mentioned
with approval, despite the masterly drawings of a great illus-
trator. As a piece of book-making, its gold borders and
weak ' tinted ' blocks, printed in feeble blues and browns,
render it peculiarly unattractive. Yet in all honesty one

1^5

SOME ILLUSTRATED BOOKS

must own that its art is far more tiiorough and its taste
possibly no worse essentially than many of the deckle-edged
superfluities with neo-primitive designs which are popular at
the present time. The work of this artist is perhaps some-
what out of favour at the moment, but its neglect may be
attributed to the inevitable reaction which follows undue
popularity. There are legends of the palmy days of the
Old Water-Colour Society, when the competition of dealers
to secure drawings by ' Birket Foster ' was so great that they
crowded round the doors before they opened on the first
day, and one enterprising trader, crushing in, went straight
to the secretary and said, ' I will buy the screen,' thereby
forestalling his rivals who were hastily jotting down the works
by this artist hung with others upon it. But even popular
applause is not always misdirected ; and the master of English
landscape, despite a certain prettiness and pettiness, despite
a little sentimentality, is surely a master. There are ' bests '
and bests so many ; and if Birket Foster is easily best of his
kind, and the fact would hardly be challenged, then as a
master we may leave his final place to the future, sure that
it is always with the great who have succeeded, and not with
the merely promising who just escape success. Among
the minor volumes of this year, now especially scarce, are
Dr. George Mac Donald's Dealings ■with the Fairies, with
illustrations by Arthur Hughes ; and several of Strahan's
children's books : The Gold Thread, by Dr. Norman Macleod,
with illustrations by J. D. Watson, J. M'Whirter, and others;
and The Postman s Bag, illustrated by J. Pettie and others.
A curious volume, Spiritual Conceits, ' illustrated by Harry
Rogers,' is printed throughout in black letter, and, despite the
title, would be described more correctly to-day as ' decorated '
by the artists, for the engravings are ' emblematical devices '
more or less directly inspired by the emblem books of the
sixteenth and the seventeenth centuries. As one of the few
examples of conventional design of the period, it is interesting.
New copies are by no means scarce, so it would seem to have
been printed in excess of the demand, which, judging by the
laudatory criticism it received, could not have been meagre.
1S62, the year of the second great International Exhibi-
tion, might have been expected to yield a full crop of lavishly
produced books, but as a matter of fact there are singularly

116

BIRKET FOSTER

I'ICTUKES OK ENGLllall
LANDSCAPE,' 1864

THE GREEN LANE

BIRKET FOSTER

PICTURES OF ENGLISH
LANDSCAPE,' 1864

THE OLD CHAIK-MENDER
AT THE COTTAGE DOOR

1860-1864

few. Two important exceptions occur : Christina Rossetti's
Goblin Jllai-ket, with the title-page and frontispiece by her
brother, and The Neiv Forest, by J. R. Wise, with drawings
by Walter Crane, ' a very young artist, whom we shall be glad
to meet with again,' as a contemporary criticism runs. Yet,
on the whole the men of the sixties appear to have exhausted
their efforts on the new magazines which had just attained
full vigour ; hence, as we might expect, publishers refrained
from competing with the annual volumes, which gave
at least twice as much for seven shillings and sixpence as
they had hitherto included in a guinea table-book. Birket
Foster's Pictures of English Landscape, with pictures in
words by Tom Taylor (Routledge 1863), contains thirty
singularly fine drawings engraved by Dalziels, of which the
editor says : ' It is still a moot point among the best critics how
far wood-engraving can be profitably carried — whether it can
attempt, with success, such freedom and subtlety of workman-
ship as are employed, for example, on the skies throughout this
series, or should restrict itself to simple effects, with a broader
and plainer manner of execution.' Its companion was styled
Beanlies of English Laiidscape, and appeared much later.

Early English Poems, Chattcer to Pope (Sampson Low,
1863), is another book of the autumn of 1862, which like
the rest is a quarto, with an elaborately designed cover
and the usual hundred blocks delightfully engraved, after
John Gilbert, Birket Foster, George Thomas, T. Creswick,
R.A., R. Redgrave, R.A., E. Duncan, and many others.
Although there is no reference to the fact in the book
itself many of the illustrations had already done duty in
other books, or possibly did duty afterwards, for, without
a tedious collation of first editions, it is difficult to discover
the first appearance of any particular block. Probably this
was the original source of many blocks which afterwards were
issued in all sorts of volumes, so frequently that their charm is
somewhat tarnished by memories of badly printed cliches in
children's primers and the like.

The Life of St. Patrick, by H. Formby, is said to be
illustrated by ]\I. J. Lawless, but the labour in tracking it
was lost ; for, whoever made the designs, the wood-engravings
are of the lowest order, and the book no more interesting
than an illustrated religious tract is usually. A sumptuously

117

SOME ILLUSTRATED BOOKS

produced volume, Moral Emblems (Longmans), 'from Jacob
Cats and Robert Fairlie,' contains ' illustrations freely rendered
from designs found in their works,' by John Leighton. The
text is by Richard Pigot, whose later career affords us a
moral emblem of another sort ; if indeed he be the hero of the
Parnell incident, as contemporary notices declared. Its two
hundred and forty-seven blocks were engraved by different
hands — Leighton, Dalziel, Green, Harral, De Wilde, Swain,
and others, all duly acknowledged in the contents. It is only
fair to say that the decorators rarely fall to the level of the
platitudes, interspersed with Biblical quotations, which form
the text of the work. Among other volumes worth mention-
ing are : Papers for Thoughtful Girls, by Sarah Tj-tler, illus-
trated by J. E. Millais ; Children s Sayings, with four pictures
by Walter Crane ; Sfories of Old, two series, each with seven
illustrations by the same artist ; Stories little Breeches told,
illustrated by C. H. Bennett ; and volumes of Laurie's Shilling
Entertainment Library, including probably (the date of the
first edition is not quite clear) Defoe's History of the Plague^
with singularly powerful designs by Frederick Shields, — ' Rem-
brandt-like in power,' Mr. Joseph Pennell has rightly called
them ; and Puck on Pegasus, a volume of humorous verses
by H. Cholmondeley Pennell, illustrated, and well illustrated,
by Leech, Tenniel, Doyle, Millais, Sir Noel Paton, ' Phiz,'
Portch, and M. Ellen Edwards. The Doyle tailpiece is
the only one formally attributed, but students will have little
difficulty in identifying the work of the various hands repre-
sented in its pages. A volume, artless in its art, that has
charmed nevertheless for thirty years, and still amuses — Lear's
Booh of Alonsense — appeared this year ; but luckily its influence
has been nil so far, except possibly upon modern posters ;
Wordsworth's Poems for the Young, with fifty illustrations by
John Pettie and J. M'Whirter ; an illustrated edition of Mrs.
Alexander's Hymns for Little Children, mildly exciting as
works of art, Eatnons Boys (Darton), illustrated by T. Morten ;
One Year, with pictures by Clarence Dobell (Macmillan), and
Wood's Natural History, with fine drawings by Zwecker,
Wolf, and others, are also in the sterile crop of the year
1862. Passages from Modern E7iglish Poets (1862), illustrated
by the Junior Etching Club, an important book of its sort,,
is noticed elsewhere.

TiS

FREDERICK SHIELDS

DEFOE*S ' HISTORY OF
THE PLAGUE.' 1862

THE PLAGUE-CART

1 860-1864

In 1863 MiWais' Pafad/es 0/ our Lord was issued, although
it is dated 1864. Of the masterpieces it contained a reviewer
of the period wrote : ' looked at with unfeeling eyes there
is little to commend them to the average class of book-
buyers.' This, which is no doubt a fairly representative
opinion, may be set against the wide appreciation by artists they
aroused at the time, and ever since, merely to show that the
good taste of the sixties was probably confined to a minority,
and that the public in 1867 or 1897, despite its pretence of
culture, is rarely moved deeply by great work. It is diffi-
cult to write dispassionately of this book. Granted that when
you compare it with the drawings of some of the subjects
which are still extant, you regret certain shortcomings on the
part of the engravers ; yet, when studied apart from that
severe test, there is much that is not merely the finest work
of a fine period, but that may be placed among the finest
of any period. We are told in the preface that ' Mr. Millais
made his first drawing to illustrate the Parables in August
1857, and the last in October 1863 ; thus he has been able
to give that care and consideration to his subjects which the
beauty as well as the importance of The Parables demanded.'
It is not necessary to describe each one of the many illus-
trations. Those which appeared in Good Words are printed
with the titles they first bore in the notice of that magazine.
The other eight are : The Tares, The Wicked Husbandman,
The Foolisli Virgins, The Iiuportunate Friend, The Alarriage
Feast, The Lost Sheep, The Rich Man and Lazariis, and The
Good Shepherd, all engraved by the brothers Dalziel, who (to
quote again from the preface), ' have seconded his efforts with
all earnestness, desiring, as far as their powers would go, to
make the pictures specimens of the art of wood-engraving.'
Here it would be superfluous to ask whether the designs
could have been better engraved, or even whether photo-
gravure would not have retained more of the exquisite beauty
of the originals. As they are, remembering the conditions
of their production, we must needs accept them ; and the
full admiration they demand need not be dashed by useless
regret. In place of blaming Dalziels, let us rather praise
lavishly the foresight and sympathy which called into being
most of the books we now prize. Indeed, a history of
Dalziels' undertakings fully told would be no small part of

119

SOME ILLUSTRATED BOOKS

a history of modern English illustration. If any one who
loves art, especially the art of illustration, does not know
and prize these Parables, then it were foolish to add a line in
their praise, for ignorance of such masterpieces is criminal,
and lukewarm approval a fatal confession.

It is difficult to place any book of 1863 next in order to
The Parables ; despite many fine publications, there is not
one worthy to be classed by its side. Perhaps the most
important in one sense, and the least in another, is Long--
mans' famous edition of the New Testament, upon the pre-
paration of which a fabulous amount of money was spent.
Yet, although an epoch-making book to the wood-engraver, it
represents rather the end of an old school than the beginning
of a new. Its greatly reduced illustrations, wherein a huge
wall-painting occupies the space of a postage-stamp, the lack
of spontaneity in its formal ' correct ' borders, impress us
to-day more as curiosities than as living craft. All the same,
it was considered a marvellous achievement ; but its spirit, if
it ever existed, has evaporated with age ; indeed, one cannot
help thinking that it was out of date when it appeared. Ten
years earlier it would have provoked more hearty approval ;
but, with Millais' treatment of the similar subjects, who could
look at this precise, unimaginative work ? That it ever
exercised any influence on wood-engraving is doubtful, and
that it repaid, even in part, its cost and labour is still more
problematical. Bound, if memory can be trusted, in sham
carved and pierced oak, it may be still encountered among the
rep and polished walnut of the period, a monument of misap-
plied endeavour. Its ideal seems to have been to imitate steel-
plates by wood-blocks. Just as Crusaders' tombs had been
modelled in Parian to do duty as match-boxes, and a thousand
other attempts, then and since, with the avowed intention of
imitation, have attracted no little common popularity ; so its
tediously minute handiwork no doubt won the approbation
of those whose approval is artistic insult. One has but to
turn to the tiny woodcuts of Holbein's Dance of Death to find
that size is of no importance ; a nctsiike may be as broadly
treated as a colossus, but the art of the miniature is too often
miniature art. Therefore, side by side with the splendour of
Millais, this mildly exciting 'art-book' comes as a typical
contrast. No matter how Millais was rewarded, the mere

120

J. E. MILLAIS

'THE PARABLES OF OUR
LORD," ROUTLEDGE, 1864

THE PRODIGAL
SON

J. E. MILLAIS

*THE PARABLES OF OUR
LORD,' 1864

THE TARES

J. E. MILLAIS

'the parables of our
lord,' eoutledge, 1864

THE SOWER

1 860-1864

engraver in this case must have been paid more, if contem-
porary accounts are true ; yet the result is that nobody
wants the one, and every artist, lay or professional, who is
awake to really fine things, treasures a chance impression of a
Parable, torn out of Good Words, as a thing to reverence.

On turning back to a scrap-book, where a number of them
were preserved by the present writer in the late sixties, the
old surprise comes back with irresistible force to find that
things which he then ranked first still maintain their supremacy.
At that time, when the wonders of Japanese Art were a sealed
book, the masterpieces of Diirer and Rembrandt, the triumphs
of Whistler, and the exquisite engravings of the French wood-
engravers, past and present, all unknown to him, he, in
common with dozens of others, was conscious that here was
something so great that it was almost uncanny, for, obvious
and simple as it looked, it yet accomplished what all others
seemed only to attempt. There are very few pictures which
after thirty years retain the old glamour ; but while the Long-
mans' Nczv Testament when seen anew raises no thrill of
appreciation, the Parables appear as astoundingly great to
one familiar with modern illustrations as they did to an
ignorant boy thirty years ago. Other fetishes have gone
unregretted to the lumber-room, but the Millais of 1863 is
a still greater master in 1896. They builded better than they
knew, these giants of the sixties, and that the approval of
another generation indorses the verdict of the best critics of
their own may be taken as a promise of abiding homage to
be paid in centuries yet to come.

Curiously enough, among some literary notes for Christmas
1863, we find that ' early next year Messrs. Dalziel hoped to
issue their Bible pictures,' and the writer goes on to praise
several of the drawings — notably the Leightons, which were
even then engraved : this note, nearly twenty years before
the book actually appeared, is interesting, but it must not be
thought that the time was devoted entirely to the engraving or
in waiting for the perfection of photographic transfer to wood.

An English edition of Michelet's The Bird, illustrated by
Giacomelli (Nelson), w^as issued this year, and the highly
wrought naturalistic details of the engravings became
extremely popular. Its ' pretty ' finish, and tame, colourless
effect influenced no little work of the period, and, coupled

121

SOME ILLUSTRATED BOOKS

with the clichds of Gustave Dore engravings, so lavishly
reprinted here about this date, did much to promote a style
of wood-engraving which found its highest expression in the
pages of American magazines years afterwards, and its lowest
in the ' decorated ' poems of cheap ' snippet ' weeklies, which
to-day are yet imitated unconsciously by those who work in
wash for half-tone processes.

The next important volume of the year, after Millais'
Pai'ablcs, judged by our standard, is unquestionably Dalziels'
edition of The Arabian iV"/^///i- (Ward, Lock, and Tyler) —
'illustrated by A. Boyd Houghton, ' one feels tempted to add
to the title. But although the book is often referred to as
the work of one artist, as a matter of fact it is the work of
many. Houghton does not even contribute the largest
number ; his eighty-seven designs are beaten by T. Dalziel's
eighty-nine. Nor is he the greatest draughtsman therein, for
there are two by Millais. Still, notwithstanding these, and
eight by John Tenniel, ten by G. J. Pinwell, one by T.
Morten, two by J. D. Watson, and six by E. Dalziel, it is for
Houghton's sake that the book has suddenly assumed im-
portance, even in the eyes of those who do not search through
the volumes of the sixties for forgotten masterpieces, but
are content with Once a Week, the Coriihill Gallery, and
Thornbury's Legendary Ballads. One thing is beyond doubt :
that with the Arabian Nights and the others on this short
list you have a National Gallery of the best things — not the
best of all possible collections, not even an exhaustive
collection of specimens of each, but a good working assort-
ment that suffices to uphold the glory of 'the golden decade,'
and can only be supplemented but not surpassed by the
addition of all the others.

The book was issued in weekly numbers, as you see on
opening a first edition of the volume at the risk of breaking
its back. Close to the fold appears the legend, ' Printed by
Dalziel Brothers, the Camden Press, N.W.,' etc. It was
eventually issued in two volumes in October 1864, but dated
' 1865.' Mr. Laurence Housman's volume, Arthur Boyd
Houghton (Kegan Paul, 1896), and his excellent article in.
Bibliographica, are available for those who wish for a fuller
appreciation of this fine book.

By the side of the books already mentioned the rest seem

122

A. BOYD HOUGHTON

DALZIELS' 'ARABIAN
NIGHTS,' p. 149

NOUKEDDIN ALI OX
HIS JOURNEY

I860-I864

almost commonplace, but another edition of The Pilgrims
Progress, with one hundred illustrations by T. Dalziel, must
not be overlooked. These show that one of the famous
engravers was also an artist of no mean importance, and
explain much of the fine taste that distinguished the publica-
tions of the firm with which he was associated. Elsewhere
the many original designs by other members of the firm go
to prove this up to the hilt.

It is curious to find 1S64 the date of the 'new' illustrated
edition of The Ingoldsby Legends (Bentley).^ Those familiar
with contemporary volumes would have hazarded a time ten
to fifteen years earlier, had the matter been open to doubt.
It is profusely illustrated by Leech, Tenniel, and Cruikshank,
but in no way a typical book of the sixties. English Sacred
Poetry of the Olden Time (Religious Tract Society, 1864)
was issued this year. It contains F. Walker's Portrait of a
minister (p. 184) ; The Abbey Walk (p. 6), and Sir Walter
Raleigh (p. 60), by G. Du Maurier ; ten drawings by J. W.
North, three by C. Green, three by J. D. Watson, and many
by Tenniel, Percival Skelton, and others, all engraved by
Whymper ; Our Life illustrated by Pen and Pencil {^eWgioViS
Tract Society, undated), is a similar book with designs by J. D.
Watson, Pinwell, C. H. Selous, Du Maurier, Barnes, J. W.
North. Aytoun's Lays of the Scottish Cavaliers is another book
of 1863 that is noticeable for its illustrations, from designs
by [Sir] Noel Paton. Robinson Crusoe, with one hundred
designs by J. D. Watson (Routledge); Wordsworth's Poetry
for the Young, illustrated by J. Pettie and J. M'Whirter
(Strahan, 1863); C. H. Bennett's London People, and the
same artist's Mr. Wind and Madam Rain (Sampson Low) ;
Hymns in Prose by Mrs. Barbauld, illustrated by Barnes,
Whymper, etc. ; Dr. Cumming's Life and Lessons of our Lord,
with pictures by C. Green, P. Skelton, A. Hunt, and others;
yet another Pilgrinis Progress, this time with illustrations by
H. C. Selous and P. Priolo (Cassell), and another Robinson
Crusoe, illustrated by G. H. Thomas (Cassell) ; The Family
Fairy Tales, illustrated 'by a young lady of eighteen,' signed
M. E. E., the first published works of M. Ellen Edwards,
who soon became — and deservedly — one of the most popular

1 The first edition, 3 vols., 1841, was illustrated by Cruikshank and Leech
only.

123

SOME ILLUSTRATED BOOKS

illustrators of the day ; Homes zvithout Hands, by J. G. Wood,
with animal drawings by F. W. Keyl ; Hacco the Dwarf,
with illustrations, interesting, because they are (I believe)
the earliest published work by G. J. Pinwell ; and Golden Light
(Routledge), with eighty drawings by A. W. Bayes, are some of
the rest of the books of this year that must be dismissed with
a bare record of their titles.

The Lake Country, with illustrations drawn and engraved
by W. J. Linton (Smith and Elder, 1864), is of technical rather
than general interest. Champions of the ' white line ' will find
practical evidence of its masterly use in the engravings. The
Victorian History of England {Ko\\\.\&dgG, 1864) has at least
one drawing by A. B. Houghton, but, so far as a rapid turn
over of its pages revealed, only one — the frontispiece. The
Golden Harp (Routledge) appears to be a re-issue of blocks
by J. D. Watson used elsewhere. What Men have said about
Women (Routledge) is illustrated by the same artist, who is
responsible — indirectly, one hopes— for coloured designs to
Melbourne House, issued about this time. The Months illus-
trated zuith Pen and /'^;/r/7 (Religious Tract Society, undated)
contains sixty engravings by Butterworth and Heath, after
J. Gilbert, Robert Barnes, J. W. North, and others; uniform
in style with English Sacred Poetry, it does not reach the same
level of excellence. A book, Words for the Wise (Nelson),
illustrated by W. Small, I have failed to see; a critic calls
attention to it as ' the work of a promising young artist hitherto
unknown to us.' Picticres of English Life, with sixteen
engravings by J D. Cooper, after drawings by R. Barnes
(Sampson Low), contains blocks of a size unusual in books.
The superb drawings by Charles Keene to Mrs. Caudle's
Curtain Lectures (Bradbury and Evans) enrich this prolific
period with more masterpieces.

124

FREDERICK WALKER

•ENGLISH SACRED POETRY'
R. T. S.

PORTRAIT OF
A MINISTER

G. J. PINWELL

'WAYSIDE POESIES,' 1867

KING riPPIN

AUTUMN-

CHAPTER IX: SOME ILLUSTRATED
BOOKS, 1865-1872

:ITH 1865 we reach the height of the move-
ment— this and the following year being
of all others most fertile in books illustrated
by the best representative men. It saw
Rossetti's frontispiece and title to The
Prittces Progress (Macmillan, 1866), these
two designs being almost enough to make
the year memorable. A Round of Days (Routledge), one
of the finest of the illustrated gift-books, contains \X^a!ker's
Broken Victuals (p. 3), One Mouth More (p. 58), and the well-
known Four Seasons (pp. 2i7^ 39. 41. 43). foi" one of which the
drawing on wood is at South Kensington Museum. A. Boyd
Houghton appears with fourteen examples (pp. 1,2, 5, 19, 20,
21, 22, 30, 47, 48, 71, 73, jy, 78) J. W. North with three
exquisite landscapes (pp. 15, 17, iS), G. J. Pinwell with five
subjects, Paul Gray with one (p. 81), J. D. Watson with
five (pp. 26, 28, 62, 64, 66), T. Morten with one (p. 79),
A. W. Bayes with two, T. Dalziel with seven, and E. Dalziel
with two. These complete its contents, excepting two deli-
cately engraved studies of heads after Warwick Brookes.
The book itself is distinctly a lineal descendant from the
annuals of the earlier half of the century ; a typical example
of a not very noble ideal — a scrap-book of poems and pictures
made important by the work of the artists.

Yet, with full recognition of the greater literalism of repro-
ductive process to-day, one doubts if even The London (7«r-
/^r«(/ (Macmillan, 1895), which most nearly approaches it, will
maintain its interest more fully, after thirty years' interval, than
does this sumptuous quarto, and a few of its fellows. That
we could get together, at the present time, as varied and
capable a list of artists is quite possible ; but where is the
publisher who would risk paying so much for original work
designed for a single book, when examples by the same men
are to be obtained in equally good reproductions, and not
less well printed in many of the sixpenny weeklies and the
monthly magazines? The change of conditions seems to
forbid a revival of volumes of this class, although the Yellow
Book, The Pageant, The Savoy, and The Quarto, are not
entirely unrelated to them.

125

SOME ILLUSTRATED BOOKS

To 1864 belongs formally The Cornhill Gallery, a hundred
impressions from the original blocks of pictures. Among the
early volumes issued for Christmas 1865, this is, perhaps, the
most important book, but, as its contents are fully noticed
elsewhere, no more need be said here. It is amusing to read
that a critic disliked 'Mr. Leighton's unpleasant subjects' —
the Romola designs! Dalziels' Illustrated Goldsmith (Ward
and Lock, 1865), may be considered, upon the whole, the
masterpiece of G. J. Pinwell, who designed the hundred
illustrations which seemed then to be accepted as the only
orthodo.K number for a book. How charming some of
these are ev'ery student of the period knows. Pinwell, as
certain original drawings that remain prove only too clearly,
suffered terribly at the engraver's hands, and, beautiful as
many of the designs are, one cannot avoid regret that they
were not treated more tenderly. It is quite possible that
bold work w^as needed for the serial issue in large numbers,
and that the engravers simplified the drawings of set purpose ;
but the delicacy and grace of the originals are ill-replaced by
the coarser modelling of the faces and the quality of the
'line' throughout. This year saw also Home Thoughts and
Home Scenes, a book with thirty-five drawings of children, by
A. Boyd Houghton (Routledge, 1865) ; which was afterwards
reprinted as Happy Day Stories. This book is absolutely
essential to any representative collection of the period, but
nevertheless its designs can hardly be regarded as among the
artist's most masterly works.

Warne's edition of The Arabian Nights (1866), with sixteen
drawings, eight by A. Boyd Houghton, must not be con-
fused with the other edition to which he contributed quite
distinct subjects. This, and Don Quixote (W'arne) appear
in the Christmas lists for 1865. The great Spanish novel
hardly seems to have sustained the artist to his finest achieve-
ments throughout. It contains 100 most interesting designs ;
some that reveal his full accomplishment. At the same time
it fails to astound you, as the Arabiaft Nights have a knack
of doing again and again, whenever you turn over their pages.

This was a great year for Gustave Dore. So many
English editions of his books were issued that a summary of
the year's art begins with an apology for calling it 'I'annee
doree.' Among these Do'i Quixote gained rapid and firm hold

I 26

G. J. PINWELL

DALZIELS ILLUSTRATED
COLDSMITH,' p. 155

WHAT, BILL! YOU
CHUBBY ROGUE

FREDERICK WALKER

'A ROUND OF DAYS

AUTUMN

IS65-I872

of popular fancy. Many people who have risen superior to
Dore to-day, and speak of him with contempt now, at that
time grovelled before the French artist's work. A con-
temporary critic writes of him as one who, 'by common consent
occupies the first place of all book-illustrators of all time.'
As he is not in any sense an English illustrator we need not
attempt to appraise his work here, but it influenced public taste
far more than it influenced draughtsmen ; yet the fact that Don
Quixote, as Houghton depicted him, even now fails to oust
the lean - armoured, grotesque hero (one of Dore's few
powerful creations), may be the reason for Houghton's version
failing to impress us beyond a certain point.

A book of the year. Ballads and Songs of Brittany, from
the French of Hersart de la Villemarque, by Tom Taylor
(Macmillan), should be interesting to-day, if only for the two
steel plates after Tissot, which show that, in his great Eastern
cycle of Biblical drawings, he reverts to an earlier manner,
which he had employed before the mondaine and the dani-
vionde attracted him. The book contains also four Millais',
and a fine Keene, which, with most of the other subjects,
had already appeared with the poems in Once a Week.

Enoch Arden (E. Moxon & Co., 1866), with twenty-five
most dainty drawings by Arthur Hughes, is said, in some con-
temporaneous announcements of the season, to be the first
successful attempts at photographing the designs on wood ;
but we have already noticed the fine example of Mr. Bolton's
new process for photographing on wood, a bas-relief after
Fla.xman, in the Lyra Gernianica (1861). Another table-
book, important so far as price is concerned, is T/ie Life of
Alan Symbolised (Longmans, 1866), with many illustrations
by John Leighton, F.S.A. Gems of Literature, illustrated
by Noel Paton (Nimmo) ; Pen and Pencil Pictures from the
Poets (Nimmo), with forty illustrations by Keeley Halswelle,
Pettie, M'Whirter, W. Small, J. Lawson, and others; and
Scott's Poems, illustrated by Keeley Halswelle, were also
issued at this time. An epoch-making book of this season,
Alice in Wonderland (Macmillan), with Tenniel's forty-two
immortal designs, needs only bare mention, for who does not
know it intimately ?

A very interesting experiment survives in the illustration
to Watts's Divine and Moral Songs (Nisbet, 1865). This

127

SOME ILLUSTRATED BOOKS

book, edited by H. I-'itzcGck, the enthusiastic promoter of
graphotype, enhsted the services of notable artists, whose
tentative efforts, in the first substitute for wood-engraving
that attained any commercial recognition, make the otherwise
tedious volume a treasure-trove. The Du Maurier on page
14, the J. D. Watson (p. 22), T. Morten (p. 43), Holman
Hunt (p. 49), M. E. Edwards (p. 62), C. Green (p. 9), and
W. Cave Thomas (p. 75), are all worth study. A not very
important drawing", The Moon Shines Fttll, by Dr. C.
Heilbuth (p. 3), is a very successful effort to rival the effect of
wood-engraving by mechanical means. The titles of the
poems come with most grotesque effect beneath the drawings.
An artist in knickerbockers, by Du Maurier, entitled ' The
excellency of the Bible,' for instance, is apt to raise a ribald
laugh ; and some of the Calvinistic rhymes and unpleasant
theology of the good old doctor are strangely ill-matched
with these experiments in a medium which evidently in-
terested the draughtsman far more than the songs which
laid so heavy a burden on the little people of a century ago.

Legends and Lyrics, by A. A. Procter (Bell and Daldy,
1865), is another quarto edition of a popular poet, but here, in
place of the usual hundred Birket Fosters, Gilberts, and the
rest, we have but nineteen engravings ; but they are all full
pages. Charles Keene's two subjects are The Settlers and
Rest (a night bivouac of soldiers); John Tenniel with A Legend
of Brcgcnz, and Du Maurier with A Legend of Proveiice
and The Requital, also represent the Punch contingent. The
others are by W. T. C. Dobson, A.R.A., L. Frolich,
T. Morten, G. H. Thomas, Samuel Palmer, J. D. Watson,
W. P. Burton, J. M. Carrick, M. E. Edwards, and William
H. Millais; all engraved by Horace Harral, who cannot be
congratulated upon his rendering of some blocks. x\ very
charming set of drawings by J. E. Millais will be found in
Henry Leslie's Little Songs for me to i'w^o" (Cassell, undated).
The subjects, seven in number, are slightly executed studies
of childhood by a master-hand at the work. The first volume
of Cassell's Shakespeare, which contains a large number of
drawings by H. C. Selous, was issued this year.

A fine collection of reprinted illustrations is Pictures of
Society (Sampson Low, 1866); its blocks are taken from
Mr. James Hogg's publications, Londoti Society and The

128

G. J. PIN WELL

' WAYSIDE POESIES

THE LITTLE CALF

FREDERICK WALKER

WAYSIDE POESIES

THE BIT O'

GARDEN

BOOKS OF 1866-67

Churchman s Family Magazine, and include the fine Sandys,
The Waiting Time, and M. J. Lawless's Silent Chatnber, both
reproduced here by his permission. It is a scarce but very
interesting, if unequal, book.

The minor books at this time are rich in drawings by
most of the artists who are our quest in this chronicle. The
number, and the difficulty of ascertaining which of them contain
worthy designs, must be the excuse for a very incomplete list,
which includes Keats s Poetical Works, with a hundred and
twenty designs by G. Scharf ; The Children s Hotir (\\vL\\\.^r,
Edinburgh), W. Small, etc. ; Jingles and Jokes for Little
Folks, Paul Gray, etc. ; The Magic Mirror, W. S. Gilbert
(Strahan) ; Datne Dingle's Fairy Tales, J. Proctor (Cassell) ;
Fllen JMontgonierys Bookshelf, twelve plates in colour by
J. D. Watson (Nisbet) ; An Old Fairy Tale, R. Doyle
(Routledge); What the Moon saw, eighty illustrations by
A. W. Bayes (Routledge) ; Ernie Elton the Lazy Boy,
Patient Henry, The Boy Pilgrims, all illustrated by A.
Boyd Houghton and published by Warne ; Sybil and her
Snowball, R. Barnes (Seeley) ; Stories told to a Child,
Houghton, etc. (Strahan) ; Aunt Sally s Life, G. Thomas,
(Bell); Mothers Last JFords, M. E. Edwards, etc. (Jarrold),
and Watts s Divine Songs (Sampson Low), with some fine
Smalls and Birket Fosters.

Although the style of work that prevailed in 1865-66
was so widely popular, it did not find universal approval.
Critics deplored the ' sketchy ' style of Dalziels' engraving
and, comparing it unfavourably with Longmans' Neiv Testa-
ment, moaned, ' when shall we find again such engraving
as in Mulready's drawings by Thompson.' In Don Quixote
they owned Houghton's designs were clever, but thought,
'on the whole, the worthy knight deserved better treatment.'
And so all along the line we find the then present contrasted
with the golden past ; even as many look back to-day to the
golden 'sixties' from the commonplace 'nineties.' This time
saw the beginning of the superb toy-books by Walter Crane
— which are his masterpieces, and monuments to the skill
and taste of Edmund Evans, their engraver and printer.
For wood-block printing in colours, no western work has
surpassed them even to this date.

Poems by Jean Ingelow (Longmans, 1867) is a very

129

SOME ILLUSTRATED

notable and scarce volume, which was published in the
autumn of 1866. It contains twenty drawings by G. J.
Pinwell, of which the seven to The High Tide are singularly
fine ; but that they suffered terribly at the engraver's hands
some originals, in the possession of Mr. Joseph Pennell, prove
only too plainly. J. W. North is represented by twenty-four,
A. Boyd Houghton by sixteen, J. Wolf by nine, E. J. Poynter
by one, W. Small by four, E. Dalziel by three, and T.
Dalziel by twenty. The level of this fine book is singularly
high, and it must needs be placed among the very best of
one of the most fruitful years.

Another book published at this time, Ballad Stories of the
Affections, by Robert Buchanan (Routledge, undated), con-
tains some singularly fine examples of the work of G. J.
Pinwell, W. Small, A. B. Houghton, E. Dalziel, T. Dalziel,
J. Lawson, and J. D. Watson, engraved by the Brothers
Dalziel ; Signelil (pp. 7 and 9), Helga and Hildebrand
(p. 17), The Tzvo Sisters (p. 29), and Signe at the Wake
I frontispiece) show Houghton at his best ; Maid Mettelil
(p. 47) exhibits Pinwell in an unusually decorative mood.
Indeed, the thirty-four illustrations are all good, and the book
is decidedly one of the most interesting volumes of the period,
and unfortunately one least frequently met with to-day.

If Wayside Poesies (Routledge, 1867) is not the finest
illustrated book of the Christmas season of 1866, it is in the
very front rank. Its eighteen drawings by G. J. Pinwell
are among the best things he did ; the five by Fred Walker
are also well up to his best manner, and the nineteen by
J. W. North include some of the most exquisite landscapes
he ever set down in black and white. It was really one
of Messrs. Dalziels' projects, and its publishers were only dis-
tributors ; so that the credit — and it is not slight — of produc-
ing this admirable volume belongs to the popular engravers
whose names occur in one capacity or another in almost every
paragraph of this chronicle. Still more full of good things,
but all reprinted, is Touches of Nature by E^ninent Artists
(Strahan, 1866). This folio volume, 'into which is gathered
much of the richest fruit of Strahan and Company's maga-
zines,' does not belie its dedication. As almost every one
of its ninety-eight subjects is referred to in the record of
the various magazines whence they were collected, it will

J. W. NORTH

■v<,|p»" -yirnr'

if ,;, ■■jii' *',';, . .,ji.i„ J:,:,

,^*!l:'^

^^^g

^^P

WAVSIUE POESIES

GLEN OONA

I. W. NORTH

^^"^5

,5*^V

l^"***,,*.,;

fisy^^^^j^^

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FKOM THE ORIGINAL DRAWING

GLEN OONA

J. W. NORTH

mi: , :

'WAYSIDE POESIES,' 1867

THE NUTTING

J. W. NORTH

WAVSIDE POESIES

AFLOAT

BOOKS OF 1867

suffice to note that it contains three by Sandys, nine by Fred
Walker, four by Millais, five by A. Boyd Houghton, eight by
G. J. Pinwell, two by Lawless, and many by J. W. North,
W. Small, J. Pettie, G, Du Maurier, J. Tenniel, J. D. Watson,
Robert Barnes, with specimens of Charles Keene, J. Mahoney,
Marcus Stone, W. Orchardson, F. J. Shields, Paul Gray,
H. H. Armstead, and others.

A volume of even greater interest is Millais s Collected
/lluslratious {Strahan, 1866). The eighty drawings on wood
include many subjects originally published in Lays of the
Holy Land, Once a Week, Tennysons Poems, Good Words,
Orley Fat'in, etc. etc. Copies in good condition are not
often in the market ; but it should be the blue riband of
every collector, for the blocks here receive more careful
printing than that allowed by the exigencies of their ordinary
publication, and, free from any gold border, set on a large
and not too shiny page, they tell out as well as one could
hope to find them. As you linger over its pages you miss
many favourites, for it is by no means an exhaustive collec-
tion even from the sources mentioned ; but it is representative
and full of superb work, interspersed though it be with the
less fine things done while the great draughtsman was still
hampered by the conventions of Mulready and Maclise.

Idyllic Pictures (Cassell, 1867) is another reprinted collec-
tion, this time selected entirely from one magazine, The Quiver.
It contains a fine Sandys here called October, elsewhere The
Advefit of Winter, whereof the artist complained bitterly of
the 'cutting.' In March 1884, the Art Jotirnal contained a
very excellent paper on ' Frederick Sandys,' by J. M. Gray,
where the original drawing for this subject is reproduced by
process. The more important things in Idyllic Pictures are :
G. J. Pinwell's Faded Flowers {^^. 13), Sailors Valentine {^. 47),
The Angel's Song (p. 'jt^. The Orgafi-man (p. 121), and
Straight On (p. 169) ; A. Boyd Houghton's Wee Pose Maty
(p. 89), St. Martin (p. 181), and Solving and Reaping {^. 189);
Paul Gray's Cousin Lucy ^Frontispiece), A Reverie (p. 17), By
the Dead {j^. 21), 3Iarys Wedding-day {p. 141), and The Holy
Light (p. 193); W. Small's Between the Cliffs (p. 29), My
Ariel (p. 43), A Retrospect (p. 85), Babble (p. 109), and
Chtirch Bells (p. 173) ; T. Morten's Izaak Walton (p. 69)
and Hassan (p. 81); M. E. Edwards's A Lullaby {^.i^(^). Seeing

SOME ILLUSTRATED

Cranny (p. 1 17), and Unreipiitcd (p. 129), with others by the
artists already named, and R. Barnes, H. Cameron, R. P.
Leitch, C. J. Staniland, and G. H. Thomas.

Tzvo Centjiries of Song, selected by Walter Thornbiiry
(Sampson Low, 1867), is a book almost exactly on the lines of
those of the earlier sixties, which seems at first sight to be out
of place amid the works of the newer school. It has nineteen
full-page drawings, set in ornamental borders, which, printed
in colours, decorate (? disfigure) every page of the book.
The illustrations, engraved by W. J. Linton, Gavin Smith,
H. Harral, are by eminent hands : H. S. Marks, T. Morten,
W, Small, G. Leslie, and others. The frontispiece. Faying
Labo7t,rers, temp. Elizabeth, by the first named, is very typical ;
Phyllis, by G. Leslie, a pretty half-mediaeval, half-modern
' decorative ' subject ; and Colin and Phcebe, by W. Small, a
delightful example of a broadly-treated landscape, with two
figures in the distance — a really notable work. In my own
copy, freely annotated with most depreciatory criticisms of
text and pictures in pencil by a former owner, the illustration
(p. 138) has vanished, but on its fly-leaf the late owner has
written —

' This verse its picture had,

A vulgar lass and lout ;
The zvood-cnt was so bad

That I would cut it out.'

That it is signed G. W. is a coincidence more curious than
pleasing to me, and I quote the quatrain chiefly to show
that the term 'wood-cut' for ' wood-engraving ' has been in
common use unofficially, as well as officially, all through this
century. Nevertheless it is a distinct gain to differentiate
between the diverse methods, by refusing to regard the terms
as synonymous.

Foxe's Book of Martyrs (Cassell, undated), issued about
this time, has a number of notable contributors ; but the one-
sided gruesome record of cruelties which, whether true or
false, are horribly depressing, has evidently told upon the
artists' nerves. The illustrators, according to its title-page,
are: ' G. H.Thomas, John Gilbert, G. Du INIaurier, J. D.
Watson, A. B. Houghton, W. Small, A. Pasquier, R. Barnes,
M. E. Edwards, T. Morten, etc' Some of the pictures have
the names of artist and engraver printed below, while others

I xi

G. DU MAURIER

STORY OF A FEATHER'
p. 63

'SEND THE CULPRIT
FROM THE HOUSE
INSTANTLY '

G. DU MAURIER

STORY OF A FEATHER
p. 14

'HE FELT THE SURPASS-
ING IMPORTANCE OF
HIS POSITION'

T, MORTEN

'^^MoHp

THE QUIVER

IZAAK WALTON

BOOKS OF 1867

are not so distinguished. Those most worthy of mention are
by A. Boyd Houghton (pp. 389, 480, 508, 572, 596, and 668),
S. L. Fildes (p. 493), G. Du Maurier (p. 541), and W. Small
(pp. 333, 365, 624). Among artists not mentioned in the title-
page are F. J. Skill, J. Lee, J. Henley, and F. W. Lawson.
The first volume of Cassell's History of England appeared
this year with many engravings after W. Small and others.

Another book of the season worth noting is Hcbers
Hymns (Sampson Low, 1867). It contains 100 illustrations
by T. D. Scott, W. Small, H. C. Selous, Wilfrid Lawson,
Percival Skelton, and others ; but they can hardly be styled
epoch-making. Christian Lyrics (Sampson Low, 1868)
(re-issued later in Warne's Chandos Classics), contains 250
illustrations by A. B. Houghton, R. Barnes, and others.

The Story of a Feather (Bradbury, Evans, and Co. 1867),
illustrated by G. Du Maurier, is a book that deserves more
space than can be allowed to it. It holds a large number
of drawings, some of which, especially the initial vignettes,
display the marvellously fecund and dramatic invention of the
artist. The Spirit of Praise {WziVne, 1867) is an anthology
of sacred verse, containing delightful drawings by W. Small
(PP- 57. 97, 149. 189,), by Paul Gray (p. 89), by G. J. Pinwell
(pp. 19, 157), by A. Boyd Houghton (p. 53), and others by
J. W. North and T. Dalziel.

To 1866 belongs most probably Gullivers Travels, illus-
trated with eighty designs by 'the late T. Morten,' in which
the ill-fated artist is seen at his best level ; they display a
really convincing imagination, and if, technically speaking", he
has done better work elsewhere, this is his most successful
sustained effort.

Moore's Irish Melodies (Mackenzie) contains many illus-
trations by Birket Foster, Harrison Weir, Cope, and others.
Art and Song has thirty original illustrations engraved on
steel, which naturally looks very out of date among its fellows.
A Neiv Table-Book by Mark Lemon (Bradbury) is illustrated
by F. Eltze. Mackay's looi Gems of Poetry (Routledge)
numbers among its illustrations at least one Millais.

Books containing designs by artists whose names appear
after the title, maybe noted briefly here. Little Songs for
Little Folks, J. D. Watson; yEsops Fables, with 114 draw-
ings by Harrison Weir (Routledge) ; Washerwoman s Found-

133

SOME ILLUSTRATED

ling, W. Small (Strahan) ; Lilliput Levde, J. E. Millais,
G. J. Pinwell, etc. (Strahan) ; Roses and Holly (Nimmo) ;
Moore's Irish Melodies, Birket Foster, H. Weir, C. W.
Cope, etc. (Mackenzie); Chandos Poets: Longfelloiv, A.
Boyd Houghton, etc. (Warne) ; Things for Nests (Nisbet).
The popularity of the illustrator at this time provoked a critic
to write: 'Book-illustration is a thriving" fad. Jones fecit is
the pendant of everything he does. The dearth of intellectual
talent among book-illustrators is amazing. The idea is thought
less of than the form. Mental growth has not kept pace
with technical skill ' — a passage only worth quoting because
it is echoed to-day, with as little justice, by irresponsible
scribblers.

In another criticism upon this year's books we find : ' For
the pre-Raphaelite draughtsman and the pre-Bewick artist,
who love scratchy lines without colour, blocks which look
like spoilt etchings, and the first "proofs" of artists' work
untouched by the engraver, nothing can be better.' It was
the year of Dore's Tennyson, and Dora's Tupper, a year
when the fine harvests were nearly at an end, when a new
order of things was close at hand, and the advent of The
Graphic should set the final seal to the work of the sixties
and inaugurate a new school.

But, although the Christmas of 1866 saw the ingathering
of the most fertile harvest, the next three years must be
not overlooked. In 1S67 Lucile, with Du Maurier's designs,
carries on the record ; and North Coast and other Poems,
by Robert Buchanan (Routledge, 1868), nobly maintains the
tradition of Dalziels. It contains fifty-three drawings : thirteen
by Houghton, six by Pinwell, two by W. Small, one by
J. B. Zwecker, three by J. Wolf, twenty-five by T. and
three by E. Dalziel, and the engraving is at their best
level, the printing unusually good.

Golden Thoughts from Golden Fountains (Warne, 1867)
is another profusely illustrated anthology, on the lines of
those which preceded it. The first edition was printed in
sepia throughout, but the later editions printed in black do
more justice to the blocks. In it we find seventy-three
excellent designs by A. Boyd Houghton, G. J. Pinwell,
W. Small, J. Lawson, W. P. Burton, G. Dalziel, T. Dalziel,
and others ; if the book, as a whole, cannot be placed

134

T. MORTEN

'GULLIVERS TRAVELS
CASSELL

GULLIVER IN LILLIPUT

T. MORTEN

'Gulliver's travels

CASSELL

THE LAPUTIANS

BOOKS OF 1867-68

among the best of its class, yet all the same it comprises
some admirable work. Tlie Savage Chib Papers, 1867
(Tinsley), has also a galaxy of stars in its list of illustrators,
but their sparkle is intermittent and feeble. True that
Du Maurier, A. Boyd Houghton, J. D. Watson, and a
host of others drew, and Dalziels, Swain, Harral, and the
rest engraved their work ; but all the same it is but an
ephemeral book. KiHlof and His Fables (Strahan, 1867) en-
shrines some delightful, if slight, Houghtons, and many spirited
animal drawings by Zwecker. Wood's Bible Animals is also
rich in fine zoological pictures. The Ode on the Morning of
Christ's Nativity (Nisbet, 1867) would be notable if only for
its three designs by Albert Moore, who appears here as an
illustrator, probably the only time he ever contributed to any
publication. Notwithstanding two or three powerful and
fantastic drawings by W. Small, the rest are a very mixed lot,
conceived in all sorts of manners. The Illustrated Book of
Sacred Poems (Cassell, undated) is a big anthology, with a
silver-print photograph by way of frontispiece. It contains a
rather fine composition, Side by Side (p. 17), with no signa-
ture or other means of identification. W. Small (p. 21),
J. D. Watson (pp. 69, 89, 105, 200, 209), M. E. Edwards,
H. C. Selous, J. W. North, and many others are represented ;
but the engravers, for the most part, cannot be congratulated
upon their interpretation of the artists' designs.

Other books worth mention are : The Mirage of Life,
with twenty-nine characteristic illustrations by John Tenniel
(Religious Tract Society) ; The Story zvithout an End, illus-
trated by E. V. B. ; CasselTs Illustrated Readings, two
volumes with a mass of pictures of unequal merit, but
the omnivorous collector will keep them for the sake of
designs by F. Barnard, J. D. Watson, J. Mahoney, W.
Small, S. L. Fildes, and many another typical artist of the
sixties, in spite of the unsatisfactory blocks ; Fairy Talcs, by
Mark Lemon, illustrated by C. H. Bennett and Richard
Doyle ; Pupils of St. Joh7i the Divine, illustrated by E.
Armitage (Macmillan) ; Ptuk on Pegasus (the new and
enlarged edition) ; Poetry of Nature, illustrated by Harrison
Weir; and Original Poems by J. and E. Taylor (Routledge,
1868), with a large number of designs by R. Barnes, A. W,
Hayes, etc.

135

SOME ILLUSTRATED BOOKS

With 1868 the end is near; the few books of real merit
which bear its date were almost all issued in the autumn of
the previous year. The Savage Club Papers, 1868, is a book
not worth detailed comment ; Five Days E)itertaininent at
Wentvjorth Grange, by F. T. Palgrave (Macmillan), contains
some charming designs by Arthur Hughes; Stories front
Memel, illustrated by Walter Crane (W. Hunt and Co.), is a
pleasant book of the year ; and, about this time, other work
by the same artist appeared in The Merrie Heart (Cassell).
King Gab's Story Bag (Cassell), T/ie Magic of Kindness
(Cassell), and other children's books I have been unable
to trace, nor the Poetry of Nature, edited by J. Cundall.

Lyra 6^^rwfl;«ffl (Longmans), a second anthology of hymns
translated from the German, contains three illustrations by
Ford Madox Brown, At the Sepulchre, The Soiver, and
Abraham, six by Edward Armitage, R.A., and many head-
pieces and other decorations by John Leighton, which should
not be undervalued because the taste of to-day is in favour of
a bolder style, and dislikes imitation Gothic detail. Of their
sort they are excellent, and may be placed among the earliest
modern attempts to decorate a page, with some show of con-
sistency of treatment. Compared with the so-called ' rustic '
borders of earlier efforts, they at once assume a certain im-
portance. The binding is similar to that upon the first series.

Tom Broxvn's School Days, illustrated by Arthur Hughes
and S. P. Hall, is one of the most notable books of the year.
It is curious that at the close of the period, as at its begin-
ning, this artist is so much to the fore, although examples
of his work appear at long intervals during the years'
chronicle. Yet, as 1855 shows his work in the van of the
movement, so also he supplies a goodly proportion of the
interesting work which is the aftermath of the sixties, rather
than the premature growth of the seventies. Tom Broivn is
too well known in its cheap editions, where the same illustra-
tions are used, to require any detailed comment here. Grays
Elegy (illustrated in colour by R. Barnes, Birket Foster,
Wimperis, and others) is of little importance.

In 1869 The Nobility of Life (Warne), an anthology,
edited by L. Valentine, is attractive, less by reason of its
coloured plates after J. D. Watson, C. Green, E. J. Poynter,
and others, than from its headpieces, by A. Boyd Houghton

136

A. BOYD HOUGHTON

'golden thoughts from
golden fountains'

LOVE

W. SMALL

•golden thoughts from
golden fountains '

MARK THE GREY-
HAIRED MAN

ISSUED IN SERIES

(pp. 26, 106, 122, 136, 146, 178), Francis Walker (pp. 82,
170), J. Mahoney (p. 98), which, subsidiary as they appear
here, are in danger of being- overlooked. Carinina Crjicis
(Bell and Daldy, i860), poems by Dora Greenwell, has two
or three decorative pieces, by G. D. L[eslie], which might be
attributed to the influence of the Century Guild Hobby Horse,
if direct evidence did not antedate them by twenty years.
Miss Kiltnansegg, illustrated by Seccombe ; The Water
Babies, Sir Noel Paton and P. Skelton ; In Faiiyland, R.
Doyle (Longmans) ; Vikram and the Vampire, E. Griset
(Longmans), and ^Esop's Fables (Cassell), with one hundred
clever and humorous designs, by the same artist, are among
the few others that are worth naming.

Several series of volumes, illustrated by various hands,
may be noticed out of their due order. For the date of the
first volume is often far distant from the last, and yet, as the
series maintained a certain coherency, it would be confusing
to spread its record over a number of years and necessitate
continual reiteration of facts.

The Choice Series of selections from the poets, published
by IMessrs. Sampson Low and Co., include several volumes
issued some time before they were included as part of this
series. The ideal of all is far more akin to that of the early
fifties — when the original editions of several of these were
first issued — than to that of the sixties. They include
Bloomfield's Farmci-s Boy (1857), Campbell's Pleasures of
Hope (1855), Coleridge's Ancient Mariner (1857), Gold-
smith's Deserted Village and Vicar of Wakefield, Gray's
Elegy (1853), Keats's Eve of St. Agnes, Milton's E Allegro,
Warton's The Hermit, Wordsworth's Pastoral Poems, and
Rogers's Pleastires of A fernery (1864). All the volumes, but
the last, have wood-engravings by various hands after draw-
ings by Birket Foster, Harrison Weir, Gilbert and others ;
but in the Pleasures of Memory ' the large illustrations ' are
produced by a new method without the aid of an engraver,
and some little indulgence is asked for them on the plea of
the inexperience of the artists in this process. ' The drawing
is made ' (to continue the quotation) ' with an etching needle,
or any suitable point, upon a glass plate spread with collodion.
It is then photographed [? printed] upon a prepared surface
of wax, and from this an electrotype is formed in relief which

SOME ILLUSTRATED BOOKS

is printed with the type.' Samuel Palmer, J. D. Watson,
Charles Green, and others are the artists to whom this
reference applies, and the result, if not better than the best
contemporary engraving, is certainly full of interest to-day.

The Golden Treasury Series (Macmillan and Co.) contains,
in each volume, a vignette engraved on steel by Jeens, after
drawings by J. E. Millais, T. Woolner, W. Holman Hunt,
Sir Noel Paton, Arthur Hughes, etc.

Although the ' Household Edition ' of Charles Dickens's
complete works was issued early in the seventies, it is illus-
trated almost entirely by men of the sixties, and was possibly
in active preparation during that decade. Fred Barnard
takes the lion's share, the largest number of drawings to the
most important volumes. His fame as a Dickens illustrator
might rest secure on these alone, although it is supplemented
by many other character-drawings of the types created by the
author of Pickwick. To Sketches by Boz he supplies thirty-
four designs, to Nicholas Nickleby fifty-nine, to Bar7iaby
Riidge forty-six, to Christmas Books twenty-eight, to Dombcy
and Son sixty-four, to David Copperjic Id sixty, to Bleak House
sixty-one, and to the Tale of Two Cities twenty-five. ' Phiz '
re-illustrates The Pickivick Papers with fifty-seven designs,
concerning which silence is best. J. Mahoney shows excellent
work in twenty-eight drawings to Oliver Tivist and fifty-
eight each to Little Dorrit and Our Mutual Friend ; Charles
Green's thirty-nine illustrations to the Old Curiosity Shop
are also admirable. F. A. Eraser is responsible for thirty to
Great Expectations, E. G. Dalziel for thirty-four to Christmas
Stories (from All the Vear Pound), twenty- six to the
Uncommercial Traveller, and a few to minor pieces, issued
with Edtvin Drood, which contain S. L. Fildes's excellent
designs. H. French contributes twenty to Hard Times,
A. B. Frost illustrates America)! Notes, J. Gordon Thomson
Pictures from Italy, and J. M'L. Ralston supplies fifteen for
A Child's History of England. To re-embody characters
already stereotyped, for the most part, by the earlier plates
of the original editions, was a bold enterprise : that it did not
wholly fail is greatly to its credit. It is quite possible that
as large a number of readers made their first acquaintance
with the dramatis personcB of the novels in these popular
editions as in the older books, and it would be interesting

13S

THE HOUSEHOLD DICKENS

to discover what they really felt when the much-vaunted
copper-plates afterwards fell under their notice. The senti-
ment of English people has been amply expended on the
Hablot K. Browne designs. Cruikshank is still considered a
great master by many people ; but if one could ' depolarise '
their pictures (to use Wendell Holmes's simile), and set them
before their admirers free from early associations, free from
the glamour of Dickens romance, and then extract a frank
outspoken opinion, it would be, probably, quite opposite to
that which they are now ready to maintain.

Recognising that the old illustrations are still regarded
with a halo of memory and romance, not unlike that which
raises Mumbo Jumbo to a fetish among his worshippers, a
wish to estimate anew the intrinsic value, considered as works
of art, of these old illustrations, is not provoked by merely
destructive tendencies. So long as Thackeray's drawing of
Amelia is accepted as a type of grace and beauty, how can
the believer realise the beauty of Millais's Was it not a lie?
in Franiley Parsonage. In the earlier and later engravings
alike, the costume repels ; but in the one there is real flesh
and blood, real passion, real art, in the other a merely con-
ventional symbol, which we agree to accept as an interesting
heroine, in the way a child of five accepts the scratches on
his slate as real pirates and savages. There is little use in
trying to appreciate the best, if the distinctly second-best is
reverenced equally ; and so, at any cost of personal feeling,
it is simply the duty of all concerned to rank the heroes
of the sale-room, ' Phiz,' Cruikshank, and Leech at their
intrinsic value. This is by no means despicable. For certain
qualities which are not remotely connected with art belong to
them ; but the beauty of truth, the knowledge born of aca-
demic accomplishment, or literal imitation of nature, were alike
absolutely beyond their sympathy. Hence to praise their
work as one praises a Durer, a Whistler, or a Millais, is apt
to confuse the minds of the laity, already none too clear as
to the moment when art comes in. This protest is not
advanced to prove that every drawing mentioned in these
pages surpasses the best work of the men in question, but
merely to suggest whether it would not be better to recognise
that the praise bestowed for so many years was awarded to
a conventional treatment now obsolete, and should not be

139

SOME ILLUSTRATED BOOKS

regarded as equivalent to that bestowed upon works of art
which owe nothing to parochial conventions, and are based
on unalterable facts, whether a Hokousai or a Menzel chances
to be the interpreter.

The Chandos Poets (Warne), a series of bulky octavos,
with red-line borders, are of unequal merit. Some, Willmot£s
Poets of the Nineteenth Centnry, James ]Montgonierys
Poems, Christian Lyrics, and Hebers Poetical Works, appear
to be merely reprints of earlier volumes with the original
illustrations ; others have new illustrations by men of the
sixties. The Longfelloiv has several by A. Boyd Houghton,
who is also represented by a few excellent designs in the
Byron ; Legendary Ballads (J. S. Roberts) has three full-page
designs, by Walter Crane, to Thomas of Ercildoune (p. 357),
The Jolly Harper (p. 462), and Robin Hood (p. 580). Later
volumes, with designs by F. A. Eraser and H. French, do
not come into our subject.

Other series of the works of 'standard poets,' as they
were called, all resplendent in gold and colours, and more
or less well illustrated, were issued by Messrs. Routledge,
Nimmo, Warne, Cassell, Moxon, and others, beginning in
the fifties. Here and there a volume has interest, but one
suspects that many of the plates had done duty before, and
those which had not are not always of great merit ; as, for
instance, the drawings by W. B. Scott to the poetical works
of L. E. L. (Routledge). In these various books will be
found, inter alia, examples of Sir John Gilbert, Birket Foster,
E. H. Corbould, W. Small, and Keeley Halswelle.

Hurst and Blacketfs Standard Libra7y is the title of a
series of novels by eminent hands in single volumes, each con-
taining a frontispiece engraved on steel. That to Christian s
Mistake is by Frederick Sandys, engraved by John Saddler.
John Halifax, Nothing Nezv, The Valley of a Hundred Fires,
and Les Misdrables, each have a drawing by Millais, also
engraved by John Saddler. In Studies from Life Holman
Hunt is the draughtsman and Joseph Brown the engraver.
No Church, Grandmothers Money, and A Noble Life, con-
tain frontispieces by Tenniel, Barbaras History, one by J. D.
Watson, and Adele, a fine design by John Gilbert. Others by
Leech and Edward Hughes are not particularly interesting.
The steel engraving bestowed upon most of these obliterated

140

THE END, 1870

all character from the designs, and superseded the artist's
touch by hard unsympathetic details ; but, all the same, com-
positions by men of such eminence deserve mention.

With 1870 the end of our subject is reached ; it is the year
oi Edwin Drood, which established S. L. Fildes's position as an
illustrator of the first rank ; it also has a pleasant book of quasi-
mediaeval work, Mores Ridicula, by J. E. Rogers (Macmillan),
(followed later by Ridicula Rediviva and The Fairy Book, by
the author of John Halifax, with coloured designs by the
same artist), of which an enthusiastic critic wrote : ' Worthy
to be hung in the Royal Academy side by side with Rossetti,
Sandys, Barnes, and Millais'; Whymper's Scrambles on the
Alps, a book greatly prized by collectors, with drawings by
Whymperand J. Mahoney ; The Cycle of Life {S.V .C¥i..); and
Episodes of Fiction (Nimmo, 1870) containing twenty- eight
designs by R. Paterson, after C. Green, C. J. Staniland, P.
Skelton, F. Barnard, Harrison Weir, and others. Novellas
National Nursery Rhymes, by J. W. Elliott, published in
1 87 1, belongs to the sixties by intrinsic right. It includes
two delightful drawings by A. Boyd Houghton — one of which,
To7n the Piper's Son (owned by Mr. Pennell), has been
reproduced from the original by photogravure in Mr. Laurence
Housman's monograph — and many by H. S. Marks, W. Small,
J. Mahoney, G. J. Pinwell, W. J. Wiegand, Arthur Hughes,
T. and E. Dalziel, and others.

H. Leslies Musical Annual (Cassell, 1870) contains a
fine drawing. The Boatswains Leap, by G. J. Pinwell, and a
steel engraving, A Reverie, after Millais, which was re-issued
in The Magazine of Art, September 1896. Pictures from
English Literature (Cassell) is an excuse for publishing
twenty full-page engravings after elaborate drawings by Du
Maurier, S. L. Fildes, W. Small, J. D. Watson, W. Cave
Thomas, etc. etc. This anthology, with a somewhat hetero-
geneous collection of drawings, seems to be the last genuine
survivor of the old Christmas gift-books, which is lineally
connected with the masterpieces of its kind.

Soon after the inevitable anthology of poems reappeared,
in humbler pamphlet shape, as a birthday souvenir, or a
Christmas card, embellished with chromo-hthographs, as it
had already been allied with photographic silver-prints ; but
it is always the accident of the artists chosen which imparts

141

SOME ILLUSTRATED BOOKS

permanent interest to the otherwise feeble object ; whether
it take the shape of a drawing-room table-book, gaudy,
costly, and dull, or of a little booklet, it is a thing of no vital
interest, unless by chance its pictures are the work of really
powerful artists. The decadence of a vigorous movement
is never a pleasant subject to record in detail. Fortunately,
although the king died, the king lived almost immediately,
and The Graphic, with its new ideals and new artists, quickly
established a convention of its own, which is no less interest-
ing. If it does not seem, so far as we can estimate, to
have numbered among its articles men who are worthy in all
respects to be placed by Rossetti, Millais, Sandys, Houghton,
Pinwell, Fred Walker, and the rest of the typical heroes of
the sixties, yet in its own way it is a worthy beginning of a
new epoch.

Before quitting our period, however, a certain aftermath
of the rich harvest must not be forgotten ; and this, despite
the comparatively few items it contains, may be placed in a
chapter by itself.

142

I'Rl-:i)I{RICK SANDYS

'once a WEEt •
VOL. VII. p. 266

DEATH OF KING
WARWOLF

CHAPTER X: THE AFTERMATH, A
FEW BELATED VOLUMES

^HAT Thornbury's Legendary Ballads (dated
1876) should be regarded as a most im-
portant volume in a collection of the 'sixties'
is not odd, when you find that its eighty-
one illustrations were reprinted from Once
a Week. Many of the drawings were re-
published in this book, with the poem they
originally illustrated ; others, however, were joined to quite
different text. If the memories of those livino- are to be
trusted, not a few of the artists concerned were extremely
annoyed to find their designs applied to new purposes. To
take a single instance, the Sandys design to King IVarzvolf
re-accompanied the poem itself, but the drawing by John
Lawson, which is herein supposed to illustrate the lines,

'And then there came a great red glare
That seemed to crimson fitfully
The whole broad Heaven '

was first published with a poem, Ai'iadne, by W. J. Tate, in
August 1866, long after King IVarwolf first appeared. Its
design is obviously based on this passage :

' My long hair floating in the boisterous wind,
My white hands lightly grasping Theseus' knees.
While he, his wild eyes staring, urged his slaves
To some last effort of their well-tried skill.'

But it requires a great effort of perverted imagination to drag
in the picture, which shows a Greek hero on one ship, watch-
ing, you suppose, the dying Norse king on another ship; when
the ballad infers, and the dramatic situation implies, that the
old monarch put out at once across the bar, and his people
from the shore watched his ship burn in the night. To wrench
such a picture from its context, and apply it to another, was a
too popular device of publishers. As, however, it preserves
good impressions of blocks otherwise inaccessible, it would be
ungracious to single out this particular instance for blame. Yet
all the same, those who regard the artist's objection to the
sale of cliches for all sorts of purposes, as a merely sentimental
grievance, must own that he is justified in being annoyed,
when the whole intention of his work is burlesqued thereby.
A contemporary review says that the illustrations had

143

THE AFTERMATH,

' appeared before in Once a Week, The Cornhill, and elsewhere.'
It would be a long and ungrateful task to collate them, but,
so far as my own memory can be trusted, they are all from
the first named. I n place of including a description of the book
itself, a few extracts, from a review by Mr. Edmund Gosse in
\\\^ Academy (February 1876, p. 177), will not only give a
vivid appreciation of the work of two of the artists, but show
that twenty years ago the book was prized as highly as we
prize it to-day. He says: ' We have thought the illustrations
sufficiently interesting to demand a separate notice for them-
selves, the more so as in many cases they are totally uncon-
nected with Mr. Thornbury's poems. . . . We are heartily
glad to have collected for us some of the most typical illustra-
tions of a school that is, above all others, most characteristic of
our latest development in civilisation, and of which the prin-
cipal members have died in their youth, and have failed to
fulfil the greatness of their promise.

' The artists represented are mainly those who immedi-
ately followed the so-called pre-Raphaelites, the young men
who took up many of their principles, and carried them out in
a more modern and a more quiet way than their more ambi-
tious masters. Mr. Sandys, who pinned all his early faith to
Holbein, and Messrs. Walker, Pinwell, Lawless, and Houghton,
who promised to form a group of brother artists unrivalled in
delicacy and originality of sentiment, are here in their earliest
and strongest development. . . . M. J. Lawless contributes
no less than twenty designs to the volume. We have
examined these singular and beautiful drawings, most of them
old favourites, with peculiar emotion. The present writer
[Mr. Edmund Gosse] confesses to quite absurd affection for
all the few relics of this gifted lad, whose early death seems
to have deprived his great genius of all hope of fame. Years
ago these illustrations, by an unknown artist, keenly excited
a curiosity which was not to be satisfied till we learned, with a
sense of actual bereavement, that their author was dead. He
seems to have scarcely lived to develop a final manner ; with
the excessive facility of a boy of high talent we find him
incessantly imitating his elder rivals, but always with a
difference. . . . No doubt, in M. J. Lawless, English art
sustained one of the sharpest losses it ever had to mourn.

' Of Pinwell no need to say so much. He has lived, not

144

W. HOLMAN HUNT

WtLLMOTT S 'SACRED
POETRY,' 1862

THE LENT
JEWELS

|. LAWSON

'ONCE A WEEK
VOL. II. N. S. p. l?7

ARIADNE

A FEW BELATED VOLUMES

long enough indeed to fulfil the great promise of his youth, but
to ensure his head a lasting laurel. There have been stronger
intellects, purer colourists, surer draughtsmen among his con-
temporaries, but where shall we seek a spirit of poetry more
pathetic, more subtle, more absolutely modern than his ? The
critics are for ever urging poets and painters to cultivate the
materials that lie about them in the common household-life
of to-day. It is not so easy to do so ; it is not to be done
by writing " idylls of the gutter and the gibbet " ; it is not to
be done by painting the working-man asleep by his baby's
cradle. Perhaps no one has done it with so deep and thorough
a sympathy as Pinwell ; and it is sympathy that is needed,
not curiosity or pity.' But it would be hardly fair to quote
further from Mr. Gosse's appreciation twenty years ago of artists
still living. The volume contains eight designs by Sandys,
namely, Labours of Thar {^Harold Harfagr), King Warivolf,
The Apparitor of the Secret Tribunal [Jacqnes de Canmont),
Tintoretto ( Yet once more on the organ play), The Avatar
of Zeiis ( The King at the Gate), The search of Ceres for
Proserpine [Helen and Cassandra), The Boy Martyr, The
Three Statues of Egina, and The Jllillers Meadow ( 'The Old
Chartist) ; the alternative title given in brackets is that of the
original as it first appeared in Once a Week. To show how
carelessly the author treated the artists, to whom, in a flowery
preface, he says he owes so much, ' for they have given to his
airy nothings a local habitation and a name, and have caught
and fixed down on paper, like butterflies in an entomologist's
cabinet, many a fleeting Cynthia of his brain,' it will suffice
to quote his profuse acknowledgments to ' Mr. Poynter, an old
schoolfellow of the author's, and now Professor in the London
University, [who] has expended all his learning, taste, and
thought in the The lliree Statues. The drapery might be
copied by a sculptor, it is arrayed with such fine artistic
feeling, and over the whole the artist has thrown the solem-
nity of the subject, and has shown, in Pluto's overshadowing
arm, the vanity of all things under the sun — even the
pure ambition of a great artist.' This charming eulogy, be
it noted, is bestowed on a drawing that is by Frederick
Sandys ! ! ! not by Poynter, who is unrepresented in the book.
The four Whistlers of Once a Week are all here, absurdly
renamed. There are twenty by M. J. Lawless, seven by

2 A 145

THE AFTERMATH,

T. Morten, ten by J. Lawson, one by A. Boyd Houghton, two
by Fred Walker, eight by G. J. Pinwell, six by W. Small,
three by J. Tenniel, three by F. Eltze, and one each by
J. D. Watson, C. Keene, G. Du Maurier, Towneley Green,
C. Green, T. R. Macquoid, P. Skelton, A. Fairfield, E. H.
Corbould, and A. Rich. The book is well printed, and a
treasure-house of good things, which appear to more advan-
tage upon its 'toned paper' than in the pages of the periodical
where they first saw daylight.

The preface to Dalzicls Bible Gallery is dated October
1880, so that the volume was probably issued for the season
of 18S0-81. As we have seen, the work was in active pre-
paration in the early sixties. It contained sixty-nine blocks
excellently printed upon an India tint. These include nine
by the late Lord Leighton, P.R.A., three by G. F. Watts, R.A.,
five by F. R. Pickersgill, R. A., twelve by E. J. Poynter,
R.A., three by E. Armitage, R.A., two by H. H. Arm-
stead, R.A., one by Sir E. Burne-Jones, one by Holman
Hunt, three by Ford Madox Brown, six by .Simeon Solo-
mon, two by A. Boyd Houghton, two by W. Small, one by
E. F. Brewtnall, fourteen by T. Dalziel, one by E. Dalziel,
two by A. Murch, and one by F. .S. Walker, and one by
Frederick Sandys. The praise lavished on these designs is
amply justified if you regard them as a whole; but, turning over
the pages critically after a long interval, there is a distinct
sense of disillusion. At the time they seemed all masterpieces;
sixteen years after they stand confessed as a very mixed group,
some conscientious pot-boilers, others absolutely powerful and
intensely individual. The book is monumental, both in its
ambitious intention and in the fact that it commemorates
a dead cause. It is easy to disparage the work of the
engravers, but when we see what fine things owe their very
existence to Messrs. Dalziels' enterprise, it is but just to pay
due tribute to the firm, and to regret that so powerful an
agency is no longer actively engaged in similar enterprises.

As copies are both scarce and costly, :t may be well
to call attention to a volume entitled Ai't Pictures from
the Old Testament (Society for Promoting Christian Know-
ledge, 1897), wherein the whole sixty-nine reappear supple-
mented by twenty-seven others, which would seem to have
prepared for the Bible Gallery, but not previously issued :

146

EDWARD BURNE JONES

DALZIELS BIBLE
GALLERY,' 1880

THE PARABLE OF THE
BOILING POT

SIR FREDERICK LEIGHTON, P.R.A.

CALZIELS' 'bible GALLERY,' 1S83

CAIN AND ABEL

SIR I'REr3ERICK LEIGHTON, P.R.A.

DALZIELb' 'bible
GALLERY,' l8So

MOSES VIEWING THE
PROMISED LAND

SIR FREDERICK LEIGHTON, P.R.A.

DALZIELS BIBLE
CALLERV,' 1880

ABRAM AND
THE ANGEL

A FEW BELATED VOLUMES

thirteen of these added designs are by Simeon Solomon, two
by H. H. Armstead, R.A., three by E. Armitage, R.A., three
by F. R. Pickersgill, R.A., three by T. Dalziel, and one each
by F. S. Waltges (sic), G. J. Pinwell, and E. G. Dalziel.

As impressions of the famous blocks are obtainable at a
low cost, it would be foolish to waste space upon detailed
descriptions. Of course the popular reprint ought not to be
compared with the fine proofs of the great ddition-de-htxc,
which cost about twenty times as much. But for many
purposes it is adequate, and gives an idea of the superb
qualities of the Leighton designs, and the vigour and strongly
dramatic force of the Poynters. It is interesting to compare
Sir Edward Burne-Jones's original design for The Boiling Pot,
reproduced in Pcn-Draiving and Pen-DranghtsJiicn by Joseph
/'<:7«;£'//(Macmillan, 1894), with the engraving, which is from
an entirely different version of the subject. Other drawings
on wood obviously intended for this work, but never used,
can be seen at South Kensington Museum.

A few belated volumes still remain to be noticed — they
are picked almost at random, and doubtless the list might be
supplemented almost indefinitely: The Trial of Sii- Jasper,
by S. C. Hall (Virtue, undated), with illustrations by Gilbert,
Cruikshank, Tenniel, Birket Foster, Noel Baton, and others,
including W. Eden Thomson and G. H. Boughton. The
latter, a drawing quite in the mood of the sixties, seems to
be the earliest illustration by its author. Another design by
H. R. Robertson, of a dead body covered by a cloth in a
large empty room, is too good to pass without comment.
Beauties of English Landseape, drawn by Birket Foster, is a
reprint, in collected form, of the works of this justly popular
artist ; it is interesting, but not comparable to the earlier
volume with a similar title. In Nature Pictures, thirty
original illustrations by J. H. Dell, engraved by R. Paterson
(Warne), the preface, dated October 1878, refers to 'years of
patient painstaking labour on the part of artist and engraver';
so that it is really a posthumous child of the sixties, and one
not unworthy to a place among the best.

Songs of Many Seasons, by Jemmett Brown (Pewtress
and Co., 1876), contains two little-known designs by Weaker
Crane, two by G. Du Maurier and one by C. M, (C. W.
Morgan). Pegasus Re-saddled {H. S. King, 1877), with ten

147

THE AFTERMATH,

illuslrations by G. Du Maurier is, as its title implies, a com-
panion volume to the earlier Puck on Pcgasjts, by H.
Cholmondelcy Pcnnell. The Childrciis C^rr/:;';/^/ (Macmillan,
1873), contains fourteen capital things by John Lawson — no
relative of ' Cecil ' or ' F. W. Lawson.'

The Lord's Prayer, illustrated by F. R. Pickersgill, R.A.,
and Henry Alford, D. D. (Longmans, 1870), has a curiously
old-fashioned air. One fancies, and the preface supports the
theory, that its nine designs should be considered not as an
aftermath to the sixties, but as a presage of the time, near
the date of The Mtisic -master. Their vigorous attempt to
employ modern costume in dignified compositions deserves
more than patronising approval. Any art-student to-day
would discover a hundred faults, but their one virtue might
prove beyond his grasp. Although engraved on wood by
Dalziel, printed as they are upon a deep yellow tint, the
pictures at first sight suggest lithographs, rather than wood-
engravings. Rural England, by L. Seguin (Strahan, 1885)
has many delightful designs by Millais and Pinwell, but all,
apparently, reprints of blocks used in Good Words and else-
where.

Possibly the whole series of Mr. Walter Crane's toy-
books, which began to be issued in the mid-sixties, should
be noticed here ; but they deserve a separate and complete
iconography. In fact, any attempt to go beyond the arbitrary
date is a mistake, and this chapter were best cut short, with
full consciousness of its being a mere fragment which may
find place in some future volume, upon 'the seventies,' that I
hope may find its historian before long.

A book of this sort, which aimed to be complete, should
contain a critical summary of the period it attempts to record.
But to extract from the mass of material a clearly-defined
purpose, and build up a plausible theory to show that all
the diverse tendencies could be traced to a common purpose,
would surely be at best merely an academic argument. All
that the sixties prove, to a very sincere if incapable student,
seems to be that the artist, if he be indeed an artist, can make
the meanest material serve his purpose. The men of the sixties
tried obviously to do their best. They took their art seriously,
if not themselves. It is tempting to affirm that the tendency
now is for no one to take himself seriously, and even at times

148

EDWARD I. POYNTER, R.A.

DALZIELS BIBLE
CALLtRY,' I??0

JOSEPPI BEFORE
PHARAOH

EDWARD J. POYNTER, R.A.

DALZIELS' 'bible
GALLERY,' 1880

PHARAOH HONOURS
JOSEPH

A FEW BELATED VOLUMES

to look upon his art, whatever it may be, as merely a useful
medium to exploit for his own ends. Yet such an opinion
would be probably too sweeping ; and one is driven back
to the primal fact, that the energy and knowledge which
results in masterly achievement is, and must always be, beyond
rules, beyond schools, as it is beyond fashion or mood. A man
who tries to do his best, if he be endowed with ripe know-
ledge and has the opportunity, will make a fine thing ; which,
whether intended for a penny paper, or a guinea gift-book,
will possess both vitality and permanent value.

But the men of the sixties took themselves quite seriously;
and this is surely evident from their drawings. Not a few com-
mitted suicide, or died from over-work ; neither catastrophe
being evidence of flippant content with the popularity they had
achieved. Whether inspired by pure zeal for art, by rivalry,
or by money-making, they felt the game well worth the candle,
and did all they could do to play it fairly. Those of us to-day
who try to do our best may be inept, ignorant, and attain
only failure ; yet the best is not achieved by accident, and the
only moral of the sixties is the moral of the nineties : ' What-
soev^er thy hand findeth to do, do it with all thy might'

Whether it be the triumph of a master or a pot-boiling
illustrator, the real artist never takes his art lightly. Life,
even reputation, he may play with, but his craft is a serious
thing. In short, the study of the thousands of designs —
some obviously burlesqued by the engraver, others admirably
rendered — will not leave an unprejudiced spectator with a
cut and dried opinion. That, as it happened, a number of
really distinguished men enlisted themselves as illustrators
may be granted, but each one did his own work in his own
way ; and to summarise the complex record in a sentence to
prove that any method, or any manner, is a royal road to
greatness is impossible. Yet no one familiar with the period
can avoid a certain pride in the permanent evidence it has
left, that English art in illustration, (no less than English
music in the part-songs of the Elizabethan period), has pro-
duced work worthy to be entered on the cosmopolitan roll of
fame. This is unquestionable ; and being granted, no more
need be said, for an attempt to appraise the relative value of
totally distinct things is always a foolish effort.

2B 149

CHAPTER XI: CERTAIN INFLUENCES
UPON THE ARTISTS OF THE SIXTIES

'LTHOUGH it would be retraversing beaten
paths to trace the illustrator of the sixties
back to Bewick, or to still earlier progeni-
tors in Diirer or the Florentines, there can
be little doubt that the pre-Raphaelites gave
the first direct impulse to the newer school.
That their work, scanty as it is, so far
as book-illustration is concerned, set going the impulse which
in Kelmscott Press Editions, the Birmingham School, the
Vale Press, Beardsley, Bradley, and a host of others on both
sides of the Atlantic, is ' the movement ' of the moment is
too obvious to need stating. But for ' the sixties ' proper, the
paramount influence was Millais — the Millais after the pre-
Raphaelite Brotherhood had disbanded. Despite a very in-
genious attempt to trace the influence of Menzel upon the
earlier men, many still doubt whether the true pre-Raphaelites
were notquite ignorant of the great German. Later men — Fred
Walker especially, and Charles Keene many years after —
knew their Menzel, and appreciated him as a few artists do
to-day, and the man in the street may at no distant future.
But some of the survivors of the pre-Raphaelites, both formal
and associated, deny all knowledge of Menzel at this date ;
others, however, have told Mr. Joseph Pennell that they did
know his work, and that it had a distinct influence. Some who
did not know him then regret keenly that they were unaware
of his very existence until they had abandoned illustration
for painting. All agree, of course, in recognising the
enormous personality of one who might be called, without
exaggeration, the greatest illustrator of the century ; so that,
having stated the evidence as it stands, no more need be
added, except a suggestion that the theory of Menzel's influ-
ence, even upon those who declare they knew not the man,
may be sound. An edition oi Frederick the Great, by Kiigler,
with five hundred illustrations by Menzel, was published in
England (according to the British Museum Catalogue, the
book itself is undated) in 1844.^ It is quite possible that any
one of the men of the time might have seen it by chance,
and turned over its pages ignorant of its artist's name. A

' Virtues issued another edition in 1S45.

FORD MADOX BROWN

DALZIELS' 'bible
GALLERV," 1880

ELIJAH AND THE
WIDOW'S SON

THE ARTISTS OF THE SIXTIES
few minutes is enough to influence a young- artist, and the one
who in all honesty declares he never heard of Menzel may
have been thus unconsciously influenced. But, if a foreign
source must be found, so far as the pre-Raphaelites are con-
cerned, Rethel seems a far more possible agent. His famous
prints, Death the Friend and Death the Avenger, had they
met his eye, would doubtless have influenced Mr. Sandys,
and many others who worked on similar lines.

Whether Lasinio's ' execrable engravings,' as Ruskin calls
them, or others, will be found to have exerted any influence,
I have no evidence to bring forward. In fact the theory is
advanced only as a working hypothesis, not as an argument
capable of proof. It is possible that France at that time was
an important factor as regards technique, as it has been since,
and is still. But, without leaving our own shores, the logical
sequence of development from Bewick, through Harvey,
Mulready and others, does not leave very many terrible gaps.
It is true that this development is always erratic — now
towards the good, now to meretricious qualities.

The more one studies the matter, the more one fancies
that certain drawings not intended for engraving by Mulready,
and others by Maclise, must have had a large share in
the movement which culminated about 1865 and died out
entirely about 1870. But whatever the influence which set
it going, the ultimate result was British ; and, for good or evil,
one cannot avoid a feeling of pride that in the sixties there
was art in England, not where it was officially expected
perhaps, but in popular journals.

It is quite possible that the revival of etching as a fine
art, which took place early in the second half of this century,
had no little direct influence on the illustration of the period.
Many artists, who are foremost as draughtsmen upon wood,
experimented with the etcher's needle. The Germ, 1850,
was illustrated by etchings ; but, with every desire to develop
this suggestion, it would be folly to regard the much dis-
cussed periodical as the true ancestor of Once a Week and
the rest; even the etching which Millais prepared for it, but
never issued, would not suffice to establish such claim. Two
societies, the Etching Club and the Junior Etching Club, are
responsible for the illustration of several volumes, wherein the
etched line is used in a way almost identical with the same

151

CERTAIN INFLUENCES UPON

artists' manner when drawing for the engraver. Indeed, the
majority of these etchings would suffer little if reproduced by
direct process to-day, as the finesse of rebroussagc and the
more subtle qualities of biting and printing are not present
conspicuously in the majority of the plates.

The Poems by Tom Hood, illustrated by the Junior
Etching Club, include two delightful Millais', The Bridge of
Sighs and Ruth, a Lee Shore by Charles Keene, and two
illustrations to the Ode to the Moon, and The Elm-tree by
Henry Moore.

Passages from Modern Etiglish Poets, illustrated by the
Junior Etching Club, was issued (undated), by Day and Son,
in 1862, in a large octavo. In 1876 another edition in larger
quarto, with the etchings transferred to stone, and printed as
lithographs, was published by William Tegg. In this notable
volume Millais is represented by S^tmmer Indolence (p. 10),
a most graceful study of a girl lying on her back in a meadow
with a small child, who is wearing a daisy chain, seated at
her side. Mr. J. McNeill Whistler contributes two delightful
landscapes. The Angler (p. 7) and A River Scene (p. 45). In
these the master-hand is recognisable at a glance, although the
authorship of many of the rest can only be discovered by the
index. They would alone suffice to make the book a treasure
to light upon. To praise them would be absurd, for one can
conceive no more unnecessary verbiage than a eulogy of Mr.
W^histler's etchings — one might as well praise the beauty of
June sunshine. There are many other good things in the
book — a Tenniel, War and Glory (p. 3), four capital studies
by Henry Moore (pp. i, 16, 27, 28), which come as a revela-
tion to those who only know him as a sea-painter. Four
others by M. J. Lawless, an artist who has been neglected
too long. The Drummer {■^. 2), Sisters of Afercy (p. 12), The
Bivouac (p. 30), and The Little Shipzurights (p. 36), are all
interesting, if not quite so fascinating, as his drawings upon
wood. H. S. Marks has a ge?irc subject, A Study in the
Egyptian Antiquity Department of the British Museum. This
portentous title describes an etching of a country lad in smock-
frock, who, with dazed surprise, is staring into vacancy amid
the gigantic scarabs, the great goddess Pasht, and other
familiar objects of the corridor leading to the Refreshment-
room in the great Bloomsbury building, which people of Grub

152

THE ARTISTS OF THE SIXTIES
Street hurry through daily, with downcast eyes, to enjoy the
friigal dainties that a beneficent institution permits them to
take by way of sustenance during the intervals of study in
the Reading-room. Another plate, Scene of the Plague in
London, 1665, by Charles Keene, would hardly tempt one
to linger before it, but for its signature. It is a powerful
bit of work, but does not show the hand of the great Punch
artist at its best. The rest of the contributions to this
volume are by C. Rossiter, F. Smallfield, Viscount Bury, Lord
G. Fitzgerald, J. W. Oakes, A. J. Lewis, F. Powell, J.
Sleigh, H. C. Whaite, Walter Severn, and W. Gale. Two
by J. Clark deserve mention. To find the painter of cottage-
life, with all his Dutch realistic detail, in company with
Mr. Whistler, is a curious instance of extremes meeting.

Without wishing to press the argument unduly, it is
evident that etching which afterwards developed so bravely,
and left so many fine examples, exerted also a secondary
influence on the illustration of the sixties. Hence the some-
what extended reference to the few books which employed it
largely for illustrations.

Those who would have you believe that the great
English masters of illustration failed to obtain contemporary
appreciation should note the three editions of this work as
one fact, among a score of others, which fails to support their
theory. Whether from a desire to extol the past or not, it
is certain that those publishers who have been established
more than a quarter of a century claim to have sold far
larger editions of their high-priced illustrated volumes then
than any moderately truthful publisher or editor would dare
to claim for similar ventures to-day. Of course there were
fewer books of the sort issued, and the rivalry of illustrated
journalism was infinitely less ; still the people of the fifties,
sixties, and seventies paid their tribute in gold freely and
lavishly, and if they offered the last insult of the populace —
popularity — to these undoubted works of art, it prevents one
placing artists of the period among the noble army of martyrs.
Their payment was quite equal to that which is the average
to-day, as a file-copy of one of the important magazines shows.
They were reproduced as well as the means available permitted;
the printing and the general 'get-up' of the books, allowing
for the different ideals which obtained then, was not inferior

153

THE ARTISTS OF THE SIXTIES
to the average to-day, and, as a rule, the authorship of the
drawings was duly acknowledged in the table of contents, and
the artists 'starred' in contemporary advertisements. It
is painful to own that even the new appreciation is not
absolutely without precedent. One notable instance of
depreciation cannot be forgotten. Mr. Ruskin, who never
expressed admiration of the illustrations of the sixties, in
Ariadne F/orcntina, chose the current number of the Cornhill
Magazine for the text of a diatribe in which the following
passages occur : —

' The cheap popular art cannot draw for you beauty, sense, or
honesty ; but every species of distorted folly and vice — the idiot, the
blackguard, the coxcomb, the paltry fool, the degraded woman —
are pictured for your honourable pleasure in every page, with clumsy
caricature, struggling to render its dulness tolerable by insisting on
defect — if, perchance, a penny or two may be coined out of the
cockneys' itch for loathsomeness. . . . These . . . are favourably
representative of the entire art industry of the modern press — industry
enslaved to the ghastly service of catching the last gleams in the
glued eyes of the daily more bestial English mob — railroad born and
bred, which drags itself about the black world it has withered under
its breath. In the miserable competitive labour of finding new
stimulus for the appetite — daily more gross, of this tyrannous mob,
we may count as lost beyond any hope, the artists who are dull,
docile, or distressed enough to submit to its demands. And for
total result of our English engraving industry for the last hundred
and fifty years, I find that practically at this moment [1S76] I cannot
get a single piece of true, sweet, and comprehensible art to place for
instruction in any children's school.'

But ignoring Mr. Ruskin — if it be possible to ignore the
absolute leader of taste in the sixties — we find little but
praise. Yet the popularity of 1S60-1S70 naturally incurred
the inevitable law of reaction, and was at its lowest ebb
in the eighties ; but now late in the nineties our revived
applause is but an echo of that which was awarded to the
work when it appealed not only by all its art, but with
novelty and an air of being ' up to date ' that cannot, in the
course of things, be ever again its portion. We are not so
much better than our fathers, after all, in recognising the good
things of the sixties, or in trying to do our best in our way.
Which is just what they tried to do in theirs.

154

CHAPTER XII: SOME ILLUSTRATORS OF
THE SIXTIES

LTHOUGH space forbids biographical
notice, even in the briefest form, of all the
artists mentioned in the preceding pages,
and it would be folly to summarise in a few
hasty sentences the complete life-work
of Sir J. E. Millais, P.R.A., Sir John
Gilbert, R.A., Mr. Birket Foster, or Mr.
G. Du Maurier, to take but a few instances ; yet in the case
of Mr. Arthur Hughes, the late M. J. Lawless, and others,
to give more exact references to their published illustrations
is perhaps easier in this way than any other, especially as a
complete iconography of all the chief artists in the movement
had perforce to be abandoned for want of space. Many
illustrators — Ford Madox Brown, Charles Keene, A. Boyd
Houghton, Dante Gabriel Rossetti,W. B. Scott, Fred Walker,
and J. Wolf — have already been commemorated in mono-
graphs ; not confined, it is true, in every instance to the
subject of this book, but naturally taking it as part of the
life-work of the hero, even when, as in Rossetti's case, the
illustrations form but an infinitesimally small percentage of
the works he produced. The artists hereafter noticed have
been chosen entirely from the collector's standpoint, and with
the intention of assisting those who wish to make representa-
tive or complete collections of the work of each particular man.

George Housman Thomas (i 824-1 868) was born in
London, December 4, 1824. When only fourteen he became
apprenticed to G. Bonner, a wood-engraver, and at fifteen
obtained the prize of a silver palette from the Society of Arts,
for an original drawino- Please to i^emeniber the Grotto.
After he had served his apprenticeship, m conjunction with
Henry Harrison he set up in Paris as a wood-engraver. The
firm became so successful that they employed six or seven
assistants. He was then tempted to go to New York to
establish an illustrated paper, which was also a success, al-
though losses on other ventures forced the proprietors to give
it up. This led the artist to turn his attention to another
field of engraving for bank notes, which are estimated among
the most beautiful of their kind. A few years later he

155

SOME ILLUSTRATORS OF THE SIXTIES
returned to England, and became attached to the Illustrated
London Ncvos. In 1848 a special expedition to Italy, which
resulted in a long series of illustrations of Garibaldi's defence
of Rome against the French, not merely established his lasting
reputation, but incidentally extended his taste and knowledge
by the opportunity it gave him for studying the works of the
old masters. In 1854 a sketch of sailors belonging to the
Baltic Fleet, which was published in the Ilbistrated London
Neivs, attracted the attention of the Queen, who caused
inquiries to be made, which led to the artist being employed
by Her Majesty to paint for her the principal events of
her reign. Besides a series of important paintings in oil, he
executed a large number of drawings and sketches which
form an album of great interest.

' As an illustrator of books he was remarkable,' says his
anonymous biographer,^ 'for facility of execution and aptness
of character.' His illustrations of Hiawatha (Kent and Co.),
Armadale (Wilkie Collins), and The Last Chronicle of Barset
(Anthony Trollope), are perhaps the most important ; but
London Society, Mrs. Catty's Parables, Cassell's Magazine,
The Quiver, Illustrated Readings, and many other volumes
of the period, contain numerous examples of his work in this
department. In the person of his brother, Mr. W. Luson
Thomas, the managing director of the Graphic and the Daily
Graphic, and his nephew, Carmichael Thomas, Art Director of
the Graphic, the family name is still associated with the most
notable movement in illustration during the period which
immediately followed that to which this book is devoted.

Sir John Everett Millais, Bart., P.R.A. (born June 8,
1829, died August 13, 1896). — As these proofs were being
sent to press, the greatest illustrator of all (having regard
to his place as the pioneer of the school which immediately
succeeded the pre-Raphaelites, the number of his designs, and
their superlative excellence), has joined the majority of his
fellow-workers in the sixties. It would be impossible in a
few lines to summarise his contributions to the 'black-and-
white ' of English art ; that task will doubtless be undertaken
adequately. But, if all the rest of the work of the period were

' In Memoriam, George H. Thomas (Cassell, undated), a folio volume with about one
hundred illustrations.

FORD MADOX BROWN

dalziels' * bible
gallery' jSSo

JOSEPH'S COAT

SOME ILLUSTRATORS OF THE SIXTIES
lost, his contributions alone might justly support every word
that has been or will be said in praise of 'the golden decade.'
From the 1857 Tennyson to his latest illustration he added
masterpiece to masterpiece, and, were his triumphant career
as a painter completely ignored, might yet be ranked as a
great master on the strength of these alone.

Paul Gray (1848- 1868). — A most promising young illus-
trator, whose early death was most keenly regretted by those
who knew him best, Paul Gray, was born in Dublin, May 17,
1848. He died November 14, 1868. In the progress of this
work mention has been made of all illustrations which it has
been possible to identify; many of the cartoons for Fim, being
unsigned, could not be attributed to him with certainty. The
Savage Chib Paper's, First Series (Tinsley, 1863), contain his
last drawing, Sweethearting. In the preface we read : ' When
this work was undertaken, that clever young artist [Paul
Gray] was foremost in offering his co-operation ; for he whom
we mourned, and whose legacy of sorrow one had accepted,
was his dear friend. The shock which his system, already
weakened by the saddest of all maladies, received by the
sudden death of that friend was more than his gentle spirit
could sustain. He lived just long enough to finish his draw-
ing, and then he left us to join his friend.' In the record
of the periodicals of the sixties will be found many references to
his work, which is, perhaps, most familiar in connection with
Charles K\x\gs\&ys Hereward ike Wake.

Dante Gabriel Rossetti {b. 1828, d. 1882). The com-
paratively few illustrations by Rossetti have been described
and reproduced so often, that it would seem superfluous to
add a word more here. Yet, recognising their influence
to-day, we must also remember that many people who are
attracted by this side of Rossetti's art may not be familiar
with the oft-told story of his career. He, more than any
modern painter, would seem to be responsible for the present
decorative school of illustrators, whose work has attracted
unusual interest from many continental critics of late, and
is recognised by them as peculiarly ' English.' While the
man in the street would no doubt choose ' Phiz,' Cruikshank,
Leech, Tenniel, Gilbert, Fred Walker, or Pinwell as typically
'English,' the foreigner prefers to regard the illustrations by

157

SOME ILLUSTRATORS OF THE SIXTIES

Rossetti, his immediate followers, and his later disciples as
representing that English movement, which the native is apt
to look upon as something exotic and bizarre.

Yet it is not necessary to discuss Rossetti's position as
founder of the pre-Raphaelite school, nor to weigh his claims
to the leadership against those of Ford Madox Brown and
Holman Hunt. But, without ignoring the black-and-white
work of the two last named, there can be no doubt that it
is Rossetti who has most influenced subsequent draughtsmen.

Nor at the time was his position as an illustrator misunder-
stood. When we find that he received ;C30 each for the small
Tennyson drawings on wood, the fact proves at the outset
that the market value of his work was not ignored by his
publishers. At the present day when any writer on men of
the sixties is accused of an attempt to ' discover ' them, and
the appreciation he bestows is regarded as an attempt to
glorify the appreciator at the expense of the appreciated,
it is well to insist upon the fact that hardly one of the men in
favour to-day failed to meet with substantial recognition at
the time. It was not their fate to do drawings for love, or
to publish engravings at their own cost, or sell as cheap curios
works which now realise a thousand times their first cost.

Drawings paid for at the highest market rate, or, to speak
more accurately, at ' star ' prices, published in popular volumes
that ran through large editions, received favourably by con-
temporary critics, and frequently alluded to as masterpieces
by writers in current periodicals, cannot be said to have been
neglected, nor have they even been out of favour with artists.

That work, which has afforded so much lasting pleasure,
was not achieved without an undue amount of pain, is easily
proved in the case of Rossetti. So pertinent is a descrip-
tion by his brother, published lately, that it may be quoted
in full, to remind the illustrators of to-day, who draw on
paper and card-board at their ease to any scale that pleases
them, how much less exacting are the conditions under which
they work than those encountered by the artists who were
forced to draw upon an unpleasant surface of white pigment
spread upon a shining wooden block : —

' The Tennyson designs, which were engraved on wood and pub-
lished in the Illtistrated Tennyson, in which Millais, Hunt, Mulready,
and others co-operated,' says Mr. William Michael Rossetti, ' have in

158

SOME ILLUSTRATORS OF THE SIXTIES
the long run done not a little to sustain my brother's reputation with
the public. At the time they gave him endless trouble and small
satisfaction. Not indeed that the invention or the mere designing
of these works was troublesome to him. He took great pains with
them, but, as what he wrought at was always something which in-
formed and glowed in his mind, he was not more tribulated by these
than by other drawings. It must be said, also, that himself only, and
not Tennyson, was his guide. He drew just what he chose, taking
from his author's text nothing more than a hint and an opportunity.
The trouble came in with the engraver and the publisher. With
some of the doings of the engraver, Dalziel (not Linton, whom he
found much more conformable to his notion), he was grievously dis-
appointed. He probably exasperated Dalziel, and Dalziel certainly
exasperated him. Blocks were re-worked upon and proofs sent back
with vigour. The publisher, Mr. Moxon, was a still severer affliction.
He called and he wrote. Rossetti was not always up to time, though
he tried his best to be so. In other instances he was up to time, but
his engraver was not up to his mark. I believe that poor Moxon
suffered much, and that soon afterwards he died ; but I do not lay
any real blame on my brother, who worked strenuously and well.
As to our great poet Tennyson, who also ought to have counted for
something in the whole affair, I gather that he really liked Rossetti's
designs when he saw them, and he was not without a perceptible
Hking and regard for Rossetti himself, so far as he knew him (they
had first met at Mr. Patmore's house in December 1849); but the
illustration to St. Cecilia puzzled him not a little, and he had to give
up the problem of what it had to do with his work.' '

Later on, in the same volume, we find an extract from a
letter dated February 1S57, which Dante Gabriel Rossetti
wrote to W. Bell Scott : —

' I have designed five blocks for Tennyson, save seven which are
still cutting and maiming. It is a thankless task. After a fortnight's
work my block goes to the engraver, like Agag delicately, and is hewn
in pieces before the Lord Harry.

'ADDRESS TO DALZIEL BROTHERS

' O woodman spare that block,

0 gash not anyhow !

It took ten days by clock,

1 'd fain protect it now.

Chorus — Wild laughter from Dalziels' Workshop.'

Several versions of this incident are current, but Mr.
Arthur Hughes's account has not, I think, been published. It

1 Dante Gabriel Rossetti : Letters and Memories, hy'WWWatm. Michael Rossetti.
Ellis and Elvey, 1895, vol. i. p. 189.

SOME ILLUSTRATORS OF THE SIXTIES

chanced that one day, during the time he was working in
Rossetti's studio, the engraver called, and finding Rossetti was
out, poured forth his trouble and stated his own view of the
matter with spirit. For his defence, as he put it, much
sympathy may be awarded to him. The curious drawings
executed in pencil, ink, and red chalk, crammed with highly-
wrought detail, that were to be translated into clean black and
white, were, he declared, beyond the power of any engraver
to translate successfully. How Mr. Hughes pacified him is a
matter of no importance ; but it is but fair to recollect that,
even had the elaborate designs been executed with perfection
of technique, any engraver must have needs encountered a
task of no ordinary difficulty. When, however, the white
coating had been rubbed away in parts, and all sorts of strokes
in pen, pencil, and pigment added, it is not surprising that
the paraphrase failed to please the designer. Although the
drawings naturally perished in the cutting, and cannot be
brought forward as decisive evidence, we may believe that
the engraver spoilt them, and yet also believe that no crafts-
man who ever lived would have been absolutely successful.

The number of Rossetti's book-illustrations is but ten
in all, according to the list given in Mr. William Sharp's
admirable monograph. To these one might perhaps add the
frontispiece to that volume ; as although the pen-drawing, A
sonnet is a momenfs niotinment, was never intended for
reproduction, it forms a most decorative page. There is
also a design for a frontispiece to the Early Italian Poets,
which was first reproduced in the English Illustrated Maga-
zine, No. I. The actual frontispiece was etched but never
used, and the exquisitely dainty version survives only in two im-
pressions from the plate, both owned by Mr. Fairfax Murray.
Another frontispiece, to The Risen Life} a poem by R. C.
Jackson, in a cover designed by D. G. R. (R. Elkins and Co.,
lo Castle St., East Oxford St., W., 1884), belongs to the same
category, in which may be placed The Queens Page, drawn in
1854, and reproduced in Florver Pieces by Allingham (^Reeves
& Turner, 1S88). The ten which were all (I believe) drawn
upon the wood include : Elf en-mere, published first in William
AUingham's The Music-master, 1855, and afterwards reprinted
in a later volume. Life and Phantasy, and again in Flower

* A silver-print pliotograph only.
160

SOME ILLUSTRATORS OF THE SIXTIES

Pieces (1888), by the same author. This design 'revealed to
young Burne-Jones' (so his biographer, Mr. Malcolm Bell,
has recorded) that there existed a strange enchanting world
beyond the hum-drum of this daily life — a world of radiant,
many-coloured lights, of dim mysterious shadows, of har-
monies of form and line, wherein to enter is to walk among
the blest — that far-off world of Art into which many a time
since he has made his way and brought back visions of
delight to show his fellow-men. The first suspicion of that
land of faery came to him when, in a small volume of poems
by William Allingham, he found a little wood-cut, ' Elfen-
mere,' signed with a curious entwinement of the initials
D. G. R. The slumbering spirit of fancy awoke to life within
him and cast her spells upon him never to be shaken off.'

\\\ \}n& Oxford and Cambi'idge Magazine, 1856, Mr. Burne-
Jones wrote of this very design : 'There is one more I can-
not help noticing, a drawing of higher finish and pretension
than the last, from the pencil of Rossetti, in Allingham's Day
and Night Songs, just published. It is, I think, the most
beautiful drawing for an illustration I have ever seen : the
weird faces of the maids of Elfen-mere, the musical, timed
movement of their arms together as they sing, the face of the
man, above all, are such as only a great artist could conceive.'

This picture, ' three damsels clothed in white,' who came

' With their spindles every night ;
Two and one, and three fair maidens.
Spinning to a pulsing cadence.
Singing songs of Elfen-mere,'

reproduced here, is still issued in William Allingham's volume
of poems entitled Flower Pieces (Reeves and Turner, 1888).
Five illustrations to Moxon's edition of Tennyson's Poems,
1857, two in Christina Rossetti's The Goblin Market and
other Poems, 1862, and two in The Prince's Progress and
other Poems, 1866, by the same author, complete the ten
in question. As the Tennyson has been republished lately,
and a monograph, Tennyson and his pre-Raphaelite Illus-
trators, by G. Somes Layard (Elliot Stock, 1894), has brought
together every available scrap of material connected with
the famous quintette of designs, it would be superfluous to
describe them here in detail. Any distinctly recognised ' move-
ment ' is very rarely a crescendo, but nearly always a waning
2c 161

SOME ILLUSTRATORS OF THE SIXTIES
force that owes what energy it retains to the original impetus
of its founder. Should this statement be true of any fashion in
art, it might be most easily supported, if applied to Rossetti's
ten drawings on wood, set side by side with the whole mass
of modern 'decorative' illustration. Even a great artist like
Howard Pyle has hardly added a new motive to those
crowded into these wood-engravings. The lady by the case-
ment, ' The long hours come and go ^ upon the title-page of The
Princes Progress, is an epitome of a thousand later attempts.
Mr. Fairfax Murray has collected over a dozen studies and
preliminary drawings for this little block, that would appal some
of the younger men as evidence of the intense care with which
a masterpiece was wrought of old. Highly-finished drawings
were done over and over again until their author was satisfied.
The frontispieces to Goblin Market and to The Prince s
Progress, no less than the Tennyson designs, form, obviously
enough, the treasure-trove whence later men have borrowed ;
too often exchanging the gold for very inferior currency.
Without attempting to give undue credit to Rossetti, or
denying that collateral influences — notably that of Walter
Crane — had their share in the revival of the nineties, there can
be no doubt that the strongest of the younger ' decorative '
artists to-day are still fascinated by Rossetti — no less irresist-
ibly than 'the young Burne-Jones' was influenced in 1855.

Therefore the importance of these ten designs cannot be
exaggerated. Whether you regard their influence as un-
wholesome, and regret the morbidity of the school that founded
itself on them, or prefer to see in them the germ of a style
entirely English in its renaissance, which has already spread
over that Continent which one had deemed inoculated against
any British epidemic, the fact remains that Rossetti is the
o-olden milestone wherefrom all later work must needs be
measured. No doubt the superb work of Frederick Sandys,
had it been more accessible to the younger artists when the
new impetus to decorative black-and-white began to attract a
popular audience, would have found hardly as ardent disciples.

M. J. Lawless (born 1837, died 1864). — This artist,
faithful to the best tradition of the pre-Raphaelite illustrators,
seems to have left few personal memories. Born in 1837, a
son of Barry Lawless, a Dublin solicitor, he was educated at

162

DANTE GABRIEL ROSSETTI

you should have wept heryestercCc^

'THE I'KINCES PROGRESS
1866

SOME ILLUSTRATORS OF THE SIXTIES
Prior Park School, Bath, and afterwards attended several
drawing schools, and was for a time a pupil of Henry O'Neil,
R.A. He died August 6, 1864. Mr. Edward Walford, who
contributes a short notice of Matthew James Lawless to
the Dictionary of National Biography, has only the barest
details to record. Nor do others, who knew him intimately,
remember anything more than the ordinary routine of a
short and uneventful life. But his artistic record is not
meagre. In contemporary criticism we find him ranked with
Millais and Sandys ; not as equal to either, but as a worthy
third. A fine picture of his. The Sick Call (from the Leathart
Collection), was exhibited again in 1895 ^^ the Guildhall.

But it is by his work as an illustrator he will be remem-
bered, and, despite the few years he practised, for his first
published drawing was in Once a Week, December 15, 1859
(vol. i. p. 505), he has left an honourable and not incon-
siderable amount of work behind him. No search has liohted
upon any work of his outside the pages of the popular
magazines, except a few etchings (in the publications of the
Junior Etching Club), three designs of no great importance in
Lyra Germaiiica (Longmans, 1861), and a pamphlet, the Life
of St. Patrick, with some shocking engravings, said by his
biographer to be from Lawless's designs. In the chapters upon
Once a JFeek, London Society, Good Words, etc., every drawing
I have been able to identify is duly noted. It is not easy to
refrain from eulogy upon the work of a draughtsman with
no little individuality and distinction, who has so far been
almost completely forgotten by artists of the present day.
The selection of his work reproduced here by the courtesy
of the owners of the copyright will, perhaps, send many fresh
admirers to hunt up the rest of it for themselves.

Arthur Boyd Houghton (1836-1S75) was born in 1836,
the fourth son of his father, who was a captain in the Royal
Navy. He visited India, according to some of his biographers;
others say that he was never in the East, but that it was a
brother who supplied him with the oriental details that appear
in so many of his drawings. Be that as it may, his fellow-
workers on the Arabian Nights pretended to be jealous of his
Egyptian experience, and declared that it was no good trying
to rival from their imaginings the scenes that he knew by heart.

163

SOME ILLUSTRATORS OF THE SIXTIES
At present, when all men unite to praise him, it would almost
lend colour to a belief that he was unappreciated by his
fellows to read in a contemporary criticism : 'His designs
were often striking in their effects of black and white, but
were wanting in tone and gradation— a defect partly due
to the loss of one eye.' This is only quoted by way of
encouragement to living illustrators, who forget that their
hero, despite sympathy and commissions, suffered also much
the same misunderstanding that is often their lot. Against
this may be set a criticism of yesterday, which runs : —

'As regards "the school of the sixties," now that it has moved
away, we can rightly range the heads of that movement, and allowing
for side impulses from the technique of Menzel, and still more from
the magnetism of Rossetti's personality, we see, broadly speaking, that
with Millais it arrived, with Houghton it ceased. Under these two
leaders it gathered others, but within ten years its essential work was
done. It has all gone now nobly into the past from the hands of
men, some still living, some dead but yesterday.

' In Houghton's work, two things strike us especially, when we
see it adequately to-day : its mastery of technique and style, and its
temperament : the mastery so swift and spontaneous, so lavish of its
audacities, so noble in its economies ; the temperament so dramatic,
so passionate, so satiric, and so witty. In many of his qualities, in
vitality and movement, Houghton tops Millais. What is missing
from his temperament, if it be a lack and not a quality, is the power
to look at things coolly ; he has not, as Millais, the deep mood of
stoical statement, of tragedy grown calm. His tragic note is vindic-
tive, a little shrill : when he sets himself to depict contemporary life,
as in the Graphic America series, he is sardonic, impatient, at times
morose : his humour carries an edge of bitterness. But in whatever
mood he looks at things, the mastery of his aim is certain.' ^

The mass of work accomplished in illustration alone, be-
tween his first appearance and his death in 1875, is amazing.
There is scarce a periodical of any rank which has not at least
one example from his pen. The curt attention given here to the
man must be pardoned, as reference to his work is made on
almost every page of this book. For an appreciative essay, that
is a model of its class, one has but to turn to Mr. Laurence
Housman's volume - which contains also five original drawings
on wood (reproduced in photogravure) and eighty-three others
from Dalziel's Arabian Nights (Ward, Lock & Co., 1863-

' A Catalogue of forty des.gns by A. Boyd Houghton, exhibited at The Sign of the Dial
53 Warwick Street, W. [1896].

- Arthur Boyd Houghton, by Laurence Ilousman, Kegan Paul & Co., 1S96.

164

READING THE CHRONICLES

SOME ILLUSTRATORS OF THE SIXTIES
65 and Warne, 1866), Don Quixote, the two volumes of Mr.
Robert Buchanan's Poems — Ballad Stories of the Affections
(1866), and North Coast (1868), Home Thoughts (1865),
National Nursery Rhymes (1871), and The Graphic (1870).

Frederick Walker^ (1840- 18 75), who was born in Mary-
lebone on the 26th of May 1840, has been the subject
of so many appreciations, and at least one admirable mono-
graph, that a most brief notice of his career as an illustrator
will suffice here. His father was a designer of jewelry and
his grandfather had some skill in portrait-painting. How he
began drawing from the Elgin marbles in the British Museum
at the age of sixteen has been told often enough. Many boys
of sixteen have done the same, but it is open to doubt if
any one of them has absorbed the spirit of their models so
completely as Fred Walker did. It would be hardly asserting
too much to say for him that they replaced humanity, and that
his male figures seem nearly always youths from the Parthenon
in peasant costume. At seventeen or eighteen he was work-
ing at Leigh's life-class in Newman Street, and at the
same time was employed in Mr. Whymper's wood-engraving
establishment. His first appearance in Everybody s Journal
is duly noted elsewhere, also his first drawing in Once a Week ;
but the peculiar affection he had inspired by his work has
kept most of his critics from saying that some of his earliest
designs, as we know them after engraving, appear distinctly
poor. But, from the time he ceased to act as ' ghost ' for
Thackeray, and signed his work with the familiar F. W., his
career shows a distinct and sustained advance until the ill-
fated 1875, in which George Mason, G. J. Pinwell, and
A. Boyd Houghton also died.

It is unnecessary to recapitulate in brief the various con-
tributions to the Cornhill Magazine, Good Words, Once a Week,
etc., which have already been noted in detail. Nor would it
be in place here to dwell upon the personality of the artist ;
sufficient matter has been printed already to enable lovers
of his works to construct a faithful portrait of their author —
lovable and irritable, with innate genius and hereditary disease
both provoking him to petulant outbursts that still live in his
friends' memories. One anecdote will suffice. A group of

' The Portfolio, June 1894 : ' Frederick Walker,' by Claude Phillips.

165

SOME ILLUSTRATORS OF THE SIXTIES
well-known painters were strolling across a bridge on the
Upper Thames. Walker, who was passionately fond of music,
had been playing on a tin whistle, which one of the party,
half in joke, half weary of the fluting, struck from his mouth,
so that it fell into the stream below. In a moment Walker
had thrown off his clothes, and, ' looking like a statue come
to life, so exquisitely was he built,' plunged from the wall of
the bridge, and, diving, rescued his tin whistle, which he bore
to land in triumph. The trifling incident is an epitome of
the character of the wayward boy, who kept his friends never-
theless. ' He did not seek beauty,' wrote an ardent student
of his work, ' but it came, while Pinwell thought of and strove
for beauty always, yet often failed to secure it.' That he
knew Menzel, and was influenced by him, is an open secret ;
but he also owes much to the pre-Raphaelites — Millais
especially. Yet when all he learned from contemporary
artists is fully credited, what is left, and it is by far the largest
portion, is his own absolutely — owing nothing to any pre-
decessor, except possibly to the sculptors of Greece. He
died in Scotland in June 1875, and was buried at the Marlow
he painted so delightfully, leaving behind him the peculiar
immortality that is awarded more readily to a half-fulfilled life
than to one which has accomplished all it set out to do, and
has outlived its own reputation.

George John Pinwell (1842-1875). — This notable illus-
trator, whose work bulks so largely in the latter half of the
sixties, was born December 26, 1842, and died September 8,
1875. He studied at the Newman Street Academy, enter-
ing in 1862. At first his illustrations show little promise;
some of the earliest, in Lillipnt Levee, a book of delightful
rhymes for children, by Matthew Browne, are singularly
devoid of interest. No engraver's name appears on them,
nor is it quite clear by what process they were reproduced.
They are inserted plates, and, under a strong magnifying
glass, the lines suggest lithography. The unfamiliar medium,
supposing they were drawn in lithographic ink, or by grapho-
type, or some similar process, would account for the entire
absence of the qualities that might have been expected.
Some others, in Hacco the Divarfand in The Happy Home,
the latter in crude colours, are hardly more interesting.

166

A. BOYD HOUGHTON

GOUD W UK 1.1
1S6:?, p. 504

MY TREASURE

SOME ILLUSTRATORS OF THE SIXTIES

According to Mr. Harry Ouilter/ Pinwell began life as a
butterman's boy in the City Road, whose duty, among other
things, was to ' stand outside the shop on Saturday nights
shouting Buy ! Buy ! Buy ! ' Later on he seems to have been
a 'carpet-planner.' If one might read the words as 'carpet-
designer,' the fact of turning up about this time at Leigh's
night-school, where he met Fred Walker, would not be quite
so surprising.

Between Walker and Pinwell a friendship sprang up, but
it seems to have been Thomas White who introduced the
former to Once a Week, wherein his first contribution. The
Saturnalia, was published, January 31, 1863. In 1864 he
began to work for Messrs. Dalziel on the Arabian Nights
and the Illustrated Goldsmith, which latter is his most im-
portant volume. In 1869 he became a member of the Old
Water Colour Society, but his work as a colourist does not
concern us here. Nor is it necessary to recapitulate the
enormous quantity of his designs which in magazines and
books are noticed elsewhere in these pages. Some illustra-
tions to Jean Ingeloivs Poems, notably seven to The High
Tide, represent his best period. But he suffered terribly by
translation at the engravers' hands. The immobility, which
characterises so many of his figures, does not appear in the
few drawings which survive. Mr. Pennell is the fortunate
possessor of several of the designs for The High Tide; but
the pleasure of studying these originals is changed to pain
when one remembers how many others were cut away by
the engraver. It is curious that three men, so intimately
associated as Walker, Pinwell, and Houghton, should have
preserved their individuality so entirely. It is impossible to
confuse the work of any of them. Walker infused a grace
into the commonplace which, so far as the engravings are
concerned, sometimes escaped Pinwell's far more imaginative
creations; while Houghton lived in a world of his own,
wherein all animate and inanimate objects obeyed the lines,
the swirling curves, he delighted in. If, as has been well
said. Walker was a Greek — but a dull Greek — then Pinwell
may be called a Naturalist with a touch of realism in his
technique, while Houghton was romantic to the core in
essence and manipulation alike.

* Preface to a Catalogue of the Birniiiii^hain Society of Artists, March 1S95.

167

SOME ILLUSTRATORS OF THE SIXTIES

Arthur Hughes. — In 1855 appeared The Jlhisic-maslcr,
the second enlarged and illustrated edition of Day and Night
Songs, a book of poems by William Allingham, to which
reference has been made several times in this chronicle. Of
its ten illustrations, seven and a vignette are from the hand
of Arthur Hughes. The artist thus early associated with the
leaders of the pre-Raphaelite movement, and still actively at
work, was never, technically, a member of the Brotherhood.
In 1858, however, we find him one of the enthusiastic young
artists Rossetti had gathered round him with a view to the
production of the so-called frescoes in the Oxford Union.
The oft-told tale of this noble failure need not be repeated
here. Those who were responsible for the paintings in
question appear more or less relieved to find that the work
has ceased to exist. True, the majority of picture-lovers who
have never seen them regard them, sentimentally, as the fine
flower of pre-Raphaelite art, which faded before it was fully
open. Judging from the restored fragments which remain,
had they been permanent, they would not have been more
than interesting curiosities ; examples of the ' prentice efforts '
of men who afterwards shaped the course of British art, not
merely for their own generation, but, as we can see to-day, for
a much longer time. The great difficulties of the task these
ardent novices undertook so light-heartedly may or may not
have checked the practice of wall-painting in England, if,
indeed, one can speak of a check to a movement that never
existed. To trace in detail the course of Mr. Hughes's work,
from this date to the present, would be a pleasant and some-
what lengthy task. Yet, although greater men are less fully
dealt with, a running narrative showing where the illustrations
appeared will be more valuable than any attempt to estimate
the intrinsic value of the work, or explain its attractive quality.
That the work is sincfularlv lovable, and has found staunch and
ardent admirers amid varying schools of artists, is unquestion-
able. Without claiming that it equals the best work of the
' Brotherhood,' it has a charm all its own. The sense of delight
in lovely things is present throughout, nor does its elegance
often degenerate to mere prettiness. The naive expression of
a child's ideal of lovely forms, with a curiously well-sustained
type of beauty, neither Greek nor Gothic, yet having a touch
of paganism in its mysticism, is always present in it. With a

168

SOME ILLUSTRATORS OF THE SIXTIES
peculiarly individual manner — so that the signature, which is
usually to be found in some unobtrusive corner, is needless, —
a student of illustration can 'spot' an Arthur Hughes at
the most rapid glance as surely as he could identify a Du
Maurier.

There are painters and draughtsmen of all periods, before
whose work you are well content to cease from criticism, and to
enjoy simply, with all their imperfections, the qualities that
attract you. Passionate intensity, the perfection of academic
draughtsmanship, dramatic composition as it is usually under-
stood, may, or may not, be always evident. Whether they
are or not is in this case of entirely secondary importance.
Certain indefinable qualities, lovable and lasting, are sure to
be the most noticeable, whether you light on a print that has
escaped you hitherto, or turn up one that you have known
since the day it was published. Like caters for the like, and
this love which the work provokes from those to whom it
appeals seems also its chief characteristic. In the whole
mass of pictorial art you can hardly find its equal in this
particular respect. The care and sorrow of life, its disillu-
sions and injustice, are not so much forgotten, or set aside
thoughtlessly, as recognised at their relative unimportance
when contrasted with the widespread, yet absolutely indefin-
able thing, which it is convenient to term Love. Not, be it
explained. Love in its carnal sense, but, in an abstract spiritual
way, which seeks the quiet happiness in adding to the joy of
others, and trusts that somehow, somewhere, good is the
final end of ill.

It may be that this attempt to explain the impression of
Mr. Hughes's work is a purely personal one, but it is one that
intimate study for many years strengthens and raises to the un-
assailable position of a positive fact. At the risk of appearing
mawkishly sentimental, even with the greater risk of reflecting
sentimentality upon artistic work which it has not, this
impression of Mr. Arthur Hughes's art must be set down
unmistakably. Looking upon it from a purely technical
aspect, you might find much to praise, and perhaps a little
to criticise ; but, taking it as an art addressed often enough to
the purpose of forming artistic ideals in the minds of the young,
you cannot but regret that the boys and girls of to-day. despite
the army of artists of all ranks catering for them, cannot know

169

SOME ILLUSTRATORS OF THE SIXTIES

the peculiar delight that the children of the sixties and early

seventies enjoyed.

Arthur Hughes was born in London in 1832, and became
a pupil of Soames of the Royal Academy Schools, exhibiting
for the first time at the annual exhibition in 1854. In 1855
appeared, as we have just seen, The Music -master. The
artist seems to have worked fitfully at illustrations, but his
honourable labours in painting dispose of any charge of
indolence, and, did but the scope of this work j^ermit it, a still
more interesting record of his artistic career could be made
by including a list of pictures exhibited at the Royal Academy,
the Institute, the Grosvenor, the New Gallery, and elsewhere.
Between 1855 and 1861 I have found no illustrations, nor
does he himself recall any. In the latter year there are
two designs in The Queen to poems by George Mac Donald
and F Greenwood. The next macrazine illustration in order

is At the Sepulchre in Good Words, 1864. In 1866 appeared
an edition of Tennyson's 'Enoch Arden, with twenty-five
illustrations by Arthur Hughes.' This noteworthy book is
one of the essential volumes to those who make ever so small
a collection of the books of the sixties. Although the work
is unequal, it contains some of his most delightful drawings.
In the same year London Society contained The Farewell
Salutation. In 1867 George Mac Donald's Dealings icith the
Fairies was published. This dainty little book, which con-
tains some very typical work, is exceptionally scarce. Another
book which was published in 1S68 is now very difficult to run
across in its first edition. Five Days' Entertainment at Went-
worth Grange, by F. T. Palgrave, illustrated with seventeen
designs, the woodcuts (.w) being b)'' J. Cooper, and a vignette
engraved on steel by C. H. Jeens.

To 1869 belongs the book with which the artist is most
frequently associated, Tom Broiviis School Days, by Tom
Hughes, not a relative of the illustrator as the name might
suggest. To descant on the merits of this edition to-day
were foolish. When one hears of a new illustrated edition
being contemplated, it seems sacrilege, and one realises how
distinctly a newly illustrated Tom Brown would separate the
generation that knew the book through Mr. Arthur Hughes's
imagination from those who will make friends with it in
company with another artist. Incidents like these bring

170

ARTHUR HUGHES

GOOD WORDS
1871, p. 33

THE LETTER

ARTHLiR HUGHES

GOOD WOKDS
1871, p. 183

2 D

THE DIAL—' SUN COMES,
MOON COMES '

SOME ILLUSTRATORS OF THE SIXTIES

home the inevitable change of taste with passing time more

vividly than far weightier matters enforce it.

Good Words in 1869 contains two drawings to Carnnna
Nuptialia, and The Sunday ]Magazine the same year has a
very beautiful composition, Blessings in Disguise. In 1870
1871 Good Words for the Young includes, in the first two
volumes, no less than seventy-six illustrations by Mr. Hughes
to Ai the Back of the North Wind, fourteen to The Boy in
Grey, thirty to Ranald Bafinerniaiis Boyhood, thirty to The
Princess and Goblin, ten to LilliptU Revels, six to Lilliput
Lectures, and two to King Art hiir, besides one each to Fancy,
The RIariners Cave, and a notable design to The IVind and
the Moon. In 187 1 also belongs My Lady Wind {p. 38), Little
Tommy Tucker (p. 46), in Novella's National Ntcrsery
Rhymes.

In 1870 Good Words contains four : The Mother and the
Angel and three full-page designs, which rank among the
most important of the artist's work in illustration, to
Tennyson's Loves of the Wrens. This song-cycle, which the
late Poet Laureate wrote expressly for Sullivan to set to music,
was issued in 1870 in a sumptuous quarto. The publisher,
Strahan, who at that time issued all Tennyson's work, had
intended to include illustrations, and three were finished
before the poet vetoed the project. These were cut down
and issued with the accompanying lyrics in Good Words.
Although the artist, vexed no doubt at their curtailment, and
by no means satisfied with their engraving, does not rank
them among his best things, few who collect his work will
share his view. Despite the trespass beyond the limit of
this book, it would be better to continue the list to date,
and it is all too brief In 1872 Good Words contains five of
his designs, and Good Words for the Young twenty-four to
Lnnocent's Island, and eight to Gtctta-Percha Willie.

1872 saw two remarkably good volumes decorated by
this artist, T. Gordon Hake's Parables atid Tales (Chapman
and Hall) and Sing Song, a book of nursery rhymes by
Christina Rossetti (Routledge).

In 1873 ten to Sindbad the Sailor, and six or seven
others appeared in Good Words for the Young, now entitled
Good Things. To this year belongs also Speaking Likenesses
by Christina Rossetti, with its dozen fanciful and charming

171

SOME ILLUSTRATORS OF THE SIXTIES

designs; and a frontispiece and full page (p. 331), in Mr.
George Mac Donald's Engiamfs AyitipJwti (Macmillan). In
1889 or 1890 The Graphic Christmas number contained two
full-page illustrations by this artist. To 1 892 belongs a delight-
ful vignette upon the title-page of Mrs. George Mac Donald's
Chamber Dramas. With a bare mention of seven drawings,
inadequately reproduced in The London Home Monthly,
1895, the record of Mr. Arthur Hughes's work must close.
Several designs to a poem by Jean Ingelow, The Shepherds
Lady, the artist has lost sight of, and the date of the first
edition of Five Old Friends and a Yonng Prince, by Miss
Thackeray, with a vignette, I have failed to trace at the
British Museum or elsewhere. As Mr. Arthur Hughes, in
the Ahisic-masfer {i^^^), heads the list, so it seemed fit to
mark his position by a fuller record than could be awarded to
other of his contemporaries still living ; partly because the
comparatively small number of illustrations made a fairly
complete record possible.

Frederick Sandys. — This most admirable illustrator 'was
born in Norwich in 1832, the son of a painter of the
place, from whom he received his earliest art-instruction.
Among his first drawings was a series of illustrations of the
birds of Norfolk, and another dealing with the antiquities of
his native city. Probably he first exhibited in 1851, with a
portrait (in crayons) of " Henry, Lord Loftus" which appears
as the work of " F. Sands" in the catalogue of the Royal
Academy to whose exhibitions he has contributed in all forty-
seven pictures and drawings.'^

The above, extracted from Mr. J. M. Gray's article,
'Frederick Sandys and the woodcut designers of thirty years
ago,' gives the facts which concern us here. A most interesting
study of the same artist by the same critic, in the Arl Journal, -
supplies more description and analysed appreciation. The
eulogy by Mr. Joseph Pennell in The Quarto^ must not be
forgotten. Further references to Mr. Sandys appear in a
lecture delivered by Professor Herkomer at the Royal Insti-
tution, printed in the Art Journal, 1883, and in a review of
Thornbury's Ballads by Mr. Edmund Gosse in The Academy.*

It is quite possible, although only thirteen of the thirty or

' Century Guild Hobby Horse, vol. iii. p. 47 (iSSS). = March 1S84.

3 No. I, 1896. * 1876, i. 176.

172

FREDERICK SANDYS

'CENTURY GUILD HOBBY-HORSE
VOL. in. p. 147

DANAE IN THE
RRAZEN CHAMBER

FREDERICK SANDYS

DALZIELS' 'bible
GALLERY,* iSSo

JACOB HEARS THE VOICE
OF THE LORD

SOME ILLUSTRATORS OF THE SIXTIES
so of illustrations by Frederick Sandys appeared in Once a
Week, that these thirteen have been the most potent factor in
giving the magazine its peculiar place in the hearts of artists.
The general public may have forgotten its early volumes, but
at no time since they were published have painters and pen-
draughtsmen failed to prize them. During the years that
saw them appear there are frequent laudatory references in
contemporary journals, with now and again the spiteful attack
which is only awarded to work that is unlike the average.
Elsewhere mention is made of articles upon them which have
appeared from time to time by Messrs. Edmund Gosse, J. M.
Gray, Joseph Pennell, and others. During the 'seventies,' no
less than in the ' eighties ' or 'nineties,' men cut out the pages
and kept them in their portfolios ; so that to-day, in buying
volumes of the magazine, a wise person is careful to see that
the ' Sandys ' are all there before completing the purchase.
Therefore, should the larger public admit them formally into
the limited group of its acknowledged masterpieces, it will
only imitate the attitude which from the first fellow-artists
have maintained towards them.

The original drawings, 'If,' Lifes Journey, The Little
Mourner, and Jacques de Caumont, were exhibited at the
'Arts and Crafts,' 1893. That a companion volume to
Millais's /"ara^^/t'jT, with illustrations oi The Story of Joseph,
was actually projected, and the first drawings completed, is
true, and one's regret that circumstances — those hideous
circumstances, which need not be explained fully, of an
artist's ideas rejected by a too prudish publisher — prevented
its completion, is perhaps the most depressing item recorded
in the pages of this volume.

That some thirty designs all told should have established
the lasting reputation of an artist would be somewhat
surprising, did not one realise that almost every one is a
masterpiece of its kind. Owing to the courtesy of all con-
cerned, so large a number of these are reproduced herewith
that a detailed description of each would be superfluous.
But, at the risk of repeating a list already printed and
reprinted, it is well to condense the scattered references in
the foregoing pages in a convenient paragraph, wherein those
republished in Thornbury's Legendary Ballads (Chatto, 1876)
are noted with an asterisk : —

^11

SOME ILLUSTRATORS OF THE SIXTIES

The Corniiill Magazine : The Portent ('60), Manoli
('62), Cleopatra ('66) ; Once a Week : '"Yet once more on the
organ play, The Sailoi's Bride, From my IVindow, '" Three
Statues of ^Egina, Rosamund Queen of the Lombards (all
1 861), '■'The Old Chartist, '''The King at the Gate, '"Jacques
de Catimont, '^ King Warivolf, '''The Boy Martyr, '"Harold
Harfagr (all '62), and Helen and Cassandra ('66) ; Good
Words: Until her Death ('62), Sleep ('63); Churchman's
Family Magazine: '"'The Waiting Time ('63); Shilling
Magazine: Amor Mundi ('65); The Quiver: Advent of
Winter ('66) ; The Argosy: '//"' ('65) ; The Century Guild
Hobby Horse : Danae ('88) ; Wilmot's Sacred Poetry :
Lifes Journey, The Little JMourncr ; Cassell's Family
Magazine: Proud Maisie ('81); and Dalziels' Bible
Gallery : Jacob hears the voice of the Lord.

In addition, it may be interesting to add notes of other
drawings : — The Nightmare (1857)^ a parody of Sir Isumbras
at the Ford, by Millais, which shows a braying ass marked
'J. R.' (for John Ruskin), with Millais, Rossetti, and Holman
Hunt on his back; Jllorgan le Fay, reproduced as a double-
page supplement in The British Architect, October 31, 1879; a
frontispiece, engraved on steel by J. Saddler, for Miss Muloch's
Christian's Mistake [Wursi and Blackett), and another for The
Shaving of Shagpat (Chapman and Hall, 1865) ; a portrait
of Matthew Arnold, engraved by O. Lacour, published in
The English Lllustrated Magazine, January 1S84; another of
Professor J. R. Green, engraved by G. J. Stodardt, in The
Conquest of England, 1883 ; and one of Robert Browning,
published in The Magazine of Art shortly after the poet's
death ; Miranda, a drawing reproduced in The Century Guild
Hobby Horse, vol. iii. p. 41 ; Medea, reproduced (as a silver-
print photograph) in Col. Richard's poem of that name
(Chapman and Hall, 1869); a reproduction of the original
drawing for Amor ALundi, and studies for the same, in the
two editions of Mr. Pennell's Pen-Draiving and Pen-Draughts-
men (Macmillan) ; a reproduction of an unfinished drawing on
wood, The Spirit of the Storm, in The Quarto (No. i, 1896) ;
Proud Maisie in Pan (1881), reissued in Songs of the N'orth,
and engraved by W. Spielmayer (from the original in possession
of Dr. John Todhunter) in the English Lllustrated Magazine,

' A large broadsheet reproduced by some lithographic process.

FREDERICK SANDYS

* THE QUIVER '

OCTOBER

SOME ILLUSTRATORS OF THE SIXTIES

May 1 89 1, and the original drawing for the Advent of Winter
and one of Two Heads, reproduced in J. M. Gray's article in
the Art Jou7'nal (March 1884). Whether the Jndit/i here
reproduced was originally drawn for engraving 1 cannot say.

To add another eulogy of these works is hardly necessary
at this moment, when their superb quality has provoked a still
wider recognition than ever. Concerning the enoravino- of
some Mr. Sandys complained bitterly, but of others, notably
the Danae, he wrote in October 1S80 : ' My drawing was most
perfectly cut by Swain, from my point of view, the best piece
of wood-cutting of our time — mind I am not speaking of my
work, but Swain's.' To see that the artist's complaint was
at times not unfounded one has but to compare the Advent
of Winter as it appears in a reproduction of the drawing [Art
fonrnai, March 1884) and in The Quiver. 'It was my best
drawing- entirely spoilt by the cutter,' he said ; but this was
perhaps a rather hasty criticism that is hardly proved up to
the hilt by the published evidence.

As a few contemporary criticisms quoted elsewhere go
to prove, Sandys was never ignored by artists nor by people
of taste. To-day there are dozens of men in Europe without
popular appreciation at home or abroad, but surely if his
fellows recognise the master-hand, it is of little moment
whether the cheap periodicals ignore him, or publish more
or less adequately illustrated articles on the man and his
work. Frederick Sandys is and has been a name to conjure
with for the last thirty years. Though still alive, he has
gained (I believe) no official recognition. But that is of little
consequence. There are laureates uncrowned and presidents
unelectecl still living among us whose lasting fame is more
secure than that of many who have worn the empty titles
without enjoying the unstinted approval of fellow-craftsmen
which alone makes any honour worthy an artist's acceptance.

Sir Edward Burne-Jones. — The illustrations of this
artist are so few that it is a matter of regret that they could
not all be reproduced here. But the artist, without withhold-
ing permission, expressed a strong wish that they should not
be reprinted. The two in Good Words have been already
named. Others to a quite forgotten book must not be
mentioned ; but it is safe to say that no human being, who

175

SOME ILLUSTRATORS OF THE SIXTIES
did not know by whom they were produced, would recognise
them. A beautiful design^ for a frontispiece to Mr. William
Morris's Love is Enough was never engraved. The Nativity
in Gatty's Pai-ablcs from Nature, and the one design in
the Dalziel Bible have already been named. Many drawings
for Cupid and Psyche, the first portion of a proposed
illustrated folio edition of The Earthly Paradise, were actually
engraved, some of the blocks being cut by Mr. Morris him-
self. Several sets of impressions exist, and rumour for a long
time babbled of a future Kelmscott Press edition. Of his
more recent designs nothing can be said here ; besides being
a quarter of a century later than the prescribed limits of the
volume, they are as familiar as any modern work could be.

Walter Crane. — This popular artist was born in Liver-
pool, August 15, 1845, his father being sometime secretary
and treasurer of the (then) Liverpool Academy. After a
boyhood spent mostly at Torquay the family came to London
in 1857. In 1859 he became a pupil of Mr. W. J. Linton,
the well-known engraver, and remained with him for three
years. About 1S65 he first saw the work of Burne-Jones
at the Society of Painters in Water Colours. These drawings,
and some Japanese toy-books which fell in his way, have no
doubt strongly influenced his style ; but the earlier pre-
Raphaelites and the Once a Week school had been eagerly
studied before. Although Mr. Crane, with his distinctly
individual manner, is not a typical artist of the sixties any
more than of the seventies, or of to-day, and although his style
had hardly found its full expression at that time, except in the
toy-books, yet no record of the period could be complete
without a notice of one whose loyalty to a particular style
has done much to found the modern 'decorative school'

His first published drawing, A man in the coils of a
serpent, appears in a quite forgotten magazine called Enter-
taining Things, vol. i. 1861, p. 327 (Virtue) ; others, immature,
and spoilt by the engraver, are in The Talking Fire-irons
and similar tracts by the Rev. H. B. Power. In many
of the magazines, of which the contents are duly noted,
— Good Words, Once a IVcek, The Argosy, London Society,
etc. — reference has been already made to each of his drawings

* Owned by Mr. Fairfax Murray.
176

WALTER CRANE

GOOD WORDS
1863, p. 795

TREASURE-TROVE

SOME ILLUSTRATORS OF THE SIXTIES
as it appeared therein. A bibliography of his work, to be
exhaustive, would take up more room than space permitted
here. As it will be the task of the one, whoever he may
be, who undertakes to chronicle English illustrations of the
seventies, it may be left without further notice. For, with the
exception of the Neiv Forest (1862), all the other books
which may be called masterpieces of their order, Grininis
Household Stories, The Necklace of Princess Fiorimotide, The
Babys Bouquet, Baby's Opera, ^sop's Fables, Fiords Feast,
Qiceen Stiminer, the long series of Mrs. Molesworth's children's
books, many ' coloured boards ' for novels, and the rest,
belong to a later period.

To find that a large paper copy of Gri^iims Household
Stories fetched thirty-six pounds at Lord Leighton's sale is a
proof that collectors of ' Cranes ' are already in full cry. Two
hundred and fifty copies of this book were issued in large
paper ; the copy in question, although handsomely bound,
did not derive its value solely from that fact. Modern
readers rubbed their eyes to find a recent edition de luxe
fetching a record price ; but, if certain signs are not mis-
leading, the market value of many books of the sixties will
show a rapid increase that will surprise the apathetic collector,
who now regards them as commonplace. To believe that the
worth of anything is just as much as it will bring is a most
foolish test of intrinsic value ; but, should the auctioneer's
marked catalogue of a few years hence show that 'the sixties'
produced works which coax the reluctant guineas out of the
pockets of those who a short time before would not expend
shillings, it will but reflect the well-seasoned verdict of artists
for years past. In matters of science and of commerce the
man in the street acts on the opinion of the expert, but in
matters of art he usually prefers his own. If, when he
wakens to the intrinsic value of objects about which artists
know no difference of opinion, he has to pay heavily for
his conceited belief in his own judgment, it is at once
poetic justice and good common sense.

Space forbids, unfortunately, detailed notices of Fred
Barnard, C. H. Bennett, T. Morten, George Du Maurier,
John Pettie, R.A., and many other deceased artists whose
works have been frequently referred to in previous chapters.

Fairly complete iconographies had been prepared of the

2 E 177

SOME ILLUSTRATORS OF THE SLXTIES
works of Mr. Birket Foster, Sir John Gilbert, and Ernest
Griset. These, and other no less important lists, have also
been omitted for the same reason.

Nor is it necessary to include here notices of artists whose
fame has been established in another realm of art — such as
Mr. Whistler, Mr. Luke Fildes, R.A., Professor Herkomer,
R.A., Messrs. W. Q. Orchardson, R.A., H. S. Marks, R.A.,
H. H. Armstead, R.A., Edmund J. Poynter, R.A., G. H.
Boughton, J. W. North, R.A., and George Frederick Watts,
R.A.

Others, including- W. Small, Charles Green, Sir John
Tenniel, would each require a volume, instead of a few
paragraphs, to do even bare justice to the amazing quantity
of notable illustrations they have produced. Fortunately
most of them are still alive and active, so that a more
worthy excuse remains for omitting to give a complete
iconography of each one here, for they belong to a far more
extended period than is covered by this book.

DALZIEL BROTHERS

The firm of Dalziel Brothers deserves more notice than
it has received in the many incidental references throughout
this book. To Mr. Thomas Dalziel (still alive though past four-
score) and to his brother Edward may be awarded the credit
of exercising keen critical judgment in the discovery of latent
talent among the art students of their day, and of acting as
liberal patrons of the art of illustration. In a most courteous
letter, written in reply to my request for some details of the
establishment of the firm, the youngest brother of the four
(Mr. Thomas Dalziel) writes: 'We were constant and un-
tiring workers with our own hands, untiring because it was
truly a labour of love. The extension and development of
our transactions and the carrying out of many of the fine art
works which we published, is unquestionably due to my
brother Edward Dalziel, and to this I am at all times ready to
bear unhesitating testimony.'

That these talented enoravers were draughtsmen of no
mean order might be proved in a hundred instances ; one or
two blocks here reprinted will suffice to establish their right
to an honourable position as illustrators.

Among the young artists to whom they gave commissions,

178

T. DALZII'L

DALZIELS 'ARABIAN
NIGHTS,' p. l6l

BEDKEDDIN HASSAN AND
THE PASTRYCOOK

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Q

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O

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W
Q

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a a

THE FIRM OF DALZIEL BROTHERS
at the time in a student's career when encouragement of that
description is so vital, we find : — Fred Walker, G. J. Pinwell,
A. Boyd Houghton, J. D. Watson, John Pettie, R.A., Pro-
fessor Herkomer, R.A., J. W. North, A.R.A., and Fred
Barnard. Artists of eminence, who in all human probability
would never have experimented in drawing upon wood but for
Messrs. Dalziels' suggestion, include the late Lord Leighton,
P.R.A., Mr. G. F. Watts, R.A.,and Mr. H. Stacy Marks, R.A.
Other illustrators who owe much to the enterprise of this firm,
and who in turn helped to make its reputation, include
Mr. Birket Foster, Sir John Gilbert, R.A., Mr. George Du
Maurier, Sir John Tenniel, and Mr. Harrison Weir.

It has been impossible to credit these engravers with their
due share in every work mentioned in our pages, because to
do this would have necessitated, in common justice, a complete
record of the other engravers also ; in itself enough to double
the length of the chronicle already far too verbose. The
engravings in Ptmch in its early years, and the Cornhill
through its finest period, were intrusted to Messrs. Dalziel,
while of Good Words and The Sunday Magazine the choice
of pictures and their reproduction alike were entirely under
their control.

The Dalziel Brothers were born at Wooler, Northumber-
land, but spent most of their early days in Newcastle-on-Tyne.
Their craft was learned from pupils of Thomas Bewick. In
1835 George Dalziel came to London, followed soon after by
Edward, and later by John and Thomas. They were all
draughtsmen as well as engravers. Thomas devoted himself
entirely to drawing. There was also a sister, ' Margaret '
(who died in 1894), who practised the art of wood-engraving
for many years, with results distinguished for their minute
elaboration and fine feeling.

Soon after settling in London, George was associated with
Ebenezer Landells (who died in 1869); and the brothers
later became intimate with Bewick's favourite pupil, William
Harvey, for whom they engraved many of his drawings for
Lane's Arabian Nights, Charles Knight's Shakespeare and
Bunyan, and many other works. Still later they became
acquainted with [Sir] John Gilbert, and were ' the first who
endeavoured to render his drawings throughout according to
his own style of lining and suggested manipulation.'

179

THE FIRM OF DALZIEL BROTHERS.

Their effort was to translate the draughtsman's line, not
to paraphrase it by tint-cutting. As a former apologist has
written : ' This has been called " facsimile work " ; but it is
not so, strictly speaking. Certainly, whatever it may be called,
it required as much artistic knowledge and taste to produce
a good result as the so-called tint-work against which they
[Dalziel Brothers] have no word to say, having practised
that branch of art to a considerable extent, as may be seen in
hundreds of instances, but perhaps most notably in the Rev.
J. G. Wood's Natural History and The History of Jllan.'

The Dalziels had clever pupils to whom they attribute
most readily no little of their success ; of these Harry Fenn
and C. Kingdon, who both went to America, may be specially
mentioned. But a record of so notable an enterprise cannot
be adequately treated here ; yet a few authorised facts must
needs find place. Did space permit, the eulogies of many
artists who were entirely satisfied with Messrs. Dalziels'
engraving could be quoted as a set-off to the few, Rossetti
included, who were querulous. It would be invidious to pick
out their best work, but Millais's Parables, Birket Foster's
Beauties of English Landscape, and the illustrated editions of
classics : Don Quixote, Arabian Nights, Goldsmith's Works,
The Bible Gallery, etc. etc., which bear their imprint, may be
numbered among their highest achievements.

The share of Mr. Edmund Evans in many notable volumes
that owe at least a moiety of their interest to his engraving,
and of Messrs. Swain, must needs be left without comment.
Mr. Joseph Swain contributed to Good Words in 1888 some
very interesting articles on Fred Walker, C. H. Bennett, and
G. J. Pinwell. These have since been issued in a volume,^
with essays, by various hands, on Frederick Shields,
[Sir] John Tenniel, and others. It contains ninety illustra-
tions, including the rare early ' Fred Walker ' from Everybody s
Journal, and specimens of Mr. Shields's illustrations to an
edition of The Filgrinis Progress, published (apparently) by
the Manchester Examiner. But so far as I know, neither
Mr. Evans nor Messrs. Swain (in the si.xties at all events)
projected works as Messrs. Dalziel did ; and the appreciation
which they merit, in their own field, would be unfairly
recorded in a few hasty lines.

' Toilers in Art, edited by H. C. Ewart (Isbisterand Co.).
180

INDEX

AENER, J., loS.

Absolon, J., illustrations to Beattie and

Collins's 'Poems,' loi.
Adams's 'Sacred Allegories' (1856), illustra-
tions to, by Cope, Birket Foster,
HoRSLEY, Hicks, and S. Palmer, 102,
103.
'Adventures of Philip,' 40.
'i^isop's Fables' (ii)4S), Tenniel's illustra-
tions to, 100.
(1S57) C. H. Bennett, 108.
{1867) II. Weir, 133.
(1S69) E. Griset, 137.
'Alice in Wonderland' (1866), Tenniel's

illustrations to, 127.
Allen, W. J., 64.

Allingham's 'The Music-master' (1855), 6,
99, 102, 160, 16S, 170.

' Day and Night Songs,' 161, 168.

'Flower Pieces,' 160.

' Life and Phantasy,' 160.

Ally Slofer, 19.

Andrews, G. H., 155.

Andrews, J., 114.

Anelay, II., 81, 82.

'Anglers of the Dove,' MiLLAIs's illustrations

to, 24.
Ansdell, R., 35.

'Arabian Nights' (1S52), W. Harvey's illus-
trations to, lOI.

Dalziels' edition (1865), illustrations by

Bovn Houghton, T. and E. Dalziel,
G. T. PiNWELL, T. Morten, J. Tenniel,
and' J. D. W.vtson, 122.

(Warne, 1S66) illustrations by BOYD

Houghton, etc., 126.
Archer, J., 114.

Argosy, illustrations and illustrators of, 73, 74-
Boyd Houghton, A., 74.
Crane, W., 73, 74.
Edwards, M. E. , 73, 74.
Gray, Paul, 74.
Hughes, E., 74.
Lawson, J. , 74.
Mahoney, J. 74.
Pinwell, G. J., 74.
Sandys, F., 74.
Small, W., 74.
'Armadale,' 41, 42.
Ar.mitage, E., 64 ; illustrations to :
'Lyra Germanica,' 113, 136.
'Pupils of St. John the Divine,' 135.
Dalziels' ' Bible Gallery,' 146.

Armstead, H. H., illustrations to.

Good Words, 45.

' Albert Memorial,' 46, 48.

C/iUTchinan's Fainiiy IMagazine, 64.

Eliza Cook's ' Poems,' 102.

'Sacred Poetry,' 115.

'Touches of Nature,' 131.

Dalziels' 'Bible Gallery,' 146.

'Art Pictures from Old Testament,
147.
Armytage, J. C, 42.
Art, the new appreciation for, 1-2.
— — old and new tastes in, 2.

of the 'sixties,' 2-3, 15.

of the 'thirties,' 10.

■ black and white, 10.

influence of Great Exhibition of 1851

on, 21.
'Art and Song' (1S67), 133.
Art Journal, 14.

Artists of the 'sixties,' contemporary appre-
ciation of, 4.

comparison with present-day artists, II.

collectors of the works of, 4.

of the ' thirties,' 10.

value of, in various mediums, 10.

considerations which influence their

quality of work, 25.
'Art Pictures from the Old Testament ' (1S94),
reprints of the illustrations in the ' Bible
Gallery,' 146, 147.
Art Union, 14.
' Aunt Sally's Life' (1866), illustrations by G.

Thomas, 129.
Aunt Judy's Magazine, illustrations and illus-
trators of, 85, 86.

Bayes, a. W., 86.

Caldecott, R., 86.

Cooper, A. W., 86.

Cruikshank, G, 86.

Edwards, M. E. , 85.

Gilbert, F., 85.

Griset, E., 85.

Lawson, F. W., 85.

Morten, T., 85.

Pasquier, T- a., 85.

Wehner, E. H., 85.
Aytoun's ' Lays of the Scottish Cavaliers
(1865), illustrations by Noel Paton, 123.

BAGFORD, JOHN, 6.

'Ballads and Songs of Brittany' (1866), illus-
trations by C. Keene and J. E. MiLLAls, 127.

i8[

ENGLISH ILLUSTRATION

Band of Hope, The, 14.

Kevieiu, illust rations and illustrators of,

Si, S2 ; characters of, 82.

ANIil.AV, 11., 82.

Barnes, R., 82.

GiLBKRT, Sir J., 82.

HuARn, L., 82.

Weir, H., 82.

WOI.F, J., 82.
Barbauld's ' Hymns in Prose' (1S64), illustra-
tions by Barnes and Whymper, 123.
Barnard, F., 177, illustrations to:

Once a Week, 37.

Good Words, 54.

Londo?t Society, 60.

Casse/l's Magazine, 72.

Broadway, 76.

Good Words for the Young, 78.

Fun, 89.

Cassell's 'Illustrated Readings, 135.

Dickens's 'Works' (Household Edition),
138.

' Episodes of Fiction,' 141.
Barnes, G. A., 76.
Barnes, R., illustrations to :

Once a Week, 34-37-

Comhill Magazine, 41, 42.

Good Words, 50, 51.

London Society, Sf'^Vl^ '^'i^-

Churchman's Family Magazine, 64.
Sunday Magazine, dii, 67, 68, 70.

CasselCs Magazine, 73.

Quiver, 74, 75-

British Workman, 81.

Band of Hope Review, 82.

Leisure LLour, 83.

Sunday at Home, 84.

Golden Hours, 84.

'Our Life,' 123.

'The Months Illustrated,' 124.

' Pictures of English Life.' 124.

'Sybil and her Snowball,' 129.

' Touches of Nature,' 131.

' Idyllic Pictures,' 132.

Foxe's ' Book of Martyrs,' 132.

'Christian Lyrics,' 133.

' Original Poems ' (Taylor), 135.

Gray's 'Elegy,' 136.
Baxter {Ally Sloper), 19.
Bayes, a. W., 58, 68, 85, 86, 124, 125, 129,

Beatti'e and Collins's 'Poems,' illustrations by

J. Absolon, ioi.
' Beauties of Enghsh Landscape,' 117.

ilhistrations by B. Foster, 147.

Beeton's Annuals, illustrators of, 87 :

Bennett, C. H., 87.

Cruikshank, G., 87.

Morten, T., 87.

Pasquier, J. A., 87.

Thomson, "J. G., 87.
Belgravia, illustrations of, 73.
Benham, J. E. 101.

Bennett, C. U., illustrations to :

' The Excursion Train,' CornhillMagazim,
40.

Good Words, 46.

London Society, 56, 57, 58.

Every Bofs Magazine, 85.

Becton's Annuals, 87.

Lllustrated London News, 92.

' Fables of ^sop,' 108.

' Proverbs with Pictures,' 109.

' Pilgrim's Progress,' no.

Quarles's 'Eniblcras,' 113.

'Stories little Breeches told,' 118.

' London People,' 123.

' Mrs. Wind and Madam Rain,' 123.

Lemon's 'Fairy Tales,' 135.
Bewick, collectors of, 4.
' Bible Gallery.' See Ualziel.
'Bible Woodcuts,' 39.
Bird, J. A. H., 81.
Black and White Art, 10.
B[lackburn], J., illustrations to Good Words,

45. 63.
Blake, collectors of, 4.
Blair's 'Grave' (1859), illustrations by

Tenniel, 109.
' Bon Gaultier Ballads ' (1849), illustrations to,

by Doyle, Leech, and CRowQtJii.L, 100.
Books, illustrated, the destruction of, for
collecting purposes, 6.

the difficulty of collecting them, 96.

the value of dates in, 96, 97.

difficulties in compiling a complete biblio-
graphy of, 98.
' Bookof British BalIads'(S. C. Hall, lSS2),l0l.
' Book of Celebrated Poems,' illustrations by

Cope and K. Meadows, 101.
'Book of Favourite Modern Ballads (1S59),
illustrations by CoPE, HoRSLEY, A. Solo-
mon, and S. Palmer, no.
' Book of Job' (i85S),illustrated by J. Gilbert,
■ 107.

Borders, F., 44.
BOUGHTON, G. H., viii, 55, 147-
Bow Bells, 14.

Bowers, G., 34, 35- . , . ^

'Boy Pilgrims,' The (1S66), illustrations by

A. Boyd Houghton, 129.
' Boy's Book of Ballads ' (1861), illustrations by

Sir J. Gilbert, 114-
Boy's Own Magazine, illustrations and illustra-
tors of, I, 85.

Bayes, A. W., 85.
Dudley, R., 85.
Pasquier, J. A., 85.
Thomson, J. G., 85.
Boyd Houghton, A., illustrations to:
Once a Week, 33, 34, 36-
Good Words, 46, 48, 49- 52. 53. 54. 55-
London Society, 56, 59, 61.
Churchman's Family Magazine, 64.
Sunday Magazine, 66-71.
Argosy, 74-

INDEX

Boyd Houghton, A., illustrations io—contd.

Quiver, 74, 75.

Tinsley^s AJiH^aziiie^ 76.

Broadway^ 76.

Good Words for the Young, 78, 79.

Golden Hours, 84.

Every Bofs Magazine, 85.

/^////, 89.

Illustrated London News, 92.

Graphic, 93, 165.

Dalziels' 'Arabian Nights,' 122, 164.

' Victorian History of England,' 124.

'A Round of Days,' 125.

' Home Thoughts and Home Scenes, 126,
165.

' Happy Day Stories, 126.

'Arabian Nights,' 126, 164.

'Don Quixote,' 126, 165.

' Ernie Elton, the Lazy Boy,' 129.

' Patient Henry,' 129.

'Stories told to a Child,' 129.

' The Boy Pilgrims,' 129.

Jean Ingelow's 'Poems,' 130.

' Ballad Storiesof the Affections,' 130, 165.

' Touches of Nature,' 131.

•Idyllic Pictures,' 131.

Foxe's 'Book of Martyrs,' 132, 133.

'Christian Lyrics,' 133.

' Spirit of Praise,' 133.

Longfellow's 'Poems,' 134, 140.

'North Coast and other Poems,' 134, 165.

'Golden Thoughts from Golden toun-
tains,' 134.

'Savage Club Papers,' 135.

'Nobility of Life,' 136.

Novello's 'National Nursery Rhymes,'
141, 165.

Thombury's' Legendary Ballads,' 144, 146.

Dalziels' 'Bible Gallery,' 146.

biographical account of, 163, 164, 165.

the quality of his designs, 164.

catalogue of forty designs exhibited ( 1 896),

164.

his great fecundity in work, 164.

Mr. Laurence Housman's book on, 164,

165.
Bradley, B., 3437, 72, 73.
Brandling, H., iio.
Brewtnall (E. F.), 36, 78, 146.
Britannia, illustrations for, by Matt Morgan,

80.
British Architect, 113.
British Workman, 14.
illustrations and illustrators of, 81.

Anelay, H., 81.

Barnes, R., 81.

Cruikshank, G.. 81.

Cooper, A. W., 81.

Gilbert, Sir J., 81.

HUARD, L., 81.

Watson, J. D., 81.

Weir, Harrison, 81.

Wyon, L C, 81.

Broadway, The, illustrators of, 76.

Barnard, V., 76.

Barnes, G. A., 76.

Boyd Houghton, A., 76.

Brunton, W., 76.

Edwards, M. E., 76.

Gray, Paul, 76.

Griset, E., 76.

huttula, k. c, 76.

Lawson, F. W., 76.

Morgan, Matt, 76.

Nash, Thomas, 76.

Pasquier, J. A., 76.

Thompson, Alfred, 76.

Thomson, J. G., 76.
Brookes, Warwick, 125.
Brown, Ford Madox, illustrations to .

Once a Week, 37.

Dark Blue, 81.

' Poets of Nineteenth Century,' 106.

' Lyra Germanica,' 136.

Dalziels' ' Bible Gallery,' 146.
Brown, Isaac L., 60.
Brown, J. O., 45.
Browne, H. K. See 'Phiz.'
Browning (Mrs.) 'Ariadne in Naxos,' 40
Brunton, W., illustrations to:

London Society, 57, 58, 60.

Tinsley^s Magazine, 76.

Broadway, 'j6.

Fun, 89.
Buchanan's 'Ballad Stories of the Affections*
(1S67), illustrations by Boyd Houghton,
E. and T. Dalziel, J. Lawson, G.J. Pin-
well, W. Small, and J. D. Watson, 130.

'North Coast and other Poems' (1S63),

illustrations by Boyd Houghton, E. and T.
Dalziel, G. J. Pinwell, W. Small, J.
Wolf, J. B. Zwecker, 134.
Buckman, W. R., 54, 73.
Bunyan's 'Pilgrim's Progress' (1856), illustra-
tions by :

Clayton, 104.

(1857) J. H. Thomas, 107.

(1S59) C. H. Bennett, no.

{ 1 860) D. Scott and W. B. Scott, 114.

(1863) Dalziel, 123.

(1864) P. Prioi.o andC. H. Selous, 123.
Burne-Jones (Sir E. ), illustrations to :

Good Words, 46, 47, 49, 175.

Chaucer Drawings, 47.

' Parables from Nature,' 114, 176.

Dalziels' 'Bible Gallery,' 146, 175.

'Cupid and Psj'che,' 175.

on Rossetti, 161.

summary of his work, 175.

design for 'Love is Enough,' 175.

Burns's 'Poems and Songs' (1857), illustrations

by BiRKET Foster, 108.
Burton, W. P., 115, 12S, 134.
Burton, W. S., illustrations to 0«f(! a Weei,33.
Bury, Viscount, 153.
bushnell, a., 46.

'«3

ENGLISH ILLUSTRATION

CALDECOTT, RANDOLPH, illustrations

lo Aunt Jtidfs Magazine, S6.
Cameron, H. 132.
Caricaturists, Victorian, 18, 19.
Carrick, J. M., 128.
Carroll's 'Alice in Wonderland ' (1S66), Ten-

NiEi.'s illustrations to, 127.
Cassell and Co., publications of, 15.
Casse/ts family Paper, 71.

illustrations by VV. Small, Sir J. Gilbert,

L. lU'ARD, F. Gilbert, and T. Mor-
ten, 71.
Cassell' s Magazine, illustrations and illustrators

of, 71. 72, 73-

Barnard, F., 72.

Barnes, R., 73.

Bradley, B., 72, 73.

Browne, H. K., 73.

Corbould, E. H., 73.

Duckman, W. R. , 73.

Edwards, M. E., 72, 73.

Ellis, E., 73.

FiLDES, S. L., 72, 73.

Eraser, F. A., 72, 73.

Green, C, 72.

Green, T., 73.

Henley, 72.

Hughes, E., 73.

Lawson, J., 73-

Lawson, F. W., 72, 73.

Linton, J. D., 73.

Mahoney, J., 72.

Paterson, H., 73.

Pinwell, G. J., 72.

Pritchett, R. T., 72.

Ridley, M. W., 72.

Small, W., 72, 73.

Staniland, C. J., 72.

Thomas, G. H., 72.

WALKtR, F. S., 72.

Watson, J. D., 72.

WiRGMA.N, T. B., 72.
Cassell's 'History of England' (1S67, vol. i.),

illustrations by W. Small, 133.
'Illustrated Readings' (1S67), illustra-
tions by F. Barnard, J. Mahoney, S. L.
Fildes, W. Small, and J. D. Watson,

135-
Cassell, John, 14.
Cas/;et, The, 14.
'Chambers's Household Shakespeare' (1861),

illustrations by K. Halswelle, 114.
' Chandos Poets,' The (1869), illustrations by

Boyd Houghton, Fraser, and French,

140.
Chatto and Jackson's ' History of Wood En-
graving,'97, 113.
' Childe Harold ' (1S59), illustrations by Skel-

TON, 109, no.
'Children's Garland,' The (1S73), illustrations

by J. Lawson, 14S.
'Children's Hour,' The (1866), illustrations by

W. Small, 129.

'Children's Sayings' (1862), illustrations by

W. Crane, 118.
'Child's Play' (1S58), 109.
'Choice Series,' The (1869), illustrations by
B. Foster, Gilbert, H. Weir, etc., 137,
13S.
'Christian Lyrics' (186S), illustrations by R.

Barnes, Boyd Houghton, etc., 133.
' Christmas with the Poets' (1S61), illustrations

by BiRKET Foster, 115, 116.
Chromo-Lithogiaph, The, 34.
Chiirehinans Family Mugazinc, illustrations
and illustrators of, 63, 64, 65.

Allen, W. J., 64.

Armitage, E., 64.

Armstead, H. H., 64.

Barnes, R., 64

BovD Houghton, A., 64.

Claxton, F., 64.

Claxton, I\L 64.

Cooper, A. W. , 64.

Cope, C. W., 64.

Corbould, E. H., 64,

Creswick, 64.

Dalziel, T. B., 64.

Edwards, M. E., 64, 65.

FiTZCOOK, H, 64.

Friston, D. H., 64.

Green, C, 63, 64.

horsley, j. c., 64.

Huard, L., 64.

Johnson, E. K., 64,

justyne, p. w., 64.

Keyl, F. W., 64.

Lawless, ^L J., 64.

M'Connell, W. 64.

Macquoid, T., 64.

Marks, H. S., 64.

MiLLAIS, J. E., 63.

Morten, T. , 63, 64.

PiCKERSGILL, F. R., 64.

Pinwell, G. J., 64.

Poynter, E. J., 63.

Prioi.o, p., 64.

Sanderson, H., 64.

Sandys, F., 64.

Selous, H. C. , 64,

Skelton, p., 64.

Solomon, R., 64,

SULMAN, T., 64.

Thomas, G. H. , 64.

ViNING, H. M., 64.

Watson, J. D., 63, 64.

Wehnert, E. H., 64.

zweckek, j. b., 64.
Churchman' s Shilling Magazine, illustrations
and illustrators of, 76.

Clarke, E. F. C. , 76.

Crane, W., 76.

Edwards, I\L E., 76,

Huttula, R., 76.

Leigh, John, 76.
Clark, J. 153.

184

INDEX

Clarke, E. F. C, 76, So.
Claxton, a., illustrations to Lo/idon Society,
56.

other illustrations, 57, 58, 62, 92.

Claxton, Florence, 50, 57, 64, 92.
Claxton, Marshall, 64.
Clayton, John, illustrations to :

Herbert's ' Poetical Works,' 103.

' Pilgrim's Progress,' 104.

PoUok's ' Course of Time,' 104.

'Poets of Nineteenth Century,' 107.

' Dramatic Scenes,' 107.

'Lays of the Holy Land,' loS.

' Home Affections,' 108.

Krummacher's ' Parables,' 109.
Cliches, beginning of the use of, 79.
bad influence on original productions,

79-
' Cloister and the Hearth,' The, 20.
Coleridge's 'Ancient Mariner' (1856), illustra-
tions by :
B. Foster, A. Duncan, and Wehnert,

104.
(1S60), D. Scott, 114.
Collecting, cost of, 7.
Collections, how to arrange, 7.
— — methods for preserving, 7.
Collectors, two objects of, 4-5.

delights of, 5.

objects supplied by the present volume

for, X. 5-6.

dangers to be avoided by, 6.

Collins's (Wilkie) 'Armadale,' 41, 42.
CoLOMB, W., 50.

Cook's (Eliza) ' Poems' (1856), illustrations by
Armstead, J. Gilbert, J. D. Watson,
H. Weir, J. Wolf, 102.
Cope, C. W., 64, 99, 100, loi, 102; illustra-
tions to :

' Favourite English Poems,' 109.

'Book of Favourite Modern Ballads,'

110.
Moore's ' Irish Melodies,' 133.
Cooke, E. W., 49.
Cooper, A. W., 46, 57, 58, 60, 64, 76, 80,

Si, 86.
Corbould, E. H., 57, 64, 73, 92, loi, 107,

109, 140, 146.
' Cornhill Gallery ' : its quality and character-
istics, 39, 126.
Cornhill Alagazine, 14.

aim of its editor, 38.

the anonymity of artists in, 44.

illustrations and illustrators of, 38-44.

Allingham, H., 43.
Barnes, R., 41, 42.
Bennett, C. H., 40.
Doyle, R., 40.
Du Maurier, G., 41, 42, 43.
Edwards, M. E., 42.
Fildes, S. L., 42.
Herkomer, H., 42.
Hopkins, A., 43.

CornhUl Magazine, illustrations and illustrators
of — coiitinitcd.

Hughes, A., 41.

Keene, C, 41.

Lavvson, F. W., 42.

Leighton, F. , 40.

Leslie, C. D., 43.

Millais, J. E., 40.

Paterson, IL, 43.

Paton, Noel, 41.

Pinwell, G. J., 41.

Sandys, F., 40, 42.

Small, W., 43.

Stone, Marcus, 43.

Thackeray, W. M., 39, 40.

Walker, F., 40, 41, 42.
Cornwall (Barry), 'Dramatic Scenes' (1S57),

illustrations by Dalziel, Clayton, 107.
Cowper's ' Works,' illustrations by John
Gilbert, ioi.

' The Task,' illustrations by BiRKET

Foster, 102.
Crane, W., illustrations to:

Once a Week, 33, 176.

Good Words, 49, 176.

London Society, 56, 60, 176.

^'■gosy, 73. 74. 176.

C/iuic/iinan's Shilling Mai^azine, 76.

Every Boy's Magazine, 85.

Punch, 88.

Mnlertaining Things, 1 76.

'The New Forest,' 117, 176.

'Children's Sayings,' 118.

' Stories of Old,' 11 8.

Toy-Books, 129, 14S.

'Stories from Memel,' 136.

' Merry Heart,' 136.

' King Gab's Slory Bag,' 136.

'Magic of Kindness,' 136.

' Poetry of Nature,' 136.

Roberts's 'Legendary Ballads,' 140.

' Songs of Many Seasons,' 137.

'The Necklace of Princess Fiorimonde,'
176.

Grimms' 'Fairy Tales,' 176.

' The Baby's Bouquet,' 176.

' Baby's Opera,' 176.

vEsop's 'Fables,' 176.

'Flora's Feast,' 176.

'Queen Summer,' 176.

critical and biographical notice of, 175,

176.

a pupil of W. J. Linton, 175.

influence of Burne-Jones and Japanese

art, 176.
Creswick, T. , 64, ioi ; illustrations to :

Tennyson's ' Poems,' 105.

' Favourite English Poems,' 109.

'Early English Poems,' 117.
Cropsey, J., 108.
Crowquii.l, A., 60 ; illustrations to :

' Bon Gaultier Ballads,' 100.

' Munchausen,' 114

[85

ENGLISH ILLUSTRATION

Ckuikshank (G. )i collectors of, 4.
quality of his art work, 18, 19 ; illustra-
tions to :

London Society, 59.

British Workman, 81.

Aunt Judy's Magazine, 86.

Bcfton's Amttials, 87.

'Iiigoldsby Legends,' 123.
Cruiksiiank, R., 100.
Cuniniing's 'Life and Lessons of Our Lord'

(1S64), illustrations by C.
Hunt, and P. Skei.ton, 123.
•Cycle of Life,' The (1S70), 141.

Green, A.

DALZIELS' 'BIBLE GALLERY' (iSSo-
Si), illustrations by F. Leighton, G. F.
Watts, F. R. Tickersgill, E. J.

POYNTER, E. ARMITAGE, H. H. ARM-

stead, Burne-Jones, Holman Hunt,
Madox Brown, S. Solomon, Boyd
Houghton, W. Small, E. F. Brewtnall,
E. and T. Dalziel, A. Murch, F. S.
Walker, and F. Sandys, 146.
Dalziel, E., 78, 122, 125, 130, 134, 13S, 141,

146, 147.
Dalziel, T. B., viii. 64, 67, 69, 78, 107, 108,
122, 123, 125, 130, 134, 141, 146, 147.

his own expressions about his work, 177.

Dalziels, The, 12, 13.

sketch of their careers, 177, 1 78, 179.

commissions given by them, 178.

works engraved by them, 178, 179.

their aims in engraving, 179.

their pupils, 179.

'Dame Dingle's Fairy Tales' (1866), illustra-
tions by J. Proctor, 129.
' Dance of Death,' 39.

Dark Blue, illustrations and illustrators of.
So, Si.

Bird, J. A. H., 81.
Brown, Ford Madox, 81.
Clarke, E. F., So.
Cooper, A. W., 80.
Fitzgerald, M., 81.
Freere, M. E., 80.
Friston, D. H., 81.
Hall, S. P., 81.
Hennessey, W. J., 81.
Lawson, Cecil, 80.
Lawson, F. W., So.
Perry, T. W., 80.
Ridley, T. W., 80.
Robinson, T., So.
Solomon, Simeon, 81.
White, D. T., 80.
Darley, Felix, 57, loS.
' Day and Night Songs,' 161, 16S.
Day of Rest, 66.
' Dealings with the Fairies ' ( 186 1 ), illustrations

by A. Hughes, 116.
Defoe's ' History of the Plague,' Shield's
illustrations to, 32, 118.

186

' Robinson Crusoe ' (1863), illustrations

Deloe's '
by

J. D. Watson, 123.
(1804) G. H. Thomas, 123.

Dell, J. H., illustrations to ' Nature Pictures,'
147.

' Uenis Duval,' 41.

' Deserted Village ' (Etching Club), lOl.

Dickens's Works, illustratiuns of, 18, 19.

'Household Edition' (1869), ilKistrations

by Fred Barnard, ' Phiz,' J. Mahoney,
C. Green, F. A. Eraser, E. G. Dalziel,
S. L. Fildes, H. French, G. B. Frost,
T. G. Thomson, J. M'L. Ralston, 138,

'Edwin Drood' (1870), illustrations by

S. L. Fildes, 141.

'Divine and Moral Songs' (1866), illustra-
tions by Du Maurier, M. E. Edwards,
C. Green, Morten, W. C. Thomas, and
G. D. Watson, 127, 12S.

DOBELL, C, 33, 45, 118.

DoBSON, W. T. C, 1 28.

'Don Qui.xote' (1S66), illustrations by:

DoRE, 126, 127.

Boyd Houghton, 127.
D0R6, G., 69.

illustrations to ' Don Quixote,' 126, 127.

Doyle, C. A., illustrations to London Society,

57, 5S.
Doyle, J. O., 41;.

Doyle, R., ' Pictures of Society,' 40 ; illustra-
tions to :

' Bon Gaultier Ballads,' 100.

'Foreign Tour of Brown, Jones, and
Robinson,' 109.

' Manners and Customs of the English,'
109.

'Scouring of the White Horse,' 109.

' Puck on Pegasus,' iiS.

'An Old Fairy Tale,' 129.

' Lemon's Fairy Tales,' 135.

' In Fairyland,' 137.
Drummond, ]., 45.
Dudley, R., illustrations to :

London Society, 58, 59.

Boys' Own Magazine, 85.
Du Maurier, G., illustrations to:

Once a Week, 30, 31, 33, 34, 37.

' Foul Play,' 37.

Cornhill, 41, 42.

' Wives and Daughters,' 41, 42.

' Harry Richmond,' 42, 43.

'The Hand of Ethelberta,' 43.

Good Words, 45.

London Society, 56, 57, 58, 59, 60.

Leisure Hour, 83.

Sunday at Home, 84.

Punch, SS, 89.

'Sacred Poetry,' 123.

'Our Life,' 123.

Watts's ' Divine and Moral Songs,' 128.

'The Moon Shines Full,' 128.

INDEX

Du Mauriek, G., illustrations to — continued.

'Legends and Lyrics,' 12S.

'Touches of Naluie,' 131.

Foxe's ' Book of Martyrs,' 132, 133.

'Story of a Feather,' 133.

' Lucile,' 134.

'Savage Club Papers,' 135.

' Pictures from English Literature,' 141.

Thornbury's ' Legendary Ballads,' 146.

' Songs of Many Seasons,' 147.

'Pegasus Re-saddled,' 14S.
Duncan, A., illustrations 10 'Ancient Mariner,'

104.
Duncan, E., 34, 99, 107, 112, 117.
Dunn, Edith, 75.

'EARLY ENGLISH POEMS' (1863), illus-
trations by Creswick, Duncan, B. Fos-
ter, J. Gilbert, R. Redgrave, and J.
Thomas, 117.
Edwards, D., 107.
Edwards, Kate, 36, 58, 59.
Edwards, M. E., illustrations to:

Once a Week, 32, 33, 35, 36, 37.

Coi'nhill Magazine, 42.

Good Words, 52.

London Society, 57-61.

Churchman' s Family Magazine, 64, 65,

Sunday Magazine, 66, 67.

CasselPs Magazine, 72, 73.

Argosy, 73, 74.

Quiver, ^4.

Churchman's Shilling Magazine, 76.

Braadway, 76.

Golden Hours, 84.

Auntjtidy's hiagazine, 85.

Illustrated Times, 92.

'Parables from Nature,' 114.

' Puck on Pegasus,' liS.

' Family Fairy Tales,' 123.

Watts's ' Divine and Moral Songs,' 12S.

' Legends and Lyrics,' 12S.

'Mother's Last Words,' 129, 131.

' Idyllic Pictures,' 132.

Foxe's 'Book of Martyrs,' 132.

' Illustrated Book of Sacred Poems,' 135.
Ehrenger, J. W., 50.
'Ellen Montgomery's Book-shelf (1866),

illustrations by J. D. Watson, 129.
Eliot, G., ' Romola,' 41.

' Brother Jacob,' 41.

Ellis, E. J., 60, 61, 73.
Eltze, F., illustrations to:

Once a Week, 33, 35, 36.

Good Words, 50.

Sunday Magazine, 67.

Lemon's 'A New Table-Book,' 133.

Thornbury's ' Legendary Ballads,' 146.
' English Sacred Poetry of the Olden Time '
(1864), illustrations by Du Maurier, C.
Green, J. W. North, J. Tenniel, P.
Skelton, F. Walker, and J. D. Watson,
123, 124.

Engravers, old methods of, 12.

work in the 'sixties,' 13.

enterprise of, 13.

Engraving, responsibility of artist in, 12,

• relation of publisher to, 12.

object of an, 17.

white line, 81.

Entertaining Things, its rarity, 87.

■ — — illustrations and illustrators of, 86, 87.

Boyd Houghton, A., 87.

Crane, W. , 86.

Du Maurier, G., S6, 87.

JUSTYNE, P., 86.

Linton, W. J., 86.

M'CONNELL, W., 86.

Morgan, M. S., 86.
Morten, T., 86.
Portch, J., 86.
Skill, F. J., 86.
Weedar, E. , 86.
'Episodes of Fiction' {1870), illustrations by
F. Barnard, C. Green, R. Paterson,
P. Skelton, C. J. Staniland, H. Weir,
etc., 141.
'Ernie Elton the Lazy Boy' (1866), illustra-
tions by Boyd Houghton, 129.
Etching, influence of the revival of, 151, 152,

153, 154-
Etching Club, The, loi, 151, 152.
'Evan Harrington,' Keene's illustrations to,

25-
Evans, Edmund, iSo.
Everybody' s Journal, the British Museum

edition imperfect, 86.
illustrators of, 86.

Gilbert, Sir, J., 86.

Morten, T., 86.

Walker, F., 86, 180.

Weir, Harrison, 86.
Every Boy's Magazine, illustrations and illus-
trators of, 85.

Bennett, C. H., 85.

Boyd Houghton, A., 85.

Crane, Walter, 85.

Morten, T., 85.

Ni.\on, J. Forbes, 85.

Ridley, M. W., 85.
E-L'ery Week, 14.

Ewart, H. C, ' Toilers in Art,' 180.
Exhibition of 1851, influences of, on art, 21.

FAIRFIELD, A. R., illustrations to :
Once a Week, 33.
Thornbury's " Legendary Ballads,' 146.

Falconer's 'The Shipwreck' (1858), illustra-
tions by B. Foster, i 10.

'Family Fairy Tales' (1864), illustrations by
M. E. Edwards, 123.

'Famous Boys' (1862), illustrations by T.
Morten, 118.

' Favourite English Poems of the Last Two
Centuries' (1858), illustrations by Cote,
Creswick, Foster, 109.

187

ENGLISH ILLUSTRATION

Fii.DKs, S. L., 34, 35, 36, 37, 42, 52, 54, 69,

72. 73. 75. 5i4, 93. 133. '35. ■3!>. H'-
FiTZCOOK, H., 64.
Fitzgerald, Lord G., 153.
FlTZOKRAl.D, M., 81.
FosTKR, liiRKET, X. 6i, 67, illustrations to:

Gray's ' Klegy,' loi, 136.

' I'rovcrbial fliilosdpliy,' loi,

Longfellow's 'Poems' {1S54), loi.

Cowper's ' The Task,' 102.

Adams's ' Sacred Allegories,' 103.

Herbert's ' I'oetical Works,' 103.

' Rhymes and Roundelays,' 103.

' Ministering Cliildren,' 104.

'Ancient Mariner,' 104.

'Course of Time,' 104.

' Poets of Nineteenth Century,' 107.

Foe's ' Poetical Works,' 108.

' Kavanagh,' 108.

' Moore's Poetry,' 108.

Burns's ' Poems and Songs,' 108.

'Gertrude of Wyoming,' loS.

'Lays of the Holy Land,' 1 08.

' Home Afifections,' loS.

Wordsworth's ' Poems,' 109.

' Merry Days of England,' 109.

'Favourite English Poems,' 109.

' White Doe of Hylstone,' 109.

' Conius,' 109.

'Shipwreck,' no.

'Odes and Sonnets,' no.

' Merchant of Venice,' 1 10.

' The Seasons,' in.

Montgomery's ' Poems,' n2.

'Household Song,' 114.

Goldsmith's 'Poems,' 114.

' Poetry of the Elizabethan Age,' 115.

'Christmas with the Poets,' n5.

'Early English Poems,' 117.

' Pictures of English Landscape,' 117.

'Legends and Lyrics,' 128.

Moore's ' Irish Melodies,' 133.

'Choice Series,' 137.

'Standard Poets,' 140.

' The Trial of Sir Jasper,' 147.

' Beauties of English Landscape,' 147.

rage for his drawings, 1 16.

' Flower Pieces,' 160.

' Foul Play,' Du Maurier's illustrations to,

37-
' Found Drowned,' Edwards's illustrations

to. 33-

' Four Georges,' The, 39.

Foxe's 'Book of Martyrs' (1S67?), R.
Barnes, Boyd Houghton, Du ^L\URIER,
M. E. Edwards, J. Gii.hert, J. Henley,
J. Lee, F. W. Lawson, A. Pasquier,
T. Morten, F. J. Skill, W. Small,
G. H. Thomas, and J. D. Watson, 132,

133-
' Framley Parsonage, 40.
F'RASER, F. A., 36, illustrations to :
Gooii IVords, 54.

Fraser, F. a., illustrations to: — continued.

London Society, 62.

Sunday AJagazine, 67, 69, 70.

Caiscli's Magazine, 72, 73.

Saint Paul's, TJ.

Good Words Jor the Young, 78, 79.

Dickens's Works (Household Edition),
1 38.

Chandos Poets, 140.
Freere, M. E., So.
French, H., 60, 70, 78, 13S, 140.
Friston, D. H., 64, 76, 81.
Frolich, L., 114, 12S.
F'ROST, A. B., 138.
Fun, illustrations and illustrators of, 89, go.

Barnard, F., 89.

Boyd Houghton, A., 89,

Brunton, W., 89.

Gilbert, W. S., 89.

Henley, L. C, 89.

Lawson, F. W., 89.

Sanderson, H., 89.

Seccomiie, Lieutenant, Sg.

Stretch, Matt, Sg.

Thomson, J. G., 89.

Walker, F. S., 8g.
Fyfe, W., 46.

GALE, W., 153.

Gascoine, J., 58.

Gaskell, Mrs., ' Wives and Daughters,' 41, 42.

'Gems of Literature' (1866), illustrations by

Noel Paton, 127.
'Gems of National Poetry' (1868), 100.
'Gertrude of Wyoming' (1857), illustrations
by B. Foster, T. Dalziel, H. Weir, W.
Harvey, 108.
GlACOMEi.i.l, illustrations to Michelet's 'The

Bird,' 121.
Gilbert, F., 62, 71, 85.
Gilbert, SirJohn, x. ; illustr.ations to :

Once a Week, 33, 34, 36.

London Society, 60, 61.

CasselPs Family Paper, 71.

British Woricntan, 81.

Band of Hope Review, 82.

Leisure Hour, S3.

Sunday at Home, 84.

Illustrations to Cassell's Serials, 84.

Illustrated I^ondon News, 92.

' The Salamandrine,' 100, loi.

'Proverbial Philosophy,' loi.

Longfellow's 'Poems' (1854), loi.

(1S55), 102.

Cowper's ' Works,' loi.

Eliza Cook's ' Poems,' 102.

Shakespeare's ' Works,' 104.

Scott's ' Lady of the Lake,' 104.

' Poets of Nineteenth Century,' 107.

' Book of Job,' 107.

' Proverbs of Solomon,' 107.

' Lays of the Holy Land,' loS.

' Home AfTections,' 108.

INDEX

Gilbert, Sir John, illustrations to^^ontd.
Wordsworth's ' Poems,' 109.
Montgomery's ' Poems,' 112.
' Boy's Book of Ballads,' 114.
'Sacred Poetry,' 115.
'Poetry of the Elizaljethan Age,' 115.
' Songs and Sonnets of ShaUespeare,' 1 15.
'Early English Poems,' 117.
' Months illustrated,' 124.
' Legends and Lyrics,' 12S.
Foxe's ' Book of Martyrs,' 132.
' The Choice Series,' 137.
'Standard Poets,' 140.
' Standard Library ' (Hurst and Blackett),
140.
Gii.i!EKT, W. S., illustrations to :
London Society, 60.
Good Words for the Young, 78.
Fun, 89.

'Juvenile Verse Picture Book,' 100.
' Magic Mirror,' 129.
GiLRAY, J., 19.

GoDDARD, G. B., 33, 34, 35, 60, 61.
Godwin, J., 107.
Godwin, T., 57.
'Golden Harp,' The (1S64), illustrations by

Watson, etc., 124.
Golden Hours, illustrations and illustrators of,
84, 85.
Barnes, R., 84.
Boyd Houghton, A., 84.
Edwards, M. E., 84.
Green, T., 85.
Murray, C. O., 85.
•Golden Light' (1864), illustrations by A. W.

Bayes, 124.
'Golden Thoughts from Golden Fountains'
(1867), illustrations by Boyd Houghton,
W. P. Burton, the Dalziels, J. Lawson,
G. J. PiNWELL, and W. Small, 134, 135.
'Golden Treasury Series' (1869), illustrations
by A. Hughes, Holman Hunt, Millais,
Noel Baton, and T. Woolner, 138.
'Gold Thread,' The (1861), illustrations by
J. M'Whirter and J. D. Watson,
116.
Goldsmith's 'Poems' (1S60), illustrations by
B. Foster, 114.

'Works,' illustrations by Pinwell

(Dalziel, 1865), 126.
' Deserted Village,' illustrations by Etch-
ing Club, loi.
Goodall, E. a., 107.
'Good Fight,' A, 20.
Good Words, 14.

poverty of early work in, 44.

good indexes in, 44.

illustrations and illustrators of, 44-55-

Armstead, H. H., 45, 48.
Barnard, F., 54.
Barnes, R., 50, 51.
Bennett, C. H., 46.
B[lackburn], J., 45.

Good Words, illustrations and illustrators of —
continued.
Boyd Houghton, A., 46, 48, 49, 52,

53. 54. 55-
Brown, J. O., 45.
Buckman, R. , 54.
Burne-Jones, E., 4G, 47, 49.
bushnell, a., 46.
Cooke, E. W., 49.
Cooper, A. W., 46.
Crane, W., 49.
DoBELL, C, 45.
DOVLE, C. A., 45.
Drummond, J., 45.
Du Maurier, G., 45.
Edwards, M. E., 52.
Fildes, S. L., 52, 54.
Eraser, F. A., 54.
Fyfe, W., 46.
Graham, T., 46, 48, 49.
Gray, P., 50.
Halswelle, K., 45.
Herkomer, H., 54.
Hughes, A., 50, 54, 55.
Hunt, Holman, 46, 48.
Keene, C, 46.
Lawless, M. J., 46, 48, 50.
Lawson, J. W., 52.
Leighton, J., 49.

LiNNEY, W., 46.

Linton, J. D., 54.

Linton, W. J., 52.

Lucas, H. J., 49.

M'Taggart, W., 46.

M'Whirter, J. W., 45.

Mahoney, J., 54.

Millais, J. E., 46, 48, 49, 50, 55.

Morten, T., 46, 48, 49.

NicoL, Erskine, 45.

North, J. W., 52.

Orchardson, 44, 45, 55.

Pettie, J., 45, 46, 48, 49, 50, 55.

Pinwell, G. J., 49, 50, 52, 54, 55.

Porter, J., 46.

Riviere, Briton, 54.

Sandys, F., 46, 47, 49.

Solomon, S., 46, 47.

Smalt,, W., 51, 52, 53, 54, 55.

Stanton, Clark, 45.

Steele, Gourlay, 45.

Taylor, Hughes, 45.

Tenniel, J., 46, 48, 49, 50.

Walker, Fred, 45, 48, 50.

Walker, Francis, 54.

Watson, J. D. , 46, 48, 49.

Whistler, J. M'N., 46.

Wolf, J., 46.

Zwecker, J. B., 46.
Good Words for the Young, 66.

its value to collectors, 77.

illustrations and illustrators of, 77, 78, 79.

Barnard, F., 78.

Boyd Houghton, 78, 79.

189

ENGLISH^^ ILLUSTRATION ^^_ ,^

Gooti IVorJsfor the Young, illustrations and
illustrators oi—coiilinued.
Bricwtnall, E. v., 7S-
Dalziel, E., yS-
Dalziel, T., 78-
Eraser, F. A., 78, 79-
French, H., 7S.
Gilbert, W. S., 78.
Gkeen, C., 78.
Green, T., 7S, 79.

Griset, E., 78, 79-

Hall, S. P., 78.

Herkomer, H., 78.

Hughes, A., 77. 78, 79-

Mahoney, J., 78, 79-

Pettie, J., 78.

Pin WELL, C. J., 78.

RivitRE, B., 78.

Small, W., 79.

Sulman, T., 78- „

Walker, F. S., 78, 79-

WiEGAND, W. J.,78, 79-

Zwecker, J. B.,7S, 79-
^'on^Thirnbury's 'Legendary Ballads

144. 145-

on Sandys, 172.

Germ, 7X^(1850), 151.

Graham, P., 55- . , ^ j iv^r^,

GRAHAM, T., illustrations to Good iVoreis,

G^apkk, ite, its influence on English illustra-
tion, 93. . .

\V. Small's work in it, 93.

. illustrations and illustrators of, 93, 94-

Boyd Houghton, A., 93.
FiLDES, S. L., 93.
Green, C., 93-
Herkomer, H., 93-
Macbeth, R. W-, 93-
PiNWELL, C. J., 93-
Small, W., 92.
Graphic School, 51.
Graphotype, 35, 36- , , ,,

: the beginning of ' process-work, jb.

its principle and development, 91.

illustrations in Fi'iuh and Judy, 91.

Watts's 'Songs,' 127, 12S. _

Gray's 'Elegy' (i860), illustrations to, b;
B. Foster and G. Thomas, ioi.
(1S68) R. Barnes, B. Foster, \Mm
PERIS, etc., 136.

^Vper o^ Sandys in Art Journal, 131-
Gray, Paul, illustrations to :

Once a Week, 33, 34-

Good IVords, 50.

London Society, 58, 59-

Shilling Magazine, 65.

Sunday Magazine, 66, 07.

Ari.'Osy, 74-

QuiiYr, 75.

Broadway, 76.

. 63, 64.

continued.

Punch, 88.

'A Round of Days,' 125. , ^„ , ^

' (ingles and Jokes for Little Folks, 1-9-

'Touches of Nature,' 13 1.

'Idyllic Pictures,' 131.

' Spirit of Praise,' 133.

biographical notice of, 157-

Fun cartoons, 159. ^, , r. •

his last drawing in ' Savage Club Papers,

-— ^niustrations to Kingsley's 'Hereward,"

Gray, Tom, 60.

Geeen, Charles, illustrations to :

Once a Week, 31, 32. 35-

London Society, 57, 59-

Churchman's Family Magazine,

Sunday Magazine, 71.

CasselCs Magazine, 72.

Good Words for the Young, 7»-

Sunday at Home, 84.

Illustrated Loiuion Neivs, 92.

Graphic, 93.

'Sacred Poetry,' 123.

Cumming's ' Life of our Lord, I23-

Watts's 'Divine and Moral Songs, 128.

' Nobility of Life,' 136.

' Choice Series,' 138- ,.-cx,-r,^\ r-S

Dickens'sWorks ( Household EdiUon), 1 jb.

' Episodes of Fiction,' 141- ,

Thornbury's ' Legendary Ballads, 146.
Green, T., 36, 70, 73. 78, 85, 14&: ,
Greenwell, Dora. ' Carmina Cruc. (1S60),

Grimms' 'Fairy Tales,' illustrations by W.

Crane, 176. , „o ,„ co ,„

Griset E., 35, 36, 76, 78, 79. 8a, I37-
TGidWs Tri;eis' (1866 ?), iUustraUons by

T. Morten, 133-

'HACCO THE DWARF' (1864), illustra-
tions by G. J. PINWELL, 123, 124.
Haden, Sir Seymour, 10.
Halkett, G. R., viu. , . s,,> ,0,

1 Hall's 'Book of Bntish BaUads (1S52), loi.

S^^'^l^'^;^:^|>spe.;i^-.ons

^J S^ru-GH'^ON.VE.^^N-T^HoS
H. R. Robertson, Noel Baton, and
Tenniel, 147-
Halswelle, K., illustrations to :
Good Words, 45- , .

' Pen and Pencil Pictures, 127.
Scott's 'Poems,' 127.
'Standard Poets' (Routledge, e'c.). 140.
'Hampdens,' The, Millais's illustrations to,

H§y^'jh--'''^"''^-- '^^ ^'^''''^
.™'\he Hand of Ethelberta,' 43.

190

INDEX

Hardy, T. D., 107.

Harper's Magazine, 9.

•Harry Richmond,' Du Maurier's illustra-

lions to, 42, 43.
Harvey, W., illuslrations to :
'Arabian Nights,' loi.
Mil on's ' Poetical Works,' loi.
' Poets of Nineteenth Century, 107.
'Gertrude of Wyoming. ' 108.
Montgomery's 'Poems,' 112.
Heber's 'Hymns' (1867), illustrations by W.
Lawson, T. D. ScoiT, H. C. Selous,
P. Skelton, and W. Siviall, 133.
Henley, L. C, 58, 59, 72, 133.
Hennessey, W. J., 81.
' Herberts of Elfiiale,' The, Fred Walker's

illustrations to, 27.
Herbert's 'Poetical Works' (1856), illustra-
tions by BiRKET Foster, J. Clayton,
H. N. Humphreys, 103.
Herkomer, Hubert, illustrations to :
Conihill Magazine, 43.
Siiitday Magazine, 71.
Quiver, 75.

Good Words for the Young, 78.
Graphic, 93.

' Lecture on Sandys,' 172.
Hicks, G. C, 103.
' History of Wood Engraving ' (Chatto and

Jackson), 97, 113.
Hogarth, W., 18.

'Home Affections' (1S58), illustrations by
B. Foster, J. Gilbert, Clayton, H.
Weir, T. Dalziel, S. Read, J. Abner,

PiCKERSGILL, MiLLAIS, TeNNIEL, MaDOT,

108, 109.
'Home Thoughts and Home Scenes' (1865),

illustrations by Boyd Houghton, 126.
' Home without Hands' {1864), illustrations by

F. W. Keyl, 123.
Hood^s Comic Annuals, S7.
Hood's 'Miss Ivilmansegg' (1S69), illustrations

by Seecombe, 137.
'Poems,' illustrations by Junior Etching

Club (MiLLAis, C. Keene, and H. Moore),

152.
Hooper, W. H., 47.
HORSLEY, J. C, 64, 89, 100, loi, 103, 105,

no.
Houghton. See Boyd Houghton.
'Household Song' (1861), illustrations by B.

Foster, S. Palmer, G. H. Thomas,

A. Solomon, and J. Andrews, 113,

114.
Housman, L., on Boyd Houghton, 122,

164.
Hou'iti's Journal of Literature, 14.
HUARD, L. , 57, 64, 71, 81, 82.
Hughes, Arthur, illustrations to :
Cornhill Magazine, 41.
Good Words, 50, 54, 55, 170, 171.
London Society, 58, 62, 170.
Sunday Magazine, 70, 71, 171.

Hughes, Arthur, illustrations io—continued.

Good IFords for the Young, 77, 78, 79,
171.

The Queen, 170.

The Graphic, 172.

The London Home Monthly, 172.

Tennyson's ' Loves of the Wrens,' 54, 55,
171.

'Poets of Nineteenth Century,' 107.

' Dealings with the Fairies,' 116, 170.

'Enoch Arden,' 127, 170.

' Five Days' Entertainment at Wentworth
Grange,' 136, 170.

'Tom Brown's School Days,' 136, 170.

'Golden Treasuiy Series,' 138.

' National Nursery Rhymes,' 141.

' The Music-master,' 168.

Designs for 7 he Queen, 170.

Hake's ' Parables and Tales,' 171.

Rossetti's 'Sing Song,' 171.

' Sinbad the Sailor,' 171.

Rossetti's 'Speaking Likenesses,' 171,
172.

'England's Antiphon,' 172.

'Chamber Dramas,' 172.

Ingelow's ' The Shepherd's Lady,' 172.

Miss Thackeray's ' Five Old Friends,'
172.

'At the Back of the North Wind,' 171.

' Ranald Bannerman's Boyhood,' 171.

'The Princess and Goblin,' 171.

' Lilliput Lectures,' 171.

biographical account of, 16S-172.

appreciation of his work, 168, 169.

his association with the pre-Raphaelitcs,

168.

impression of his work, 168, 169.

Hughes, E., 35, 36, 65, 68, 70, 73, 74, 140.
Hughes, T., 'Tom Brown's School Days'
(186S), illustrations by A. Hughes and
S. P. Hall, 136.
Hunt, Alfred, 92, 123.
Hunt, Holman, illustrations to:

Once a Weeh, 30.

Good JVords, 46, 48.

Tennyson's ' Poems,' 105.

' Parables from Nature,' 1 14.

'Sacred Poetry,' 115.

Watls's ' Divine and Moral Songs,' 128.

' Golden Treasury Series,' 138.

'Studies from Life,' 140.
Humphrey's, H. N., illustrations to :

Herbert's 'Poetical Works,' 103.

' White Doe of Rylstone,' 109.

Thomson's 'Seasons,' in.
Hurst and Blackett's ' Standard Library,'
illustrations by F. Sandys, Holman Hunt,
J. Gilbert, J. D. Watson, J. Leech,
and E. Hughes, 140, 141.
Huttula, R. , 76.

' Hymns for Little Children' (1862), 118.
' Hyperion' (1857), illustrations by B. FosTERj
108.

ENGLISH ILLUSTRATION

'lUVLLIC PICTURES' (1S67), illustrations
by K. Barnes, Boyd Houghton, H.
Cameron, M. E. Edwards, P. Gray,
R. P. Leitcii, G. J. PiNWELL, F. Sandys,
W. Small, C. J. Staniland, and G. H.
Thomas, 131, 132.
Illingvvorth, S. E. , 60.
'Illustrated Book of Sacred Poems' (1S67?),
illustrations by M. E. Edwards, J. \V.
North, H. C. Selous, W. Small, and J.
D. Watson, 138.
Illustrated Chronicle of the Great Exhibition,

14.
Illustrated Family Journal, 14.
Illustrated London News, 14 ; illustrations of
the 'seventies,' 92.
Bennett, C. H., 92.
Boyd- Houghton, A., 92.
Corbould, E. H., 92.
Gilbert, J., 92.
Green, C., 92.
Hunt, Alfred, 92.
Morgan, Matt, 92.
Pasquier, J. A., 92.
Read, S. , 92.
Thomas, George, 92.
Illustrated Times, .illustrations in, by A.
Claxton, F. Claxton, M. E. Edwards,
Lieutenant Seccombe, P. Skelton, T.

SULMAN.

Illustrated Weekly Netos, 92.

Illustration, reasons for serial issue of,

• demand for, 10.

importance of, 10.

• influence of ' process-work' on, 11.

earliest attempt of magazine, 16.

object of, 17.

to the early Victorian novels, iS.

— to the Cornhill, 38, 39.

black and white, its requisites, 65, 66.

influence of photography on, 66.

preference of a drawing to a photograph,

67, 68.

in daily papers, 94.

new method employed in ' Pleasures of

Memory' (1S67), 137, 13S.

regard for the older, 139.

comparisons of old and modern, 139.

Illustrator, position of the modern, 3, 9.

the popular artist of the period, 10, 134.

appreciation of, 10.

summary of the work of the sixties, 14S,

149.

Ingelow, Jean, ' Poems' (1867, 4to), 4 ; illus-
trations to, by Boyd Houghton, E. and
T. Dalziel, J. W. North, E. J. Poynter,
G. J. PiNWELL, and J. Wolf," 129, 130.

'Ingoldsby Legends,' The (1864), illustrations
by Cruikshank, Leech, and Tenniel,

123-

JACKSON, MASON, 'The Pictorial Press,'
92, 98.

Jackson's ' Engraving.' See Chatto.

Jerrold's 'Story of a Feather' (1S67), illustra-
tions by Du Maurier, 133.

'Jingles and Jokes for Little Folks' (1866),
illustrations by Paul Gray, 129.

Johnson, E. K., 57, 64.

Journalism, 55.

Judy, general poorness of its drawings, 90.

illustrated by Matt Morgan and J.

Proctor, 90.

value as representative of the ' eighties,'

90.

Junior Etching Club, 118, 151, 152, 153.

JUSTYNE, P. W., 64.

'Juvenile Verse and Picture Book' (1S48),
Gilbert, Tenniel, R. Cruikshank,
Weigall, and W. B. Scott's illustrations
to, 100.

'KAVANAGH' {1857), illustrations by

Birket Foster, ioS.
Keats's ' Poetical Works' {1866), illustrations

by G. ScHARF, 129.
Keene, Charles, 19.
quality of his work, 25 ; illustrations to :

Once a Week, 25, 26, 36.

Cornhill Magazine, 4 1 .

Good Words, 47.

Lo7idoJi Society, 59-62.

Punch, 88, 89.

' Voyage of the Constance,' no, in.

'Lyra Germanica,' 113.

'Sacred Poetry,' 115.

' Mrs. Caudle's Curtain Lectures,' 124.

' Ballads and Songs of Brittany,' 127.

' Legends and Lyrics,' 12S.

'Touches of Nature,' 131.

Thornbury's 'Legendary Ballads,' 146.

Hood's ' Poems,' 152.

' Passages from Modern English Poets,'

153-
Kennedy, T., 129.
Keyl, F. W., 64, n4, 123.
'King Gab's Story Bag' (1868), illustrations

by W. Crane, 136.
Kingsley, C, ' Hereward,' 50.
'The Water Babies' (1869), illustrations

by Paton and Skelton, 137.
A'ingston's Annuals, 87.
'Kj-ilof and his Fables' (1S6-), illustrations by

Boyd Houghton and Zwecker, 135.
Krummacher's 'Parables' (1S5S), illustrations

by Clayton, 109, no.

'LAKE COUNTY,' THE (1864), illustra-
tions by Linton, 124.

Lamont, T. R., 58, 65.

Landon (L. E.), 'Poetical Works' (1S69),
illustrations by W. B. ScOTT, 140.

Lasinio, his influence, 1^1.

Laurie's 'Shilling Entertainment Library'
(1S62), nS.

192

quality of his work, 28 ;

INDEX

Lawless, M. J.
illustrations to :

Oitce a Week, 28, 29, 163.

Good Words, 46, 48, 50, 163.

London Society, 56, 57, 60, 62, 163.

Churchmaii s Family Magazine, 64.

Punch, 88.

' Lyra Germanica,' 113, 163.

'Life of St. Patrick,' 117.

Chiirchtiiau's Shilling Magazine, 1 29.

' Touches of Nature,' 131.

' Legendary Ballads,' 144, 145.

' Passages fronn Modern English Poets,'
152.

biographical accounts of, 162, 163.

his picture ' The Sick Call,' 163.

Lawson, Cecil, So.

Lawson, F. W., illustrations to:

Once a Week, 35-37.

Cornhill Magazine, 42.

London Society, 59-62.

Shilling Magazine, 65.

Sunday Magazine, 66-69.

CasselFs Magazine, 72, 73.

Quiver, 75.

Broadway, 76.

Dark Blue, 80.

Aunt Judfs Magazine, 85.

Punch, SS.

Fun, 89.

Foxe's ' Book of Martyrs,' 133.

Heber's ' Hymns,' 133.
Lawson, J., 33-36 ; illustrations to :

Good Words, 52.

Sunday Magazine, 66, 67.

CasseWs Magazine, 73.

Argosy, 74.

Quiver, 75,

' Pen and Pencil Pictures,' 127.

'Ballad Stories of the Affections,' 130.

' Golden Thoughts,' 134.

Thornbury's ' Legendary Ballads,' 143,
146.

'Children's Garland,' 14S.
La yard, G. S., 'Tennyson and his pre-

RaphaeUte Illustrators,' 105, 161, 162.
'Lays of the Holy Land' (185S), illustrations
by MiLLAis, Clayton, Birket Foster,
Gilbert, 108.
Lear's 'Book of Nonsense,' 118.
Lee, J., 133.

Leech ( J . ), collectors of, 4.
quality of his art work, 18, 38 ; illustra-
tions to :

Ome a Week, 20, 21.

' Bon Gaultier Ballads,' 100.

' Puck on Pegasus,' 11 S.

'Ingoldsby Legends,' 123.

Hurst and Blackett's ' Standard Library,'

140.

'Legends and Lyrics' (1866), illustrations by

Burton, Carrick, Du Maurier, W. T.

C. DoBSON, M. E. Edwards, L. Frolich,

Birket Foster, John Gilbert, Charles
Keene, Morten, W. H. Millais, S.
Palmer, J. Tenniel, and G. H. Thomas,
128.
Leigh, John, 76.

Leighton, Lord, P.R.A., illustrations to :
'Cornhill Gallery,' 39.
Cornhill Magazine, 40.
' Romola,' 41.

Dalziels' ' Bible Gallery,' 146.
Leighton, John, 35, 49, 71 ; illustrations to :
' Lyra Germanica,' 113, 136.
' Moral Emblems,' iiS.
Dalziels' 'Bible Pictures,' 121.
' Life of Man Symbolised,' 127.
Leisure Hour, 34.

illustrations and illustrators of, 82, 83, 84.

Barnes, R., 83.
Du Maurier, G. , S3.
Gilbert, Sir J. {?), S3.
Green, C. , 84.
Mahoney, J., 83.
Pritchett, R. T., 83.
Solomon, S., 83.
Staniland, C. J., 83.
Whymper, S4.
Leitch, R. p., 50, 67, 74, 107, 132.
Le Jeune, H., designs to 'Ministering Chil

dren,' 104.
Lemon's, M., 'A New Table-Book' (1867),
illustrations by F. Eltze, 133.

'Fairy Tales' (1867), illustrations by C.

H. Bennett and R. Doyle, 135.
Leslie, G., 132.
Leslie's ' Musical Annual ' (1S70), illustrations

by Millais and Pinwell, 141.
Lever, C. , 'Lord Kilgobbin,' 42.
Lewis, A. J., 153.
' Liber Studiorum,' 39.
' Life and Phantasy,' 160.
' Life of Man S)mibolised ' (1866), illustrations

by John Leighton, 127.
'Life of St. Patrick' (1S62), illustrations by

M. J. Lawless, 117.
'Lilliput Lectures,' 79, 171.
' Lilliput Levee' (1S64), illustrations by

Millais, Pinwell, etc., 133, 134, 166.
LlNNEY, W., 46.
Linton, J. D., illustrations to :
Good Words, 54.
CasseWs Magazine, 73.
Linton's ' Masterpieces of Engraving,' 97.
Linton, W. J., 52, 99 ; illustrations to :
Wise's 'Shakespeare,' 113.
' The Lake Country,' 124.
' Little Songs for Me to Sing' (1865), illustra-
tions by J. E. Millais, 128.
' Little Songs for Little Folks' (1S67), illustra-
tions by J. D. Watson, 133.
' London Garland,' The {1895), 125.
Loudon Journal, The, 14.
'London People' (1S64), illustrations by C
H. Bennett, 123.

193

ENGLISH ILLUSTRATION

London Kcader, 14.

London Society, account of its neglect, 55.

its excellence, 55, 57.

illustrations and illustrators of, 55-62.

Barnard, F., 60.

Barnes, R., 56, 57, 58.

Bayes, a. VV., 5S.

BENNiiTT, C. H., 56, 57, 58.

Boyd, M. A., 61.

Boyd Houghton, A., 56, 59, 61.

Brown, Isaac L., 60.

Brunton, W., 57, 58, 60.

Claxton, a., 56, 57, 58, 62.

Cl.AXTON', K., 57.

Cooper, A. W., 57, 58, 60.
CoRBOULD, E. H., 57.
Crane, W., 56, 60.
Crowquill, A., 60.
Cruikshank, G., 59.
Darley, Felix, 57.
Doyle, C. A., 57, 58.
Dudley, R., 58, 59.
Du Maurier, G. , 56-60.
Edwards, K., 58, 59.
Edwards, M. E. , 57-61.
Ellis, E. J., 60, 61.
Fraser, F. a., 62.
French, H., 60.
Foster, Birket, 61.
Gascoine, J., 6i.
Gilbert, F., 62.
Gilbert, Sir J., 60, 61.
Gilbert, W. S., 6q.
Goddard, G. B., 60, 61.
Godwin, T., 57.
GR.W, P., 58, 59.
Gray, Tom, 60.
Green, C, 57, 59.
Hknley', L. C., 58, 59.
Huard, L., 57.
Hughes, A., 58, 62.
Illingworth, S. E., 60.
Johnson, E. K., 57.
Keene, C. , 59 62.
Lamont, T. R., 58.
Lawless, M. J., 56, 57, 60, 62.
Lawson, F. W., 59-62.
M'CoNNELL, W., 57.
Mahoney, J., 61, 62.
Marks, H. S., 62.
Millais, T- E., 56, 58.
Morgan, Matt, 57.
Morten, T., 56-62.
Paterson, H., 62.
Pasquier, J., 58, 60.

PiCKERSGILL, F. R. , 56.

Pin well, G. J., 57, 58, 59.
Portch, J., 56.
Poynter, E. J., 56, 58.
Rice, 60.
Ridley, B., 61.
SAMIiOURNE, L., 61.

Sanderson, H., 56, 57.

London Society, illustrations and illustrators of
—contitnied.

Sandys, F., 60.

Sargent, Waldo, 57.

Seccombe, T. S., 58.

Skill, F. J., 57.

Small, W., 59, 60, 62.

Solomon, Rebecca, 57.

Stanton, H., 61.

Stone, Marcus, 57, 58.

Sweeting, T., 5i.

Thomas, G. H., 57, 58.

Thomas, W. Cave, 57.

Thomas, W. L., 61.

Thomson, J. G., 59, 60

Walker, Francis, 62.

Walker, Fred, 56.

Watson, J. D., 56-62.

Wood, Fane, 60.

Zwecker, J. B., 57.
Longfellow's 'Hiawatha' (1S56), illustrations

to, by G. H. Thomas, 102, iio.
' Poems ' (1854), illustrations to :

Jane E. Benham, Birket Foster,
Gilbert, and Wehnert, ioi.

(1867) Boyd Houghton, etc., 134.
Longmans' 'New Testament' (1863), 121.
'Lord's Prayer,' The (1870), illustrations by

F. R. PiCKERSGILL, I4S.
Luard, J., illustrations to Once a Week, 32.
Lucas, H. J., 49.
' Lucile'(i867), illustrations by Du Maurier,

134-
'Lyra Germamca' (1861), illustrations by :
J. Leighton', H. S. Marks, E. Armit-
age, M. J. Lawless, C. Keene, 113.

(1868) E. Armit.\ge, Madox Brown,
and J. Leighton, 136.

M[ACBETH], R.,37, 71, 93.

M'Connell, W., 57, 64, 67.

Mackay's ' looi Gems of Poetry' (1867),

illustrations by Millais, 133.
Maclise, (D. ), illustrations to :

Tennyson's ' Poems,' 105.

'The Princess,' III.
Macquoid, T. R., 64, 146.
M'Taggart, W., 46.
M'Whirter, J. W., illustrations to :

Good Words, 45.

Sunday li/agazine, 70.

'The Gold Thread,' 116.

Wordsworth's ' Poems for the Young,' 1 18.
123.

' Pen and Pencil Pictures, 127.
Madot, a. W., 108, 109.
Magazine of Art, 14.
Magazines, collecting of, 6.

precursors of weekly papers, 14.

earliest attempt of illustrated, 16.

'Magic Mirror,' The (1866), illustrations by
W. S. Gilbert, 129.

194

INDEX

'Magic of Kindness,' The (1868), illustrations

by W. Crane, 135.
Mahoney, J. , 36, 54, 61, 62 ; illustrations to :

Sunday JSIagaziiie, 67, 69, 70, 71.

CasseU's Magazine, 72.

Argosy, 74.

Quiver, 75.

Good Words for the Young, 78, 79.

Leisure Hour, S3.

Sunday at Home, 84.

' Touches of Nature, ' 131.

CasseU's 'Illustrated Readings,' 135.

' Nobility of Life,' 136.

Dickens's Works (Household Edition),
138.

'Scrambles on the Alps,' 141.

'National Nursery Rhymes,' 141.
Marks, H. D., 62.
Marks, H. S. , 34, 36, 64; illustrations to:

Thornbury's ' Legends of the Cavaliers,'
107.

' Lyra Germanica,' 113.

'Sacred Poetry,' 115.

'Two Centuries of Song,' 132.

'National Nursery Rhymes,' 141.

' Passages from Modern English Poets,'
152.
' Masterpieces of Engraving,' (Linton), 97.
Meadows, Kenny, illustrations to ' Book of

Celebrated Poems,' 101.
Mearns, Miss L., 33.
'Melbourne House' (1S64), 124.
Menzel, his influence on English illustrators,
150.

his illustrations to Ktigler's ' Frederick

the Great,' 150, 151.
Meredith, G., 'Evan Harrington,' 25.

' Adventures of Harry Richmond,' 42, 43.

'Merrie Days of England' (1858), illustrations
byB. Foster, G. Thomas, andCoRBOULD,
109.
'Merrie Heart,' The (186S), illustrations by

W. Crane, 136.
Michelet's 'The Bird' (1862), illustrations by

Giacomelli, 121, 122.
Miles, Helen J., 35.
MiLLAls, Sir J., P.R.A., illustrations to :

TroUope, 18, 40.

Once a Week, 22, 23, 24, 25, 37.

'Cornhill Gallery,' 39.

Cornhill Magazine, 39, 40.

'Small House at Allington,' 40, 41.

Good Words, 46, 48, 49, 50, 55.

London Society, 56, 58.

Churchman' s Family Magazine, 63.

Saint PauTs, 77.

Punch, 88.

Tennyson's 'Poems,' 105, 157.

' Poets of Nineteenth Century,' 106.

• Lays of the Holy Land,' 108.

' Home Affections,' 109.

' Papers for Thoughtful Girls,' 1 18.

'Puck on Pegasus,' 118.

'152.

MiLLAls, Sir J., illustrations to — continued.

' Parables of Our Lord,' 48, 49, 119, 120,
121.

' ]3allads and Songs of Brittany,' 127.

' Little Songs for Me to Sing,' 128.

' Gems of Poetry,' 131.

'Collected Illustrations,' 131.

' Lilliput Levee,' 133.

' Golden Treasury Series,' 138.

Hurst and Blackett's ' Standard Library,
140.

Leslie's ' Musical Annual,' 141.

Hood's ' Poems,' 152.

' Passages for Modern English Poets,'

characteristics of his work, 22, 23.

advantages in studying them, 25.

biographical notice of, 156, 157.

appreci.ation of his work,' 156, 157.

MiLl.Als, W., 114, 128.
Milton's ' Poetical Works, Harvey's illustra-
trations to, loi.

'Comus' (1S5S), illustrations by Foster,

Pickersgill, and Weir, 109.
'Ministering Children' (1856), illustrations by

B. Foster and H. Le Jeune, 104.

' Mirage of Life,' The (1S67), illustrations by
Tenniel, 135.

Mirror, The, 14.

'Modern Illustration' (Pennell), 97, 114.

' Months Illustrated by Pen and Pencil ' (1864),
illustrations by R. Barnes, J. Gilbert,
and J. W. North, 124.

Moore (Albert), illustrations to 'Ode on
the Nativity,' 135.

Moore, H., illustrations to :
Hood's ' Poems,' 152.
'Passages from Modern English Poets,'
152.

Moore's ' Poetry and Pictures ' (1857), illustra-
tions by B. Foster, ioS.

'Poems' (1S5S), 109.

'Irish Melodies' (1S67),

C. W. Cope, B. Foster,

133. 134-
' Moral Emblems '
Leighton, 118.
'Mores Ridicula ' (1870), illustrations by J.

E. Rogers, 141.
Morgan, C. W., 69, 90 ; illustrations to

' Songs of Many Seasons,' 147.
Morgan, Matt, 57, 76 ; illustrations to :

Britannia and the Tomahawk, 80.

Illustrated London News, 92.
Morten, T., illustrations to :

Once a Week, 31, 34, 35.

Good Words, 46, 48, 49.

London Society, 56, 57, 58, 59, 61.

Churchman' s Family Magazine, 63, 64.

CasseU's Family Paper, 71.

Evety Boy's Magazine, 85.

Aunt Judy s Magazine, 85.

Beeton's Annuals, 87.

' Famous Boys,' 118.

illustrations by
and H. Weir,

(1862), illustrations by J.

195

ENGLISH ILLUSTRATION

Morten, T. , illustmtions to — iOiilinucd.
Dalziels' 'Arabian Nij^hls,' 122.
'A Round of Days,' 125.
Watts's 'Divine and Moral Songs,' 128. .
' Legends and Lyrics,' 12S.
'Idyllic Pictures,' 131.
'Two Centuries of Song,' 132.
Foxe's ' Book of Martyrs,' 132.
'Gulliver's Travels,' 133.
Thornbury's ' Legendary Ballads,' 146.
♦Mother's Last Words' (1866), illustrations
by M. E. Edwards and T. Kennedy,
129.
•Mrs. Caudle's Curtain Lectures' (1864), illus-
trations by C. Keene, 124.
'Mrs. Wind and Madam Rain' (1864), illus-
trations by C. H. Bennett, 123.
Mulock (Miss), 'The Fairy Book' (1876),

illustrations by J. E. Rogers, 141.
MULREADY, W., illustrations in 'Vicar of
Wakefield,' 99.

his influence on the ' sixties,' 151.

illustrations to Tennyson's ' Poems,' 105.

'Munchausen' (1861), illustrations by A.

Crowquill, 114.
MURCH, A., 146.
Murray, C. O , 85.

Murray, Fairfax, viii; his Rossetti collec-
tions, 160, 162.
' Music-master,' 6, 99, 102, 160, 16S.

NASH, T., 76.

Nature and Art, 34.

'Nature Pictures' (1878), illustrations by J.

II. Dell, 147.
'New Forest,' The (1S62), illustrations by

W. Crane, 117.
NICOL Erskine, illustrations to Good Words,

45-
Nixon, J. Forbes, 85.

' Nobility of Life,' The (1S69), illustrations by
Boyd Houghton, C. Green, J. Mahoney,
E. J. Poynter, Francis W.'M.ker, and J.
D. Watson, 136, 137.
North, J. W. , illustrations to :

Omi a Week, 33, 35, 36.

Good Words, 52.

Sunday Magazine, 66, 67, 68.

'Sacred Poetry,' 123.

'Our Life,' 123.

'The Months Illustrated,' 124.

'A Round of Days,' 125.

Jean Ingelow's ' Poems, 130.

'Wayside Poesies,' 130.

' Touches of Nature,' 131.

'Spirit of Praise,' 133.

' Illustrated Book of Sacred Poems,' 135.
Novello's ' National Nursery Rhymes' (1870),
illustrations by BoYD Houghton, E. and
T. Dalziel, a. Hughes, H. S. Marks,
J. Mahoney, G. J. Pinwell, W. Small,
W. J. Wiegand, 141.

OAKES.J. W., 153.
Odd numbers, method for preserving, 7.
'Ode on the Morning of Christ's Nativity'
(1867), illustrations by A. MoORE, W.
Small, etc., 135.
'Odes and Sonnets' (1859), illustrations by

Foster, Sleigh, no.
'Old Fairy Tale,' An (1866), illustrations by

R. Doyle, 129.
Olio, The, 14.
Once a Week, collectors of, 4, 7, 14.

its original aim, 16.

its characteristics, 17.

its success and merits, 19, 20.

its illustrations and illustrators, 16-37.

Ansdell, 34, 35.

Barnard, F. , 37.

Barnes, R., 34-37.

Boyd Houghton, A., 33, 34, 36.

Bradley, 34-37.

Brevvtnall, 34, 35.

Brown, Ford Madox, 37.

Burton, 33.

Crane, W., 33.

Dobell, C, 33.

Du Maurier, G., 30, 31, 33, 34, 37.

Duncan, E., 33, 34, 35.

Edwards, Kate, 36.

Edwards, M. E., 32, 33, 35, 36, 37.

Eltze, F., 33.

Fairfield, 33.

Eraser, A. W., 34, 35, 36.

FiLDES, S. L., 34, 35, 36, 37.

Gilbert, Sir J., 33, 34, 36.

Goddard, 33, 34, 35.

Gray, P., 33,34-

Green, C, 31, 32, 35.

Green, T., 36.

Griset, E. , 35, 36.

Hughes, A., 34, 35.

Hughes, Edward, 35.

Hunt Holman, 30.

Keene, C, 25, 26.

Lawson, J., 33, 34, 35, 36.

Lawson, F. W., 35, 36, 37.

Leech, J., 20, 21.

Leighton, J., 35, 36.

Luard, J., 32.

Macbeth, R., 37.

Marks, H. S., 33, 34.

Mahoney, J-, 36, 37-

Mearns (Miss), 33.

Miles, H. J., 34, 35.

MiLLAis, J. E., 22-25, 37.

Morten, T., 31, 34.

North, J. N., 33, 36.

Paterson, H., 36, 37.

Pinwell, G. J., 30, 31. 35. 36, 37-

Poynter, E. J., 31, 35.

Prinsep, Val, 37.

Pritchett, R. T., 33.

Sandys, F., 29, 30, 33.

Scott, T., 36.

196

INDEX

Once a Week, its illustrations and illustrators
— continued.

Sheil, E., 35, 36.
Shields, F. J., 32, 35.
Skelton, 33.
Slinger, 33.

Small, W., 33, 34, 35, 36.
Solomon, S., 32.
Straszinski, 36.
SULMAN, T., 36.
Tenniel, J., 21, 22, 35.
Walker, Fred, 26, 27, 33.
Watson, J. D., 33.
Wells (Miss), 33.
Whistler, J. M'N., 30.
White, 33.

WiM PRESS, E. M., 36.
Wolf, J., 33.
' One Year ' (1862), illustrations by C. DoBELL,

118.
Orchardson, W. Q., illustrations to :
Good Words, 44, 45, 55.
' Touches of Nature,' 131.
'Original Pictures' (1S6S), illustrations by

K. Barnes, A. W. Bayes, etc., 135.
'Our Life Illustrated by Pen and Pencil'
(1864), illustrations by Barnes, Du
Maurier, North, Pinwell, H. C.
Selous, and J- D. Watson, 123.
Oxford and Cambridge Magazine (1856), 161.

'PAGEANT,' THE, 125.

Palgrave's ' Five Days' Entertainment at
Wentworth Grange' (l858), illustrations by
A. Hughes, 136.

Palmer, S. , 103, no, 114, 12S, 137.

Pan, 92, 93.

'Papers for Thoughtful Girls' (1S62), illustra-
tions by J. E. Millais, 118.

'Parables from Nature' {1S67), illustrations
by E. Burne-Jones, M. E. Edwards,
L. Frolich, Holman Hunt, F. Keyl,
Otto Specker, J. Tenniel, and H.
Weir, 114.

'Parables of Our Lord' (1863), illustrations
by J. E. Millais, 119, 120, 121.

Parterre, The, 14.

Partridge and Co., publications of, 15.

Pasquier, J., 58, 60, 69, 75, 76, 85, 87, 92,
132.

'Passages from Modern English Poets' (1862
and 1876), illustrations by Junior Etching
Club (Millais, Whistler, Tenniel,
H. Moore, M. J. Lawless, H. S. Marks,
C. Keene, C. Rossetti, F. Smallfield,
Viscount Bury, LordC. G. Fitzgerald,
J. W. Oakes, a. J. Lewis, F. Powell,
J. Sleigh, H. C. Whaite, W. Severn,
W. Gale, and J. Clark), 118, 152, 153.

'Patient Henry' (1866), illustrations by
Boyd Houghton, 129.

Paterson, H., 37, 43, 62, 73.

Paterson, R., 45, 241.

Paton, Sir Noel, illustrations to :
Corn /i ill, 41.
'Puck on Pegasus, 118.
Aytoun's 'Lays,' 123.
' Gems of Literature,' 127.
'The Water Babies,' 137.
' Golden Treasury Series,' 138.
'Pegasus Re-saddled' (1877), illustrations by

Du Maurier, 147, 148.
' Pen and Pencil Pictures from the Poets
(1866), illustrations by K. Halswelle, J.
Lawson, J. M'Whirter, Pettie, and W.
Small, 127.
Pennell, Joseph, viii, 3, 10.
' Pen Drawing and Pen Draughtsmen,

65, 97.

■ 'Modern Illustrations,' 97, 114.

arguments for wood-engraving, 97.

on Shield's illustrations, liS.

eulogy on F. Sandys in The Quarto, 172.

'Pen Drawing and Pen Draughtsmen (Pen-
nell), 65, 97.
Penny Illustrated Paper, 92.
Penny Illustrated Weekly News, 92.
Penny Magazine, 1 3 .
People' s Journal, The, 14.
People s Magazine, 34.
Periodicals, legitimate field for illustration, 9.

estimation of, 14-15.

Perry, T. W., 80.

Peter Parley s Annuals, 87.

Pettie, John, illustrations to:

Good Words, 45, 46, 48, 49.

Sj/uday Magazine, 69, 70.

Good Words for the Young, 78.

' The Postman's Bag,' 46.

Wordsworth's ' Poems for the Young,'
118, 123.

' Pen and Pencil Pictures,' 127.

'Touches of Nature,' 131.
Phillips (C), Monograph on F. Walker, 165.
' Philip in Church,' 40.
'Phiz,' quality of his art work, 18, 19, 38.
illustrations to ' Puck on Pegasus,' 1 18.

PiCKERSGILL, F. R. , 56, 64, lOI.

' Poets of Nineteenth Century,' 107.
Poe's ' Poetical Works,' 107.
' Home Affections,' 108.
' Comus,' 109.
' The Seasons, 'in.
Montgomery's 'Poems,' 112.
' Sacred Poetry,' 115.
Dalziels' ' Bible Gallery,' 146.
' Art Pictures from Old Testament,' 147.
'The Lord's Prayer,' 148.
' Pickwick Papers,' iS, 19.
' Pictorial Press ' (Jackson), 92, gS.
'Pictures from English Literature' (1870),
illustrations by Du Maurier, S. L. Fildes,
W. Small, W. C. Thomas, and J. D.
Watson, 141.
'Pictures of English Life' (1864), illustrations,
by R. Barnes, 124.

197

ENGLISH ILLUSTRATION

' I'ictmes of English Landscape' (1S63), illus-
trations by B. l'"OSTER, 117.
' rictiires of Society' (1S66), reprints of illus-
trations bySANDYS, Lawless, etc., 128, 129.
I'innock's Guide to Knowledge, 14.
PiNWEl.L, G. J., illustrations to:

Oiue a Week, 29, 30, 35, 36, 37, 167.

Coriihill Magazine, 41.

Good IVords, 49, 50, 52, 54, 55.

London Society, 57, 58, 59.

Churchman's Family A/agazine, 64.

Sunday JUagazine, 66, 69, 70.

CasseWs Magazine, 72.

Argosy, 74.

Quiver, 74, 75.

Good Words for the Young, 78.

Sunday at Home, 84.

Punch, 88.

Graphic, 93.

'Arabian Nights' (Dalziels'), 122, 167.

'Our Life,' 123.

' Hacco the Dwarf,' 123, 124, 166.

' A Round of Days,' 125.

Dalziels' 'Goldsmith,' 126, 167.

Jean Ingelow's ' I'oems,' 130, 167.

'Ballad Stories of the Aflections,' 130.

'Wayside Poesies,' 130.

'Touches of Nature,' 131.

'Idyllic Pictures,' 131.

' Spirit of Praise,' 133.

' Lilliput Levee,' 134, 166.

'North Coast and oihrr Poems,' 134.

' Golden Thoughts from Golden Foun -
tains,' 134.

'National Nursery Rhymes,' 141.

Leslie's ' Musical Annual,' 147.

Thornbury's ' Legendny Ballads,' 146.

'Art Pictures from the Old Testament,'
147.

'The Happy Home,' 166.

biographical account of, 166, 167, 168.

Quilter (fL), on, 167.

Comparison with Walker and

Boyd Houghton, 167.
' Pleasures of Memory' (1S69), illustrations by
S. Palmer, J. D. Watson, C. Green,
etc., 137, 138.
Poe's ' Poetical Works' ( 1856), illustrations by :

Wehnert, etc., 104.

(1S57), Tenniel, Pickersgill, Birket
Foster, P. Sicei.ton, Feli,'^ Darley,

DUGGAN, J.CROP.SEY. MaDOT, I07, loS.

'Poems and Pictures' (1846), 99.

' Poems for the Young ' (1862), illustrations by
J. M'Whirter and J. Petite, 118.

' Poetry of the Elizabethan Age ' (1861), illus-
trations by B. Foster, J. Gilisert, and E.
M. WiMPERis, 1 15.

' Poetry of Nature' (1861), illustrations by H.
Weir, 113.

New Edition (1867), 135.

(1868, edited by J, Cundall), illustrations

by W. Crane, 136.

'Poets of the Nineteenth Century' (1857),
illustrations by MILLAIS, Ford Mado.k
Brown, BiRii^iiT Foster, W. Harvey,
J. Gilbert, Tenniel, Clayton, T. Dai.-
ziEL, J. Godwin, E. H. Corbould, D.
Edwards, E. Duncan, Arthur Hughes,
W. B. Leitch, E. a. Goodall, T. D.
Hardy, F. R. Pickersgill, H. Weir,
106, 107.
PoUok's 'Course of Time' (1857), illustrations
by B. Foster, Clayton, and Tennif.l,
104, 105.
Portch, J., 56, 115, 118.
Porter, J. L., 46.
'Postman's Bag' {1S61), illustrations by J.

Pettie, 116.
Powell, F., 153.
PoYNTER, E. J., illustrations to :
Once a Week, 31, 35.
London Society, 56, 58.
Churchman' s Family Magazine, 63.
Jean Ingelow's 'Poems,' 130.
'Nobility of Life,' 136.
Dalziels' 'Bible Gallery,' 146.
Pre-Raphaelitism, W. M. Rossetti on, 98, 99.

influence of, 99, 150.

Somes Layard on, 105.

exposition of, 16S, 169.

Pritchett, R. T., 33, 34, 35, 50, 65, 67, 72,

S3.

Process-Work, influence on illustration, 11,

loS.
Proctor, J., illustrations lojiidy, 90.

illustrations in Will 0' the Wisp, 91,

129.
' Prodigal Son,' The, Fred Walker's illus-
trations to, 27.
Prinsep, Val, 37.
Print-splitting, 7, 8.
Priolo, Paulo, 64, 84, 123.
' Proverbs of Solomon' (1S58), illustrations by

J. Gilbert, 107.
'Proverbs with Pictures' (1S5S), illustrations

by C. H. Bennett, 109.
Punch, 14, 17.

Spielmanu's History of, SS.

selected list of its illustrators, 88, 89.

Crane, Walter, 88.

Du Maurier, G., 88, 89.

Gray, Paul, 88.

Griset, Ernest, 88.

Keene, Charles, 88, Sg.

La\vless, M. J., 88.

Lawson, F. W., 88.

MlLLAis, Sir J., 88.

PiNWEI.L, G. J., 88.

Sambourne, Linley, 88.

Tenniel, Sir J., 88.

Tho.mson, J. G., 88.

Walker, Fred, 88.
Punch and Judy, illustrations in graphotype,

91-
'Puck on Pegasus' (1862), illustrations by

198

INDEX

Doyle, M. E. Edwards. Leech, Millais,
Noel Paton, 'Phiz,' and Portch, iiS,
135-
'Pupils of St. John the Divine' (1867), iUus-
tiMtions by E. Armii age, 135.

QUARLES'S 'EMBLEMS' (1861), illustra

tions by C. H. Bennett, 113.
Quarto, The, 125.

QuiLTER, Harry, on Pinwell, 167.
Qiiirer, illustrations and illustrators of, 74, 75.

Barnes, R., 74, 75.

Boyd Houghton, A., 74, 75.

Dunn, Edith, 75.

Edwards, M. E., 74.

FiLDES, S. L., 75.

Gray, Paul, 74.

Herkomer, H., 75.

Lawson, J., 75.

Lawson, F. W. , 75.

Leitch, R. p., 74.

Mahoney, J. 75.

Pasquier, J. A., 75.

Pinwell, G. J., 74, 75.

Ridley, M. W., 75.

Sandys, F. , 74.

Small, \V. , 74, 75.

Staniland, C. J., 75.

Thomas, G. J., 74, 75.

Watson, J. D., 75.
reprint of illustrations in ' Idyllic Pic-
tures,' 1S67 in volume, 74.

RALSTON, J. M'L., 13S.

Read, S. , 92, loS, 115.

Reade, (C.), 'The Cloister and the Hearth'
('A Good Fight'), 20.

— ' Foul Play,' 37.

' Put yourself in his place,' 42.

Redgrave, R., ioi, 117.

Rethel's influence, 151.

'Rhymes and Roundelays' (1856), illustrations
by BiRKET Foster, 103.

Rice, 60.

Rich, \., 146.

'Ridicula Rediviva' (1S70), illustrations by
J. E. Rogers, 141.

Ridley, B., 61.

Ridley, M. W., 72, 75, 80, 85.

RivifeRE, Briton, illustrations to :
Good IVon/s, 54.
Good Words for the Yotmg, 78.

Robertson, H. R., 147.

Robinson, T., 80.

Rogers, W. H., 113.

' Spiritual Conceits,' 116.

Rogers, J. E., illustrations to 'Mores Ridi-
cula,' ' Ridicula Rediviva,' and Miss Mulock's
' Fairy Tales,' 141.

' Romola,' 41.

'Roses and Holly' (1867), 134.

ROSSITER, C, 153.

Rossetti, Christina, Amor Miindi, Sandys's

illustration to, 65.

' If,' Sandys's illustrations, 74.

'Goblin Market' (1S62), illustrations by

D. G. Rossetti, 117, 162.

'The Prince's Progress' (1S65), illustra-
tions by D. G. Rossetti, 125.

'Sing Song' (1S72), illustrations by A.

Hughes, 171.
Rossetti, Christina, 'Speaking Likenesses'

(1874), illustrations by A. Hughes, 171.
Rossetti, D. G., opinion on wood as an

artistic medium, 47.

designs to Tennyson's ' Poems,' 105, 158,

161.

'Goblin Market,' 117, 161, 162.

'The Prince's Progress,' 125, 161.

— —biographical notice of, 157, 158, 159,
160, 161, 162.

his relations with A. Hughes, 159, 160.

prices received for his work, 158.

frontispiece to ' Early Italian I'oets,' 160.

■ frontispiece to 'The Risen Life,' 160.

'The Queen's Page,' 160.

Bume-Jones on, 161.

' Day and Night Songs,' 161.

'Flower Pieces,' 160.

' Life and Phantasy,' 160.

number of book-illustrations and their

importance, 160, 161, 162.
Rossetti, W. M., on pre-Raphaelitism, 98, 99,

105.
his biography of D. G. Rossetti, 15S,

159.
' Round of Days,' A (1865), 4 ; illustrations by

A. W. Bayes, Boyd Houghton, W.

Brooks, T. and E. Dalziel, P. Gray,

J. W. North, T. Morten, F. Walker,

and J. D. Watson, 125.
Roiitlcdge s Christmas Amntals, 87.
Rowlandson, 18.
Ruskin, J., criticism of the engraving of the

'sixties,' 154.

'SACRED POETRY' (1862), illustrations
by G. H. Andrews, H. H. Armstead,
W. P. Burton, J. Gilbert, Holman
Hunt, C. Keene, H. S. Marks, F. R.
Pickersgill, S. Read, F. Smallfield,
J. Sleigh, F. Sandys, F. Walker, J. D.
Watson, and H. Weir, 115.
Saint Pants Magazine, illustrations and illus-
trators of, 76, 77.
Eraser, F. A., 77.
Millais, J. E., 77.
Sala, G. a., 38.

' Salanmndrine,' The (1853), Gilbert's illus-
trations to, 100, ioi.
Sanderson, H., illustrations to:
London Society, 56. 57.
Churchman^ s Family Magazine, 64.
Fun, 89.

ENGLISH ILLUSTRATION

Sandys, Frederick, quality of bis work, 29 ;
illustrations to :

Once a IVeet, 29, 30, 33.

Conihill Magazine, 40, 42.

Good IVonfs, 46, 47, 49.

London Society, 62.

Churchman's Family Magazine, 64.

Shilling Magazine, 65.

Argosy, 74.

Quiver, 74.

Churchman's Shilling Magazine, 129.

Supplement to the British Architect,

174.
English Illustrated Magazine, 173.
'Touches of Nature,' 131.
'Idyllic Pictures,' 131.
Hurst and Blackett's ' Standard Library,'

140, 141.
Thornbury's ' Legendary Ballads,' 143,

144, 145, 172.
Dalziels' ' Bible Gallery,' 146.
Century Guild Hobby Horse, 173.
'The Shaving of Shagpat,' 174.

complete list, 172, 173.

portraits of Arnold, Green, and Brown-
ing, 174.

Miss Mulock's ' Christian's Mistake,' 174.

critical and biographical summary of,

172, 173, 174, 175.

Mr. Gray on, 131, 172.

Mr. Pennell on, in The Quarto, 172.

Prof. Herkomer on, 172.

Mr. Gosse on, 172.

Sandys's complaint of engravers, 1 74.

Sambourne, Linley, illustrations to :
London Society, 61.
Punch, SS.
Sargent, Waldo, 57.
Saturday Journal, 66.
Saturday Magazine, The, 14.
'Savage Club Paperi' (1S67), illustrations by
Boyd Houghton, Du Maurier, and J.
D. Watson, 135; {186S) 136.
Savoy, The, 125.
SCHARF, G., illustrations to Keats's ' Poems,'

129.
Scott's 'Poenas' (1S66), illustrations by IC
Halswelle, 127.

' Lady of the Lake' (1S56), illustrations

by Gilbert, 104.
Scott, David, illustrations to:
'Pilgrim's Progress,' 114.
'Ancient Mariner,' 114.
Scott, T., 36, 133.
Scott, W. B., 100; illustrations to:
'Pilgrim's Progress,' II4.
Landon's ' Poetical Works.' 140.
'Scouring of the White Horse,' The (1S58),

illustrations by Doyle, 109.
Seccombe, Colonel T. S., 58. Sg, 92, 137.
Seguin, L., 'Rural England' (18S5), 148.
Selous, H. C, 64, 84, 100, 123, 128, 133,
135-

' Settlers of Long Arrow,' Fred Walker's
illustrations to, 27.

Severn, W., 153.

'Shakespeare, his Birthplace' (1861), illustra-
tions by W. J. Linton, 113.

Shakespeare's 'Works' (1856-8), illustrations
by Giluert, 104.

Shakespeare's 'Works' (1865), illustrations by
H. C. Selous, 128.

' Merchant of Venice ' (1S60), illustrations

by G. H. Thomas, B. Foster, H. Brand-
ling, H. Rogers, iio.

Sharp's Magazine, 14.

Shaup (W.), Monograph on D. G. Rossetti
160.

Sheil, E., 36.

Shields, F. , illustrations to:

' Defoe's ' History of the Plague,' 118.
' Touches of Nature, '131.
Once a Week, 32, 35.
Sunday Magazine, 68.

Shilling Magazine, 7.

— - illustrators and illustrations of, 65.

• Sandys's designs to Amor Mundi, etc.,

65.

Watson's, J. D. , 65.

Gray, Paul, 65.

Pritchett, R. T., 65.

Lamont, T. R. , 65.

Lawson, J. , 65.

Hughes, Edward, 65.

Small, W., 65.

' Sintram and his Companions,' Selous's illus-
tions to, 100.

'Sir Christopher,' MiLLAls's illustrations to,

25-

'Sister Anne's Probation,' MiLLAls's iJlustra-

tions to, 24.
' Sixties,' the, first public appreciation of the

art of, 3.
contemporary appreciation of the artists

of, 4.

collection of the wood engravings of, 6.

interest in the art of, II.

comparison with the art of the present

day, 10, 12.

work of engraver in, 13.

• origin of the movement in Once a Week, 14.

appreciation of, 15.

— - summary of the work of the artists of, 148,

149.
biographical notices of the artists of, 155-

176.
Skelton, p., 33, 35.64,92,108, 109, iio, 123,

133. 137. 141. 146.
Skill, F. J., 57, 133.
Sleigh, H., iio, 115.
Sleigh, J., 153.
Slinger, F. J., 33. 34, 68.
Small, W., 43 ; illustrations to:
Once a Week, 33-36.
Good Words, 51-55.
quality of his work in, 51, 52.

200

INDEX

Smai.i,, W., illustrations to — continued.
' The Woman's Kingdom,' 53.
LomioH Society, 59, 60, 62.
Shilling Magazine, 65.
Sunday Magazine, bJ-Gc), 71.
Cassell's /family Paper, 71.
CasselCs Magazine, 72, 73.
Argosy, 74.
Quiver, 74, 75.

CTtJ^rf ll'ords/or the Young, 79.
Sunday at Home, 84.
Graphic, 93.

' Words for the Wise,' 124.
' Pen and Pencil Pictures,' 127.
'Children's Hour,' 129.
Jean Ingelow's 'Poems,' 130.
' Ballad Stories of the Affections,' 130.
' Touches of Nature,' 131.
' Idyllic Pictures,' 131.
'Two Centuries of Song,' 132.
P'oxe's 'Book of Martyrs,' 132, 133.
Heber's 'Hymns,' 133.
'Spirit of Praise,' 133.
'Washerwoman's Foundling,' 133.
' North Coast and other Poems,' 134.
' Golden Thoughts from Golden Foun-
tains,' 134.
'Ode on the Morning of Christ's Nativity,'

135-
' Illustrated Book of Sacred Poems,' 135.
Cassell's ' Illustrated Readings,' 135.
'Standard Poets,' 140.
Novello's ' National Nursery Rhymes, '141.
' Pictures from English Literature,' 141.
Thornbury's ' Legendary Ballads,' 146.
Dalziels' ' Biljle Gallery,' 146.
Smallfiei.d, F., 115, 153.
'Small House at Allington,' 40, 41.
Solomon, A., no, 114.
Solomon, REiiF.ccA, 57, 64.
Solomon, Simeon, illustrations to:
Once a Week, 32.
Good Words, 46, 47.
Dark Blue, 81.
Leisure Hour, S3.
Dalziels' ' Bible Gallery,' I46.
' Art Pictures from the Old Testament, '147.
'Songs and Ballads of Brittany' (1S65),

Tenniei.'s illustrations to, 21.
'Songs of Many Seasons' (1S76), illustrations
by W. Crane, Du Maurier, and C. W.
Morgan, 147.
'Songs and Sonnets of Shakespeare' (1861),

illustrations by Gilbert, 115.
Specker, Otto, 114.

' Spirit of Praise,' The {1867), illustrations by

Boyd Houghton, T. Dalziel, P. Gray,

J. W. North, G. J. Pinwell, and W.

Small, 133.

'Spiritual Conceits' (1S61), illustrations by H.

Rogers, 116.
Stanfield, C. , illustrations to Tennyson's
' Poems,' 105.

Staniland, C. J., 72, 75, S3, 132, 141.

Stanton, Clark, 45.

Stanton, H., 61.

Steele, Gourlay, 45.

Stenhouse, C, ioi.

Stone, Marcus, illustrations to :

Cornhill Magazine, 43.

London Society, 57, 58.

Sunday Magazine, 66, 67.

' Touches of Nature,' 131.
'Stories from Memel' {1S6S), illustrations by

W. Crane, 136.
'Stories little Breeches told' {1862), illustra-
tions by C. H. Bennett, 118.
'Stories of Old' (1862), illustrations by W.

Crane, 118.
'Stories told to a Child' (1866), illustrations

by Boyd Houghton, 129.
' Story of Elizabeth,' 40.
'Story without an End' (1867), illustrations

by E. V. B., 135.
Strahan, a., 65, 66.
Strand Magazine, 14.
Straszinski, L., 36.
Stretch, Matt, Sg.
Sulman, T., 36, 64, 7S, 92.
Sunday at Home, 34.
illustrations and illustrators of, 84.

Barnes, R., 84.

Du Maurier, G. (?), 84.

FiLDES, S. L., 84.

Gilbert, Sir J., 84.

Green, C., 84.

Lawson, F. W., 84.

Mahoney, J., 84.

Pinwell, C. J., 84.

Small, W., 84.
Sunday Magazine, illustrations and illustrators
of, 65-71.

Barnes, R., 66, 67, 68, 70,

Bayes, a. W., 68.

Boyd Houghton, A., 66-71.

Dalziel, T., 67, 69.

Edwards, M. E., 66, 67.

Eltze, F. , 67.

Fildes, S. L. , 69.

Foster, Birket, 67.

Eraser, F. A., 67, 69, 70.

French, II., 70.

Gray, Paul, 66, 67.

Green, C, 71.

Green, Townley, 70.

Herkomer, Hubert, 71.

Hughes, A., 70, 71.

Hughes, E., 6S, 70.

Lamont, Miles, 69.

Lawson, F. W., 66-69.

Lawson, J., 66, 67.

Leighton, John, 71.

Leitch, R. p., 67.

Macbeth, R., 71.

M'Connell, W.,67.

M'Whirter, J., 70.

ENGLISH ILLUSTRATION

Sunday Magazine, ilUisUalions and ilKistialors
of — continued.

Maiioney, J., 67, 69, 70, 71.

Morgan, C. , 69.

North, J. W., 66, 67, 68.

Pasquier, 69.

Pettie, J., 69, 70.

PiNWEi.i,, G. J., 66, 69, 70.

Pritchett, K. T., 67.

Shields, F. J-, 68.

Slinger, F. J., 67.

Small, W., 67, 68, 69, 71.

Stone, Marcus, 66, 67.

Thomson, J. Gordon, 68, 69.

Walker, Francis, 70.

Watson, J. D., 69.

Whymper, E., 67.

Wiegand, W. T-, 70.

Wolf, J., 68, 69.
Swain, 12, 13, 179, iSo.
Sweeting, T., 61.
.'Sybil and her Snowball' (1S66), illustrations

by R. Barnes, 129.
Symbolists, 18.

TAYLER, F., loi.
Taylor, Hughes, 45.
Tenniel, John, illustrations to :

Once a Week, 21, 22, 35.

Good Words, 46, 48, 49, 50.

Piim-h, 88.

'Juvenile Verse and Picture Book,' 100.

PoUok's ' Course of Time,' 104.

' Poets of Nineteenth Century,' 107.

Poe's 'Works,' 107.

' Home Affections,' 108, 109.

Blair's ' Grave,' log.

Moore's ' Lalla Kookh,' 112.

' Parables from Nature,' 1 14.

' Puck on Pegasus,' 1 18.

I'alziels' 'Arabian Nights,' 122.

' Ingoldsby Legends,' 123.

'English Sacred Poetry,' 123.

'Alice in Wonderland,' 127.

' Legends and Lyrics,' 128.

'Mirage of Life,' 135.

'A Noble Life,' 140.

'Passages from ^Iodern English Poets,'

152-
Tennyson's ' Poems,' (Moxon Edition), 4, 6,

99. 102.
illustrations by Rossetti, Millais,

Holman Hunt, Mulready, Creswick,

Horsley, Stanfield, Maclise, 105.

RossETTl's designs to, 13, 105.

' Loves of the Wrens,' A. Hughes's

designs to, 54, 55.
'Ciiticism of the Moxon Poems,' 105,

106.
'May Queen' (1861), illustrations by

E. V. B., 113.
'Enoch Arden' (1S66), illustrations by

A. Hughes, 127.

Tennyson's 'Loves of the Wrens' (1870).

Hughes's illustrations to, 171.

' The Princess, ' illustrations by M ACLISE,

112.
Thackeray (Miss), ' Story of Elizabeth,' 40.

' Village on the Cliff,' 42.

' Old Kensington,' 43.

Thackeray (W. M.), quality of his drawings,
18.

Walker's illustration to, iS.

' Vanity Fair,' 19.

Editor of Cornhill, 38.

' Love the Widower,' 38.

'Adventures of Philip,' 40.

' Denis Duval, '41.

portrait by Armitage, 42.

' Things for Nests ' (1867), 134.
Thomas, G. H., illustrations to :

Cornhill IMagazine, 41, 42.

London Society, 57, 58, 156.

Churchman's Family Magazine, 64.

CaiselPs Magazine, 72, 156.

Quiver, 74, 75, 156.

Broadway, 76.

Illustrated London News, 92, 156.

' Uncle Tom's Cabin,' loi.

Gray's ' Elegy,' loi.

'Vicar of Wakefield,' loi.

Longfellow's ' Hiawatha,' 102, 156.

' Pilgrim's Progress,' 107.

' Merrie Days of England,' 109.

' Hiawatha,' iio, 156.

Thomson's 'Seasons,' III.

' Household Song,' 114.

'Early English Poems,' 117.

'Legends and Lyrics,' 12S.

'Robinson Crusoe,' 123.

' Aunt Gatty's Life,' 129.

'Idyllic Pictures,' 132.

Foxe's ' Book of Martyrs,' 131.

biographical notice of, 155, 156.

obtains the Society of Arts prize, 155-

sets up as a wood engraver, 155.

engraves bank notes, 155.

the Garibaldi illustrations, 156.

is employed by the Queen, 156.

illustrations to 'Armadale,' 156.

Thomas, W. Cave, 57, 12S, 141.

Thomas, W. L., 60, 61.

Thompson, Alfred, 76.

Thompson, Alice, 76.

Thomson, J. G., 59, 60, 68, 69, 85, 87, 88,

89, 1 38.
Thomson, W. E., 147.
Thomson's 'Seasons' {1852), loi.

(1S54), lOI.

(1S59), illustrations by B. Foster,

Humphreys, Pickersgill, Thomas, and
Wolf, hi.
Thornbury's ' Legendary Ballads' (1S76), 4.
illustrations by Boyd Houghton, Law-
less, T. Green, Du Maukier, F. Eltze
J. Lawson, a. Fairfield, E. H. Cor-

202

INDEX

BOULD, A. Rich, T. K. Macquoid, C.
Green, T. Morten, J. Tenniel, W.
Small, P. Skelton, Pinwell, Sandys,
Whistler, and Walker, 143, 144, 145,
146.
Thorn bury's ' Legends of Cavaliers and Round-
heads' (1857), illustrations by H. S. Marks,
107.

'Two Centuries of Song (1S67), illus-
trations by G. Leslie, H. S. Marks, T.
Morten, and W. Small, 132.

Tiiislefs Magazine, illustrations and illus-
trators of, 76.
Boyd Houghton, A., 76.
Browne, H. K. {'Phiz'), 76.
Brunton, W. D., 76.
Coofer, a. W., 76.
Friston, D. H., 76.
Thompson, Alice, 76.
Watson, J. D., 76.
TiSSOT, illustrations to ' Ballads and Songs

of Brittany,' 127.
Tomahawk, illustrations to, by Matt

Morgan, 80.
'Toilers in Art,' l8o.

' Touches of Nature by Eminent Artists '
(1866), illustrations by R. Barnes, Boyd
Houghton, H. H. Armstead, Du
Maurier, p. Gray, C. Keene, J.
Mahoney, J. E. MiLLAis, J. W. North,
W. Orciiardson, G. J. Pinwell, F.
Sandys, F. J. Shields, Marcus Stone,
J. Pettie, W. Small, G. Tenniel, F.
Walker, and J. D. Watson, 130, 131.
Townsend, H. J., lOI.
'Trilby,' 9.
Trollope, Millais's illustrations to, 18, 39,40.

' Framley Parsonage,' 40.

• ■ 'Small House at Allington,' 40, 41.

Tupper's ' Proverbial Philosophy' (1854), illus-
trations by Cope, Corbould, Birket
Foster, John Gilbert, Horsley, and
Pickersgill, ioi.

'UNCLE TOM'S CABIN,' illustrations to,

by G. Thomas, ioi.
'Undine' (1846), Tenniel's illustrations to,

100.

'VAGRANTS,' THE, by Fred Walker,

27, 34-
'Vemer's Pride,' Keene's illustrations to,
26.

'Vicar of Wakefield, 'Mulready's illustrations
to, 99.

Thomas's illustrations to, loi.

'Victorian History of England,' The (1864),
illustrations by Boyd Houghton, 124.

' Vikram and the Vampire' (1869), illustrations
by E. Griset, 137.

Vining, H. M., 64.

'Voyage of the Constance,' The (1859), illus-
trations by C. Keene, no, iii.

WALKER, FRANCIS, 54, 62, 70, 72, 78, 79,

89, 136, 146.
Walker, Fred, illustrations to Thackeray's
Works, 18.

Once a IVeck, 26, 27, 33, 37, 165.

' Cornhill Gallery,' 39.

Cornhill, 40, 41, 42, 165.

' Adventures of Philip,' 40.

' Philip in Church,' 40.

' Story of Elizabeth,' 40, 41.

' Denis Duval,' 41.

' Village on the Cliff, 42.

Good Words, 45, 48, 50, 165.

London Society, 56.

Fimch, 88.

'Sacred Poetry,' 115, 123.

'A Round of Days,' 125.

'Wayside Poesies,' 130.

'Touches of Nature,' 131.

Thornbury's 'Legendary Ballads, '144, 146.

biographical account of, 165, 166.

employed by Mr. Whymper, 165.

■ anecdote of him, 165, i65.

monograph on, by C. Phillips, 165.

Menzel's influence on, 166.

paper in Good Words by J. Swain, 179.

Waltges, F. S., 146.

'Washerwoman's Foundling' (1S67), illustra-
tions by W. Small, 133.
Watson, J. D., illustrations to :

Once a Week, 33.

Good Words, 46, 48, 49.

London Society, 56-62.

Cinircimian^s Family L^Lagazine, 63, 64.

Shilling Magazine, 65.

Sunday Magazine, 69.

Casselts Magazine, 72.

Quiver, 75.

Jtnsley's Magazine, 76.

British Workman, 81.

Eliza Cook's ' Poems,' 102.

'Pilgrim's Progress,' 112, 113.

'.Sacred Poetry,' 115.

'The Gold Thread,' 116.

Dalziels' 'Arabian Nights,' 122.

' English Sacred Poetrj',' 123.

'Our Life,' 123.

' Robinson Crusoe,' 123.

'The Golden Harp,' 124.

' What Men have said about Women,' 124.

'A Round of Days,' 125.

Watts's ' Divine and Moral Songs,' 128.

' Legends and Lyrics,' 128.

' Ellen Montgomery's Bookshelf,' 129.

' Ballad Stories of the Affections,' 130.

' Touches of Nature,' 131.

Foxe's ' Book of Martyrs,' 132.

' Little Songs for Little Folks,' 133.

' Savage Club Papers,' 135.

'Illustrated Book of Sacred Poems,' 135.

Cassell's 'Illustrated Readings,' 135.

'Nobility of Life,' 136.

' Choice Series,' 137.

203

ENGLISH ILLUSTRATION

Watson, J. D., illustrations to — continucJ.

' Barbara's History,' 140.

Leslie's 'Musical Annual,' 141.

Thornbury's ' Legendary Ballads,' 146.
Watts, G. F., illustrations to Dakiels' 'Bible

Gallery,' 146.
'Wayside Poesies' (1867), illustrations by J.
W. North, G. J. Pinwell, and F.
Walker, 4, 130.
Webster, T., ioi.
Wehnert, E. H., 64, 85 IOI.

illustrations to I'oe's ' Works,' 104.

Weigall, 100.

Weir, Harrison, Si, 82, 102; illustrations to:

' Poets of Nineteenth Century,' 107.

'Gertrude of Wyoming,' 108.

' Home Affections,' 108.

' Comus, ' 109.

Montgomery's 'Poems,' 112.

'Poetr)- of Nature,' 113, 135.

' Parables from Nature,' 114.

'Sacred Poetry,' 115.

Moore's ' Irish Melodies,' 133.

^sop's 'Fables,' 133.

'Choice Series,' 137.

' Episodes of Fiction,' 141.
Wells, Miss, 33.
Whaite, H. C, 153.
'\\Tiat Men have said about Women' (1S64),

illustrations by J- D. Watson, 124.
'WTiat the Moon Saw' (1866), illustrations by

A. W. Bayes, 129.
Whistler, J. M'Neill, illustrations to :

Oiue a Week, 29.

Good Words, 46, 47.

Thornbury's ' Legendary Ballads,' 145.

' Passages fi-om Modern English Poets, '152.
White, D. T., 80.
^\"hite line engra\nng, 81.
White, T., 33.
Whittingham, C. , his care in choosing wood-

engravings, 9s.
Whymper, E., 67, 84.

' Scrambles among the Alps' (1870),

'Ancient Mariner,' 104.

141.

Wiegand, W. J., 70, 78, 79, 141.

Williams, S., ioi.

Will 0' the Wisp, illustrations in, by J. Proc-
tor, 91.

Wimpress, E., 35, 36, 115, 136.

Wirgman, T. B., 72.

' Wives and Daughters,' 41, 42.

Wolf, J., 33, 35, 46, 50, 68, 69, 82, 102, 109,
112, IIS, "8, 130, 134.

' Woman I loved,' The, Keene's illustrations
to, 26.

Wood Engravings versus Process, ix ; collec-
tion of, 6.

print- splitting, 7.

factories for the supply of, II.

responsibility of artists in, 12.

work of publisher in, 12.

advantages of over etching, 39.

Rossetti's opinion of the material, 47.

white line, 81.

arguments in favour of, 97.

Whittingham's care in choosing, 98.

. influence of G. Dore on, 122.

critics of 1865-66 on, 129.

Wood, Fane, 60.

Wood's 'Natural History' (1862), illustrations
by J. Wolf and Zvvecker, iiS.

'Bible Animals' (1867), 135.

WooLNER, T., 13S.

'Words for the Wise' (1864), illustrations by
W. Small, 124.

Wordsworth's 'Selected Poems' (1859), illus-
trations by Foster, Gilbert, and Wolf,
109.

' White Doe of Rylstone ' ( 1859), illustra-
tions by Foster and Humphreys, 109.

'Poetry for the Young' (1863), illustra-
tions by J. M'Whirter and J. Pettie,

123-

Wyon, L. C, 81.

YELLOW BOOK, THE, x^S.

ZWECKER, T. B., 46, 54, 57, 64, 78, 79,
uS, 134, 135.

Printed by T. and A. Constable, Printers to His Majesty,
at the Edinburgh University Press

University of
Connecticut

Libraries

39153021026945

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